holyguyver

The Dragons of Minth any years ago, in a land known as Minth, two dragons were born. The brothers, known as Krontak and Meelkurge, passed the time flying over the land and playing in the heavens. They were content in their dragon lives with their dragon games and their dragon lair. All was well throughout the world. As time passed and the brothers grew older and wiser, they began to become bored with their meager and uneventful existence. They had no friends and were growing weary of each other's company. The lair was becoming too small for the two of them and they began to quarrel more and more frequently. The intensity of their distaste for each other grew with each passing day and, soon, they were constantly battling each other for space. Their battles were devastating the land. Sometimes, they would burn entire forests in a single breath of fire. Many died at the hands of the brothers. If you were unlucky enough to be in their path during one of their episodes, you'd been burned beyond recognition. None of this phased Krontak or Meelkurge one bit. Each was focused on winning the domain of Minth for himself and neither were concerned with humans in the least. In their minds, humans were merely insects that got in the way and were expendable. One day, Krontak was out plotting his next attack on Meelkurge when he came across a shepherd tending to his flock of sheep. Krontak decided to have a little fun with the shepherd. He buzzed the flock and seared one of the animal's woolen coats in an odd geometric shape. It wasn't enough to hurt the animal, but it frightened the flock so terribly that they were on the verge of stampede. Krontak took great delight in this reaction and decided to try something a little different just to see what would happen. He buzzed the flock again and this time, he didn't hold back the fury of his flame. The sheep with the spear head seared into its coat, burst into flames. The flock went mad and ran in a frenzy to escape the flames of Krontak. The shepherd stood helplessly in the field weeping. He'd lost one of his beautiful sheep as well as control of his flock and there was nothing he could do. Not once, did he consider his own life and Krontak sensed it. He turned his attention toward the poor shepherd. Krontak flew as high up as he could until he became a mere speck among the clouds. He knew this would fool the shepherd into thinking he'd gone away and it did. Still weeping but regaining a bit of his composure, the shepherd tried to regain control of his flock. He herded them together and pointed them to the west instead of the northerly direction they'd been heading. There was a valley just ahead where they could seek shelter in case the dragon returned. Krontak laughed to himself as he soared to the heavens. He was having a great deal of fun and all thoughts of his conflicts with Meelkurge were forgotten. He spread his massive wings and turned in preparation for a dive back to earth. He flattened his wings against his body and dove straight down. He saw the earth approaching rapidly beneath him as he gained speed. Soon, the shepherd and his flock came into view. Dragons have excellent vision at a distance so he was able to pin point his targets from a great distance. The shepherd heard the swell of wind flying over Krontak's back and tried to hurry the flock toward the valley. They weren't going to make it in time. The shepherd looked up to seeing Krontak diving straight for them. It was the last thing he ever saw. A moment later, the searing hot breath of the dragon destroyed the shepherd and his entire flock. They were reduced to smoldering ashes in mere seconds. Krontak turned and headed back to his lair with a feeling of satisfaction that he hadn't know before. He would have to recount this story to Meelkurge. Surely, his brother would enjoy the tale and see the usefulness of this newfound method of gratification. Meelkurge lounged in the lair and wondered where his brother was. He'd been gone an unusually long time and Meelkurge was beginning to think that something bad had happened to him. Despite their differences, Meelkurge had no desire to lose his brother and hoped that he would return soon. The lair was empty and barren. There were no trinkets or treasures that dragons usually hoard. It annoyed Meelkurge and he decided he should discuss it with Krontak. They needed to do something about this. Suddenly, Krontak returned with a flurry and interrupted Meelkurge's thoughts. Krontak recounted his tale and Meelkurge listened intently. Things were falling into place. They would rule the land bringing death to all who opposed them. They would have all the riches for themselves and would be the dragons they should have always been. They roamed the lands, far and wide, bringing destruction to all who crossed their paths. They pillaged and collected all the jewels and gold that they could. They became the most powerful dragons who ever lived. This was not enough for the brothers, however. They just never seemed to be satisfied with what they had and always lusted for more possessions and more power. They decided to take the Castle of Forever. If they controlled XarX's ancient stronghold, they could rule the world. They set about uniting all the dragons for they knew they would need the combined strength to defeat Isis Reen and the mortals who vowed to protect the Castle. Once all the dragons had met and designed the plan of attack, they all headed for the Castle ready for battle. The results were devastating and they almost destroyed the Castle trying to gain control of it, but Isis Reen and the mortals managed to retain control. In the end, the dragons were destroyed and their skeletons were left near the Castle as a reminder to all of what would befall those who considered making an attempt to use the Castle for evil and selfish purposes. Obliosch n this Castle Of Forever, it is truly my only sanctuary from those who hate me and it hides me from my own horrid, bitter truth. So many years ago, I was born into a family of riches, of high nobility. I was born into the house of Obliosch, one of a very few families that held high respect. Obviously, you would think it would be hard to pinpoint us for conversation, but whoever wanted to speak to us, they would figure out on appearance alone. Back then, as I was at a very young and tender age, my father taught me the use of a blade. I was so fast to learn it, my father was verily impressed. Later in my years, I would defeat him so easily I assumed that he was allowing me to defeat him so that I would grow more confident and excel that much more and become a very skilled warrior. As I grew in my years, I found out a crossroads was coming soon for me; one that would ultimately alter my destination in life. For in the house of Obliosch, I had a brother. Few years younger then I but he was nearly as good as I was with blades. The time came, as I knew it would, that my father wanted me and my brother to test our skills in swordsmanship. I felt a little discontentment with this but did not say anything as to displease my father. There I was, in the courtroom, with my brother. He and I facing each other, hoping to defeat the other. As he and I fought, both of us fought gracefully until a very defining moment came up. It came so fast, I was unable to defend against it. I would assume that my brother saw my father’s approving look at me and then acted in anger. He cut a large gash into the right side of my face, over my eye; I was now blind in that eye. I dropped my blade and fell to my knees. Through blood and sweat, I saw my father walk up to my brother to congratulate him on his victory. I felt ashamed at letting my brother do this and attempted to stand upright. My father sneered down, pointing his blade at me, “Do not bother to stand up, you pitiful excuse for a son. I would have expected you to defeat your brother but it appears that he is the finer swordsman. And now that you are scarred, you are a disgrace to the name of Obliosch. Guards, throw out this pathetic excuse for a being.” Even though I could only see with one eye, I ran out of the castle as fast as I could. Where I ended up, I do not know, for I was too caught up in the thought that my father no longer cared for or loved me. Wrought in humiliation and disappointment, I would return to my bitter reality a short time later. It was then I realised that I was in front of a house of sorts. I traced my memories and found no recollection of traveling to this place. I put my hand to my face, and felt something soft and wet on it; I felt sleep creeping in on me and did not try to stop it--all went black. My eye opened to reveal a peasant , or what seemed like a peasant in front of me at the time. I asked, “Who are you?” The lowly peasant answered, “I found you outside, unconscious. I brought you in to tend to your wounds and, but found I was unable to. Therefore, I grafted a mask onto your face. If your wounds ever heal, the mask will protect it until then.” I, trembling and unsteady, attempted to stand, the peasant helping me to a mirror. The handsome man I thought I was , was now a shadow of his former self; but the mask itself seemed to give me a sort of new identity. The peasant saw my facial response and shuttered in fear, “I would like for you to leave.” I, disheartened at yet another seemingly caring person rejecting me, looked back at her for a moment, and left. For the next few nights, I wandered through the Inek Forest, wondering what I should do with my existence. A buzzing sound came to my ears and I calculated it to be a distance away. I heard it again and it seemed no more than a moment away. The very last thing I felt was disorientation as a white blinding light encompassed me, and I saw my world disappear. When I awoke, I did not know how much time had passed. I was lain by a body of water; I sat up and saw a sky such as I had never seen before. I stood up and in the distance I saw a great structure. The sound returned, this time to my right, and now I attempted to ask, “What are you?” but nothing came out. I again attempted to speak, but with the same result. I was then filled with an aura of assurance, telling me that this amazing structure could help, so I followed the sound. Having arrived at the structure, I was about to press my hand at the gates, but before my hand could touch them, they opened. Again I felt this assurance, only this time much stronger. It pulled me to the center of this structure. I walked up to the great big door of what seemed like a palace. As I placed both feet in front of the door, I felt the palace talking to me. I knelt down on both of my knees. “Ye born of the family Obliosch, have come to the castle in search of a sanctuary. It shall become that, but you will have to complete one single task: Go back and make wrong things right. Then you will be safe in the stronghold of this once great place. I do sense the scales of power are not equal, so you shall receive a holy blade forged by the immortal Goddess and thrown down to the this world from the Red Star as an aid to you, that you may be victorious and begin your reign as Immortal to the castle.” At that moment the sky split asunder, and a blade of power fell, impaling itself in the soil. As I took it in my hands, I felt a surge of power unlike anything I had felt before. A small portion of my mask opened up, the portion over my right eye; I was no longer blind in that eye. I then felt two identities within me: one felt the rage from being rejected; the other, a feeling of tranquility as I hoped I would feel in the castle. I held the blade up to the sky and I felt as if I was moved somewhere in time. I woke in the forest of Inek, the blade lay at my side, and from the trees I knew that I was close to The House of Obliosch, and to that of the peasant. I decided to make peace and wished for this peasant to help me again. As I was to find out a few, this was not to happen. I passed behind a great oak, and was blasted by a great heat and crackling noises. Shielding myself behind the oak, I glanced at the inferno, and saw the worst had happened, the peasant’s home had been incinerated. I mustered the courage to examined the smouldering ruins for any signs of the peasant who once helped me. I was about to give up, when I heard a small moan. I followed it, to discover the peasant was fatally wounded, impaled by a fallen wooden beam, with blood flowing from her chest. She was attempting to speak, as I looked for anything to stop up the blood, anything to attempt to heal her wound. She reached out, and felt the mask that she placed on me, “Ggooo.....to.....” blood choked her words, “.....monks of silence....” I was unable to make out her final words as the blood filled her longues and the loud noise ran over me once more. I felt immediate pain, as sharp objects were thrown in my back, and threatening and laughing voices followed. I felt the spears that had come out of the front of my body, I fell to my side, believing I breathed my last breathe. I woke and found that the spears were still stuck in me. I attempted to remove them, but found that it was much too painful, so I decided I was better off just leaving them in me. Remembering that the girl had mentioned something about Monks Of Silence, I felt as though I should seek them out, but I had never heard of them before, I did not know where to even begin my search. The sound flushed over me, and I could feel the sword calling out to me, I rose the word in both hands, and could feel a force from it tugging at me, leading the way. I walked for hours until I came upon a small village, I came upon a great temple with stairs leading up to the entrance, so I slowly began my ascent. I found myself weak and out of breath as I reached the top. As I was to collapse into total exhaustion, I noticed men walking my way. I woke up a few hours later, feeling very energized. I sat up and felt the spears still in me. A monk came to me and wiped off my forehead . He put the rag down on the side and brought me rice and water. I noticed my sword was nowhere to be seen, I was curious where I was. The monk felt this and led me to their main hall. I saw dozens of monks meditating on the floor. The monk motioned for me to sit down and I did. It seemed as if the monk was speaking to me in my mind and I did what he told me. As I reached a very calm plane, I found that these monks had learned the art of telepathy and they told me I would soon too. For the next few weeks, I had found myself a new home and was very content...until... Several months later, a short time before I would wake up that morning, I encountered a dream. I was hovering in the sky above a Castle. On my right I saw an army advancing towards the Castle. On the left, I saw a young person in armor, ready to defend it. This young person ran forward screaming towards the army. As he was about to hit someone from the army, I awoke, a cold sweat dripping from my body. I ran to the main hall and sat down, within a few minutes, I was on the calm plane again and brought up that dream in my mind. As I questioned it, the truth came to me. This was to happen and that the young person would need me. I ended my meditation and walked up to one of the monks. They gave me a look of understanding and motioned for me to go. It was then that I remembered my blade and an image bolted into my mind that told me it was waiting for me at the entrance. I when I arrived, saw it lying on a table. I grabbed it and heard a voice. “Now is the time, Obliosch. This will be a very dark hour, come many possibilities, but few will leave you without pain. This is your destiny. Point the sword towards the heavens!” Before I could do as the voice said, a monk came up beside me and handed me a black rosary of beads. He told me that the beads would bring me luck in my darkest hour. I took them from him and thanked him. I then did as the voice said and found myself back in the Inek forest again. I hurried towards the Castle and, in what felt like moments, I was at the gates. As I walked forwards, the door opened, as I walked in, I saw someone with a long mane of brunette hair. The figure, placing a helmet upon its head, turned around and revealed themself to be a young woman. ”I saw you in my dreams, Obliosch, and I saw them coming too. Somehow, they found out about you but I’m not willing to let you fight this alone. I am Isis Reen, protector of this Castle, and you shall become one too when this evil we are to face is defeated--May we receive the gift of victory.” I felt images and words coming from somewhere, I concentrated on this alone and saw that it was from the general of the army, but I was not powerful enough at that moment to receive it clearly. As Isis Reen walked past me toward the door, and it magically swung open, I knew it was time, and I followed her outside. Within a few minutes, we reached the outside of the Castle’s walls. She unsheathed her sword and I positioned myself in a samurai warrior stance. It only felt like mere seconds but the enemy was upon us and I saw Isis take down a few dozen soldiers in the matter of a few moments. I then took down a few; I soon lost count of kills and where I was as I vanquished soldier after soldier. I heard someone shout, “Obliosch.” I turned, and saw the general place his sword against Isis’ throat--I froze. “Obliosch, surrender or she will die.” As the general was about to end the life of Isis Reen, I attempted to yell, but instead of my voice calling out, one of the spears within me launched itself at him. It’s destination was his heart and it rang true, in an instant, he was dead. After this had happened, a thought came to me. How did he know my name? "Brother." I knew that voice and quickly looked to my left. Standing ten feet away was my brother. "What are you doing here?" "Go look at the general, look at his face." I went over to the general and took off his mask. Blood rushed to my head and hands when I discovered I had just killed my father. "After I defeated you in combat and you managed to run away, I made sure I was beside him all the time so I could strongly influence his decisions, father listened to all I said. One day, I asked when it would be my time to rule. He told me that you were the rightful heir to the throne, even though he disowned you. All it took was enough convincing on his behalf and he was ready to kill you. Now that you've killed father, not only will I rule the house, but if you EVER come back, you will die by my hands." It was then that my rage filled self took control. I ran towards him, the voice called to me, "Obliosch, don't!" but I was so torn with emotion that I did not hear it. My defining moment came upon me again. He attempted his move from last time, but instead I quickly moved out of the way and beheaded him. As my compassionate self returned, I was unable to comprehend what had just happened. I had killed my brother and father. I reached down into my soul for something, but I could not find it. Isis came to my side. A short time later, we arrived at the castle. As we entered, the Castle read of my wish to be held somewhere in some sort of imprisonment until someone with vibrant knowledge could bring me out of my despair and hopelessness. As you read this, I know most will ask, couldn't Isis have helped with that? Alas, she tried but to no avail. She did promise me protection and sanctuary. For now and forever, I wait for the day when we all will live happy and prosperous lives.

The Castle of Forever Original Plot by Ty Gorton (tWISTEd sPINe), and Alison Rice (Moon Mistress) Later Additions to the Plot by Anna Kuyper (Deaderman), and Jack Danya Kemplin (Holy Guyver) The Castle of Forever was started by Ty Gorton and Ali Rice in the year 2000, with some later additions by Anna Kuyper. C3 is now looking for writers and artists to create novels or comics based on the concepts and story ideas that Ty, Ali, and Anna created, while interjecting some ideas Jack Danya Kemplin, the current Editor-in-Chief of C3 wishes the stories to include. Below are Jack’s additions, followed by the plot summaries Ty, Ali, and Anna came up with. Mythology: The Pantheons of Xsara and Sera At our human limits, when we've gone as far as flesh and imagination can take us, we meet the Eternal One, The Crow. His alabaster delicate features tell of his ivory goddess ancestry. Immemorially old, and inconsolable, he is there only for those who seek both revenge and love, and are willing to go all the way - and beyond. For a hundred thousand years, the greatest of the gods was the crow, the dream-carrier, who brought civilization to the people in paleolithic times. Mammoth-ivory carvings found over a vast area from Europe to the Near East depict a goddess with the raptor traits of a carrion bird: three fingered talons and a beaked face - a predator crow with breasts. About ten thousand years ago, when the goddess became a god, the same winged omnivore continued as chief deity almost everywhere: the archaic greeks called him Cronos, literally The Crow, the tireless traveller and hunger machine the romans renamed Saturn, god of time, the sun god Apollo, whose name means The Destroyer, was another greek avatar of the crow, as was the norse king of the gods, Odin. To the celts as well as aboriginal american nations, this scavenger bird carried the cosmic significance of The Great Benefactor, the creator of the visible world. The germanic and siberian tribes similarly worshipped the crow as an oracular healer. And in china, the black-feathered predator was the first of the imperial emblems, representing Yang, the sun, and the vitality of the emperor. During medieval times, "the shadow of the sun" was how european alchemists defined the crow, their symbol for the "nigredo", the blackness of despair and its poison-cure, the unity latent in chaos. That unity is the crow's rapture, a lifeforce so powerful it can actually live of death itself. That - and its outer space color in broad daylight - is what impressed the first people. The crow is the hunger of the sky. When it comes down, it eats everything, including the dead. And it rejects nothing. it is invulnerable, it is wider than time. At our human limits, when we've gone as far as our bodies and imagination can take us, we meet the eternal ones, the powers that built our flesh out of the mineral accidents of creation and that are now building our individual fates out of time and the accidents of our hearts. They are spaceless and timeless as numbers, and yet, as with numbers, all order in space and time comes from them. In a glare of earthlight, the crow emerges out of the super-real. He is the appetite of the eternal ones for the mortal powers of the world. The crow is an excarnation(defleshing) of this celestial devour, the crow is the same melancholy avenger who castrated his father, king of the mountains (Uranus), 10,000 years ago in the first kingdoms. He is immemorially old and inconsolable because he is his own Hades. Ghost dwell in him. His clown white and feminine features harken all the way back to the Ivory Crow goddess of a hundred thousand years ago. The maker as the taker, the blood drained face of Mama death, her ghost crows descending to pluck the souls from our corpses, the blood remembers this. As with every true ritual, it is a killing floor. The more sacred the ritual, the more messy and gruesome the blood-letting. Saturn disemboweled, Odin pierced and hanging from the storm tree - the crow creating a zombie to destroy dozens of violent, evil lives. This purging of evil is a primordial fantasy prominent even at the deepest range of consciousness - because it is rooted in the suzerain truth that we are all equal before death. No mortal has the right to take another's body or life. Yet people are raped and killed every hour. The whole world is infected, and the innermost secret spirit inside the recesses of inert matter watches without blinking. A myth of why crows are black: a long time ago a snow white Crow was left by the god Apollo to watch his woman Coronis. Even though she was pregnant, coronis admitted her passion for another man. The white crow flew to tell Apollo the news, but before The Crow could tell Apollo, the sun god had already divined Coronis' infidelity, which makes you wonder why he needed a sentry in the first place. At any rate, Apollo turn The Crow black in the fires of his revenge against Coronis. Since then, the crows have been spirits of revenge. but even though Coronis died, Apollo managed to save the life of her child, Asclepius. Asclepius grew up and Athena gave him blood from the veins of Medusa the Gorgon. The blood possess the power to cure the sick and even raise the Dead. But Asclepius' power made him powerful enemies and including Hades, who complained to Zeus that Asclepius unjustly depleted the population of the Underworld. Zeus killed the physician with a thunderbolt, but the crows kept the gorgon's blood. They bring back those who have been wronged in their lives to set the wrong things right and it is said crows will remain black as long as violence is repaid with violence. Weak mortals, chained to the earth, creatures of clay as frail as the foliage of the woods, you unfortunate race, whose life is but darkness, as unreal as a shadow, the illusion of a dream, hearken to us, who are immortal ethereal beings, for we shall tell you all celestial matters; you will know the nature of The Crows, and the origin of the gods. In the beginning, all of creation existed in primordial unity, like an endlessly flowing black sea, a living water. For untold aeons this was as things were, until one day from the primordial black sea of Time, Anatu, a black winged bird flew forth, and hovering over the primordial waters, there laid an egg. The shell of which became a firmament parting the waters, creating a great chasm in the deep. For ages Anatu sat upon this egg, and eventually things began to grow within it. From the blackness within it rose the planets and the flames of the stars ignited, illuminating Anatu’s