The game’s story would have been told through a series of ALIAS-rendered cutscenes between the levels, as well as through hints provided by characters she encountered. Never really one to conform, Aeon not wanting to be “saved,” might have endeavored to rid the world of The Demiurge’s power. Always up to some kind of mischief, Trevor’s would then have introduced the entire planet to the power of The Demiurge – a creature that is, in series creator Peter Chung’s own words, “some kind of divine being who’s neither good nor bad…just all-powerful.” Those who encountered the entity would have had a sort of revelation within its gaze and as a result, would have turned into blue-skinned zombie-like followers. A loose adaptation of the TV episode, “The Demiurge,” the video game would have pit the character against her sometimes lover/sometimes enemy, Trevor Goodchild. Nonlinear almost to the point of defying the description “storyline,” the Aeon Flux television show revolved around its self-named lead: a lanky, black leather-clad super-spy who played both sides of an ambiguous societal conflict. Spy” strip, the end result would have likely been much like Aeon Flux – the hyper-surreal-ultra-violent animated feature that debuted in ’91 as a series of shorts in MTV’s Liquid Television, before landing its own show in ’95. Burroughs had ever decided to try his hand at penning Mad Magazine’s “Spy vs.
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