You know: like something from the movie Avatar, except not... because a judge inexplicably ruled in favour of zillionaire director James Cameron when Dean took him to court in 2013, over what we must only assume, legally, were merely weird coincidences. You know: it was just by chance that loads of the things in the movie happened to look exactly like things on iconic Roger Dean album covers.
However, to gamers of a certain vintage, Dean is the man who defined the Amiga - specifically through his work with Psygnosis (for whom he also designed the company logo). In an era where far too many game covers were either forgettable or dreadful, Dean's designs and logos stood out. He may not have contributed as much artwork to the games industry as, say, Bob Wakelin, but it's undeniable that the games he worked on felt that little bit more special because of him.
His idiosyncratic approach - he reportedly painted the cover of Yes's Relayer album with "dirty water" - remains immediately recognisable.
Here's a gallery of some of his more notable pieces.
His first contribution to a game was for the obscure 1984 role-playing game, The Black Onyx. Though initially released exclusively for the PC-8801 home computer - later getting ports to the NES and Master System - The Black Onyx is considered the first RPG to ever be a hit in Japan, paving the way for Final Fantasy, Dragon Quest, Pokemon and far too many more.
A big part of its success - breaking a genre that had failed previously to find a foothold in Japan (it was created by a Dutchman, Henk Rogers) - was down to Roger Dean's epic cover art.
By contrast, the The Ultimate Warrior's cover famously opted for a couple of large-breasted semi-nudes, specifically Page 3 girl Maria Whittaker and Wolf from Gladiators. Suffice to say, the bare flesh on show provoked something of a moral outcry, which ensured that Barbarian: The Ultimate Warrior became a much bigger success than Barbarian.
Once again, the public demonstrated that it may not have known much about art, but knew what it liked (mainly: semi-nudes).
The main thing I remember about that album was the artwork - the striking depictions of Martian tripods stalking Victorian England. Interestingly, Roger Dean's design for the Terrorpods cover was apparently taken from his unsuccessful pitch for the album sleeve.
Dean's design was reflected in the game itself - albeit rendered in ugly, squat, sprite form - one of many occasions when graphic artists would try and fail to capture the essence of his work.
The piece was later re-used for the cover of a 2001 greatest hits album from British proggers Uriah Heep.
Arguably, the game itself isn't as good as its legendary status would suggest - barring the nice visuals and a great soundtrack - but part of the reason it has endured to this day is down to Dean's contribution. And, probably. the free t-shirt that came with it.
Alas, it was Dean's final cover for the franchise; the third game in the series featured art by David Rowe (who also designed the covers for Populous, Speedball and James Pond 2: Robocod). It was, y'know, fine for what it was, but not quite in the same league... seeming to depict a ghostly Alan Moore with his beard on fire.
Well done, Roger Dean! Well done for all the lovely art, you sweet and clever boy!