black feathers, revealing that they were a brilliant ivory. The nutrient waters within the egg began to stir as life sprung from the sea and the clay, enumerating into all forms of creatures. But there was danger, as coming forth from the great black sea of Chaos, wrapping around the outside of the egg, was Lotan, a massive serpent which sought to destroy the harmony of the egg, feasting upon and killing the life within. Anatu called upon the first of her creations, those born from the night as she was, The Crows. They pecked at the great Snake and clawed at it with their talons, protecting the egg. Alas from each gash they made sprung forth countless serpents with poison for blood. The snakes fought off The Crows, and Lotan the Great Serpent struck, wounding Anatu, and the drops of her blood fell upon the clay of the egg. The clay was gathered and the clots of blood breathed into it forming Adamah, man. The Adamah looked into the sky and from it came down messengers with wings of feathers, messengers from creation, warning of the eternal battle between The Crows and the Snakes. The Eternal Mother Anatu The Ivory Goddess of Winter, in The Castle Lore, is based on the real world goddess Inanna, who is also known as Ishtar, Aya, Anatu (a Semitic warrior goddess), Anunitu (an Akkadian light goddess), Agasayam (a warrior goddess), Irnini (the goddess of cedar forests in the Lebanese mountains), Kilili or Kulili (the symbol of desirable women), Sahirtu (the messenger of lovers), Kir-gu-lu (the bringer of rain), and Sarbanda (the personification of sovereignty). So you can take inspiration from any of those real world goddesses, she can also go by or be referred to as any of those names in the Castle Lore. This is a real world ancient sculpture of her: https://upload.wikimedia.org/wikipedia/commons/2/22/British_Museum_Queen_of_the_Night.jpg In real mythology, Anatu has a son named Shara or Šara, where as in The Castle Lore Anatu of course has a son named Sethala from the realm of Xsara, who resides on the land of Sera. Inanna-Ishtar-Anatu is also associated with Venus - The Morning and Evening Star, also known as the Red Star, which is how Xsara, the realm of the gods, is described in our series. Interestingly another name for Anatu is Antu, who is also the mother of the Anunnaki and the Utukki, an utukku (Singular form of the word utukki) is the raised spirit of a mortal, which is what the avatars / champions are. Anyway, here is more description regarding the Goddess: As you have seen she is referred to as, "The Winter Goddess" She is also known as, "The Ivory Goddess" Thus explaining why I mentioned that she is pale and dressed in white. She should also have a cloak made of white feathers, with a hood topped in a giant bird skull; I believe their our some similar being in the attached art in the google doc. So, sort of an ivory version of this: https://www.iamag.co/wp-content/uploads/2015/10/The-Art-of-Gerald-Brom-29.jpg The deities can speak like this, "I am Anatu, the Ivory Goddess, Inanna Ishtar, who dwells within the morning and evening star." The Sparkle Horse is a horse in which sparks come out of its eyes, nose, and mouth, it assist the avatars or champions. The spirit of The Sparkle Horse often inhabitants and resurrects the body of a dead horse, just as the Crows gods and goddesses resurrect the bodies of dead people, turning them into avatars or champions. XarX is both male and female, their gender changes, as one of the powers of XarX’s mother, Anatu-Inanna-Ishtar is that she can change the genders of other beings. I also have other inspirational images of XarX at different points in their transformation from pure to corrupted. XarX becomes more reptilian as they are corrupted, and also begins to take on features of a mask they once wore, the mask perhaps merging with their face. You could view them as not gods, but as super-powered Venusians whom the Serans believe to be gods. God does actually fit into it, at least in the Horror sister-series, within that these other ethereal beings are those Watchers mentioned in the old testament who slept with mortals and begot giants. Anatu, though she could be called a lot of other names, as detailed above. Do we know where she came from? Xsara, same as the other gods and goddesses in this fantasy; though in the Horror series they all come from the unknown, formless, all consuming creator God who made all things. The creator God of course being the God of Israel, but we don't overly dwell on that except in the few series which directly deal with such, like our Horror story Brother's Keeper, which is a retelling of the story of Cain and Abel; in that Anatu comes to Abel and says she is an angel sent from God. But since our fantasy series takes place on a different planet in a different dimension, I don't plan on it making any direct reference to Israel. Our horror series takes place on Earth. As you can see with that name from real mythology and with what I was saying earlier with XarX becoming part of the living world, it's very much like the Tolkien story with Morgoth/Melkor. Also well I was getting the links for you regarding the primordial void, I came across another deity which you could use for the snake pantheon in our series: https://en.m.wikipedia.org/wiki/Tiamat [Tiamat] taking on the form of a massive sea dragon...she had brought forth the monsters of the Mesopotamian pantheon, including the first dragons, whose bodies she filled with "poison instead of blood". So just as the goddess Anatu is also the goddess Ishtar, and the goddess Inanna, XarX/Sethala can be Sara, Ningishzida, and Nirah. I did a lot of this in another comic book series I worked on called Asterion, in it I retold Greek mythology but I merged many of the gods and goddesses into a single character to simplify it. It is called syncretizing, the ancient Egyptians, Greeks, and Romans did it to incorporate the gods and goddesses of other cultures into their own religions like for instance merging inanna and Ishtar, which the Egyptians, and the Greeks, and the Romans did do. When the gods of Xsara or the beings of Sera become corrupt, influenced by The Pit, they become more serpent-like. So as XarX became corrupted and fell from grace, s/he became serpent-like in appearance. I also wrote in one of the messages I shared with you the other day another God for mythology that would be good for him, perhaps like his mother there can be many deities which represent them. Ningishzida In Sumerian mythology, was the son of Anu, the heavens, even though the myth Ningishzida's journey to the netherworld suggests he is the son of Ereshkigal. He was sometimes depicted as a serpent with a human head. His wife is Azimua and also Geshtinanna, while his sister is Amashilama. In some texts Ningishzida is said to be female, which means "Nin" would then refer to Lady, which is mostly how the word is used by the Sumerians. He or she was one of the ancestors of Gilgamesh. If you would like to read more on that void, chasm, abyss, chaos, which seems to exist in most mythologies here are some links: https://en.m.wikipedia.org/wiki/Chaos_(cosmogony) https://en.m.wikipedia.org/wiki/Tohu_wa-bohu https://en.m.wikipedia.org/wiki/Greek_primordial_deities https://en.m.wikipedia.org/wiki/Nu_(mythology) https://en.m.wikipedia.org/wiki/Ancient_Egyptian_creation_myths Throughout our horror serieses we have a very detailed pantheon and it's the same pantheon that would be in this series. In our horror serieses the way that works is throughout all different time periods throughout all different cultures different gods from each of these different cultures in each of these different time periods manifest as a crow, either black or white, and resurrect these dead people. The stories that they tell is similar to their stories in their own actual mythology and yet somehow even though these are all unrelated mythologies, they all through the totality of the series are merged to create one mythology. It is our mythology that all of them came from this great eternal all-consuming void that created all things, this being the primordial creator God, the god of Israel, and then these other pantheons in our mythologies evolved from that; which actually is sticking true to the Bible. The Bible says that the angels, known as Watchers, lusted after a human women and that born to them were the giants, the heroes, the warriors of renowned, and this suggests from the Bible itself that all the mythologies of all the other cultures are true, but they are the ethereal beings who are jealous of the god of Israel which then if you look at the other books of the old testament you can see signs of this, in that the god of Israel seems to be at war with with Baal, and Mammon, etc. So really the pantheon of our series contains every god and goddesses that ever existed in every mythology, but then also this fantasy series includes a few new ones that are totally fictional like XarX's and so on. Unlike many pantheons, ours doesn't have gods of water, gods of air, gods of whatever, that's not how our serieses works. Since ours deals with every mythology, it doesn't really have any particular God of any particular thing, though each of these gods and goddesses do claim to be a god or goddess of a particular thing, but it's not as simple as in a water, air, or the underworld, or anything. Most of the gods and goddesses in the series are gods and goddesses of justice. Some of the ones mentioned in our horror series are: Thoth, Ma'at, Hugin and Munin, Inanna-Ishtar-Anatu (The Ivory Goddess), Yatagarasu, The Morrígan, Ereshkigal, Coronis, Nephthys, Mahākāla, Shani/Kroda, the Sparkle Horse, Angels All Fire (Tamiel-Temeluchus), and more. Our pantheon is called The Murder. We also have a demonic, an evil pantheon comprised of snakes and various gods from various mythologies which take the form of snakes, such as Nure-onna, The Gorgon, Tiamat, If you are going to write things related to deities of The Crow in mythology, here is some research material: https://en.wikipedia.org/wiki/The_Morr%C3%ADgan The Morrígan - Celtic'" https://en.wikipedia.org/wiki/Huginn_and_Muninn Huginn and Muninn - Norse https://en.wikipedia.org/wiki/Inanna Inanna - Sumerian* https://en.wikipedia.org/wiki/Ishtar Ishtar - Mesopotamian* https://en.wikipedia.org/wiki/Ereshkigal Ereshkigal - Mesopotamian* https://en.wikipedia.org/wiki/Coronis_(mythology) Coronis (mythology) - Greek https://en.wikipedia.org/wiki/Maat Ma'at - Egpytian^ https://en.wikipedia.org/wiki/Nephthys Nephthys - Egpytian^ https://en.wikipedia.org/wiki/Thoth Thoth - Egpytian^ https://en.wikipedia.org/wiki/Three-legged_crow Three-legged crow / Yatagarasu - Japanese https://en.wikipedia.org/wiki/Mah%C4%81k%C4%81la Mahākāla - Buddhism* https://en.wikipedia.org/wiki/Shani Shani/Kroda - Hinduism* https://en.wikipedia.org/wiki/Cultural_depictions_of_ravens Cultural depictions of ravens *I realise that this deity is mainly associated with a different animal, but after extensive research one of the lesser representations of this deity is a Crow. ^ There are no Egyptian Crow deities, but these are close enough and bird related. '" Badb specifically is Crow related, Morrigan is also associated with horses though, thus bringing in Sparkle Horse mythology as well. Champions / Avatars / Crow Immortals and Rules of The World The protectors of the Castle of Forever are going to be avatars of The Crow, just non-earth-based ones. No the townspeople will not be avatars of The Crow, they will be normal barbarian, elf, dwarf villagers, but non-earthling avatars will be the champions, the guards, the Crow Immortals. So see, Isis Reen (Fantasy series) can be an avatar of The Crow, but she cannot exist in the same world as Eric (Horror series). They exist in two different realities, Earth vs Xsara and Sera, and the only ones who can visit both realities are Sparkle Horse, Angels All Fire, Huggin, Muninn, Badb, Thoth, Ma'at, Inanna, Ishtar, Anatu, etc. However, in the earth realm these gods and goddess can only take the form of black or white Crows, where as in the realm of Xsara and Sera they can appear as either Crows, or as humanoid gods and goddesses. After reading the sections about Isis Reen in the Castle Lore, and her own story: I can say that her story didn't follow the one in the main lore, so if Moon wrote both, she did not follow her own story and wrote two stories inconsistent with each other (which makes me think that maybe she was not the author of the original Lore, that maybe Ty wrote it). So with that being known, I would say she wrote very well, but she has got to make her story consistent with the other one. That doesn't mean she has to throw out anything major from hers, just add in the parts from the other, though there are some aspects of hers that are so out of line with the main lore that she would have to completely change a few of the elements towards the end once she gets to the castle. To Moon's I would say, "Beautiful story, but what happened between these two version? They are completely different. Looks like you need to either merge them or pick one, and I suggest merging them, as they both sound good." Also I would say, "Hey, her horse, that is a perfect place to insert the Sparkle Horse into the Lore, so add that." As long as you keep all of the events as described in the lore written by Ali/Moon, expanding upon them, you can of course add other things 😁. The Castle of Forever will be an Epic Dark Off-World High-Fantasy series of comics, novels, and short stories published by C3. This series will be a sister series to C3’s Horror series, however while the Horror series takes place on Earth, in a reality that is basically the same as ours in every way, including the same history. The Castle of Forever take place in a different realm, another dimension, where our solar system formed without our sun, instead the planet Venus became a red-dwarf star called Xsara, and orbiting it is the world of Sera. Sera is populated by many diverse beings typical of high-fantasy, such as: adamah (humans), gobbolin (orcs), elioud (elves), nibelungen (dwarves), seraphim (dragons), nephilim (giants), tannin (merfolk), and others; as well as animals which are identical to earth-based animals, such as horses, snakes, birds, etc. The characters of Sera in C3’s The Castle of Forever series are not able to travel between their dimensions and that of C3’s Horror series, and therefore cannot feature in the Horror series, likewise the Earthling characters of the Horror series cannot feature in The Castle of Forever series. The exception to this being the gods and goddesses who reside on Xsara, they are interdimensional ethereal beings who can cross between realms. The gods and goddesses form two pantheons: One pantheon is known as The Murder, taking the form of black crows and white crows, it seeks balance, justice, and the righting of wrongs. The other pantheon is known as The Pit, taking the form of snakes, it seeks disorder, violence, and power. The Murder is also assisted by The Sparkle Horse, and Angels All Fire. The Sparkle Horse is a horse in which sparks come out of its eyes, nose, mouth, and hooves, the sparks encircling the horse. It assist the avatars or champions, the spirit of The Sparkle Horse often inhabitants and resurrects the body of a dead horse, just as the Crow gods and goddesses resurrect the bodies of dead people, turning them into avatars or champions. Angels All Fire was Ramiel-Nathanael, the sixth angel created by God, one of the divine archangels, along with Lucifer-Satanel - the first angel created by God, Michael, Gabriel, Uriel, and Raphael. He was appointed as one of the 20 leaders of the Ir-Grigori, The Watchers, angels chosen to guard over humanity, he was a guardian angel who looked after unborn babies and pregnant women during childbirth. He however chose to follow Lucifer-Satanel when he rebelled, and along with the 200 other Ir-Grigori fell to Hell. In Hell, he was called Tamiel-Temeluchus, the leader of the Tartaruchi, the demons of torment. He struck down children while they were in the womb, and tormented couples who longed to have a family; becoming a complete perversion of what he was, he became a merciless angel, all fire. After so many millennia, he could no longer stand what he had become, so, at last he have chose to rebel against the rebellion, and become an angel of retribution, watching over those who rise from the dead in need of vengeance. Now Angel All Fire appears as a living statue in the shape of a life-size angel, helping to guide the avatars / champions. In C3’s Horror series these gods and goddesses can only manifest in the form of their respective animals: black or white crows, and snakes. However in The Castle of Forever series they can appear either in their animal forms or in humanoid-like angelic and demonic forms. Alphabet and Writings As I don't think language is going to be a factor in the Castle of Forever, since it is never referred to. It is obviously not English, or even any Earth tongue, but it is clearly translated into English for the reader. As for their written language, we actually have a sample of that already, two different ones in fact: Moon created an alphabet made of gold plates with patterns of holes in them. However when I redesigned the website, that alphabet looked odd with the new background, so I replace it with black plates. The Obsidian alphabet. A sample of the gold version: As you can see, the language I created was highly based on the original one she created for the series, though I created mine so it could be better seen on the new webpage background, whereas her's is the original one she created for the world. Imagine them writing in glowing red text on obsidian plates. And although Moon's original writing for them was on gold plates, I think we should change that to silver, so imagine them having more ancient texts written in the glowing red on silver plates. Xsara and Sera This takes place in a different dimension, one where the Planet Venus is in a sunless solar-system, and Venus has a moon circling it; Venus is the red sun Xsara, and its moon is the planet Sera. The Ivory Goddess Anatu-Inanna-Ishtar is associated with the red star, the morning and the evening star, and that would mean the red star, their sun, would be Venus. Xsara is where the gods live. Sera is the planet(moon) where the non-divine humanoid characters reside. Parts of the story can take place on Xsara, think of it like Mount Olympus (but a red star (the planet Venus) ), and the rest of the creatures live on Sera (a Venusian moon that no longer exists in our dimension). So the main place the story takes place is Sera. There is definitely horses, there are also orcs/goblins, elves, dragons, and all of the standards of high fantasy. I did some research as to what having a red sun would do to a planet: If sunlight was red the sky most likely wouldn't be blue. Our red light would follow a black body curve centered on red, so the plants and animals wanting to reflect the light would be cyan or blue, and would blend towards white as they reflect more and more sunlight. Ones wanting to absorb the light would be red and blend more towards black as they absorb more and more light. Green always has a more efficient alternative so there would be no pressure for green and probably very little of it, if it appeared at all, Vision would be adapted for red. This means the natives would most likely see in shades of red with maybe some yellow mixed in for shades of orange. Likely their visible spectrum would be shifted to see infrared and so heat would be visible to your average creature. If it was useful to distinguish between plants and animals that might use the other colors they could end up with a visible light range similar to ours, plus heat vision. Similarly the rainbow would be red-shifted. https://en.wikipedia.org/wiki/Red_dwarf So imagine your map in those colours: blacks, reds, cyans, vivid blues, silver, and white. When someone enters a black forest, it will literally be a black forest. Imagine a forest of black and red plants. So imagine saying, "A black forest." And literally meaning it. The differences in colour will make for a very cool world. If the sky is red, the water will be either red or wine coloured. In fact imagine a wine coloured sky as well, with a big dull red star. The Lore The Castle of Forever: A Dark Tale The Castle of Forever, as its name suggests, has existed since the very beginnings of time. In a Land beyond distance and an age before remembering, there was a Being that knew the powers of darkness and controlled the flow of life and death itself. This creature went by many names, but was most commonly called XarX... and by that name became hated. It was the nature of this otherworldly Being to find entertainment by wreaking havoc upon the lesser inhabitants in the world. Sometimes...there would be good fortune in the lives of people, and they would not know why, and a joy unlike any they had known would befall them. This was XarX, on those occasions of euphoric peace. But often, the mood was far from euphoric, and joy was replaced with tremendous sorrow and suffering. Something ominous was twisted into the fiber of this Being... something ugly, and at first XarX would fight the demon within; but victory never came. As the ages passed, XarX became more and more vile, and soon spread nothing but pain from clawed fingertips. Finally, the people could take no more, and opened blind eyes to see that their anguish was not chance, but caused by a creature of their most demented nightmares. The cry to battle was echoed across the seas and deserts, and soon all of mankind was united, swords raised with the cries of war. The armies sought out XarX, and despite the Being's tremendous powers over wind and earth, the people came on and on, wave after wave, wading through their brother's and sister's blood to face the creature that had caused them so much suffering. As the years wore on, and the rivers themselves began to flow red with the stench of death, even XarX became disheartened. The Being fled. Finding some uncharted corner...XarX decided to construct a home, a stronghold where mortals could not dwell. The walls were made of starlight and dreams...and the floors were stitched from the fabric of eternity. It was truly a living fortress, a place with eyes and a soul, and within it XarX existed for thousands of years. Undisturbed. The guilt of all the Being had done became more vivid within the purity of the Castle... and soon XarX felt the pull of insanity like a seductive voice in the shadows of loneliness. With the weight of all It's evil crushing down, XarX broke, and Its overwhelming powers boiled up from within and burned the Being into a scatter of white ashes. The world felt that death like a ray of sunshine after years of rain. People were drawn from all corners of the globe to XarX's stronghold, guided by a bright Red Star in the heavens that glowed night and day. Millions came. But only one could gain entrance into the Castle. Only one because this was no ordinary human, but a person born on a different plain of reality. Every age has a Champion, and while sometimes that Champion goes unrecognized, they exist, and are constructed of more than flesh and blood. In their veins flow the secrets of Forever, and all it takes is some event to awaken that knowledge for them to come forth and claim their rightful place in existence. And so it came to be that the first keeper of XarX's stronghold was Isis Reen, the daughter of a King and an Angelic Ivory Goddess that broke the ancient laws to marry a mortal man. It was the atomic encoding from the Ivory Goddess that gave Isis the power to pass by unharmed the Eternal Altar which stood before the stronghold as a warning to all mortals. Isis Reen entered the Castle Gates and walked where no others could. It was that power that made her Queen of XarX's glorious domain and a Hero to the inhabitants of the world. She looked down upon the people from a tower balcony, and she spoke these words, "This domain, once XarX's, is now ours. This will be the home of immortal warriors and saviors, and the world can look to the Red Star and know that they will never again have to suffer under an evil Being like XarX. This place shall be called The Castle of Forever, and it shall never crumble or fall to an enemy, and will always hold the essence of Good for every Age!!" The masses cheered, and formed massive camps around The Castle of Forever to celebrate the coming of a new Age. A better Age. As time went on, new enemies of the mortal realm came to be... but none so devastating as The Dragons Of Minth. Two ancient brothers united all but a few of the existing Dragons together in an attempt to take over the Castle and make it an impenetrable domain for The Dragons of Minth. The brothers were named Krontak and Meelkurge; their fiery breath and blood-stained talons filled even the bravest of warriors with terror. For a hundred and thirteen years the keeper of The Castle of Forever fought against these Dragons, alongside brave men and women of the mortal realm. The Castle was nearly destroyed, the fabrics that XarX brought together almost tearing apart, but in the end Isis Reen and the mortals were victorious and the Age of The Dragons of Minth came to an end, and their massive skeletons became landmarks for travelers. Centuries passed, and other Champions rose up to take their place within The Castle of Forever. While these Beings are Immortal, they can only hold the imagination of the people so long, and when their tales fade away, a new Champion must rise up and win the hearts of all mortals. There was Obliosch, the silent warrior that let his mystical blade speak rather than using words. Then came Kaztik Yi. No one is sure of his origins...and while his sheer intensity kept most mortals at a distance, none had ever fought harder against the tides of darkness. Those that came to know him told tales of his wicked sense of humor and his morbid lust for thrills. After