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July 15, 2020

Content Warning: blood, injury

                                


Commentary for July 15, 2020:

Continuing with the theme of yesterday’s commentary, in the original version of this story, told in Eon’s Comic #122, Timmons told Sonic to escape while she would remain with GUN, hoping to help him from the inside. But the story is taking a slightly different path this time, with both Sonic and Timmons escaping together. I’ll elaborate on the thematic reasons for this in an upcoming commentary, but right now, I’ll just say that Sonic is in the middle of the Sand Ocean, a massive desert in northern Efrika, with an ocean between him and home. How is supposed to get there without a transport?

I never addressed this in the original version, but then I hadn’t quite figured out the geography of the world yet (and even when I did, the world map was not terribly similar to the real world), but I believe I had imagined this desert to be somewhere in Meridia, so Sonic could literally get to Station Square or wherever he needed to on foot. But given the Egyptian stylings of Eggman’s pyramid in Sonic Adventure 2, I decided that his base is literally located in what was once the real world nation of Egypt, some fifty thousand years before the events of Eon’s World. Neither Egypt nor any of the Saharan nations exist by this time and the entire desert region, now known as the Sand Ocean, is just a territory of the United Federation, with no formal state or government. (It is, essentially, a massive conservation area, because deserts are home to unique flora and fauna.) So Eggman built his base there disguised as one of the old pyramids. Am I being overly optimistic to assume any of the ancient Egyptian pyramids will still be intact fifty thousand years from now? Probably, but none of us are going to still be around by then to know, are we?


Eon's World is a fan comic created by Bethany Turner. All characters are copyright © to their respective creators. The contents of this site are not public domain material and should not be edited, distributed, or otherwise used without first obtaining permission from Bethany Turner.

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