Like the previous titles in the series, the cover art for my upcoming novel was conjured by the magic hands of Martin Trokenheim. He’s a good friend with whom I share I love of science fiction, art, and electronic music. These are his own words on how the cover of The Mutineer came about – and how it ties into the series as a whole.
The cover of The Mutineer differs from the other two in the series in that it does not stand on its own but rather serves as a conclusion in relation to the other covers.
The Challenger was the beginning, The Mutineer is the destination. In many ways, The Challenger was a happy accident. There was no grand initial thought; instead, I got a feeling when reading the novel and found an expression that worked.
The Planetwalker and The Mutineer, on the other hand, had to adhere to that first form, which also required more planning. You should be able to look at them and feel that they belong together.
The Flow
What the covers have in common is primarily that Imogen is always the focus. And she is always more or less in full figure. This is her story. The background comes second. But that’s not enough. The three covers should tell a story. There is a flow, a direction, and a movement from the first to the last cover.
For example, Imogen is completely alone on the cover of The Challenger, and just like in the book, she has many inner monologues and struggles to handle the social aspects due to the grief she feels. On the cover of The Planetwalker, we see more people around Imogen. Now the cast of characters grows, as do the interactions and social contacts.
On the cover of The Mutineer, Imogen is part of a large movement. We see many people standing around and behind her. She is no longer alone.
From Cog to Agent
Another flow is Imogen’s journey from being an individual cog in the pioneer corps to becoming a leader. From being part of a predetermined path to taking matters into her own hands to influence the future. On the cover of The Challenger, Imogen is upside down, falling out towards the lower right corner, almost out of the picture.
On the cover of The Planetwalker, she has risen, stepping over obstacles and lifting her gaze. She is still moving to the right, but her gaze is fixed on something to the left, out of the picture. She is turning, changing direction.
On the cover of The Mutineer, she has turned her whole body to the left side, standing upright with a strong posture and a determined mind. Her gaze is directed forward and up; she has her own agency. Imogen is no longer a victim of circumstances; she is the circumstance.
Furthermore, Imogen on The Challenger cover is in motion. Her seemingly uncontrolled velocity echoes her emotional freefall. On the cover of The Planetwalker, she is still in motion, but now she moves forward in a controlled manner, over and through obstacles with her own feet.
On the The Mutineer, she finally stands still; she has found herself and her role at the center of events. Even the lighting reflects her inner strength that has grown and matured. From falling into darkness, through the light breaking through the leaves, to unobstructed illumination.
Dressed for the Occasion
Lastly, Imogen on The Challenger is dressed in the advanced flight suit, partly hidden behind a visor and various protections for the violent sport she’s a champion of. Similarly, she emotionally encloses herself and handles her grief within her mental shell.
On The Planetwalker, she has left the hyper-technical flight suit in favor of a kind of uniform, still part of the great mission she performs. But just as the pioneers’ plans begin to crumble, her uniform starts to wear, fray, and tear.
On The Mutineer, she has left both the technical shell and the binding uniform. Now she can be herself without being hindered by either grief or old duties. She is free and unstoppable. All these things show that Imogen undergoes an enormously large and difficult journey, both inner and outer. She changes as a person and becomes a key to the events that find their conclusion in The Mutineer. My hope is that the covers, in a visual way, highlight one of the themes of the trilogy.