Kaztik, into the Castle came Fasson Burr, an outcast from a very young age that took to wearing masks to hide a large scar along her face. She soon found that behind the mask, her mind could travel the corridors of consciousness and bend the equations of reality ever so slightly. Fasson Burr led the mortals to many victories, and hers was a time of great happiness. Razuul rose from this celebrated time of victory and ruled The Castle of Forever quietly and without commotion. Things were neither joyous or sad, but continued onward for hundreds of years without any significant war or event, an achievement often overlooked. After Razuul, there was a century of bloodshed. iVi emerged as a Champion, but many feared this Being's quick wrath. Some whispered that the essence of XarX had somehow infected their new Champion, but the wiser mortals knew that if such a thing were to happen, the result would be far worse. iVi's time did not last long, thankfully, for the people soon grew weary of senseless battle and lost faith. That brings us up to the current Age. Through all of this, The Castle of Forever was ever changing form, and could never be found at the same location. It is an incomprehensible sanctuary, sometimes a ruin, sometimes a magnificent structure. The white ashes of XarX still travel the halls, pushed along by an eternal current. Many believe that XarX still lives in those ashes, and awaits a chance to become whole again...but that cannot happen so long as a champion comes forward for each Age and rules The Castle. Age after age, the essence of The Crow has risen to take residence in The Castle of Forever. Each Champion presides only so long as the mortals of the land believe...and The Crow is cherished and respected in all parts of the world. All things would point to a rule without end, and one of overwhelming Love and Justice. Each new Crow Immortal makes the essence of The Crow stronger, and brings The Castle of Forever closer to its original glory during the ancient times of Isis Reen. Only when all mortals are able to conquer the evils of death and greed and corruption will the wrongs of the world be set right, and the powers of darkness be forever vanquished. So that is the tale of The Castle, and it is a tale that you are now an important part of. It is up to you, Crow Immortal, to protect the innocent from the evils of XarX, and to ensure that The Castle of Forever continues to grow strong in the power of light!! To become a Crow Immortal, you must prove your ability to swiftly seek out your enemies and bring vengeance crashing down upon them like a poetic blood red rain. Only the strongest willed, the most persistent, will ever walk the path of a Crow Immortal. Only the most clever and faithful will master the inner workings of the CHAMBEROOM to vanquish all their foes and be set free for all eternity. The Castle’s Story or years XarX, now defeated and humiliated, roamed the deserts of the realm of Sera. He was ousted by the humans and became a laughing stock. He had no more strength to fight. During his many years of exile from the divine lands of the Citadel he came across a vision of Anatu, his Eternal Mother. He fell to his rotten knees and begged forgiveness in the native tongue of the Eternals which, at that moment, sounded so uncouth from his lips. She spoke unto him harsh words of truth and clarity which cut him to the soul. She spoke of him never being allowed to his rightful place at the Eternal realm of Xsara. But she gave him an ultimatum, a last guidance from the pincers of doom, "Go forth, and build another fortress. May its walls be of white marble, and its halls decked with fine gold. Go to the place of the mortals of 'Larinthe', for they have yet to know of your existence. Go forth and live among those people, here you shall dwell and if you cannot redeem yourself, may your own wrath and blackness be your own destruction. I shall protect your hideous flesh no longer." With this, the beautiful form vanished leaving her voice to eternally chime in his ears. He wept crude tears and grasped this piece of knowledge in an effort to heave himself from the pit into which he had fallen. He followed the divine Red Star 'Xsara' over tundra and desert and forest till, at length, he reached the exalted citadel of Larinthe. He saw structures there that no eyes had yet seen; people garbed in strange clothes and selling exotic and foreign objects. They spoke a foreign tongue and nothing they said could be deciphered. Yet this was a strange place: a place that was like no other for it was closer to 'Xsara' than any other land. The Red Star shone day and night viciously onto his skin and he felt a familiar sense of calm. No one looked upon him with strange glances, for many different people in different kinds of flesh and attire walked this city. There seemed to be no trace of the evil which had once contaminated Sera; minds were untainted. He looked on in wonder and saw that these people were almost god-like in their dealings, mannerisms, and thoughts. In the many centuries that he had inhabited Xsara, he had never set eyes on this haven of humanity. It seemed that Anatu the Eternal had kept this place hidden from his eyes. He found courage and hope and threw back his cloak to reveal his flesh which he had hidden from human eyes for so long. The people of Larinthe were terrified at the monstrosity that they beheld, they were afraid of him: some wanted to kill him. He felt such sorrow and pain at their reaction and barely escaped the maddened crowds. Only with the help of a destructive wind and a torrent of rain was he able to escape and as he was carried away on a cloud. He realised that he had come to be the embodiment of the terror and the disease he had so fought to wipe out. It was then and there that he realised that he could never redeem himself the way Anatu commanded. He decided to seek out a place far away from the eyes and the reach of humanity and found a deep valley enveloped by steep mountains. Here he built the Castle of the Immortals, with all that Anatu had told him to use. With not a single mortal eye able to glance on this magnificent building he lived there in utter self-imposed exile. He roamed the beautifully crafted halls; trod through the wondrous garden which he had helped create with the last dregs of his Eternal goodness. Strange plants grew there, organisms that needed no water, no air even, just light. The walls shimmered as if alive, they subtly changed colour as if by whim. There was no need for light, for the very ceiling seemed to be possessed with a slither of the sun and come night-time it swirled and donned the hue of blue velvet embellished with ever-changing stars. Powerful magic held together the foundations and the atoms of this structure all weaved in one last blast of the wretched creatures god-given powers. Here he hoped that away from the humans who despised him and away from their judgement and the Eternals wrath he could dwell not harming anyone and surrounded by the loftiest of his fancies. Such a Castle was never built, nor will there ever be, nor can it be destroyed, for it was built from stardust and time and the love of the Universe. It was blessed and what's more...it would only open its gates to those who were destined to be its master. Here he lived, XarX, the damned, on the outskirts of Larinthe. In a place like this he could be sure never to return to those thoughts and those deeds that had scarred his soul, distorted his figure and murdered his mind. Such ever-changing beauty was captivating. Everything that he desired to see, every beauty of Xsara was moulded and was present here in these holy halls. All that is, except the sustaining and nourishing light of the Red Star. He thought he was safe in his haven, he thought he was kept from his evil self: he was wrong. No matter how close he got to the light source, he couldn't achieve peace of mind. His demented human body was at odds with his Eternal soul. In all that silence and solitude, a preparation of war began. But this time it was within his own mind. He was deserted by human and by heavens, and this rejection weighed heavy on him, so heavy that the conflict was already beginning to show around the castle. There would be rain for many days; thunderstorms would grip the world of Sera destroying lives and people and crops. Word spread that XarX was still alive and reached all four corners of the known world. People started to fear for the future of their world and of what this foreboded for every living creature. News was spreading from one traveling shaman to another that the time for Chaos had come, but the people could not read whose chaos this entailed. Lenoch the Seer entered Larinthe and gathered all the inhabitants in the marketplace and uttered there his blind-eyed truth "Beware citizens of Larinthe, the Gods are wrathful. They disown their own beloved Son! From these soils born and bred and suckled from the Eternal mother herself shall spring a leader fine and strong! Look amongst you! You shall have unprecedented good fortune! Your lives shall be spent safe from the 'black heart' disease! Soon your fortress shall be unfolded...and the truth shall be heard!" That night, after many years of roaming in the castle of wonders unbeknownst to mortal minds; its master was putting an end to a war that he had fought within himself for centuries. The pain and remorse of his rejection from creatures much lower than himself and of those he had shared soul-fibres with broke him completely. Gathering over the castle were immense storm clouds with lightning and thunder coming to the beck and call of XarX. Pity and bitterness shook his frail twisted form as every atom of his being convulsed violently in the quiet brooding Towers of the castle. His screams split the heavy air as his being exploded and accelerated to all corners of the castle. Thousands of millions of specks gushed through the rooms and filled the whole castle with an indescribable gloom. Outside the people of Larinthe and many other villages close and far witnessed the climax of this eventful night. Such thunder and lightning was never seen, a single stalagmitic crack halved the heavens from right to left causing the very earth to roar. Many thought that this was the end of the world. The next morning however when they looked to the east, they saw the high mountain split in half, and from within shining like a secretive pearl was a castle that shimmered and moved as if it were alive. People from all over the lands who heard of this miracle came by whatever means possible to worship this sign. The lands were filled with much jubilation, a renewed light shone on the lands brighter and clearer than before. The night sky was clearer, the air cleaner, and all evil seemed to have dissolved. Yet none could approach the castle; every time a mortal came near its gates an emotion so sad gripped the throat that a step further would have meant death. But one found a way in, a person who was the warrior that Lenoch prophesied on that fateful day in the market. A warrior came forth in the unlikeliest of guises and found their rightful place in the Castle of Forever. The name uttered by many was 'Isis', and no one knew whence she had come… XarX ack in the days when no mortal walked the barren earth and time flowed unbridled and past and present intermingled; and future was non-existent, there was a place called 'Xsara'. Here everything floated in a state of chaos; everything existed in a limbo of darkness and light, completely intertwined with one another. The void that was called 'Xsara' became the dwelling place of the 'Eternal Gods', the never-ending forces of spirit that fill the void with their shining presence. In these idyllic times the beautiful and generous hearted Queen of Eternals The Ivory Goddess separated light from dark, and formed the terra-lands which were named 'Sera', a shadow of a world that is 'Xsara'. Many of the Gods and lesser Gods put their powers in use and created the creatures of Sera, giving them each a task on the planet and an ability to use to help them with their destiny in life. For a long while (for what is time in the ages of the Eternals?) Humans and creatures lived happily together; they worshipped the Holy Goddess of Winter for her benevolence. They gave sacrifice and prayer and song to all those greater beings that stood indestructible and mighty in the great heavens of the skies, in the star that glowed red. And the Eternals looked upon their creations with love and compassion, and saw that they were blessed with all the things that the flesh might need to stay alive. But things soon began to change. Humans were made of flesh, of the earth, of things that were material and crude; of mud and clay and dirt. And soon that dirt seemed to make the people of the Sera desire to be back in the earth that was made and fashioned into them. They began to desire death. This came in all forms, some killed themselves, and some killed others. There were some awful beings that took a strange lust to watching others come and go on the sacred brink of suffering; beings that held others in that excruciating state and offered them no relief. No relief of death that they so desired, and no relief to return back to health. The earth became diseased, and through all this hurt and turmoil, people soon forgot the Gods. 'Anatu' The Ivory Goddess, the High-Goddess of Winter, saw this blood-shed; saw the very marrow of the created world weep with sorrow and gathered all the Eternals together to discuss what should be done. Some suggested annihilation of the populous of Sera, some thought of removing those who had begun the 'death'. But Anatu knew that this was a disease that festered in all flesh, and was dormant in all of man. She called for silence and proclaimed the coming of an 'Eternal' to the lands of Sera. A deity that was a lesser God, and that reminded the people of their origins, a protector, a being borne with one purpose in mind and that is to be a saviour. So Anatu, the Mother of all beings in the Universe took particles from her own luminosity and sewed them finely together with star-dust and morning-light. And thus came about the exalted birth of the Son of Anatu. His name was 'Sethala'. A more beautiful deity was never born to those Eternals such as Sethala. His vivacious beauty excelled that of his mother, Anatu, who was proud of him and she covered the whole of Sera in a rainbow to celebrate his coming. The people were already beginning to forget about their earthly desires and hope filled their souls again, and they remembered their old songs to the Gods. The people turned their eyes towards the heavens and prayed. It was a time of great prosperity. Sethala became the guardian in the heavens for the people. He kept their demons at bay, but little known to Anatu, he had developed innocent desires of his own. Sethala started to become fascinated in the world of flesh and mortality. Being an immortal and born of light and of things incomprehensible, he couldn't understand what made people think these wild thoughts as he battled with them day and night. He approached Anatu and asked her divine permission to enter the world of mortals and live among them so that he might learn of their disease and cure them better. Anatu smiled and granted her son the wish. She knew that he would ask her for this, for she had created him, and it was in his destiny to go forth and explore the lands that she had created. Thus he donned a habit of flesh fashioned for him by Anatu and went forth into the lands that pulled him with their strange culture. There the people greeted him with astonished fervour; the knowledge of the Gods will be finally revealed with the coming of his much-loved lesser-God. He set up a Castle there, of immense beauty and ruled like a King these people that loved him so. Indeed, Anatu would look down and see the fruit of her labours and warmth would fill the heart of the Winter Queen. Sethala loved his place on the earth of Sera, he emanated an unearthly glow that filled one with joy and delight and dispelled the urges they had of death, and over the many hundreds of years that past, the humans of Sera even grew an immunity for it. So it was like this that it came to pass that Sethala was called for less and less, and wanted by the people no more. And so he came to shut himself up gradually in his grand castle and brood on how to gain the love of the people back. Slowly, in his ethereal mind, the seed of reproach grew. He wanted real human skin, real human blood. His thoughts drove him little by little to hate his eternal roots, and he started to search for desires of the flesh. Soon the thing that he had fought to defeat consumed him little by little, and his strange, unreal human flesh. The delicate fibres which hummed with beauty and exuded vibrancy soon began to sag and he became warped and gnarled under the impurity of his thoughts. His body could not handle the strain of earthly dooms, because it was not made of earth. There was no defence against the worm-like tongues that found sound in his mind and bore holes in his trust and shattered his vision of clarity. He came to stalk the dark hall-ways of his castle, bearing no heed to the desperate calls of his mother Anatu. He came to hate her for all that she was, and soon became to hate that of human-kind too. He despised being in the half-world that he was forced to inhabit, he loathed the fake flesh that was cast upon him, for by now he discovered that his want of this earth was bound to his soul by Anatu. He desired to kill, and so he set about setting up armies against all those who had abandoned him, who had used him and vexed him so. After years of being shut-up and forgotten about the Gods and the humans, he developed a plan: to destroy the belief of the Gods. He begun to spread hate and vengeance to people, he became the vehicle unto which all history and memory became lost. Humans became savages again, they fought brother and father and son. Chaos reigned, and Anatu saw all. There were some humans that came against the violent attacks of Sethala, those of fair kin and noble blood. And one brave man and his kin even managed to defeat the evil Eternal in his struggle to spill the poison of vanity and hate and pity. It was called the 'Battle of Nabrax', and of that we shall not speak here for the accounts of the beautiful knight and his fair blooded kin are lost, save for one. But legend goes that Nabrax the Fair defeated the evil Sethala and before all his army tore off his hideous armour and revealed to the people under the grace of the sun his wretched form. Sethala was no more, for those that saw him in this degenerate state turned away from him in disgust. Nabrax the Fair declared to his people and all those that share the righteous cause of the Eternals that Sethala was to be no longer hailed by his divine name, but to be cursed with the evil label of 'XarX'. This is the how Sethala the beautiful Eternal came to be the evil and empty soul-less 'XarX'. Isis Reen he opened her eyes and was assaulted by the hot red glow of the sun. It pierced her brain with its white-hot fingers and made all thought impossible. Closing her eyes again, she began to probe the deepest recesses of her mind in an attempt to understand it all. The last thing she remembered before slumping into nothingness was coming face to face with the iron mask of death. The being had been perched atop a handsome black steed holding out its sword to greet her. She couldn't make out its features from behind the iron mask it wore, but its presence filled her with a foreboding she'd never known. This was her destiny. She knew it, but couldn't explain why or how. She took a deep breath and spurred Zinder, her beloved white steed, on toward the figure. Brandishing the sword of Almed, she cried out as she lunged at the elusive figure in front of her. Suddenly, all went black. All thoughts were gone. She had no sensations of any kind. She was aware that she was in a pit of silence, but knew nothing more. Her father, King Stod of Glaussen, had been ill for some time. He'd passed on to another realm just two days before. On this beautiful spring day, Isis was feeling a plethora of emotions. How could a person experience joy and sadness all in the same moment? The loss of her father pierced her to the root of her being, yet she was elated at the prospect of being crowned Queen of his realm. Her head was full of the ways she could perpetuate her father's legacy of ruling with a loving hand. She'd be a queen for the people and ensure that the kingdom was happy and prosperous. Suddenly, Isis heard the clamor of armored footsteps. She waved the maids away who were putting the finishing touches on her ceremonial coronation gown. She felt her stomach tighten with anticipation. Someone rapped loudly on her chamber door and she bid them enter. The soldier bowed low before his queen and told her that the war had begun. He needed her orders to proceed. Isis slowly nodded her head. She would prepare for battle as well. She'd not be left behind during such a time of crisis for the land. She motioned to her maids to come help ready her for her journey. The ominous feeling swept over her like a thick blanket of snow and chilled her to the bone. Something was different this time, but she wasn't able to see it...not yet. Isis Reen had never known her mother. She died in childbirth and Isis had been raised by her father. Although he loved her, Isis knew that he had hoped for a boy. A son who would one day be king. She was determined not to disappoint her father and strove to make him proud of her. She learned the art of weapons and war. She learned to read and studied classic literature. She took part in all the war games and planning. She was an exceptional rider and learned everything quickly. She had a superior strength that none could explain. This enabled her to excel with weapons and, often, she bested the males in combat scenarios. As the years waged on, Isis gained strength a soon became a formidable force with which to be reckoned. As a result of her extreme military prowess and skill at staging battle plans, Isis' father had reluctantly allowed her to lead his troops into battle. Everyone began to notice that the she always seemed to win her battles. None could out think or out fight her. Her drive was beyond that of mortal man. She was different, but the kingdom didn't seem to mind. They were content in the fact that she protected them and didn't question these oddities. The horn sounded as the troops prepared to move forward. Despair rained o'er the earth like a black plague. Something evil lived at the edge of the horizon and Isis was determined to stop it...or die trying. The castle gates slowly opened and the troops marched forward in unison. They would travel west toward the red star. It would be their guide in the vast emptiness that had suddenly descended upon them. Isis slowly lifted her hands to shield her eyes from the light. She opened her eyes and inspected them. They were splattered with blood. She realized that it was her own. The masked figure had plunged its sword into her body over and over again as she tried to shield herself from the blows in vain. She reached for the cool grass and pushed herself upright. She stood and looked around her soaking it all in like a sea sponge. The fields were empty. Where had everyone gone? Where was she? How long had she been here? Why was she alive? Surely he'd killed her. No one could withstand the abuse her body had endured. Something was gnawing at the back of her brain. She grasped for it with the fingers of her intellect, but it seemed just out of reach. It had pushed its way forward just before the pit had opened beneath her and sucked her in. What was it? Come on, Isis, she told herself; you can do this. You can...you must...remember. She turned her head to the left and saw a shimmering castle in the distance. Instantly, she knew what is was all about. The Castle of Forever. The temple of XarX. This was her destiny. She had to make it there. She looked around for Zinder. Where was her beautiful beast, her best friend? She saw a flick of his white tail behind a tall oak on her right. She raced to the tree and there he was, white and glorious as always munching quietly on the fertile green blades. She patted his nose and gave him a hug. He must've hidden during the encounter or he wouldn't have survived it. She was glad he had at any rate. She slid herself up and onto his back and they trotted off in the direction of the Castle. She had work to do yet. Things were unfinished but she knew what she had to do now. Follow the red star and ye shall find your way. Isis reigned in Zinder as they neared the Castle. The gate was open and people were milling about. It all seemed odd to her. She was suspicious and thought it best to approach with caution. Slowly she rode over the plank prepared to turn and flee at a moments notice. She reached the doors and dismounted still wary of the situation. She stood silently assessing the black doors that loomed in front of her. Time froze as she reached out her finger tips to push the right door open. Not a sound was uttered. No one breathed. All was still around her and she felt as though she were moving through quicksand. Before she could touch the polished onyx, the doors slid back slowly and soundlessly allowing her to pass. It was as if the Castle recognized her. Suddenly, the crowd that had gathered to watch through the open gate erupted in cheers. She was their savior. She was the keeper of XarX's stronghold...the Queen of XarX's glorious domain. She had passed the Eternal Alter and entered the Castle Of Forever where no man had gone before. In time, more would join the immortal realm and Isis Reen would lead them as they defended the land for all mortals. The quest for peace would never end for there were always new foes. The immortals would dedicate their lives and powers to keeping the mortal realm safe for eternity. Continued in part 2.

