This sketch has both trick perspective (in the impossible boxes) and warped perspective (in the lines of the stone walls). This art also breaks "the fourth wall" by existing outside its implied rectangular picture frame. You can see that break along the right hand side.
I've been drawing stone walls since childhood, because I was intrigued by the effectiveness with which a pencil can duplicate the texture and shading of stone.
Beginner artists, please notice the curved lines I used in the shadows around the lit tunnel. See how they convey a sense of texture, shape, and the source of the light? Please, when you color your drawings, pay attention to the direction of the lines you draw. You shouldn't try merely to fill a big empty space with quick, thoughtlessly laid-down lines of color. Instead, let the direction and shape of those lines show the shape, texture, and shadowing of whatever you're drawing.
For another example, compare Tyler of Louisiana's crocodile coloring and texture (which are flat, straight lines) to the texturing of lines in the coloring of crocodiles in "Tessellating Lions".
Look at the crocodile face on the left. In its coloring of the big empty spaces, its straight lines don't show texture or shape. The lines are straight and thoughtless. The artist was just in a hurry to fill a big boring space. The short straight lines just show color and a sense of flatness. Compare that to the sample on the right. It also has lines that color in the big empty spaces, but its lines' direction, curve, and size show the texture and shape and even hints of where the light source is. Truman Capote once said, "There are no boring speakers. There are only uninterested listeners." We can say something similar about drawings and artists: "In drawings, there are no big boring areas to color. There are only artists who are bored and hurrying because they're ignoring this chance to show us the texture and shape of the object, and the direction of the light."