Gog and Magog are two hypothetical armies arrayed against each other in an apocalyptic struggle described in the Hebrew Bible.
Imagining who (or what) comprises the forces of Gog and Magog can help us evaluate social imagination about war and peace.
John Boorman's exquisite film about the fabled English kingdom of Camelot called "Excalibur" [1981] presents two shimmering knights posited on different sides. Lancelot, the troubled first knight of the valiant King Arthur, is on one side, and Mordred, the menacing adversary of King Arthur and challenger of Camelot, is on the other side.
We can imagine that Lancelot represents Gog, and Mordred represents Magog, especially when we posit that various literary and folkloric characters/avatars signify our historical understanding of alliance logistics.
This is what comprises a creative dialogue about contention and contouring, and it has fascinated poets as varied as Homer and Alfred Lord Tennyson, and certainly, comic book writers who cast storyboards about apocalyptic battles surrounding the X-Men (Marvel Comics) and the Legion of Doom (DC Comics) understand that lyricism about war and peace enhances our imagination about muscular sentimentalism.
From this angle, we can argue that a scriptural/spiritual analysis of Gog and Magog can be enriched by an assessment of literary, historical, and comic book presentations of wartime vanities.
Such considerations reveal the social demand for self-image films such as "Avatar" [2009].
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Gog:
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Magog:
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