Greg McFadden and Alyssa Grady live in a land divided; they live in 1970’s Ulster Northern Ireland. Greg is a Catholic and Alyssa a Protestant, and they are madly in love during a time and in a place, where there couldn’t be more hate. It is the time of The Troubles and Ireland is ripped apart. After they are are murdered, Greg is resurrected by The Crow, and with the help of the bog woman, Macha Mong Raud, he finds their killers. Characters Greg McFadden Alyssa Grady is Greg’s girlfriend The Bog-Woman Plot: William Callahan Tristin Scott Writing: William Callahan Tristin Scott Jack Danya Kemplin Artist: (artist) Lettering: (letterer) Edited by: Jack Danya Kemplin The Crow™ © 2016 James O’Barr (under exclusive license to Top Dollar Comics, Inc and Crowvision, Inc.) The Crow™ and “THE CROW”, The Original Motion Picture © 1994 Crowvision, Inc. All rights reserved. Any similarities between characters, names, and/or institutions, living or dead (or undead) is purely coincidental, but for instances of satire, and should not be inferred. This is a work of fanfiction, no part of it may ever be printed or sold without permission of Crowvision, Inc. PAGE 1 The first three panels seamlessly merged together, side by side, to form a montage. Panel 1: Two cavemen fighting. CAPTION Since the beginning of time mankind has been fighting one another Over petty differences Panel 2: Iron Age Irish armies clash in battle on the moors, one lead by a female queen, Macha Mong Raud. CAPTION Over who has more power over who Panel 3: A dirty, crumbling city in 1970’s Ireland, two opposing neighbourhoods try to take cover behind trash cans, dumpsters, and the steps and windows of their buildings which face each other across the road; they take cover as they also shoot at one another and throw molotov cocktails. CAPTION And even out of ennui Panel 4: Straight-on view: A young man, his body hidden behind a dumpster, has risen his head and rifle, and takes aim; in its sights can be seen two other young men, brothers, across the street, one, the eldest, with his own gun aimed towards this shooter, the younger brother hiding behind a trash can lid, holding a molotov. Panel 5: Side view: The older brother, hit with gunfire, flies backwards into the brick wall of their apartment. The younger brother, tears streaming down his face, his mouth contorted in rage, tosses the molotov cocktail. YOUNGER BROTHER That was my brother, you Orangie! Panel 6: The Molotov shatters behind the dumpster, it’s alcohol dousing and igniting on the shooter and the others crouched with him, their skin boiling as they scream in agony. CAPTION This in return causes others to strike back in endless cycles of revenge PAGE 2 Panel 1: Long horizontal panel: The Crow flies across time, across battles, as the warriors of Macha clashing on the rolling moors becomes the men of the 1970's fighting amongst the rotting city. CAPTION Since time immemorial men have been warring, turning rolling hills and cities into battlefields And always accompanying those battles has been The Crow Panel 2: Close-up: The young brother stands there, both shaking in anger over what was done to his brother, as well as in horror over what he just did, and in fear that he will be next to die; tears still streaming down his face, his mouth still contorted in anger and anguish, and in his eyes can be seen the flaming bloodbath across the street, while behind him lies the dead body of his brother. CAPTION Feasting on the thirst for vengeance Living on the carrion carcasses of the dead. PAGE 3 Panel 1: Birds-Eye-View: The Crow circles above as the battle in the streets continues. On a street cutting across near the top, to the right of the main dividing street, a man (Greg) is walking down the sidewalk, a black car pulling up beside him. CAPTION This time the battle is in Ulster, Ireland, and the year is 1970 It is a time dubbed, “The Troubles” Panel 2: A young man, greg, is running towards the viewer, running in a dark, dirty street, he is almost silhouetted by the bright yellow headlights of the car racing after him. CAPTION when Irishmen kill Irishmen in the streets Panel 3: The black car pulls up to a bog. CAPTION All over what version of Christianity each follows Panel 4: Several men pull out of the trunk of the car, the bloody and broken dead body of greg. CAPTION And over whether they wish to be part of a Panel 5: And throw the body into a bog. CAPTION United Kingdom or an independent Ireland Panel 6: It sinks, slowly getting covered by the brown muck. PAGE 4 Panel 1: Protestants destroying Catholic statues and reliquaries during The Reformation; transitioning into a battle in the Thirty-Year War. CAPTION But then again, is any of this new? For have not Christians fought Christians before Panel 2: A battle in The American Revolution. CAPTION Nations fought for independence before Panel 3: The Iron Age battle of Macha Mong Raud. CAPTION And Irishmen fought Irishmen before Panel 4: An endless landscape of lush, green, marshy bog-lands; in the left foreground stands the young and beautiful figure of the Phantom Queen Macha Mong Raud, The Crow perched on her outstretched hand. CAPTION The Crow remembers For The Crow was always there PAGE 5 Panel 1: An endless landscape of marshy bog-lands; in the left foreground stands the withered brown, wrinkly, half rotted figure of a reanimated Bog-Woman, The Crow perched on her outstretched hand. BOG-WOMAN Fly, oh spirit, and may this tortured soul find its way back Panel 2: The Crow flies deeper into the landscape. Panel 3: It lands on what at first glance should look like a lump of rocks. BOG-WOMAN (Off Panel) What have you found here, my little friend? Panel 4: Close up on the thing which The Crow is standing on, it is in actuality, the mud covered head and shoulder of Greg’s body. Panel 5: Red light shines from Greg’s eye sockets, his mouth opens, his neck twists as his head looks up at the Bog-Woman who now stands before him, and his arm rises out of the mud; The Crow still perched on his head. BOG-WOMAN Yes, yes, rise! You have been blessed with the Eternal Power Of The Crow. PAGE 6 Panel 1: Greg’s corpse strains as he pulls at the quagmire, slowly working himself out of the mud, his eyes still glowing red, his body shaking in agony; The Crow still atop his head. GREG Nooooo!!!!! Alyssa! Panel 2: He strains as he struggles against the water and the peat, strains as he tries to rise; his body slowly starting to heal. GREG Where am I?! Panel 3: Greg has almost completely risen out of the muck, his body still straining against the last sticky bits as he looks more and more alive. The Crow leaps from Greg’s head, into the air. GREG What happened?! Panel 4: The Crow lands back on the arm of The Bog-Woman, as she stands before Greg, his red eyes having faded to their normal colour, his body looking almost alive. BOG-WOMAN Yes, I know, it hurts PAGE 7 Panel 1: Greg’s-Point-of-View: Vision blurred, The Bog-Woman, in all her grotesqueness stands, The Crow and her looking straight at us. THE CROW Welcome to the family, kid. Panel 2: Greg falls backwards in horror, falling back into the bog. GREG Get away from me you hag! Panel 3: The Bog-Woman looks on with a smirk as Greg tries to scurry away on his hands, causing himself to again sink into the muck. BOG-WOMAN Hag? Moments ago you didn’t look much better than me. Look at yourself, boy, remember what happened... Panel 4: Greg stares at his hands. PAGE 8 Panel 1: A young man, greg, is running towards the viewer, running in a dark, dirty street, he is almost silhouetted by the bright yellow headlights of the car racing after him. Panel 2: He is struck by the car. Panel 3: Greg still sits in the bog, still gazing at his hands. GREG They...they killed me... Panel 4: The Crow now sits on the Bog-Woman’s shoulder as she grasps Greg’s hand. THE CROW Bingo, boy. BOG-WOMAN Yes, now here, have a helping hand. PAGE 9 Panel 1: The Bog-Woman now sits on a stump, as Greg sits on a rock across from her; her intently looking at him, as he just looks to the ground in shock. GREG They killed me… BOG-WOMAN Yes, they did. Now deary, tell us what happened? Panel 2: Greg walks down the street in the dark and dirty city, him clutching his trench coat as the cold wind blows against him. GREG I was walking down the street, it was night time. Panel 3: An idealised portrait of Alyssa, shimmering in smoky light. GREG I was going to see my girlfriend...Alyssa… Panel 4: Alyssa looking down in horror from a second floor window. GREG My God, Alyssa! THE CROW Don’t get too hung up on her BOG-WOMAN What happened next? Panel 5: A black car, full of men, ranging from late teens to late 50’s, pulls up next to Greg as he walks. GREG This car pulled up next to me PAGE 10 Panel 1: Description DRIVER You lost, pal? Need a lift? My friends and I could drop you off somewhere. GREG No thanks, I'm almost where I need to be. Panel 2: Description DRIVER Aye, but with all these...Troubles...as of late, you can’t be too careful, y’never know who could be roaming the streets, better to be safe. GREG I’ll be fine Panel 3: Description DRIVER Will ya now? You know, I know everyone in this neighborhood and everyone knows me, and I know that you’re not from around here, and that’s a dangerous thing to be walking around in this neighborhood Panel 4: Description GREG I’m not looking for trouble, sir. Panel 5: Description DRIVER Aye, but troubling times is what we are in, and I’m afraid trouble is what you could find yourself in. Panel 6: Description GREG What’s this about? PAGE # Panel #: Description PASSENGER Come on, let’s show this Taig some manners! Panel #: Description DRIVER You a Taig? GREG Please leave me be Panel #: Description DRIVER I asked if you were Catholic?! Panel #: Description GREG I said, please leave me be! DRIVER Oh, I’m afraid that sounds like a “yes”, lad PASSENGER Why we wasting time?! Let’s kill this Papist! Panel #: Description DRIVER And you know what we do to Taigs in this neighborhood Panel #: Description GREG Please, sir, I have nothing against Protestants Panel #: Description DRIVER Too bad we have something against you The poet makes a break for the alleyway. just as he makes half way the car starts speeding after him and just as he makes it to the outside of the alleyway he is struck down by the car and is pummeled face first to the ground he looks and sees a police officer he weakly extends his hand The poet: (faintly) help... driver: YOU WANT NONE OF THIS CLEAR OFF!!! the officer running away in the reflection of the poet's eyes The driver grabs the poet by the hair a silhouette of the poet getting his throat slit BOG-WOMAN Sounds like those men were looking for a soul to reap, and unfortunately for you my friend, it looks like they found their soul. Too bad for them that Mamma Death found you, and now it is your time to reap. The crow: another soul claimed on the streets of this country divided, so many have been lost to this conflict that no one seems to notice anymore. The slane just fill up space in the obituaries these days. The poet walks out to the street and looks around The poet: wow here it is that same street and it’s almost as if I’m a Spector wandering the same sorrowful spot where his flesh and sole parted ways. And would you looks at that it’s that same car as though it were doomed to haunt these dwellings. Doomed with me a ghost a ghost with unfinished business. The black car pulls up next to the poet and roles its window down it’s the same driver as before but on his driver: well mate you look like you’re on your way to a funeral The poet: I’m just back from one driver: say you look awfully familiar are you from around heir The poet: I’m not I’m lost in fact would you mind giving me a lift driver: I was just about to subject that. Hope right in The poet: thank you sir. (while entering the car) The poet(internal monologue) it was bizarre how the driver didn’t recognize me. Perhaps the idea of a real life revenant was to impossible for his brain to consider, maybe he didn’t actually get a good look at me in such dim light. Or maybe he has done this so often that he forgets faces. The victims of cold blooded killings become so numerous that they just as easily get lost in a sea of victims. driver: so where is it I’m taking you? The poet: at the very end of the street. Turn right then turn left at the end of that street driver: no bar mate it’s a good job I saw you cause these streets.... The poet: art safe to walk about especially If you’re on your own driver: aye it’s not that you would be looking for trouble....... The poet: it’s just that trouble might find you driver: That’s right. You sure I don’t know you you look just like someone I’ve met recently The poet: I depends who it that I look like is driver: can’t say... The poet: huh that’s very interesting. Come to think of it I recognize you The poet notes a gun in the front seat as they drive around he noted the glint of a machete driver: oh is that right where from? The poet: funnily enough this very street driver: (sharply) When? The poet: why just the other night my friend driver: Oh is that right, who are you then The poet: lets see if this can get the gears turning in your head. See I was interested in body modification you see. And your friend let me get one free of charge, though Instead of a piercing (pulling down the scarf on his neck to revel the scar) he gave me a laceration I’m not quite happy with the results could I have a refund. driver: (reaching for the gun) no bother Before he can turn the gun on the poet he stabs through him with the machete through the driver’s seat driver: AHHHH WHAT THE FUCK! The car comes to a screeching halt and the poet picks up the gun. The poet :( pointing gun at his head) tell me where's the others driver: fuck you The poet twists the machete driver: GAHH FUCK! Robinson hangs around the old loyal. The boss iv no idea where he is and what he does. The poet: Well would you look at that. This little slug thrower of yours, why it's the most powerful handgun in the world if I remember correctly, I’d ask if you felt lucky though I’m quite confident its fully loaded so I’d advise you to start answering me or else I'll blow your head clean off. driver: I SWEAR I DON’T KNOW! But Robinson might know he's going to be in the old loyal at 10:30 tomorrow The poet: well thank you for your help, say where are the other bullets for this iron you got, the streets are awfully dangerous. Never know when trouble might find me. The driver gestures to the glove compartment. And the poet leans into the front of the car and grabs bullets from the glove compartment. driver: please don’t kill me I was only doing what the boss was paying me to do. The poet: you think the slaughter of innocents is a reputable profession. Well ser The poet exists the car The poet: your job Is over master of the dead so I give you your wage paid in led The poet fires 3 shots into the car The poet sees a small child who approaches him from behind he crouches down and to speak to the child The poet: What are you doing here. At such an hour. Don’t you see that the streets are ablaze with a cleansing fire. It’s not safe to roam these streets, run along home little one. The poet begins walking to the Scene of the crime and notes that there is a tent covering the crime scene two men exit the tent and a lone police officer is left to guard the scene, he notes it’s the same officer who ran away on the night he was killed. Cut to the officer walking into the tent who is shocked by the arrival of the poet The poet: hello officer why do I see you here you guarding the dead while you fail to guard the living. John finn: members of the public are not otherised on this site of a crime scene you need to leave The poet: im not leaving until I’ve had a quick word with you. John Finn: who on earth do you think you are The poet: look in to my eyes, think back to two nights ago and remember your cowards Cut to a flash where we see the poet reaching out for help John finn: oh my god that’s impossible The poet: impossible is standing right in front of you and judging by the man with a blade and 3 holes Line his chest, impossible is doing a better job at removing the murders from the streets then you are. John finn: you did this? (Reaches for hand cuffs) your coming with me The poet: oh so you cower when you see a man brutally murdered but then you feel the need to slap a pair of handcuffs on a ghost john finn: you don’t understand. The poet: please explain to me because a police officer not stopping criminals does not make a lick of scene. John finn: I could have pulled my gun on those bastered I had every legal right to put them down right then and there. The poet: then why didn’t you? John finn: to protect my family, you never know if your fellow officers are like me or if there in an organization, if they have connections to those Basterds Life i had have shot him there would have been no doubt it would make its way back to them and lord knows what they would do if they knew i shot one of there men. They are already suspicious of me. The poet: whys that John finn: because I'm a Catholic. The poet: then why did you join the RUC? John finn: Because i wanted to look out for my community. i thought that if i joined then there would be someone how was looking out for my community. But unfortunately my own people didn’t see it that way. When I joined up I was viewed as a traitor by Republicans, and with suspicion from my fellow officers. The poet: if that’s the case then why don’t you quit John finn: I don’t know I guess i feel like there's still some good I can do. There are men like me who just want to help in the force but right now were being held back by the ones who aren't interested in being a police officer because they want to protect people. The poet: let me ask you something do you want to see the red hand reapers off the streets John finn: more than anything else I would. Then poet: good then all you have to do is stay out of my way to many people have lost there lives because of them. And im going to get rid of them. For good. john finn: (existing the tent) well I hope you do. The poet: one last question for you Sean Quinn: what’s that? The poet: what’s your name. John finn: My names john finn The poet: look after yourself John The poet exits the tent And begins walking down the road The poet enters a naborhood where the union jacks end and the tri coulrs begin the poet turns a corner and enters a corner shop Shopkeeper: oh for the hero free of charge The poet: what do you mean the hero? Shopkeeper: word spreads fast in this part of town and round heir we have lived in fear of the reapers you so long we’re glad someone’s taking care of them The poet exits the store and walks a little farther till he reaches what was his house in life he lifts the door matt and finds the key he left there and enters the house he looks around to find that most of his belongings have been put in boxes his give a look of sadness he begins rummaging around the boxes in search looks through a couple of boxes and finally finds a radio he takes it out and begins playing music. The poet: I’m gonna miss this place. The poet begins exploring hos house the hole he looks both at peace but confused he is happy to be in the house but he almost doesn’t recognize the house as everything that made the house his has been packed away in boxes save for a the furniture he goose up the stairs and notes the outlines of picture frames that have been taken down he smiles. The poet: the hose has been stripped of everything that made it a home. The outlines of old picture frames the walls bare the ghost of my presence. Walls that used to bare warm memories of the past memories that were supposed to last. Now only to be replaced with someone elses life rearranged as if it was never mine. And the contents of my house to be shared Peace of my past become part of my loved ones present little trinkets and mementos that hold memories of who I was. You don’t see eny of that when you kill a man, its very rare when eny of them ever really get a look at the life they destroyed. The poet looks down with an expression of rage Ill be there harsh reminder. News caster: hello and thank you for tuning in to bbc radio ulster this just in a man in a black car who was murdered late last night has been identified as one of the red hand reapers. witnesses are unsure of the identity of his assailant. The poet (internal monolog) its strange she would congratulate me for killing someone I guess that’s the kind of fear they lived under that there glad one of them is gone. It’s sad whenever it gets to a point when death brings someone joy. The poet (internal monologue) in life I was an artist and a poet rather fitting that that’s the name the media should dub me with this extra time I may as well put out a couple last creative works. Cut to later on in the night when the poet is making his way to the old loyal bar just he stops to spray something on the wall with a stencil. As he is spraying a young boy spots him The poet: hello Seamus: holy shit are you the man that killed one of the red hand reapers? The poet: haha one I plan to kill all of them Seamus: yeah you should kill every last one of those bastered huns The poet looks down with an expression of mild concern The poet: I’m only here for the bad men. here take a look at what iv sprayed on the wall Seamus: um okay The poet: do you read the bible? Seamus: no I’m bored to tears at mass why would I The poet: haha well neither do I but I know of this one passaged I saw in a play once that iv always remembered The buy pulls the stencil off the wall The poet: take away these harts of stone and give us harts of flesh Seamus: what does it mean? The poet: well what do you think it means? Seamus: I don’t know I guess it has something to do with empathy? The poet: exactly! Life has not exactly been kind has it? No so are harts grow hard and cold. We lose empathy become numb. But when you look inside when you find your hart of flesh. you realise that not everyone’s as bad as you think. Seamus: well I hope you get rid of the reapers those men defiantly don’t deserve empathy The poet: no not anyone’s, I give you my word I will get rid of them Cut to 10:30 at night at the old loyal bar John Robinson enters and talks to the bar tender Bartender: well I heard about Jackson sorry for your loss how are you feeling Robinson: surviving, I just hope that the boss finds a replacement, Christ I with him gone its left me with know one. Human to talk to you know that boss of mine hes a not right in the head. Bartender: aye I know im always on edge when that fella comes in, what is it your having? Robenson: erm pint of bas please. Bartender: here this first ones on the house Robenson: cheers. (takes a sip) Robenson: You know what his problem is, Bartender: whats that? Robinson: he likes it to much that’s what, see its not supposed to be a fun job. The whole idea of what we’re doing is to send a message to the republicans show them it’s not safe for them to enter this neighborhood. Bartender: do you think its worked? Robenson: well they haven’t attacked us here yet that’s for sure. Knowing the things I’ve done It makes it hard to sleep at night. But I take a little solace in the fact that my wife and daughter can. A man and a young teen walk into the bar they are unfamiliar to the rest of the customers They walk up to the bar man Older man: well we just need to use your bathroom then we will be out of your hair Bartender: that’s no bother mate go right on ahead. They leave for the bathroom. Robenson: they don’t look like their from around here Bartender: noo they don’t. keep a wee eye on them for me will you Robenson: no bother. The bartender walks out of the bar into the back he sets an empty keg outside and puts it next to other empty kegs he turns to note the poet standing in front of him The poet: hello humble tavern owner Bartender: holly shit you’re the man who killed Jackson The poet: then you will obviously know I’m here to kill john robenson but I wish to talk to him first tell him that death is waiting to have a word with him Cut back to the inside of the bar where we see Robinson contemplating his actions then suddenly the two men that walked in have burst out of the bathroom and are holding revolvers in this moment Robinson jumps over the bar and runs out into the back he bursts out the back door and just as he starts running he is shot in both kneecaps by the poet He pulls him by the back of his coat and sets him up against the wall. Cut to the inside of the bar and the ira have burst in spraying the customers with machine guns Cut back to outside and we see the poet and the bartender note the gun fire The poet looks at robenson The poet: don’t go anywhere. The poet runs inside the bar all the customer’s have either escaped or have been shot dead. One of the ira squamembers note the poet from the news paper articals Ira member1: well look whos here to hel… The poet shoots him before he can finisher The rest of the squad now registering that the poet is not an ally To poet manages to kill one other squad member in the moment the rest are held by shock The other opens fire with a machine gun but the poet ducks under the bar He walks over to cheek if the poet is dead in he points his gun over the bar then the poet grabs onto the barrel pulls him closer and cuts his thought. He vaults over the bar now using the dead cotton face as a human shield the last remaining cotton face holds fires at the meat shield but the poet fires the remaining two shots into the last cotton face. He shoves the remaining cotton faces body to the ground turns around and the teen that had walked in is pointing the revolver in the poets face. Peter: put the gun down The poet smiles The poet: shore thing sheriff I suppose your gona want to be killing me Peter: isn’t that obvious The poet: well you seem to be holding it off you don’t seem like you have the guts to shoot me Peter: I do and I will The poet: then do it already ohh look that guns doing a lot of trembling it’s a good thing you have me at point black rang you would probably miss if you didn’t. (BANG) The poet drops to the floor pretending to be dead The poet;( internal monologue) this is not this boys decision it was the cotton faces they have pushed him into it this. So this shall be a lesson for the young boy Ill get up in a moment, but I want to wait, wait long enough till he realizes what he has done, and that sick feeling reaches the pit of his stomach Peter: (timidly) oh god The poet then gets up and peter looks positively terrified