December 7, 2019

Content Warning: blood, death


Commentary for December 7, 2019:

Welp, things just got very real here.

As originally scripted, Za was supposed to leave Roskoís office with a wicked smile on his face, delighted by the opportunity presented to pin the blame for the Presidentís murder on Eon and potentially destroy Terran-Cornerian relations. But as I worked on the art for these two pages, I realised thatís not who Za is.

Now, for the longest time, I had imagined Za as speaking with a voice like Jareth, the Goblin King, who was played by David Bowie in the film, The Labyrinth. Every line Jareth spoke was dripping with insincerity and maybe even a hint of sadism at the way he toyed with the other characters in the story. It could be that Iíd ultimately allowed some of Jareth to creep into my characterisation of Za, so I had initially approached this chapter assuming he was a duplicitous, opportunistic, schemer, who saw Rosko only as an asset and nothing more.

But, like I said, I fell out of love with that characterisation while drawing these pages. Za is a much complex character than that. He is not, I would say, an "evil" person. Rather, he believes so strongly in his cause -- the cause of the Galactic Jedi Order -- that he is willing to do unspeakable things for it. When he called Rosko his friend, he meant it, and it genuinely pained him to do this. But the cause must always come first. Rosko had sided with the Terrans over the Galactic Jedi Order and so he had to be removed to make way for a more compliant leader in Lylat. As we saw earlier in this chapter, Vice President Steele is much less friendly to Sol than Rosko was.

But whatís the big deal about Rosko letting the Invincible use the jump gate? Well, keep reading. But you may have to wait until Chapter 12 for the full picture.

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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