Billy Masterson was the assistant to Professor Pacoli in Egypt during 1914, cataloguing and drawing most of the Professor's findings.
Biography[]
Three-hundred years ago in the year 1914, Billy was assisting the Professor in his research of an ancient Egyptian temple which, unknown to them, belonged to the ancient Mondoshawans for the purpose of saving the Earth from Evil and hiding the Elemental Stones. However Pacoli was dangerously close to uncovering the mystery of the stones, and so to prevent this, the local Priest felt forced to serve them poisoned water to protect the secret of the stones. However Billy was completely skeptical of Pacoli's discoveries regarding the legend of the five elemental and Evil, instead preferring to draw other things.
Pacoli and Billy avoid drinking the poisoned water after Pacoli suggested to drink wine instead to celebrate their discovery, but just then the Mondoshawan ship arrives with the Mandoshawans seeking to reclaim the stones and they use their powers to knock out the Pacoli. Billy, incorrectly assuming the alien had killed Pacoli, pulled a gun and fired at one of the Mondoshawan. What happened to Billy after this is unknown.
Fan Theories and Legacy
While no official canon confirms a direct connection between Billy Masterson and Jean-Baptiste Emanuel Zorg, some fans have speculated on a possible familial link spanning the centuries between their timelines. Both characters are closely associated with the elemental stones—Billy witnessing their removal from Earth in 1914, and Zorg obsessively seeking them out over 300 years later. This coincidence, along with certain behavioral similarities—such as impulsiveness, disregard for higher understanding, and aggression in the face of the unknown—has fueled theories of a generational thread.
Adding further intrigue, Zorg presents himself to the world as an influential art dealer, a profession rooted in curation, value, and aesthetics. This public identity, whether authentic or a carefully constructed façade for his arms dealing empire, suggests a cultivated interest in objects of beauty and power—possibly a distorted legacy of Billy’s academic curiosity and exposure to alien artifacts. Zorg’s infamous monologue on destruction as a form of creation hints at a twisted philosophy where art, chaos, and control intersect. Through this lens, some theorize that the Masterson bloodline may have transformed over generations—from observers of history to manipulators of it—using art and relics as both camouflage and currency in a world where knowledge is power, and chaos can be orchestrated.