the gun shot wond in hes head heals up and pushes the bullet back out of his foor head. He catches it in his hand and gives it to the boy Peter: (takeing a short moment still in shock) wwwhat are you? The poet: just an eco of a man that some fue people thought they could forget, Now that didn’t feel very good now did it, how do you think you would have felt if I didn’t get back up Peter: I don’t know The poet: why are you heir? Peter: To kill John Robinson The poet: Oh don’t you worry about him he has hell to pay with me and me alone, but I want to know why you are her why you have fallen in with the cotton faces? Peter: my father. My father was killed by the red hand reapers The poet: so you took up arms Peter: I have to do my part to stop people like this The poet: so lets get this strate a boy who’s father was murdered takes up arms and becomes a murderer himself. You ever consider what might happen let’s say the next person you try to kill is a father and then his sun swears a similar vendetta. He kills and another father dies and we then have another vengeful solder, sons killing fathers killing sons the violence is justified as a retaliation to violence which in turns creates more violence. And thus the cycle of vengeance continues untill we all forget why we wanted each other dead. Peter: what do you want me to do The poet: isn’t it obvious? Break the cycle Peter: what if that doesn’t work? The poet: hay its better then then contributing to the problem, when enuff people deside they no longer want to be part of this they will fallow suit. Things will get better Peter: and what do I do unill then The poet: all we can really do is hope. Instilling the same fear you have for your community in there’s is only gona serve to further entrench there views Peter: I guse your right The poet puts his hand on his shoulder The poet: good go get ye home if you care for your mother you will know she doesn’t need a solder, right now she needs a son. Peter: in the interest of breaking the cycle I was supposed to meat an American he was supposed to be selling weapons I was supposed to meet him on the falls road at 1:30 tomarow morning. Look for the car with the registration number M200111 The poet: thanks for telling me ill be having words with him Peter begins to walk out Peter: hay? Switch to a panel with a good veiw of the dead ira men with the poet and peter in frame Peter: do you think eny of these men were fathers The poets face gose blank for a moment And peter walks out of the tavern The poet gets up and goes out the back to where the barman try’s to tend to john Robinsons wounds he pulls a knife on the poet Bartender: listen here you freak you get the fuck away or ill.. Robinson: (interrupting) just get out of here. Its me he wants The bartender looks at the poet and back at robenson Robinson: look there’s nothing that’s gona stop him im already a Deadman SO JUST GO. The bartender looks down, drops the knife and runs away. The poet: now you know what I want to know. And you know what im going to do. Tell me what I need to know and ill make this easy for you. Robinson: my boss his habit’s are irregular but he spends most of his time in his office outside Belfast im supposed to be meeting him on Tuesday there at 5 (as he is talking the poet is reloading his revolver) …. H h how the fuck are you still alive The poet: I guess you could say I live to spite reality Robinson: look I know I know iv done some bad things I just I just need you to know I was only trying to prote…. The poet:(interrupting) no ill not heir this, not from you, I’m so sorry for what the world has made you. But you? you do not have my pity (The poet puts the gun to his for head) Nor will you have my mercy. (bang) the crow then comes and fly’s to the poets shoulder the poet walks back into the old loyal he grabs his knife and walks over to the bodies of the dead cotton face and begins to cut into his chest The poet: ill leave this here as a little message The crow: don’t stray to far from the path boy The poet: don’t be silly of course not we only have one more The crow: that’s right one more and were gone. Don’t get to involved The poet: what do you mean they were killers they had to be put down? The crow: I know but you still need to be carful. The poet: why The crow: because who ever fights monsters sees to it that they don’t become a monster in the process The crow and the poet walk off into the night Cut to Robert comins Just getting up from his bed ancering his phone Robert: what do you want its one in the morning? Phone caller: its robenson hes.. been Robert: they got him to didn’t they FOR FUCK SAKE. Ill fuckin deal with this in the morning Slams the phone down Roberts wife: what was that? Robert: one of the boys got killed again tonight. Now iv to find TWO replacements Roberts wife. Oh im so sorry to heir that ill miss robenson he was a nice man Robert: I didn’t fucken pay him to be nice just go back to bed Roberts wife: oh good night Robert: yeah Roberts wife: Robert? Robert:what now Roberts wife: im worried about you Robert: (turning in his bed to face his wife) the next person to get in my why that’s who should be fucken worried. Robert gose back to sleep and we can see in his head he is dreaming that he is walking down the stars everything is a grey hue almost completely devoid of color. He approaches the front door. They sky is purple it is the early morning darkness. He sees crows flock to his front garden perching on the garden wall and the fences. He sees the dark shroud of the poet his out line is to dark to make out the fetchers other than his signature outfit. Robert: (directed to the dream fantasim) what are you? The poet: I am the repo man iv come for the souls you have stolen. Robert: im not afraid of you. The poet: you should be im coming im an inevitability Robert: you can’t hurt me. This is only a dream. The poet: (walking closer to Robert) To a dream that was dreamed in the heart, and that only the heart could veiw. O wise man, riddle me this: what if the dream comes true? The poet snaps his fingers and Robert is engulfed in flames then is sudenly woken hyperventilating he puts his hand over his face and poses in a manner that invokes Michelangelo's the dammed man he looks to his window and sees a crow perched on his window sill that fly’s away as soon as it catches his notice Cut to the morning after with the police Police officer: well what can we gather from this little art display Detective G ennis: well we know one thing for dam sure, are friend the poet certainly isn’t a ra head Cut to a view of a dead ira man tied to a post with his eyes gauged out and a Chelsea grin cut into his cheeks with the poem etched into his chest that reads "be carful who you cross they could be in any place you could end up gone without a trace if you offend a cotton face" Cut to petter walking down the street when he notes the same kid who was spraying on the walls sat on his doorstep crying Peter: hay Seamus what’s wrong Seamus: my da was killed Peter: oh im soo sorry to hei..... Seamus mother comes to the door tears streaming down her face Seamus mother: come on back inside Seamus. She shoots a look at peter he looks away and just starts walking further down the street He walks further into town and passes an armored vehicle guarded by two British solders the solders start harassing him the walk along the begin to fallow him down the street Solder one: where are you going Peter: none of your business Solder two: yeah it is you could be going anywhere Peter: I'm going home It’s in this moment we see that in the front pocket of his jacket he has a revolver that he is internally threatening to pull out of his pocket Solder one: And where do you live? Peter: that’s non of your business Solder two: oh yes it is what if you’re in the IRA Peter: I’m not Solder one: well we will just have to see about that. Get on the ground were gona halve to do a search Peter continues on his way Solder One: oye I told you to stop Peter stops when he heirs the click of the solders rifle He stops and puts his hand on his head an knees. Solder two: ill search him The solder then begins patting him down Solder one: if you find anything make sure to say so if you find a wepon ill blow his brains out. The solder is almost about to reach down to the poket with the revolver when the poet shows up The poet: Gentlemen! is that really standard procedure Bolth the solders are shocked solder two takes one look at the poet and runs away Solder two: fuck that Solder one: oye get back ere or ill have you cortmarshaled! The solder notes the poet walking towards him and opens fire As the solder continues firing the poet keeps walking seemingly un fazed by the bullets by the time the poet gets all the way up to the solder he is out of bullets he grabs the front grip of his rifle and pulls it off of him The poet then looks down at his waist coat that is riddled with holes and looks up back at the solder with an angry expression The poet: you ruined my waist coat. the solder then runs away The poet: well that was a lucky escape for you ill be taking that iron off you by the way Peter: how the hell did you know… The poet: I wasn’t born yesterday. I assumed you would have the scene to get rid of it by now Peter: well you know what they say assume makes an ass out of you and me. The poet: yeah smart arse now hand it over already. So that’s you done. Peter: yeah I will find justice for my father but another way. The poet: I’m glad to hear that, just don’t go back to the ways of the gun, or else you will have me to ancer to The poet pats peter on the back The poet: you’re a good lad don’t taint yourself like to many already have The poet continues down the street and is suddenly surprised by john finn John: Jesus merry and Saint Joseph you’re the most wanted man in the city and you’re walking around in broad daylight! The poet: I don’t know if you’re aware but it’s not like I can be hurt. John: aye but you still need to watch yourself you’re not exactly the hard to spot when its bright out, anyway I’m glad that I got the chance to speak to you. I wanted to tell you that I was sorry I ran away when I could have helped you. The poet: Hay hay you were right to worry I know your situation must bee hard. I don’t want this to be waying on your conscience so I want you to know that I forgive you. John: thank you, I hope I get the chance to help… He is interrupted by is radio Radio: Yo john look we know your off duty but we could really use a hand with this call were on can you meat us at the station John: aye no bother, ill be 10 mins over and out The poet: That might just be your chance to help ill catch you around sheriff. Cut to a detectives office Second detective: well are you getting anywhere with this poet charictor Detective g Ennis: well iv got one crazy theory Second detective: how crazy? Detective g ennis: you might wanna sit down. The second detective sits down Detective g ennis: Well having a good look at this poet character I and the closest mach I could find was this fella here The second detective gets a closer look Deteciiitive g ennis: only one issue Second detective: whats that Detective g ennis: he’s dead. He was the latest victim of the red hand reapers The second detective says nothing and just gives detective g ennis a funny look Detective g ennis: see you look at me funny but iv been doing I found there’s a fue similar cases all over the place where someone gets brutalized then sometime latter someone shows up and takes out the elged perpetrators. There was even a cace in Detroit where two police officers saw one of these punishers in action and saw him practically absorb bullets from all directions and didn’t even flinch Second detective: (rasses eyebrow) bullet prove vest Detective g Ennis: apparently he wasn’t even wherein a shirt Second detective: awk come-on don’t tell me were dealing with some kind of vampire. Detective g ennis: hay all im saying is it’s a little odd that he looks just like this fella who was killed by the reapers and not even 2 days after he dies a guy who looks just like him takes out 2 of the red hand reapers. Second detective: I think that idea belongs in a shit comic book and not as part of an official investigation. It could be eny number of things it could be a twin brother or just some guy who happens to look similar to this dead guy. Ither way you need to get your head in reality and out of your arse Cut to the poet in his house agein sat on his couch listening to the radio and writing in has note book The poet: one last chance to me creative and I shall use my creativity to write a deceleration The crow fly’s to the windowsill The crow: you’re getting distracted The poet: sorry can’t help but use a little of my extra time to appreciate the stuff I had. The crow: that’s all well and good but while you’re doing this the last tainted soul is still rooming the street The poet: ill put a stop to that don’t you worry The crow: You better The radio: hello and welcome to the news there’s been a tragic bombing on a police car that has claimed the life of police constable John Finn. Members of the Provisional I,R,A, have taken responsibility The poet takes a deep breath He starts pacing back and forth The crow: don’t you dare do what I think you’re going to do. The poet: IM HERE TO KILL KILLERS ARNT I! The poet storms out the door Cut to Peter Sheehan’s house where he’s walking into the living room with a cup of tea for himself and his mother he walks in and his mother is sat on a chair looking through an album of the family. Peter: carful the tea is hot Peters mother: oh thanks love you didn’t put sugar in it did you Peter: no no Peters mother: good lad She points to a photo of peters father teaching him to play football Peters mother: awk look at this one that was this first time you ever played you father came home with a ball and you and him just spent the whole day in the back garden kicking the football around. Peter: aye I remember that. That was a week before I started going to practice. Peter’s mother: aye he took you to training every week and after you would get something from the local chippy as a reward. Peters mother: and then when you finally one a trophy he let you drink coca cola from it like a glass They both laugh then peters mother lets out a sorrowful sigh Peters mother: how are we gona get on without him Peter gives his mother a hug then in that moment there a loud nock at the door They both look with concern Peters mother: that’s not one of those boys is it Peter: ill half to cheek Peter grabs his mother by the hands Peter: I need you to go up the stairs for me Peters mother looks down then looks at her suns eyes Peters mum: if already lost a husband, please don’t deprive me of a son Peter: I won’t mum I promise Peter goes to ancer the door to find the poet drenched in rain water The poet: I need to tell me who your district commander was NOW! Peter: my district commander? I don’t do that anymore The poet: I know you don’t but I need to know who he is he dies tonight Peter: why The poet: where you not listening to the radio a good man was killed tonight Peter: no one can be a good man wherein an ruc uniform The poet: Are you listening to what your saying! Look I know the police have done harm to your community but this man he was he was A catholic just trying to do his bit to help his people. The same as you Peter: he was nothing like me The poet: He was everything like you. He was a man who feared for the wellbeing of his people and took action to protect it the only difference between you and him was the choice of outfit. You can stand her and ague with me over who wheres the right uniform but it won’t change the fact that im going to kill the man who is responsible for this. Peter: his name is his name is martin Collins his address is 129 on the falls road. The poet: dose he live alone Peter: yes The poet: good. Does he have a second in command? Peter: aye hes a man called emon McGreevy he lives in a flat The poet: thank you. I’m so sorry I had to come at this hour this will be the last you see of me out side of the radio and the papers At that moment peters mum comes down the stars to see the poet Peters mum: you.. You’re the man who killed the two of the red hand reapers. Peter: he is and he was just leaving. Peter closes the door on the poet Cut to the house of marten Collins He is sitting at his desk on the desk on the desk he has a breaf case and he is reading a book and heirs a nocking at the door. Martin: hello hose there He heirs no response Martin: hello? No response Martin sighs he gets up to ancer the door opens it but sees nothing but darkens He turns around to see that his windows are wide open And the poets sitting on the desk The poet: commander Marty: wow id almost say it was an honor to meet the man who’s decimating the reapers if it wasn’t for the fact that you have killed a whole squad of my men The poet: well I wouldn’t be saying it’s a pleasure to meet you at all its because of your men that a good man dyed tonight Marten trys to walk forward but the poet pulls a gun on him The poet: that’s far enuff, take a seat Marten: so who is it that iv killed. The poet: an police man called john fin Marten: well boho maby if he hadn’t have joind the police he would still be walking aroud The poet: so apparently we deserved to die Marten: its not my fault he was wherein the wrong uniform The poet: you see that’s the problem with you people. Your trying to kill uniforms when you can only kill people. Marten: oh fuck up it’s a war and people die im sorry but he was on the enamys side and that’s just what happens The poet leans over the desk The poet: well at the very least at least he wore his uniform at least he didn’t need to where a mask he did his job 24/7 and what about you you wore a mask when your not fighting you get to blend into the crowd without anyone knowing any wiser not knowing what you are. The poet stands up and fires 2 rounds into his legs while he is holds the wounds in his legs he screams and the poet walks over and kneels down and is now face to face with martin The poet: do you know what you are? You’re a cotton face wherein a mask of flesh. He grabs his hand and sip ties it to the arm of the chair He walks over to the other arm and dose the same The poet: this this is your true face He slips a balaclava over his face He stands in front of him and reaches into his pocket an grabs a needle and thread The poet: and its this face that will be the one they will find you with. Cut to the poet walking out of the house of martin Collins He walks down the street he pulls another letter out of his pocket and puts it in a letter box The crow flies to his shoulder The crow: what’s that? The poet: an invitation to the party tomorrow night Cut to a man walking towards a car he’s looking around to cheek if anyone is watching him He gets into the car and turns to find the poet sitting in the passenger seat The poet: so judging by the guns and amma in the trunk I dobt you’re here for the golf He freaks out and puts a colt 1911 under his chin American: GET THE FUCK OUT OF MY CAR! The American fires off around but the poet appears un fazed by it The Poet: That wont do you any good lad the American fires off another round it just goose right through the top of his head with seemingly no reaction from the poet The American the begins unloading more rounds into the poet The poet swipes the gun from the American The poet: Christ and 12 apostles! What part of I don’t die do you not understand. You don’t belong here. American looking in dumb founded aw The poet: where do you get off selling guns to terrorists are you just that useless American: I’m just trying to do my part The poet: what the fuck do you mean doing your part American: to free Ireland (he pulls down the sun guard to reveal a black and white photo of a man wherein Easter rising regalia) im fallowing in the footsteps of my great grandfather he fought in the Easter rising. I’m just doing my part to help my people The poet: what the hell do you mean your people? You don’t live here you haven’t a notion of the reality of this place and this struggle it’s not like how it was back then. Back then people knew when to fight and when not to do you know what the people you are selling guns to just did. They just walked into a pub with automatics and sprayed the place they murdered innocent people. Don’t get confused these men are not “freedom fighter’s” there men who are scared for their people who have been misguided into murder. So what you need to do is leave your lucky to have a life now go home and live it. The town has enough solders. American: and what if I decide to stay? The poet: hay you can either go home or I kill you right here you prity much only have one option. American: so what do you want me to do with all the weapons in the trunk The poet: I’ll take them I have a use for some ill dispose of the rest. Please show mw what armorments you have The American and the poet get out of the car and go back to the boot for the poet to look at what weapons the American opens the boot of the car American: this is the armalight ar 180 these wore produced for poorer country’s who couldn’t afford ar 15s the company actually recommended that they buy old screwing machines and gery rig them to make rifle parts iv got about 600 rounds of the armilite bullet The poet: what else have you got? American: well iv got some heavier artillery He lifts a canvas sheet to reveal an m60 machine gun and a flam thrower The poet: where on earth did you get all this American: well a lot of this like the armalights you can buy in a gun store and there completely legal for us citizens. The m60 and the flame thrower… not so much. Sooo now that these weapons aren’t going to the I.R.A there a little issue of payment all together this shipment is… The poet looks with a deathly glare The American claps his hand and points at the poet …free of charge! Is what I was going to say! The poet: now ill be taking this car to you go home home to America. You go and live your life the care free peaceful life you were gifted with and you don’t come back you don’t even for a moment think about here. You’re better off that way. Cut to the poet walking into his house In that moment the crow fly’s to the windowsill The crow: I cant help but notice robert comins is still breathing The poet: look around you do the guns and ammo look like im keeping these for the good of my health The crow: I see your stockpiling but I doubt all this is to kill one man The poet: ooh your very observant arnt you. The crow: well I see my warnings to stick to your mission has fallen on deaf ears, oh well. The poet: you know im getting tired of you talking in my ear bird. The poet slams the window shut. Cut too early in the morning where we see martin Collins body tied to a chair with eemon McGreevy standing holding the letter the poet gave him. He gose behind his desk and picks up the phone Emon: hello we’ve got an operation tonight you meet me in full combat gear ready go. Who says? I fucking says hes dead those derty red hand bastered got him but don’t you worry iv got there address I know where to find them ad we are doing to destroy them tonight you heir, good lad you know where you and the boyz are to rally up. Cut to Robert comins house he walks down to see an unmarked envelope he opens it to find it’s a plain white sheat that has a red crow in the senter that simply reids “this ends tonight” Robert takes in a deep breath Robert: it ends tonight dose it? It ends dose it. Who da fuck do you think you are sending threating letters to my house. ILL TELL YOU WHO FUCKING ENDS (tearing up the letter) IM GONA FUCKING END YOU YOU SLIMY LITTLE FUCKING BASTERED! Robert turns to pick up the phone Robert: that character the poet yeah he’s just sent a fucking threat to my door he is gona try and attack us. So you get everybody down to that warehouse tonight. You see that basterd for a moment and you fill him full of holes you got that! Cut to the poets house Where he continues to write his poem at his desk with copious amounts of ammunition he isn’t wherein his over coat. He turns to grab one of the armalights and unscrews the stock attaching a sling to the back. He slips the sling over his neck so the rifle hangs buy his right side he slips over a second armalight so it hands buy his left he then puts his over coat on so it conseals the bolth of them he grabs them by bolth handles and exstends then bolth out. He slips the rest of the stuff in a big duffel bag the poet:Enuff Enuff another victim crys I will not stand by I will not watch another victim die For these men of perverted morality imposing there nationality With bitter lethality Shall meat force of deadly neutrality The force to show them there subject to there mortality They will all ancer to me for iv got no contry to free iv got no ideology no one to stand beside me but I have a great anger and with one last act of violence they will be silenced so for those who stand in my way sound the alarms for tonight’s the night that the victims take arms the poet drives to Harland and wolf he gets out of his car with the duffel bag. He looks up to harlend and wolf and sees the light on Inside the control cabin Robert is talking with a new recrut Robert: you know what you’re getting into right? Recruit: yeah yeah. Robert: you think you can do then things I’m asking you to do Recrute: yes yes I can Robert: very good. It’s a dirty job and that last thing I need is someone who’s squeamish. Have you ever killed a man Recruit: no ser Robert: have you even seen a man die? Recruit: yes my brother that’s why I’m here Robert: you know they always say taking a man’s life Is one of the worst things you can do. But you will find its not as hard as you think. In that moment banging can be herd outside the control both The poet: ROOBERT! ROOOOBERT! IM HEIR FOR YOU. The poet begins walking to further to the cabin. The poet: look at you men perverse in every way, with every foulness stained, why from the earth are ye not cancelled? Such an one of yours I with romagnas darkest spirit found as for his doings even now in souk is in Cocytus plunged, Robert stands at the door and interrupting the poet Robert: and yet doth seem in body still alive upon the earth. Dante’s inferno The poet: figures you would know it. Robert stabs the poet in the chest The poet: aww Robert that shit doesn’t work on me any more The poet shoots his leg and pushes him back in the cabin And notes the recruit The poet: go home boy you want none of this The recruit runs out The