The Godess (1990) [逝世紀念帖]

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【檔案名稱】：The Godess (1990)
【檔案大小】：53.33MB
【故事簡介】：

Jean-Marc lofficier's introduction:

"THE MIRROR CRACKED

— The Goddess, the third chapter in Moebius’ Aedena Cycie,
was written and drawn in Paris and in Los Angeles, between the
fall of 1988 and the spring of 1989.

Upon A Star was the search for the promise of a utopia. The
Gardens of Aedena was a manifesto for a spiritual way of reconciling
man to that utopia, especially through food and his attitude
towvards it. Now, in The Goddess, a new mirror of reality filtered
by the artist’s mind, we discover that revolution, breaking
down the old world’s order, may be the only road to that utopia.

Although Moebius remained generally faithful to his master plan,
it is tempting to see The Goddess as an apt, symbolic anticipation
of the events that were to shake Europe during the latter part of 1989.

The underground civilization of the Nest, where all citizens are forced
to wear faceless masks (which, in a definitely Orwellian twist, are
called “faces), and which is ruled by an all-powerful father who
knows what’s best for his children, seems a reasonably good
allegory of Ceaucescu’s Romania, the Soviet Union, China, or
any of the other Eastern European countries which lived in the
shackles of communism.

The regime blames the dreaded nose fever, which even "faces"
cannot contain, on the outside world, like "bourgeois liberalism,”
but it is in reality the product of an inner sickness, caused by the
very decay of the Nest’s institutions, in this case: the endless
cloning of the Paternum. When the citizens lose faith in their «god»,
and discover that he cannot even guarantee their welfare, they revolt.

Again, Moebius’ allegory appears to be a blueprint of the various
revolts which shook the world during 1989. Even the very "Goddess"
uncannily anticipates the doomed Chinese students’ “Goddess
of Democracy”
But where the Goddess was crushed by Chinese tanks in Tiananmen Square,
Moebius’ Goddess goes on to liberate her people. The question now
remains, in Aedena as on our planet: what will the people do with their
freedom now that they have it?"

Moebius' afterword:

"I drew The Goddess in late 1988, early 1989. It took me about four or
five months to complete the story. I started on it in France, then I came
to the United States in January ‘89, and finished it in California. You
can tell the place where I stopped, because I changed pens. My last
“French” page is page 50; on page 51, my lines become
thinner more detailed.

Also, originally, my intention had been to finish the story with
Atana’s disappearance, but it was Jean-Marc Loffiicier who told
me that, in his opinion, the story needed a bigger payoff. So, we
began discussing the ending. Like most authors, I like to have
sympathetic listeners to whom I can tell my stories. His remarks
made their way through my mind and, as a result, I added about
twenty pages to reveal the identity of the Paternum and
show his overthrow.

Since my last book in the series, The Gardens of Aedena I have
undergone not as much a philosophical evolution as a variety of
new life expeniences. These changes that have occurred in my
life have found their way into my story. One could remark that
my stories often say everything about myseif without
revealing anything.

The Goddess grew in length and relevance as some of the
preoccupations that had always been part of its inspiration
started taking a greater importance in my life. It represents
the maturing of concepts that had been seminally present in
my work of the last few years. For example, the longnosed
inhabitants of the Nest(which was itself a much smaller place
to begin with) already appeared in a short story entitied To
See Naples, which I drew in 1987.

To me, these characters symbolize persons cut off from their environment,
both physically and spiritually. The deliberate formality with which they speak,
their masks, are like impenetrable shells behind which they hide. It is like
certain types of neuroses that we develop during chiidhood, where false
layers of personality are created to cover ali systems of communication with
the outside world.

The coloring of The Goddess was done not on blue lines as usual, but directly
on black-line prints of the original art. At first, I thought it would be a good
idea, but now I find the result a little disappointing, in spite of Florence
Breton’s marvelous work. My black lines have tumed gray and are a little
washed out by the colors and the intensity of the black lettening, which was
supenimposed later."

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