The Eternal spokesman for the Third and Fourth host of the Celestials on Earth
Ajak was chosen as the representative of the Mayan gods, under his ancient moniker of Tecumotzin, to help Hercules and the God Squad defeat the Skrull empire.
As a member of the Eternals, Ajak fought Warlord Kro's Deviants in Babylon, 2500 years ago. He also had a strong presence in Central America, where the Aztecs believed him to be Quetzalcoatl and the Incas worshiped him as Tecumotzin, Lord of Flight. Ajak once met the Norse god Thor and fought Dromedan alongside him. During the Third Host of the Celestials, Ajak acted as a liaison between the Celestials and Earth and was present in Peru when they arrived. Ajak, with Zuras, arranged the flight plan the Celestials used to leave Earth. Ajak then put himself into storage as atoms within the City of the Space Gods, to await their eventual return. Under Zuras' order, Ikaris awoke Ajak when the Fourth Host of the Celestials arrived. Ajak befriended human archaeologist Dr. Daniel Damian, and let him live in the City of the Space Gods. Ajak was sealed with Doctor Damian behind the force barrier surrounding the site of the Fourth Host's arrival. Ajak was attacked by agents of S.H.I.E.L.D. who he then converted to stored atoms. He was also known for battling an Incan wrestler.
An unusual request this one, that of the Eternal Ajak. I chose The Grim Reaper figurine by Eaglemoss as my base, the cloak was perfect, the muscle tone correct, and the stance commanding.
I had to be very careful with the preparation on this one. The body is made of lead, but the head and cloak are resin, plus the fins on the side of the head are pinned through the head. Resin is very delicate, and can crack very easily, so extra care needed removing the fins, and separating the head/cloak from the body, so I could create the loin cloth. I also needed to remove the scythe and skull emblem.
The sculpt involved adding boots, with knee guards, attaching a hand, then adding gauntlets. This was followed by adding the loin cloth, front and back, then the wide belt on top. Once these parts were done I attached the cloak back on to the body, then added the cape clasp.
The most complicated part of the sculpt was the iconic Inca style helmet. I started with the wide rim above the eyes, then added the chin guard, joining both together along the jaw line, this was followed by creating the shape of the back of the helmet. Next was to create the twin lines across the top of the helmet on top of each other, one thinner than the other. The final part was to add the rectangles front and back, which are the same width as the thinner top line, then two squares to the side of the helmet, and finally the fins on the side of the head attached to the squares. Phew this took a lot of patience!
Colours used in the paint application were Screamer Pink for the cloak, boots, belt, and loin cloth, shaded with blue ink, blended with Liche Purple. Midnight Blue for the torso, arms, and legs. burnished gold for the helmet, gauntlets, and line detail on belt, chest, and loin cloth, with orange fire for the central lines on loin cloth,chest, and belt. Elf flesh for the skin, and dwarf flesh for the shade, with chaos black around the eyes to give the shadowed effect.
The following photo's are of the basic stages used in applying the paint effects on Ajak.
*Click on each photo to see a larger version of each of the images.
*Thank you to Comic Vine for the origin information on Ajak.