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| re: Renegades | |
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rockfenris2005 01:40 pm UTC 11/04/10 |
| In reply to: | re: Renegades - rockfenris2005 01:37 pm UTC 11/04/10 |
> > > > > I think they might just be looking at the moon. They just > > > didn't get that bit right enough? > > > > To be serious: I've never asked myself what they are > > looking at, because I never thought there had to be > > something [material] they'd look at. > > I don't think there's something Corben just didn't get > > right, on the contrary. > > > > To me, they just look into the wide, open, stormy space > > surrounding them. They are surrounded by something huge > > (maybe by "forever") that is both freedom and danger at > > the same time. Actually, that's exactly what "the future" > > is or that "life after birth" that waits to be led -- > > especially after you've broken out of [maybe somehow] > > secure yet restricting circumstances. > > It may be that which awaits you after your childhood ends. > > That teenage time of ultimate transformation and seemingly > > unlimited possibilities. -- You don't know what you'll > > get, you don't know what might happen next, you're not > > even sure yet what or who you are or may become. > > > > But whatever it is that's approaching: it's something new, > > a completely new experience. > > Anything could happen, you could become anything, nothing > > is predefined yet, you'll never be as young and as free > > again. Everything is possible. Whatever you choose to do > > and wherever you choose to go will lead you somewhere > > you've never been before. > > That's both thrilling and frightening at the same time. > > Total freedom is total uncertainty. > > > > If *anything* could happen next it might be something > > ecstatically wonderful or it might be something > > threatening. You'll never know until it's right there. > > And they are both already in the middle of it, surrounded > > by it. There's no turning back. > > > > > > So. To me, this is what they are looking at (hard to put > > into words, I'm no Jim Steinman). Considering the nature > > of what they are facing it's not surprising they both feel > > a bit lost. Yet they are ready to face whatever comes > > their way, together. > > (And luckily he's so protective and strong and > > good-looking and she's so full of trust and love and all > > that. So unless they're going to fall out over whose turn > > it is to wash the dishes, they are going to make it.) > > > > I quite like the BFG cover art (apart from the guitar), > > its atmosphere. Maybe even more than the BOOH covers, not > > sure. The motorcycle stuff is a bit too trite for my > > liking. The BFG cover art has a glint of "forever" in it > > that I cannot find in the other covers' art work. > > > > > > That is one of the best posts on this forum I have ever > seen, and of course I must agree when you put it like > that. I guess I just always thought the picture was the > least interesting out of any of the Jim album covers > because I couldn’t see into it the way you did. > But with that said, I still really like the 2 "Bat out of > Hell" album covers. To me, the first album cover is a very > stirring very powerful concept, of a man who has defied > death to be with the one he loves. For some reason he has > been sent to Hell, a reason which is unknown to us, but he > is determined to escape it, and he has actually been > willed back by the power of his obsessive love. He’s > conquered and defied Hell itself. > He bursts through the graveyard on his motorcycle soaring > into the heavens, the giant Bat on the steeple actually > roaring at the sight of him, and he's determined to ride > away free, "Like a Bat out of Hell." And, of course, the > irony is obvious to us. > > But who knows WHO the Bat might be? > Many years later, he returns to Hell and we actually see > that this Bat creature is in charge, ruling over what > could be a representation of the motorcyclist's own > private Hell. > The motorcyclist may have died in New York, and so his own > private Hell is this exaggerated chaotic version of New > York where everything is out of control and the Bat is in > charge. This is what he escaped from, to be with his love, > but he must now try to conquer it and reconcile with his > demons in order to have a chance at passing on, in order > to be with the love of his life for all eternity. The > problem now is that he also has to rescue her from the > Bat's clutches. > Anyway, something that's like that... > > "The Final at Bat" artwork would have shown the resolution > of this character's fight, but thanks to Julie Bell & Co. > it was just another continuing adventure and not the > conclusion that some might have wanted (But I won't get > into that, AGAIN.) > > But I love those ideas, the man returning from the death > through the power of love, returning to Hell to face his > demons, quite literally, and then God or Satan or somebody > else knows what. > > Alternatively, considering that Jim has always had > "Neverland" in mind with many of these creations, the > graveyard might be a terrible location in Obsidian and the > city is, quite obviously, Obsidian itself, and the Bat > might be like a Ring Wraith working for Captain Hook. The > two people in the "Bad for Good" illustration would be > Peter and Wendy, and "Original sin" might be Wendy > dreaming of Peter many years later. > > Anyway, I've done enough thinking aloud. Again, your post > is one of the best I have seen on this forum in ages. > Next to Jacqueline's recent one of course! | |
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