poet: soo you the big leader huh The poet kicks him in the side The poet: what’s your sob story huh The poet kicks him again The poet: who fucking died and made you this The poet shoots him in the other leg Robert: FUUCK The poet grabs him by the shirt screaming at him The poet: go on tell me im all ears make it good I might even cry. Robert replies Robert: because I fucken can that’s why. The poet tilts his head Robert: because every time I’d see them leave mass id see those Catholics and id nearly puke in my mouth you made me that sick The poet looks middy stunned before he shoots him in both elbows Robert: AHHHHH YOU FILTHY CATHOLIC BASTERED! The poet picks him put and sits him on the chare He ties him to the chair And walks over to the duffel back he brought up and Robert: oh what no more little rhymes not even a little limerick? The poet: no absolutely nothing. I have no more breath in my lungs for a man like you He pulls out two Molotov cocktails and lights them and throws both of them and walks out of the control room listening to Roberts screams The poet stands at the edge of the Crain and looks at the ware house below he sees a van pull up and a squad full of cotton faces get out. And charge the building. The poet pulls the m60 out of his bag and loads the ammunition into in. takes a run up and jumps down into the building and crashes into the skylight and lands on the highest stack of crates in the warehouse for a moment the ira men and uvf men look at what’s just happened. The poet gets up and cracks all his joints picks up the m60 and rack the charging handle The poet: gentlemen! You’re just in time for the shootout. The poet opens fire indiscriminately at everyone in there where house at masked men and unmasked he mows down 15 men in his first spray he stands on top of the crates and takes shots in the arm and in the chest not flinching once The poet: NO ONE LEAVE HERE ALIVE DO YOU UNDERSTAND ME! The poet continues to mow down uvf and ira men alike they both stop shooting at each other to concentrate fire on the poet. The poet keeps his finger pressed on the trigger till the barrel starts glowing red the belt of ammunition already half its length he keeps shooting a sees that soom men running away and without thinking he mows them down finishing off the belt The poet throws the empty weapon to the floor And pulls out both armalights that were concealed in his coat and continues the fire fight The crow flies to his shoulder The crow: you have finished your mission its time to stop The poet: NOO! NOT til everyone in this building is dead The crow: boy you need to stop. The poet: do you not understand what I am! I am the chalice that holds every drop of innocent blood they have spilled I am the eco form the obituaries they have filled I’m every victim animated for their moment of revenge The ama lights run out of bullets and he throws them away and pulls out two knives …so come and get me you curs CUT ME TO PEACES MEN AND LADS STAIN ALL YOUR EDGES ON ME He started wildly stabbing the small remaining number of men in the room, …for if you write your annles true let it be known that I like a eagle in a doves cot fluttered your toy soldiers. ALONE I DID IT. The poet grabs the last man and stabs him over and over and over He stands up takes a breath notes one more men. Sees one last man standing. And points to him The poet: A plague on both your houses. Go, let them know what you saw here. The poet slowly walks out of the building to his car. The crow: so what now, solder? The poet: now, now it’s time to go. The poet goes to get into his car and begins to drive toward Belfast city cemetery. As we see him. Get into his car we see a car drive after him. Apon his arrival he gets a shovel out of the care and careys It over his shoulder he walks towards his own grave. He walks towards it. Kneels down for a moment to touch the head stone The poet: you know, I don’t feel like the man who this tombstone is dedicated to is the same man standing in front of it The poet begins digging his grave up we see the condensed progress of his digging. Once he gets to the coven he prizes the lit open. And at the sight he is greeted with he stands up and looks in pure confusion of what he is looking at The poet: what the fuck? The camera pans down and we see that in the coffin is a bags of sand arranged in the shape of a person with s smiley face drawn on the bag that’s its head. As the poet is throwing them out of the coffin The crow perches on the tomb stone The crow: you know I feel like its my fault, what just happened. I could have picked someone else for this job, someone who would have just done the job and not get lost in vengeance. The poet: oh come on I no one died in there that didn’t deserve it The crow: boy, that was a place of work you were bound to get some people who weren’t your enemy. The crow fly’s away. The poet finally realizes what he has done. From behind we heir detective g enis G enis: no don’t you dare think you get to just shuffle off after what you just did. The poet: its over boy there nothing that can be done now G enis: oh no all I need from you is for you to listen. After all the monologeing you have done I think its time for you to listen to someone else. You know iv done my research most people who get resurrected like you kill the ones who wronged them but you no. you weren’t satisfied with just righting a wrong. You had to go on a venerable killing spree. You know how people respond in this situation. After your actions do you know just how mennny retaliatory attack on bolts sides that have taken place. More than I can count. Iv herd the story’s you went around monologeing to people about how violence is a dead end but you couldn’t exactly practice what you perched could you. The violence is justified as a retaliation for more violence.. The poet just looks to the ground mournfully The poet: until we forget why we wanted each other dead. G enis: well mister poet have you eny eloquent words to go out on. The poet: (takes deep breath) And now I have become the master of death so its down to you to remove me of my final breath. So many have died what’s one more death. I have become the advisory of the light so put me to sleep. To endless night. The poet pulls the detectives revolver to his forehead The poet: one more request, can you tuck me in? The poet closes his eyes and whispers The poet: take away these harts of stone and give us harts of flesh The detective fires a single round into the poets forehead his business is over so he falls back dead. The detective looks to the shovel and begins re filling the grave. THE END PAGE # Panel #: Description CHARACTER Dialogue Panel #: Description CHARACTER Dialogue Panel #: Description CHARACTER Dialogue

Macha Mong Ruad ("Raven with the Red Mane" Macha=Raven, Mong=Mane, Ruad=Red), daughter of Áed Rúad. She married Cimbáeth, with whom she shared the kingship. Macha ruled together with Cimbáeth for seven years, until he died of plague at Emain Macha, and then a further fourteen years on her own, until she was killed by Rechtaid Rígderg (Who was himself later killed by her foster-son). I walk the battlefield at dawn. She is generally thought of as one aspect of the death Goddess the Mórrígan ("Great Queen" or "Phantom Queen"), Macha "Raven," Badb "Scald Crow" Macha is associated with both horses and crows. The Mórrígan is both a sex and battle Goddess, and Her personality is usually described as both war-like and alluring. She is commonly shown washing bloody clothes at a river ford. Like the bean sidhe banshee, whom She is believed related to, She is an omen of death. She is defeated in battle, her horse killed. She is captured as the spoils of victory and is sacrificed, cut, hung, and thrown into a bog, along with her steed. She is later resurrected by The Crow and when she needs her steed, it is resurrected by The Sparkle Horse. The king who deposed her, at seeing her resurrected, he realises she is The Morrigan (The Phantom Queen) of legend. She is beautiful, dressed in red and green, and has long dishevelled red hair with orange and yellow highlights which make it shimmer like wild fire. She is a peat bog tanned brownish-black, wrinkled, scoliosis-hunched, partly decayed hag. Rechtaid Rígderg ("red king"), son of Lugaid Laigdech, was, according to medieval Irish legend and historical tradition, a High King of Ireland. He took power after killing Macha Mong Ruad, daughter of his father's killer, Áed Rúad. He ruled for twenty years, until he was killed by Úgaine Mór, foster-son of Macha and her husband Cimbáeth. Úgaine Mór was the foster-son of Cimbáeth and Macha Mong Ruad and he took power by killing his predecessor (and his foster-mother's killer) Rechtaid Rígderg. Plot: Jack Danya Kemplin Writing: Jack Danya Kemplin Artist: (artist) Lettering: (letterer) Edited by: Jack Danya Kemplin The Crow™ © 2016 James O’Barr (under exclusive license to Top Dollar Comics, Inc and Crowvision, Inc.) The Crow™ and “THE CROW”, The Original Motion Picture © 1994 Crowvision, Inc. All rights reserved. Any similarities between characters, names, and/or institutions, living or dead (or undead) is purely coincidental, but for instances of satire, and should not be inferred. This is a work of fanfiction, no part of it may ever be printed or sold without permission of Crowvision, Inc. PAGE 1 Panel 1 Long landscape across the moorlands, they are empty, picturesque, but the sky is ominous, as if stained in spreading blood. Caption Iron Age, Ireland Panel 2 As The Crow circles overhead, armies gather on either side of the moor, one lead by a queen, the other by a man who desires to be king. Captian Since time immemorial, The Crow has been associated with the battlefield Panel 3 The male leader gives the signal to attack. Panel 4 The queen does likewise. Panel 5 The queen’s steed races towards the action, followed by her men. PAGE 2 & 3 Double page spread: The two armies clash violently, the men cutting each other down, the queen and male leader locked in combat. PAGE 4 Panel 1 The Crow, perched atop the head of a dead warrior, holds in its beak the warrior’s plucked out of eye. Captian The Crow, the carrion eater who consumes the fallen dead. Panel 2 A warrior cuts down another with his blood soaked sword. Panel 3 The warrior licks the blood off of his weapon. Captian Many ancient peoples consumed the blood and bodies of their enemies, believing that in doing so they would gain their enemies’ strength, their powers. Panel 4 Another has come from behind and stabbed him through! The victor has become the defeated. Panel 5 His body falls as the man who stabs him now licks his own blade. Panel 6 The Crow now sits atop him, its beak pulling the man’s tongue from his mouth. Captian This makes The Crow the most powerful of all, as it consumes countless warriors over the centuries. PAGE 5 Panel 1 The Crow has flown into the air, but the dead, tongueless man continues to lie amidst the battle, as the ground is littered with more and more corpses. Caption Everyone dies eventually Panel 2 Bird's eye view: The crow circles overhead as the battle rages on, the field like a slaughter house. Caption And when they do, The Crow is there. Panel 3 Same as Panel 2, but close up on The Crow, the light shimmering off it's feathers like as if on water. Caption Like Charon ferrying people across the river Styx, The Crow too carries the dead over the bridge between the land of the living and the land of the dead. Panel 4 Rechtaid Rígderg, the man who wishes to be king, signals to his archers Panel 5 they pull back their bows PAGE 6 Panel 1 Macha's horse reels back as several arrows enter into its chest Panel 2 Macha falls from the horse Panel 3 The horse falling down next to her PAGE 7 Panel 1 Rechtaid Rígderg signals to his men to get Macha. Rechtaid Rígderg Take her captive! Panel 2 The men grab hold of Macha, rising her to her knees, placing a rope around her neck, and bounding her hands. Rechtaid Rígderg (Off) I want her alive Panel 3 Close up on Rechtaid Rígderg's face, looking sinister. Rechtaid Rígderg ...for now. Panel 4 The men, having pulled her by the rope around her neck, have brought Macha before Rechtaid, she looks at him without fear as he stands above her glaring and gloating. Macha You will never take the throne Rechtaid It looks like I just did Panel 5 Macha spits in his face. Macha My people will continue to fight for me Panel 6 Bird's eye view: the battlefield is still and runs with blood and carnage; Macha, Rechtaid, and his men standing on a nearby hill, The Crow circling overhead. Rechtaid Rígderg Not if there is no one left to fight PAGE 8 Panel 1 It is dark now, and Rechtaid and his men, with torches in hand, have marched Macha to the Celtic knot carved stone marking her husband, Cimbáeth's grave. Macha Why have you brought me to my husband's grave? Rechtaid What better place to end your reign? Panel 2 More of Rechtaid's men come from all around, their swords pointed in front of them at villagers, leading them to watch the spectacle about to take place. Macha looks at her people with great sorrow on her face, as if asking them for forgiveness for failing them. Rechtaid Oh look, our guests have arrived, to see their precious queen humbled and laid low. Panel 3 The men who marched with Rechtaid and Macha, tie the other end of the rope that is around Macha's neck, and the other end of the rope around her wrists, around the gravestone. Rechtaid Tie her to Cimbáeth's grave, and have your way with her Panel 4 Macha, tied to her husband's grave, lays on the ground in terror as the shadows of the men, projected on her by the light of the torches, enclose in on her. Rechtaid ...And do take your time and be as brutal as you wish, it isn't every day that a man gets to ravish a queen PAGE 9 Panel 1 The men tear at her green and red dress, squeeze her breasts, and kiss her cheek and pull her hair as she struggles. Rechtaid (Off) Your father, Áed Rúad, stole this land from my family when he killed my father, Lugaid Laigdech, and now I, at long last, am taking it back! Panel 2 Young children look on in horror as their parents try to cover their eyes, Rechtaid's men holding the parents' hands back. Panel 3 Close up on Macha's face, tears running down it, as she winces in pain and gazes upon her husband's gravestone in order to block out what is happening to her, as the men continue to have their way with her. Macha Cimbáeth, my beloved… Rechtaid (Off) It was I who was meant to rule, not you and Cimbáeth! Parts Not Written Yet: As Macha is being ravaged, we enter her thoughts while she gazes at the gravestone. We see her in love with her dear husband, Cimbáeth, them both enthroned. Their foster-son enters and warns them that Rechtaid's men are approuching. Cimbáeth says that he must gather the men and fight. Macha warns him that she forsees death. He tells her to hope that it is Rechtaid's then. Cimbáeth goes to battle with Rechtaid Cimbáeth is struck down in battle Macha rushes out holds her beloved's body and wails! Rechtaid's horses are spooked by the peircing sound She cries out for her men to fight for their fallen king They do so, and Rechtaid flees to fight another day Macha washes Cimbáeth's bloody armour and linens in the river She places them back on his body and they bury him placing that stone on the hill We return to the current events, Rechtaid's men are now taking out their daggers and mutilating Macha as well as ravaging her Macha I join you my beloved The children again look on in terror Rechtaid now gestures towards a young man whom his men also hold bound, Ugaine Mor Rechtaid And look, Macha, at your beloved foster-son, the one whom you and Cimbaeth expected to rule after you; well he shall be my slave! The young man looks upon his mother with deep sadness she looks back with a look of apology We go back into her memories Cimbaeth lovingly holds her as she is pregnant with their children He now holds her hand as the midwives assist with the birth She gives birth to twins they are both overjoyed but then the babies both die in front of them, and they are sorrowed Some time later they get word that Cimbaeth's sister has died in childbirth, but the child lives So they take on her child as their own, he is Ugaine Mor. They raise him with love and joy, and he is trained by Cimbaeth for battle, to fight off the constant attacks from Rechtaid. Back to current events, the men are still carving up and ravaging Macha She is now gazing at Cimbaeth's gravestone again Macha At least I die near my people, my son, and my beloved... Rechtaid Throw her into the bog! His men remove the loops of rope from the stone and toss her twitching body it landing with a splashing thud in the peat bog below. Rechtaid and toss the horse in with her, they shall be a sacrifice in thanksgiving to The Morrigan, in thanksgiving for our victory in battle They throw down the horse It landing in the bog next to her them both sinking into its depths until the bog has covered all trace of them Rechtaid now turns to the townspeople as his men place a diadem over his head Rechtaid Now I, the rightful heir, Rechtaid Rigderg, am king! 20 years later The Crow perches on Cimbaech's gravestone It looks down at the bog Macha begins to rise from the bog, life returning to her She eventually raises her horse as well And rescues her foster-son from slavery him killing Rechtaid She decides to stay behind, to protect her foster-son's kingdom

Thank you for your interest in the project, C3 and I are very grateful and honoured by your contribution and collaboration. I am Jack Danya Kemplin, the current owner and Editor-in-Chief of C3: Collective Crow Comics. C3 is a fanfiction website that has existed since October 2000, specialising in The Crow comics created by fans. We are currently in need of an Artist for a full colour 4 issue comic book mini-series, the art style may be either Traditional Comic style (Marc Silvestri/Michael Turner/Randy Queen: Witchblade, Darkness, DarkChylde, Fathom), or Art Nouveau (Alphonse Mucha), or Ben Templesmith-style, or Bud Cook-style or Connie Faye-style. Because it will be fanfiction there will not be any pay for this, it will be out of love for The Crow comics, and for your portfolio and promotion of your name. C3 has previously had projects with now famous comic book creators such as Ben Templesmith. I use 3 e-mail addresses, kemplin2@juno.com for small e-mails, jackkemplin@gmail.com for ones with large attachments, and collectivecrowcomics@gmail.com is technically the one these sorts of stories are normally submitted through, but submitting it through the jackkemplin one serves the same purpose. Plot: In ancient Thebes, Pharaoh Amenhotep III’s newest and youngest bride, Tadukhipa, is caught in the embrace of High Priest Nakht; when the Pharaoh discovers this, he has his guard’s mutilate and curse both of them, mummifying and burying them alive, far away from one another, so they may never rest nor find each other again. The goddess Ma’at, seeing this great injustice, chooses to send The Crow to resurrect them, so that balance can be brought back to the scales of justice by her feather of truth. This series will consist of 4 issues: Issue 1 tells the story of the avatars’ affair & murder. Issue 2 telling the first half of the story from Tadukhipa’s point of view. Issue 3 telling the first half of the story from Nakht’s point of view. Issue 4 they find each other & work together to end the story. More plot details: Whenever Tadukhipa & Nakht reminisce of their deaths on their respective issues, they were chased by the guards, Nakht rushed Tadukhipa to the Temple of Ma’at where he hoped they could hide. While in there they prayed before a giant statue of Ma’at, begging for protection & justice. The other temple priests then appear out of nowhere & grab ahold of them & lead the guards & the pharaoh in. While still in front of the great statue of Ma’at, Tadukhipa & Nakht’s bodies’ are slashed up (Leaving Crow-like markings), they are wrapped up, & placed, alive, into sarcophagi. They are then buried on opposite sides of the desert. Amenhotep is 48, Tadukhipa is 15, and Nakht is around 20. When Tadukhipa returns, she, having been one of the queens, knows who the guards who did this to them were, so she goes after them. When Nakht returns he, having been the High Priest, knows who the lower-priests who did this to them were, so he goes after them. They meet up at the end to kill the remaining guard’s & priests as well as the pharaoh. There will be two Crows in this story, the one guiding Tadukhipa will be albino & female, & named Munnin; the one guiding Nakht will be black & male, & named Huggin. The rejuvenating rain that falls on the mummy avatars, will be a blood red rain. At one point towards the end of the final issue, Tadukhipa disguises herself as a dancer with Isis-wings & a sword, so she may kill the Pharaoh. In doing so, she will look like Ma’at, goddess of Justice. Munnin was sent to her by Ma’at, Huggin sent to Nakht by Thoth, husband of Ma’at. The Goddess Ma’at witnessed their murders. Ma’at & Thoth are both depicted as birds. CHARACTERS Tadukhipa: A 15 year old Mitanni princess who’s father Tushratta arranged for her to marry her uncle, 48 year old Amenhotep III, Pharaoh of Egypt. At her wedding, she meetings Nackt, later falling in love with him, and when their affair is discovered, the pharaoh has them both mutilated, & mummified & buried alive. She is resurrected by the goddess Ma’at & The Crow, to bring justice & balance. Artistic inspiration for Tadukhipa: ___________________________________________________ Nackt: A 20 year old Egyptian High Priest of the Temple of Ma’at in the Karnak Temple Complex. He presided over Amenhotep & Tadukhipa’s wedding, later falling in love with her. He was killed along with her when their affair was discovered. He was later resurrected by the god Thoth & The Crow, to bring justice & balance. Artistic inspiration for Nakht: ___________________________________________________ Amenhotep III: The 48 year old Pharaoh of Egypt, he is sickly, has rotting teeth, and looks older than his years. He has reigned over Egypt since he was 12 years old and has many wives including Tadukhipa, her aunt Gilukhipa, his high-queen Tiy, & he has even married 3 of his own daughters. When he discovers Tadukhipa & Nackt’s affair, he has them mutilated, mummified, & buried on different sides of the desert. Artistic inspiration for Amenhotep III: ___________________________________________________ Plot: Tristin Scott & Jack Danya Kemplin Writing: Jack Danya Kemplin Art: (artist) Lettering: (letterer) Editing by: Jack Danya Kemplin C3: Collective Crow Comics Editor: Jack Danya Kemplin The Crow™ © 2017 James O’Barr (under exclusive license to Top Dollar Comics, Inc and Crowvision, Inc.) The Crow™ and “THE CROW”, The Original Motion Picture © 1994 Crowvision, Inc. All rights reserved. Any similarities between characters, names, and/or institutions, living or dead (or undead) is purely coincidental, but for instances of satire, and should not be inferred. This is a work of fanfiction, no part of it may ever be printed or sold without permission of Crowvision, Inc. Issue 1: Temple of Love PAGE 1: Panel 1: The harsh sun shines down on the ancient city of Thebes, in Egypt. CAPTION Thebes, Egypt 18th Dynasty Panel 2: From a balcony, the pharaoh Amenhotep, while a servant fans him, arrogantly scoffs at the exhausted slaves toiling below in the background, constructing monuments. AMENHOTEP If they only knew the glory their work shall bring to the gods, they would labour with more joy, and take pride in their toils. We all must suffer to bring them honour. Panel 3: Another servant, a messenger, holding a sealed, rolled up papyrus scroll, enters the room which leads to the balcony; Amenhotep still being fanned in the foreground. MESSENGER Your Majesty, a message has arrived from the king of Mitanni AMENHOTEP Bring it to me PAGE 2: Panel 1: Still being fanned, and with the messenger standing in the background, the Pharaoh reads the unrolled scroll. CAPTION “To my Nimmureya, Amenhotep III, the king of Egypt, my brother, whom I love and who loves me: For you may all go well. For your household, for my Kilu-Hepa, Gilukhipa, my sister, your wife of 20 years, who you love, may all go well. For your wives, for your sons, for your magnates, for your chariots, for your horses, for your troops, for your country, and for whatever else belongs to you, may all go very, very well. For I, Tushratta, the king of Mitanni, who loves you, your brother-in-law; For me, all is not well--The Hittites desire my kingdom and are attacking us. We are in need of a great army, yet one we have not. We therefore must ask of this from you, my brother, whom I love. In thanksgiving for the sending of your troupes, I Tushratta, King of Mitanni, and my Queen, Juni of Mitanni, shall give our Tadu-Hepa, Tadukhipa, our daughter, to be the wife of my brother, whom I love. May Simige and Sauska go before her. May they make her the image of my brother's desire. May my brother rejoice on that day. I herewith send her, and she is on her way. May my brother now honor her at his pleasure. May Sauska, Ishtar, the mistress of heaven, protect us, my brother and me, a 100,000 years, and let us act as friends. May Simige and Sauska grant my brother a great blessing, and exquisite joy. May they bless him and may you, my brother, live forever.” Panel 2: Amenhotep lays the scroll down and dictates to the messenger. AMENHOTEP Inform Tushratta that I agree to his deal, and tell the generals to prepare the troupes, they are to leave for Mitanni immediately. PAGE 3: Panel 1: Amenhotep returns to the balcony, looking over the construction. Panel 2: And looking back, he calls for one of his wives. AMENHOTEP Gilukhipa, come! I have news to share with you. Panel 3: The 35 year old woman joins next to him. GILUKHIPA Yes, my lord? AMENHOTEP Your brother, Tushratta, is under attack from the Hittites, so I am sending our armies to defend his kingdom. GILUKHIPA That is most gracious of you AMENHOTEP In return, he is sending me a new wife GILUKHIPA Whom, my lord? AMENHOTEP Your niece, Tadukhipa Panel 4: Gilukhipa is somewhat shocked at hearing this, but restrains her look, so as to not appear as if in protest to the pharaoh. GILUKHIPA But she is so young AMENHOTEP You have not seen her in many years, and time goes by quickly. You must remember that if I were but a few years older, I could have been your father; yet look at us now. Tadukhipa is 15 years old, well within marriage age. Panel 5: Amenhotep looks