Ahmad Akbarpour’s illustrated story Good Night, Commander portrays a boy who has lost both his mother and one leg in war. Inside his room, he reconstructs the violence through an imaginary military game in which he becomes a commander determined to defeat the enemy. This study examines how the story constructs its characters through names and namelessness, pronouns, bodily descriptions, dialogue, action, objects, and repeated signs. Using Philippe Hamon’s semiological theory of character, the research analyzes four interconnected dimensions: character types, character as signifier, character as signified, and the physical, psychological, social, and symbolic levels of description. The findings indicate that the nameless boy functions both as a socially referential character and as the intermediary through whom the reader enters the fictional world. The enemy commander operates as his mirror double, while the absent mother becomes an anaphoric character who repeatedly activates the memory of bombing, loss, and revenge. The father marks the boundary between everyday reality and the child’s imaginary battlefield. At the level of the signifier, the prosthetic leg, crutch, gun, mother’s photograph, and bedroom are central to character construction. At the level of the signified, the boy’s actions move from issuing attack commands to lending his prosthetic leg and refusing to shoot. Consequently, the meaning of “enemy” changes from an abstract and threatening category into that of another wounded child. The story does not represent disability as helplessness or as an invitation to pity. Instead, bodily difference becomes the basis of mutual recognition and ethical action. The prosthetic leg moves from being a sign of loss to a medium of movement, sharing, and friendship. Hamon’s framework therefore reveals that peace in the story is produced through a transformation in the system of signs: the other ceases to be a target when his body, need, questions, and capacity for joy become legible.