A few notes.

+ The whole schmeer is inspired by the cover of Ray Lamontagne's Trouble, which is a great album, by the way, and which is why Sarah has no eyes. She's too pretty to blindfold, so I just blinded her. Just for the sake of metaphor, of course.
+ My shadows and shit are all willy-nilly because it's just a sketch and I save the good skills for the final minutes.
+ Jareth's coat is based off that kickass bomb-leather number in roughly the second act of Labyrinth, but I was working from memory and I jacked it all up, and then I decided I didn't care because I like the teeny-weeny bird skull buttons.
+ Yes, he is secreting an apple in his left hand.
+ I'm not making his package any bigger, so QUIT ASKING, JARETH. I don't care how big it is, leave me alone. Crazy goblin.

My sister and I agreed that Jareth reminds us heavily of the devil in our favorite mythology of him–––lonely, angry, arrogant, a bully. When he meets Sarah, who defies and rejects him, he tries to scare and trick her, and then to tempt her with false treasures. He represents every sin and she resists in favor of the best thing in the world: family love. Is Jareth too far gone to have any concept of real love? Does he just want her, like a toy?

Most women, I'm told, imagine the devil as a handsome, charming man. It speaks to our weakness and to our secret belief that we–––that love–––can fix and change anything.

You know, lookin' at this now, I should have given him some horns. I think I will. He would wear them well.

materials: pencil on bristol, hue in PS
music: Joan Osborne, "Man In The Long Black Coat"