out at the sunset with a weathered and saddened look on his face. AMENHOTEP She is young, and I am old; the years have passed before me and I grow closer to leaving this world every day. Though I have one surviving son, Amenhotep IV; my eldest son, Thutmose, whom I loved, and who was to succeed me in ruling this land, died. We can never know when we will pass on to the next life--what if my younger son also dies before me? Then who will rule once I am gone? Who will carry on my dynasty? Who will make sure I am mummified properly, with all of the things I shall need in the afterlife? Panel 6: Amenhotep turns to Gilukhipa. AMENHOTEP You were sent to me in the hopes that you would bear me children, and in these 20 years, though you have been good and faithful, more sons you have not been able to give me. Tadukhipa is young, she has many years for which she can give me sons. GILUKHIPA Yes, my lord. PAGE 4-5: Double page spread: An epic battle, the Mitanni and The Egyptian armies slaughtering the Hittites. PAGE 6: Panel 1: From a different balcony Amenhotep, fanned by his servant, looks down onto the main street of Thebes, watching the procession of the arriving Tadukhipa. Panel 2: Distant street level view: She is riding in a chariot, plated with gold and inlaid with precious stones, being drawn by a pair of horses with gold & jewelled reigns, followed by a fleet of camels adorned with gold and precious stones. Panel 3: Closer view, focusing on Tadukhipa: She is wearing a purple, green, & crimson dress, and adorned in bejewelled golden bracelets, armlets, necklaces, and a diadem headpiece. Her hair is long, full, black, and beautiful; her skin, soft, youthful, and without blemish. Her calm, assured countenance shows that she is a princess, doing her royal duties. PAGE 7: Panel 1: View from distant above at a slight angle to the right: Inside of The Temple Complex of Karnak, Amenhotep and Tadukhipa are next to each other, kneeling in front of a giant statue of Ma’at. Between them & the statue stands the temple High Priest, Nakht, who is standing and also facing the statue, his arms lifted in praise, in one hand he is holding a book. Filling the temple, on either side of the main aisle, stands countless Egyptians. NAKHT We stand here, as in life and death, before the gods, whom we must all honour, praise, and offer thanksgiving. Panel 2: Normal angle view, from slightly behind and to the right of Amenhotep and Tadukhipa, looking towards Nakht and the statue: Nakht now faces the kneeling couple, his arms holding the book out towards them. Nakht is young and Handsome. NAKHT Place your hands upon the Book of The Dead, the book authored by the god Thoth, the book which we must all live and die by. Panel 3: Close up: Amenhotep’s hand now rests confidently upon the book, as Tadukhipa timidly places her hand over his. CAPTION (TADUKHIPA) I may not wish to marry this man, my uncle, who is old enough to be my grandfather; but I am a princess of Mitanni, and I shall do my duty. Panel 4: Looking from Tadukhipa’s perspective at Nakht, who is looking back at her with romantic desire in his eyes. CAPTION (TADUKHIPA) Wow, that priest is the most handsome man I have ever seen! Get a hold of yourself, Tadukhipa, a princess’ life is not her own, princesses do not have the luxury of choosing whom they marry. Panel 5: Looking from Nakht’s perspective back to Tadukhipa, who is gazing at him with similar romantic interest and desire. CAPTION (NAKHT) This woman is as beautiful as the goddesses! What am I thinking, she is the new queen, of course she looks like a goddess; I must not allow myself to get distracted by that which is the pharaoh’s. PAGE 8: Panel 1: As the kneeling Amenhotep & Tadukhipa’s hands lay upon the book, Nakht, despite his feelings, continues presiding over the ceremony. NAKHT May the goddess Hathor bring you love, may Kebechet bring you purity on this day, may Isis protect your marriage, may Tawaret bring you many children and may Bes and Bastet protect them, and may the goddess Ma’at use your union to bring order and balance, justice and harmony to your kingdoms, and may they reign for 100,000 years, in this life and the next, and forever and ever. Panel 2: From Nakht’s perspective: The aged Amenhotep looks over, lustfully, at the nubile Tadukhipa, as she hesitates before saying her words which are to seal the bond. Panel 3: Normal, semi-side perspective: Tadukhipa stares deeply at Nakht, him equally so at her, as she speaks. Amenhotep continues to look at her lasciviously. TADUKHIPA I enter into his home, I shall move all of my belongings into his house, I shall dwell within it all my life. Panel 4: Nakht says the closing prayer. NAKHT It has been declared in front of the gods! Declared upon the Book of The Dead! All have witnessed this oath! May the feather of Ma’at weigh it, and see that it has been made in truth within the depths of your hearts. May the gods protect and guide you, may they find honour in this union, and may this kingdom prosper forever. Panel 5: Straight on view from Nakht’s perspective: Amenhotep and Tadukhipa have risen to standing, their hands which were on top of the book, now clasped together in union. The crowd behind, on both sides, breaks out in roars of cheering. NAKHT We have a new queen! PAGE 9: Panel 1: Distant shot: A large, lushly decorated bedroom, one of the walls is made up of ornate pillars, beyond which the slowly setting sun glows softly red. In the left of the view is a bed, fit for a pharaoh and his new queen, with feather stuffed mattress and pillows, and covered in silks of the richest colours. Near it stands Tadukhipa in her wedding dress, behind her is her aunt Gilukhipa, helping to undress Taduhipa, preparing her for her night with the Pharaoh. Panel 2: Straight-on close-up of Tadukhipa, looking slightly nervous; Gilukhipa, with a gentle and wise look, standing behind her, unwrapping parts of the dress off of Tadukhipa. TADUKHIPA Aunt Kilu-hepa-- GILUHIPA My dear, it’s Gilukhipa now, we are no longer of Mitanni, we have left it and its names behind. We now belong to the pharaoh, and as such, are now daughters of Egypt and must go by Egyptian names. Panel 3: Tadukhipa, with a lovingly look, turns to face her aunt; Gilukhipa, having been in the same situation, tries to both comfort and advise her niece. TADUKHIPA Oh, my dear Aunt, do you not miss our home at all, do you not miss your old friends, your old name? GILUKHIPA Of course I miss it, I miss seeing the sun rise over its horizon, seeing the beauty of the clothes, tasting the food, hearing the sweet words and the songs of the Mitanni; but Egypt has now been my home for 20 years, I have grown accustomed to this land, to its foods, its songs, and its names--I am now just as much Gilukhipa as I was Kilu-hepa; and you shall be as much Tadukhipa as you were Tadu-hepa, you will get used used to this land, in time. Panel 4: Gilukhipa returns to her removing of Tadukhipa’s garments and preparing Tadkhipa for her night with her husband. Tadukhipa still worried, unsure, and questioning her place in the future. TADUKHIPA And Amenhotep, is he a good husband? GILUKHIPA He has given me an amazing roof over my head that only the gods can dream of, rich clothing, and exotic foods, for all these years, does that not make him a good husband? TADUKHIPA But what his temperament, his personality? Is he a friend? Do you get along? Panel 5: They turn to one another again, as Gilukhipa tenderly tries to tell Tadukhipa the realities of life which one must accept in order to be thankful for what they are handed in life. Tadukhipa still wrestling with these things which confront who she is inside. GILUKHIPA Tadu, You know I am not his first wife, nor even his second; his true love will always be his first, the Great Royal-Wife Tiye, mother of his seven children, mother of three of his later wives. His heart beats for her, and they rule together. TADUKHIPA So he does not care for you? GILUKHIPA He has taken good care of me, isn’t that enough? PAGE 10: Panel 1: Tadukhipa gently wraps her hands around Gilukhipa’s lower arms, and looks at her aunt with a face that searches for answers on life, on the heart, on one’s dreams, as if pleading for her aunt to understand how she feels. TADUKHIPA Dear aunt, do you never yearn for a man who actually loves you, one who the very sight of makes your heart flutter? Panel 2: Gilukhipa, with a strong and regal, though slightly sombre face, looks at Tadukhipa, placing her hand on her niece’s upper arm. Tadukhipa looks down, with a sad, yet sternly dutiful face. GILUKHIPA A princess of Mitanni and a wife of the Pharaoh is not allowed such whims, you know that. TADUKHIPA I know… Panel 3: Gilukhipa’s perspective: From slightly above, extreme close up on Tadukhipa’s face as she looks with large, questioning, almost hurt, eyes. TADUKHIPA ...but have you never experienced that? Panel 4: Gilukhipa becomes agitated by Tadukhipa’s insistent questioning, her prying breaking Gilukhipa’s heart, reminding her of how she felt at that age right after she arrived in Egypt, while she was awaiting Amenhotep; breaks her heart to see her niece struggling the same--breaks her heart that she has to snap Tadukhipa into reality, and break her heart. GILUKHIPA It doesn’t matter whether I have or not! You should refrain from such thoughts, they will only get you in trouble. We belong to the pharaoh, if we were to stray, we would be punished and know the jaws of Ammin. It is best to be thankful that the gods have blessed us with such honour and luxury, and know that a princess is not free to love anyone other than her lord and her land. Panel 5: Gilukhipa’s perspective: Tadukhipa, now standing almost nude, with only small bits of transparent fabric hanging over her breasts and crotch, looks downwards, her eyes cold and rigid with the knowledge of her duties and that no matter how much she wishes or desires something, that she does not have control over her own life; yet through her eyes’ dead facade, can be seen their puffiness with her sorrow and a faint tear of heartbreak running down her cheek. TADUKHIPA Yes, I understand, Kilu...Gilukhipa, my wise and beloved aunt, now sister. PAGE 11: Panel 1: Gilukhipa lovingly places her hands on Tadukhipa’s cheeks, gently lifting her nearly nude niece’s sombre head. GILUKHIPA Be good to Amenhotep, give him a son, and he will be very good to you-- SFX Step Step step Panel 2: Perspective from the entrance to the room: Standing in the entrance, to the left, back facing the viewer, stands Amenhotep. In the distance of the room, Tadukhipa stands, her lithe, young body nude except for the transparent fabric which drapes over her breasts and crotch; she stands, looking incredibly sexual in figure, yet also vulnerable, her face full of trepidation. Her aunt Gilukhipa elegantly scatters away. GILUKHIPA --Here, your bridegroom comes to claim his maidenhead. PAGE 12: Panel 1, 2 & 3: The aged Amenhotep circles Tadukhipa like a vulture, eyeing her supple body like a piece of meat, ready to be devoured. Tadukhipa nervously standing before him, almost shaking like a kitten faced with a ravenous dog. AMENHOTEP Yes… ...good… ...I see you are even more beautiful than Gilukhipa was all those years ago Panel 4: Close-up: Amenhotep stands to the right of Tadukhipa, his face extremely close to hers, his rotted, crumbling, blackened teeth, close to her mouth; her beautiful, youthful face, nervously wretching back in both apprehension of what she knows is to come, and disgust at his foul breath, as he seedily interrogates her, his left hand running across her lower belly, she responding meekly. AMENHOTEP You have a fine body to produce heirs. Did your aunt prepare you for what is to come? TADUKHIPA Yes, my lord. Panel 5: He stands tall behind her, his thin, wrinkled, blotchy, almost mummified looking arms wrapping around her, cupping and squeezing the bottom of her breasts, pushing them upward; her face falls at his torturous taunting foreplay, her eyes closed, thin streams of tears falling from them, her lips bitten sorrow and fear. Amenhotep’s face flushed with lustful ecstasy. AMENHOTEP And you understand your duties? TADUKHIPA Yes, my lord. Panel 6: Amenhotep, still standing behind Tadukhipa, grabs her hair with his right hand, pressing his face against her scalp, his nostrils flared as he breathes in her scent. AMENHOTEP And you are ready? TADUKHIPA ...Yes... AMENHOTEP Good Panel 7: Amenhotep violently throws Tadukhipa onto the lush, decadent bed. AMENHOTEP Then let’s get to it! PAGE 13: Full page: Amenhotep’s perspective: The bed runs tall across the vision, engulfed in Amenhotep’s dark and ominous shadow. Tadukhipa laid atop it, her arms drawing her backwards towards the headboard, her hands clenching the blankets in terror. PAGE 14: Full page: Amenhotep’s ominous shadow over the bed, shows that he is carelessly walking away. The blankets are recklessly bunched up, Tadukhipa arms wrenched above her head, grasping desperately onto the blankets, her face covered in tears and wincing in pain, the fabric over her crotch, drenched in blood. PAGE 15: Panel 1: Gilukhipa appears above Tadukhipa’s writhing body- GILUKHIPA Tadu...Tadu, I am so sorry... Panel 2: -lovingly wrapping it in clean linens- GILUKHIPA ...He is becoming erratic in his old age... Panel 3: -cradling her bloodied and weak niece. GILUKHIPA ...He used to not be like this... Panel 4: Tadukhipa, fragile, bruised, weakly looks at her dear aunt. GILUKHIPA ...I am so, so very sorry. I should have known he was starting to go mad when he began to take on his own daughters as wives to produce heirs--I am so sorry. PAGE 16: Panel 1: Dawn breaks around the aunt who has been cradling her tender niece throughout the night. GILUKHIPA We must carry out the rituals now. Panel 2: Gilukhipa runs a string of twine between two of the pillars- GILUKHIPA There are traditions which must be kept Panel 3: -And hangs over the string, Tadukhipa’s blood-soaked coverings. GILUKHIPA The people must see that their pharaoh has been honoured and his new bride is doing her part to continue the royal lineage Panel 4: Gilukhipa closes up around Tadukhipa a full opaque white linen dress- GILUKHIPA Now you must be purified- Panel 5: -and shrouds Tadukhipa’s head in a similarly coloured veil. GILUKHIPA -through the sacred baths in the temple. PAGE 17: Panel 1: Guards carry Tadukhipa through the street in a lectica / litter / sedan chair / sedia gestatoria, flanked with guards carrying flabella. Gilukhipa stands on the lectica behind Tadukhipa’s throne. Panel 2: The guards have now lowered the lectica to the ground, in front of a large stone door within the temple complex. Tadukhipa steps off of the Lectica onto the stone floor, while Gilukhipa is ahead of her, Gilukhipa’s arm about to push open the large door. CHARACTER Dialogue Panel #: Gilukhipa opens the door to reveal a large Mikvah CHARACTER Dialogue Panel #: Description CHARACTER Dialogue Panel #: Description CHARACTER Dialogue Panel #: Description CHARACTER Dialogue Ghusl Future things to write for this issue: The Pharaoh agreeing to send the statues at a later date, once Tadukhipa has born him children. Tadukhipa often takes leave to go to the temple & pray, so that she may spend time with Nakht (Comment on her foreign beauty and wonderful smelling her hair). One night, a fellow priest spies on their affair, & informs the pharaoh. Shortly after the pharaoh is informed of this, she returns home. The Pharaoh sicks his guards on her, she running from them. She runs to the temple to inform Nakht that the affair has been discovered & she is being chased. They try to find a hiding place in the Temple of Ma'at, but can't. So they pray before the giant statue of Ma'at, begging for protection & justice. The other temple priests then appear out of nowhere & grab ahold of them & lead the guards & the pharaoh in. While still in front of the great statue of Ma’at, Tadukhipa & Nakht’s bodies are slashed up (Leaving Crow-like markings), they are wrapped up, & placed, alive, into sarcophagi. They are then buried on opposite sides of the desert. Issue 2: Tadukhipa’s story PAGE 1 Panel 1: The harsh sun shines down on the ancient city of Thebes, in Egypt. CAPTION Thebes, Egypt 18th Dynasty Panel 2: The silhouettes of two men treck across an endless waste of desert, thebes in the distant background behind them. Panel 3: Closer, torso-up shot of the two men, both looking slightly dehydrated, MAN 1 looking angry, while MAN 2 looks sorrowed and annoyed. MAN 1 Now look what you’ve done! Gone and gotten us banished! I told you to not be so reckless in our endeavours. MAN 2 Hey, how was I to know there was a temple guard watching me? MAN 1 You must be an idiot to not think the Priests of Amun would protect the treasures of the gods! I should have never became friends with you, look at where it has gotten me, I am going to die in this desert- PAGE 2 Panel 1: MAN 1’s complaints are interrupted when he trips forward. MAN 2 laughs. MAN 1 -Aaaarrrrgggggg! MAN 2 Hahaha! Panel 2: He has tripped over a large mound of freshly upturned sand. He begins to sit up, and brush himself off, while MAN 2 looks on. MAN 1 What would they bury this far out here? MAN 2 Hey, we might find our treasure after all! Panel 3: MAN 1 isn’t going to let MAN 2 get all of the credit for this, the two semi-playfully argue. MAN 1 Thanks to me, not you! I tripped on it. MAN 2 Yeah, but if it wasn’t for me, we wouldn’t be out here. Panel 4: The men, with their hands, start scooping away at the mound. MAN 1 Well don’t just stand there! Help me dig it out! MAN 2 Last one to it is a dung beetle! PAGE 3 Panel 1: Extreme close up on carved wood covered in ominous-looking hieroglyphs, MAN 2’s pointed finger running across it. MAN 2 (Off Panel) That which lies within this sarcophagus is cursed to ever wander, never to find rest. At the end of time, may the feather of Ma’at pass judgement and the scales of Anubis be tilt against them, let Ammit devour their heart. Panel 2: The two men, now standing in the large hole they have dug into the ground, nervously stand before a sarcophagi, which is covered end-to-end in the ominous hieroglyphic curse. MAN 2 Uumm...on second thought, you open it! You are right, you deserve it. MAN 1 No, you, my good friend. You are the reason we are out here, after all. And besides, you are the one who was so hungry for treasure, so please, have at it. MAN 2 Okay, but if it is treasure, I get all of it. Panel 3: Close up on the upper side of the sarcophagus, a clay seal prominently centred in the framing. MAN 2 (Off panel) Now to get a rock large enough to break this seal Panel 4: MAN 2, in the foreground, picks up a large rock, the sarcophagus behind him, MAN 1 behind it, and over the top of the hole they are in, can be seen the horizon, which is quickly filling with swirling, enchanted, dark clouds. MAN 2 This should do MAN 1 Hurry up, a storm is coming in; let’s open this, find out whatever’s inside, and then find cover! Panel 5: Close up of MAN 2’s hands smashing the rock against the seal, it crumbling. SFX Smash MAN 2 Well if you want any of whatever is inside, help me push this lid open! Panel 6: The two men push the lid as the storm builds in the background. MAN 1 This better be gold and gems, and not some damn corpse! [Pant Pant] MAN 2 Of course it is treasure, why else would they want to scare us away from opening it by writing some bogus curse. [Pant Pant] PAGE 4 Full Page Splash: Close up, straight on: The face and upper torso, with crossed arms, of a barely wrapped, dry, rotted, female mummy with a face contorted in agony, pops up from the open sarcophagus! The lighting is darkened by the stormy sky. TADUKHIPA AAAAAaaaaaaaaaaaaaaaaaaaaaaahhhhhhhhhhhhhhhhh!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! PAGE 5 Panel 1: The men frantically hurry to get out of the hole, away from the corpse, and to try and find some shelter from the oncoming storm which rages in the sky. MAN 2 Let's get out of here! MAN 1 She’s not our only concern, how about the storm?! MAN 2 There’s got to be somewhere we can go! MAN 1 We are in the middle of desert! There’s nothing around us but sand! TADUKHIPA AAAAAaaaaaaaaaaaaaaaaaaaaaaahhhhhhhhhhhhhhhhh!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Panel 2: Shot from below, looking straight up into the sky: A single white crow feather glides down in a circular pattern from the heavens. Panel 3: The feather wafts above Tadukhipa’s mummified corpse. Panel 4: The feather lands upright in Tadukhipa’s hair, wedging its quill into a thin strip of wrapping which encircles her head. Blood-red rain sprinkles against her. SFX Ka SFX Drip Drip Drip Panel 5: It begins to rejuvenate her- SFX Drip Drip Panel 6: -partly repairing, restoring, and hydrating her pale, parchment-like corpse- SFX Drip Drip Panel 7: -until her skin, while still pale with death, has become supple; her muscles and curves have returned. The wounds from the attack on her remain, but the effects of death and mummification have been repaired. SFX Drip Drip PAGE 6 Panel 1: Issue 3: Nakht’s story PAGE 1 Panel 1: Panel stretched long across the top of the page: The harsh sun shines down on the ancient city of Thebes, in Egypt (Exact same as panel 1 of issues 1 & 2). CAPTION Thebes, Egypt 18th Dynasty Panel 2: Almost identical to panel 1, but with the enchanted swirling storm clouds coming in. Panel 3: Same, but with even more clouds & darker, the daylight blotted out, & lightning flashing across the landscape. Panel 4: The rain is soaking into the sand, causing the objects beneath to begin to rise up. SFX eeerr eeerr eeerr Panel 5: Nakht’s sarcophagus slowly rises out of the sand. SFX Eeeeeeeeeeerrrrrrrrrrrrrr Panel 6: it has risen completely out. PAGE 2 Panel 1: Lightning strikes the sarcophagus. SFX KLASH Panel 2: close up on the lightning striking the seal. SFX KLAZZ-CRACK Panel 3: The lid blows off! SFX KLA-BOOM-SPLICK Panel 4: Nakht’s lifeless mummy lies inside the broken, charred, smoking sarcophagus. SFX Sizzle Sizzle PAGE 3 Panel 1: Shot from below, looking straight up into the sky: A single black crow feather glides down in a circular pattern from the heavens. Panel 2: The feather lands on Nakht. SFX Ka Panel 3: Blood-red rain begins to pour down on Nakht-- SFX Drip Drip Drip Panel 4: It begins to rejuvenate him, bringing reparative hydration to is dry, parchment-like skin. SFX Drip Drip Drip Panel 5: His eyes open and he breathes life. NAHKT [gasp] Issue 4: Their Story’s End PAGE 1 Panel 1: PAGE #: Panel #: Description of panel. CHARACTER Spoken words Panel #: Description of panel. CHARACTER Spoken words Panel #: Description of panel. CHARACTER Spoken words Panel #: Description of panel. CHARACTER Spoken words Panel #: Description of panel. CHARACTER Spoken words Panel #: Description of panel. CHARACTER Spoken words

The Avatar of The Crow will wear Kabuki makeup. Shin is a Buddhist monk who meets and falls in love with Sayaka, a young fledgling Shinto priestess of the sisterhood of Nure-onna, The White Snake Woman. They worship this snake goddess in the hopes of discovering the key to eternal life; for a snake can shed it’s dead self & be reborn anew, legend states it could even live a thousand years. Inspired by Shin, Sayaka starts to convert to Buddhism when the high priestess Yuki finds out. Yuki wishes to kill Sayaka for choosing to leave them, and kill the man who was the inspiration. One night, after attending a Kabuki theatre performance, Shin and Sayaka return to Sayaka’s dwelling and discover a shedded snake-skin, this is a bad omen as it represents death and a snake changeling. At that moment Yuki & the clan coils out from the darkness, & strikes! Stabbing to death Shin & Sayaka with their long, curved, snake-fang-like knives. As their bodies hit the ground, there is a huge storm & earthquake which strikes instantly & intensely. As the ground breaks up around them, & the house collapses, the full bright white moon shining down, surrounded by dark lightning filled clouds, the witches vow that if they shall die during this vengeful spirit storm, that they shall be born again 1000 years to the day! At that very moment a bolt of lightning strikes them & they burn as the remaining walls fall on them & the ground swallows everyone up. 1000 years later, the sisterhood are modern day school girls, & they are also a clan of modern witches, Yuki still having white snake tattoos & a pet white snake. When the Sisterhood again tries to summon Nure-onna; Shin is resurrected by The Crow. The deaths: 1. Hiko- heart ripped from chest 2. Yoko- tongue ripped out/eyes squeezed out 3. Rika- burned alive 4. Chaki- neck snapped 5. Kira- head squished 6. Yuki - Seppuku The sisterhood of Nure-onna is covered in snake tattoos. modern Yuki is similar to Nancy from The Craft, & has a pet white snake, which turns out to be her animal familiar/The Snake God The art should be in the style of traditional Japanese Edo wood art. Nure-onna: The White Snake Goddess Role in Story: Worshiped by The Sisterhood of Nure-onna and imbues them with The Power of The Snake Occupation: Goddess Physical Description: A large white snake with yellow lightning patterns on its back Notes: In Japanese folklore, a nure-onna (濡女?, lit. "wet woman") is a supernatural being which resembles an amphibious creature with the head of a woman and the body of a snake. While the description of her appearance varies slightly from story to story, she has been described as being 300 m in length and has snake-like eyes, long claws, fangs and long, beautiful hair. She is typically spotted on a shore, washing her hair. Mythology A nure-onna's intention are unknown. In some stories, she is a monstrous being who is powerful enough to crush trees with her tail and feeds on humans. She carries with her a small, childlike bundle, which she uses to attract potential victims. If a well-intentioned person offers to hold the baby for her, the nure-onna will let them. If they attempt to discard the bundle, however, it is revealed that it is not a child at all. Instead, the bundle becomes incredibly heavy and prevents the victim from fleeing. She then uses her long, snake-like tongue to suck all the blood from her victim’s body. In other stories, a nure-onna is simply seeking solitude as she washes her hair and reacts violently to those who bother her. Yatagarasu (八咫烏, "eight-span crow") appears in a number of places in Shintō mythology as a three legged crow and is construed as evidence of the will of Heaven or divine intervention in human affairs. The crow is a mark of rebirth and rejuvenation; the animal that has historically cleaned up after great battles symbolized the renaissance after such tragedy. Yatagarasu, the great crow-god was sent from heaven as a guide. The shinto goddess Amaterasu was also said to transform into a Crow (or The Crow transforms into the goddess). The Crow Spirit of Wrath Issue 1 of 3 ”Love’s Curse” Plot: Tristin Scott Jack Danya Kemplin Writing: Jack Danya Kemplin Art: (artist) Lettering: (letterer) C3: Collective Crow Comics Editor: Jack Danya Kemplin The Crow™ © 2016 James O’Barr (under exclusive license to Top Dollar Comics, Inc and Crowvision, Inc.) The Crow™ and “THE CROW”, The Original Motion Picture © 1994 Crowvision, Inc. All rights reserved. Any similarities between characters, names, and/or institutions, living or dead (or undead) is purely coincidental, but for instances of satire, and should not be inferred. This is a work of fanfiction, no part of it may ever be printed or sold without permission of Crowvision, Inc. PAGE 1 PANEL 1 Overhead areal view from the sky down to the ground: It is a bright Japanese morning. The Crow circles down from above, there are two small human figures, one sitting on a rock near a stream, the other instructing him. CAPTION Japan The Heian period TAKUMA You see Shin, everything is in harmony PANEL 2 The beautiful stream flows down from the misty Japanese mountains, flowing right in front of Shin, who remains sitting in lotus position on the rock, and Takuma who with an open hand gestures to the stream. TAKUMA The stream flows from the mighty rocks, watering the meadow below PANEL 3 Close up on Takuma instructing Shin, Takuma now holding a single grain of rice in his hand, his other hand gesturing to it. TAKUMA Which grows the rice PANEL 4 Takuma now gestures to The Crow as it floats down from the sky. TAKUMA Which feeds The Crow PANEL 5 The Crow lands on Takuma's arm and eats the grain of rice. PANEL 6 A tight view of Shin on the rock, the back of Takuma's torso visible at the side. SHIN Yes, Rōshi Takuma PAGE 2 PANEL 1 A more intimate close up of Shin and Takuma, Takuma now sitting against the rock as Shin remains in lotus position. Shin looks a bit troubled. This panel is combined with another showing Shin speaking with Sayaka. SHIN Rōshi Takuma, I recently met this girl TAKUMA she is a nice person? SHIN Well, yes, but... TAKUMA But? PANEL 2 The Crow walks from Takuma's shoulder onto Shin's. Shin hardly notices it, he is so bothered by something. SHIN She is Shinto TAKUMA Just as one food cannot satisfy everyone's needs, nor can one set of beliefs PANEL 3 Shin looks even more worried as he reveals the woman's dark secret. The Crow, still on Shin's shoulder, gives an offended look at the revelation. SHIN She is part of the sisterhood of Nure-onna! TAKUMA Are you sure? PANEL 4 An image of a woman's inner-hand and lower-arm, a tattoo of a white snake's head peaking out of her sleeve, the head covering the palm of her hand. SHIN She has the marks PANEL 5 Takuma now also looks concerned as he speaks with Shin. TAKUMA That could be dangerous, you must be careful SHIN Should I avoid her, Rōshi Takuma? PANEL 6 Takuma's Buddhist nature now shows through as his face softens with a look of inner peace as he tries to show Shin the ways of Buddha. At hearing Takuma's response, Shin appears to calm down; The Crow flying off of Shin's arm. TAKUMA No, no you need not do that. How can we ever hope to show her the path to enlightenment, unless we are willing to share ourselves with her. PAGE 3 PANEL 1 Overhead areal view from the sky down to the ground: It is a dark, stormy night, the ocean waves beating against the rocky shore. The Crow circles down from above, there is a group of women standing in a circle, one in the center before a circular stone altar, a large white snake slithering across it. The women are nude, their bodies covered in a tattoo of a snake which coils over them from shoulder to knee. YUKI Nure-onna, hear your daughters! SISTERHOOD Hear us, Nure-Onna "Another creature of the vast pantheon of the traditional Japanese tattoo is the Snake, or Hebi as it is called in the Japanese language." "Perhaps Christianity because of its strong association in between the snake and Satan" "In Japan however, the Hebi is both associated with death and the underworld through the myths surrounding the indigenous naturalistic religion of Shinto" "The goddess Benzaiten, who is the only female member of the Shichi Fukujin (seven lucky gods) often appears with a white snake worn as her headdress." "Snakes are in fact considered as a minor type of Ryu (dragon) and shares many of the mythological traits of that creature." "a strong connection to thunder and lightning. This may have something to do with the shape of a coiling snake resembling stylized lightning bolts, or the fact that some snakes have a lightning like pattern on their backs." "Hebi is also an avatar and messenger for the dragon king Ryujin and white snakes are connected to many other Shinto deities besides Ugajin. The great Shinto deity Okuninushi no Mikoto can transform into a great white snake" "The very strong belief within Shinto that death itself brings great impurity to anything it touches may also have given rise to the belief that encountering a live snake is considered an extremely lucky omen while a dead one is regarded as the opposite." "The fact that snakes shed their skin many times during a lifetime has given rise to the idea that snakes live to become up to a thousand years old and that great life giving medicine can be extracted from the creature if only treated properly. The shedding of skin also means that the Hebi can shapeshift and assume any number of other identities. In short, snakes can appear as humans and they in turn can appear as snakes." "The most famous of the stories concerning these transformations is perhaps the one called Dojoji. It tells of a maiden called Kiyohime that falls into passionate teenage love with a beautiful young monk, Anchin, from Dojoji Temple. At first the monk resists her sexual invitations but later succumbs to his human urges and makes love to her. Shortly after the act he deeply regrets breaking his Buddhist vows and pushes her aside. Kiyohime becomes filled with the rage of a scorned lover, and as the young monk flees across a river for the safety of his precious temple, the young woman transforms into a large snake and follows him across. In panic Anchin hides under the great bronze bell thinking himself safe but Kiyohime in her snake incarnation smells his fear and coils her strong body around the bell. So heated is her teenage rage that the bell catches fire and burns both Anchin and herself to ashes." The Snake in Japanese Myth. In my earlier writings I have discussed some of the more well-known animals and deities used for Irezumi. We have seen how the Ryu, Koi, Shishi among others can be used to tell a traditional story or portrait human emotions in a stylized manner. You should always keep in mind that most of the time we are not making realistic images of these creatures for the sake of showing for example a Tora (tiger), but rather for the reason a certain image reflects our humanity in all its forms. Therefore a Koi is not simply a fish, but rather a mirror of the wish we have for being heroic or in order to inspire fortitude. It can also be for totemic reasons, using the image as a protector against bad things lurking in our daily lives. Another creature of the vast pantheon of the traditional Japanese tattoo is the Snake, or Hebi as it is called in the Japanese language. As in many other cultures and mythologies the snake in the Japanese mind have dualistic undertones, being both good and evil. Perhaps Christianity because of its strong association in between the snake and Satan stands out as being the most inflexible regarding this creature. In Japan however, the Hebi is both associated with death and the underworld through the myths surrounding the indigenous naturalistic religion of Shinto, as well as being a creature symbolizing fertility. The goddess Benzaiten, who is the only female member of the Shichi Fukujin (seven lucky gods) often appears with a white snake worn as her headdress. This snake sometimes have a woman’s head and is an image of the Shinto Kami (spirit) of Ugajin who is closely associated with rivers. Snakes are in fact considered as a minor type of Ryu (dragon) and shares many of the mythological traits of that creature. Among them is the element of water, being a symbol of fertility, as well as a strong connection to thunder and lightning. This may have something to do with the shape of a coiling snake resembling stylized lightning bolts, or the fact that some snakes have a lightning like pattern on their backs. Hebi is also an avatar and messenger for the dragon king Ryujin and white snakes are connected to many other Shinto deities besides Ugajin. The great Shinto deity Okuninushi no Mikoto can transform into a great white snake and Shinto priests and practitioners will always try to avoid harming a snake if they come across such an animal in daily life. The very strong belief within Shinto that death itself brings great impurity to anything it touches may also have given rise to the belief that encountering a live snake is considered an extremely lucky omen while a dead one is regarded as the opposite. The fact that snakes shed their skin many times during a lifetime has given rise to the idea that snakes live to become up to a thousand years old and that great life giving medicine can be extracted from the creature if only treated properly. The shedding of skin also means that the Hebi can shape shift and assume any number of other identities. In short, snakes can appear as humans and they in turn can appear as snakes. The most famous of the stories concerning these transformations is perhaps the one called Dojoji. It tells of a maiden called Kiyohime that falls into passionate teenage love with a beautiful young monk, Anchin, from Dojoji Temple. At first the monk resists her sexual invitations but later succumbs to his human urges and makes love to her. Shortly after the act he deeply regrets breaking his Buddhist vows and pushes her aside. Kiyohime becomes filled with the rage of a scorned lover, and as the young monk flees across a river for the safety of his precious temple, the young woman transforms into a large snake and follows him across. In panic Anchin hides under the great bronze bell thinking himself safe but Kiyohime in her snake incarnation smells his fear and coils her strong body around the bell. So heated is her teenage rage that the bell catches fire and burns both Anchin and herself to ashes. This is a story that has been transformed into both Noh– and Kabuki plays, and is not a wholly unusual motif for Irezumi. I personally think that many times the fact that Kiyohime is a young teenage girl is not understood properly and that some western artists make her out to be more hideous and evil than is beneficial to a successful adaption of the theme. The fearful ingredient lies in the fact that she is young and beautiful and at the same time full of a rage that has lit a terrible fire inside her heart. If an artist can achieve this balance act in between beauty and death it will be a legendary image. Thankfully we have all been teenagers and probably felt that sting of unhappy love so it should be easy to go back and use those emotions in the design. If you use it for a full back the large bronze bell is a striking part of the imagery but if used for a Irezumi sleeve it is perhaps better to depict Kiyohime swimming across the river. The water can be agitated, splashing wildly, in order to portrait the rage she is suffering under. Of course, Sakura (cherry blossoms) is the given flower for this design. Always remember to research properly and study as many texts and Japanese illustrations as possible. What I usually do if I see an Irezumi piece I like is that I try to find the original Ukiyo-e prints the artist used for reference and then I continue from there. If you only use actual tattoos as reference you will end up always producing third hand accounts and much of the originality is lost in that process. Two things to remember when dealing with Hebi: The metal Iron is the most powerful protection and snakes can be guardian spirits. If you meet one, do not harm it. You will regret it. Tsukimono – The Possessing Thing There are eight million gods and monsters in Japan, and more than a few of them like to ride around in human bodies from time to time. Yurei. Kappa. Tanuki. Tengu. Kitsune. Snakes. Cats. Horses. Almost anything can possess a human. But when they do, they are all known by a single name—Tsukimono, the Possessing Things. What Does Tsukimono Mean? Tsukimono is a straight forward term. It combines the kanji憑 (tsuki; possession) +物 (mono; thing). There is a different word for actual possession憑依 (hyoi), which is the kanji 憑 (tsuki again, but this time pronounced hyo—because Japanese is hard) + 依 (I; caused by). Although they are collectively known as tsukimono, different types of tsukimono use –tsuki as a suffix, such as kappa-tsuki (河童憑; kappa possession), tengu-tsuki (天狗憑; tengu possession), or the most common of all, kitsune-tsuki (狐憑; fox possession). (憑 is an odd kanji by the way. It can do double duty not only as the verb tsuku (憑く; to possess) but also as a kanji for tanomu (憑む; to ask a favor). So in a strange way, possession means asking a favor of someone—really, really hard.) Shinto God Possession Kami Possession Mizuki Shigeru Spirit possession is an ancient and ubiquitous belief in Japan. Probably the most ancient form of the phenomenon is God Possession. There have long been mediums who could voluntarily drawn the power of kami or ancestor spirits into their bodies to serve as oracles. As in many spiritual traditions, the medium goes into a trance and clears their mind so that the kami can enter. The medium is just an empty vessel that gives voice to the kami. The kami can be singular or plural, an ancestor spirit or merger of deities. Because of the obscure nature of the kami and their relation to the sorei ancestor spirits, it can be hard to tell. As Lowell says, “In Shinto god-possession we are viewing the actual incarnation of the ancestor spirit of the race.” However, this kind of God Possession—known alternately as kamiyadori (神宿り; kami dwelling), kamioroshi (神降ろし; kami descending), or kamigakari (神懸り; divine possession) –is different from tsukimono. Tsukimono – Yokai and Animal Possession Tsukimono are almost exclusively yokai or animal spirits invading human bodies. This is rarely a spontaneous event—often the yokai possesses the human as an act of revenge; though the reasons are as innumerable as the yokai themselves. The effects of the possession vary widely as well. In most possessions the victim takes on the attributes of the yokai or animal. A victim of tanuki-tsuki (tanuki possession) is said to voraciously overeat until their belly swells up like a tanuki, causing death unless exorcized. Uma-tsuki (horse possession) can cause people to become ill-mannered, huffing at everything and sticking their face into their food to eat like a horse. Kappa-tsuki become overwhelmed with the need to be in water, and develop an appetite for cucumbers. In general, the only way to free someone from a tsukimono is through an exorcist. Usually these were the wandering Shugendo priests called Yamabushi. They were the great sorcerers and exorcists of pre-modern Japan, roaming through the mountains and coming down when called to perform sacred services and spiritual battles. Types of Tsukimono – Snakes, Foxes, and Everything Else The types of tsukimono change depending on who you ask, and when. The great Meiji-era folklorist Yanagita Kunio split tsukimono into two distinct types, snakes (hebi-tsuki) and foxes (kitsune-tsuki). The snake was found primarily in Shikoku, and went by various names. Hebigami (蛇神; snake god), Tobyo or Tonbogami. As you can see by the name, these snakes were not typical snakes, but were thought to be snake gods with the ability to possess humans. In many descriptions they do not even resemble snakes, but are more like great earthworms. There is possession by pretty much every kind of creature. • Gaki-tsuki – Hungry Ghost possession • Shibito-tsuki – Ghost possession • Hebi-tsuki – Snake possession • Ikiryo-tsuki – Living Ghost possession Tsukimono symptoms resemble classic demonic possession in Western culture. Demonical possession is frequently said to be due to the evil influence of animals. This form of possession is known as tsukimono. The sufferer is usually a woman who is highly sensitive to all manner of magick. An animal usually enters a woman either through the breast or between the finger-nails, frequently speaking in a voice totally different from the human. A tsukimono-tsuji, a witch clan. Tsukimono A spirit which attaches itself to a human being, usually an evil spirit that causes disasters. The attachment of a tsukimono to a person is a form of possession. Tsukimono are conceived of as the spirits of a variety of real and imagined animals, such as a kind of snake called a tōbyō, and different kinds kami. Possession by a tsukimono occurs in cases where a person is cursed through the spiritual ability power of a medium, or in cases where possession occurs not by the actions of a medium but as the result of some natural cause. It is sometimes thought that when one meets with disease or misfortune, it is the result of an evil curse that causes possession, or it is thought that one is possessed due to some unfavorable action taken toward the tsukimono. On the one hand, it is believed that tsukimono can bring about wealth, rank, and prosperity through individual and family prayer; while on the other hand, tsukimono can be directed to possess others and bring about disease, death, and the ruination of a family line. Tsukimono originates in beliefs in possession by spirits. In the Nara period, magic called kodoku was used for curses, invoking the spirit of the last remaining creature among poisonous insects, snakes, etc., which were placed together in a pot. In the Heian period, esoteric priests of the Shingon and Tendai Buddhist sects conducted utilized gofu in conducting protective incantations and prayers in order to remove vengeful ghosts (mononoke) and other spirits that produced calamities and accidents. Further, there were invocations to benevolent spirits in which divination Onmyōdō masters used shikigami in similar kinds of rituals and curses.

Because it will be fanfiction there will not be any pay for this, it will be out of love for The Crow comics, and for your portfolio and promotion of your name. The plot for Dead Winter: In the 1800's there was a fur trapper who lived in the mountains of Montana above a very religious & superstitious town. One night, while he was at home, boiling dinner in his cauldron; the townspeople came with torches, locked him inside of his house, & burned it down to kill the supposed "warlock". The trapper was a kind soul, who did not seek revenge for his own life. In modern times, a black family who just moved to the area has finished building a new cabin on the site where his home once stood. But the townspeople are suspicious of these newcomers, and do not like black people; they believe the family may practice voodoo. When the townspeople come to subject this family to the same fate their ancestors did him, the soul of the trapper cannot bare to see them do it to someone else, and he is resurrected by The Crow. Josiah A burned alive Mountain Man fur trapper, whose hat is made out of a crow and coat of a black bear. This picture is a major influence on Josiah’s look Lougenia 17 year old Goth of Colour. Looks similar to Yasmin Benoit, but wears Bauhaus, Siouxsie, Sisters of Mercy, and The Cure shirts. Issue 1 The story of Josiah He returns from a long trip of trapping, carrying his spoils on his back. He returns home, sheltering from the bitter cold which he had called home for the past several weeks. He starts cooking some meat & root-vegetables in a cauldron Ladles some into a bowl & sits down to eat Unseen by him, from a distant birds-eye view, we see a mob coming up from the village, their torches lit. Josiah is startled by slanderous preaching coming from outside his house We now see the hateful preaching going on outside, lead by Reverend John Goodfellow Smoke and fire start to come into Josiah’s house, they have lit it on fire! The building collapses into cinders & ashes. Issue 2 200 years later LeRoy Clovis, his wife Zeline, & their daughter Lougenia have moved from Louisiana to Dixon Montana, and have just finished building their log cabin (unbeknownst to them, on the same spot as Josiah’s). They are a black family, & their daughter is a Goth of Colour. They are starting to get settled in when they hear a knock on the door It is Reverend John Goodfellow the 6th and his wife Sarah, from the town below. They while putting on “Good Christian” faces, clearly suspect the Clovis family of being voodoo practitioners, especially Lougenia. The Clovis family decide to go out and explore their new town, but they instantly feel out of place, all of the stern white faces stiaring at them with judging eyes, whispering, covering their children’s eyes as the family walk by, marking their businesses as closed when the family walks up to the doors. Lougenia at home, late at night, practices her voodoo, asking for spiritual guidance and protection for her family from those who have passed on. After performing this invocation, an ethereal Crow flies into her open window, perches on her bed post, and gives an ominous warning. Issue 3 A few more scenes happen with the Clovis family out shopping and such, & the townspeople acting odd around them, making hushed hateful comments. Intercut with the townsfolk being prejudice, are scenes of Lougenia at home, at night, doing her spells, The Crow continuing to warn her of the townspeople, but promising protection. One night, the Clovis family is sitting at home, eating dinner, when they hear a commotion outside They look to see who it could be, & see Reverend Goodfellow leading a modern mob. The mob is about to set fire to the house, when up from the kitchen floorboards rises Josiah! He smashes through the door and with a cry of “Never again will you shed innocent blood with your religion of lies and hate!” he begins his slaughter. Plot: Jack Danya Kemplin & Tristin Scott Writing: Tristin Scott Artist: (artist) Lettering: (letterer) C3: Collective Crow Comics Editor: Jack Danya Kemplin The Crow™ © 2016 James O’Barr (under exclusive license to Top Dollar Comics, Inc and Crowvision, Inc.) The Crow™ and “THE CROW”, The Original Motion Picture © 1994 Crowvision, Inc. All rights reserved. Any similarities between characters, names, and/or institutions, living or dead (or undead) is purely coincidental, but for instances of satire, and should not be inferred. This is a work of fanfiction, no part of it may ever be printed or sold without permission of Crowvision, Inc. PAGE 1 PANEL 1: CAPTION Dixon, Montana, 1846 A Crow flies alongside the icy Rocky Mountains, circling over the small town of Dixon below, which is made up of several cabins around a small central churchhouse. PANEL 2: On the snow covered, icy mountains, amidst the heavy frozen wind, descends Josiah, a fur trapper, returning from a long trip of trapping, carrying his spoils on his back. PANEL 3: He makes his way towards a log cabin high up on the mountain, far separated from the town below it. PAGE 2 PANEL 1: Josiah closes the door behind him as he enters his cabin. Josiah Six weeks since I slept in your bed, next to your fires, I shall sleep peacefully tonight. PANEL 2: he starts a fire underneath the cauldron. PANEL 3: Tossing into it some meat and root-vegetables. PANEL 4: He ladles the stew into a wooden bowl. PANEL 5: Sitting down at his wooden table. PAGE 3 PANEL 1: Outside, bird’s eye view: An angry mob of the villagers, lead by Reverend John Goodfellow, marches toward Josiah’s cabin with lit torches. REVEREND JOHN GOODFELLOW They marched across the breadth of the earth PANEL 2: Josiah finishing up his dinner. PANEL 3: The townsfolk are now outside his house, their torches burning strong and bright, like their prejudice hatred hatred. REVEREND JOHN GOODFELLOW God’s people of the beloved city, and they surrounded the camp, PANEL 4: Close up, worm’s view, of their leader, his bible in hand, the fires from the torches burning red in his eyes. REVEREND JOHN GOODFELLOW and fire came down from God out of heaven, and devoured the devil that deceived them, and he was cast into the lake of fire and brimstone, where the beast and the false prophet are, and shall be tormented day and night for ever and ever! PANEL 5: The townspeople, rallied into a frenzy of hatred by their leader’s sermon, begin to shout. FAITH Die, warlock! HOPE Burn in the lake of fire! CHARITY Taste eternal torment and brimstone! PAGE 4 PANEL 1: Josiah is startled by the commotion outside, rising from his table in fear. PANEL 2: Extreme close up on his terror stricken eyes. PANEL 3: Josiah remembers when he first entered this town. PANEL 4: All of the stern puritan-like faces staring at back at him with judging eyes. PANEL 5: Whispering to one another. PANEL 6: Covering their children’s eyes as he walked by. PANEL 7: Marking their businesses as closed when he walked up to the doors. PAGE 5 PANEL 1: We return to the worm’s eye view of the Reverend amidst continued readings of condemnation. REVEREND JOHN GOODFELLOW Let burning coals fall upon them: let them be cast into the fire; into deep pits, that they rise not up again. PANEL 2: Josiah’s house begins to fill with smoke and glow with fire from the outside! PANEL 3: Josiah panic stricken, tries to get out. PANEL 4: Outside: But the door has been blocked, boarded up from the outside! JOSIAH(OFF) I beg of you! Let me out! I’m a good man! FAITH Burn, creature from Hell! CHARITY Die, devil!!! PAGE 6 PANEL 1: The fires close in on Josiah. PANEL 2: His flesh beginning to boil JOSIAH (Spanning this and panels 3 & 4) AAAAAAAAAAAHHHHHHHHHHHH!!!!!! PANEL 3: And char PAGE 7 PANEL 1: The cabin is collapsing around the badly burned Josiah. PANEL 2: It collapses completely on Josiah, crushing him. PANEL 3: Outside: Straight on view of the Reverend, still holding his bible open, Josiah’s collapsed house burning in the background like a huge bonfire amidst the black sky and the white snow; the townspeople still tossing their torches into the growing fire. REVEREND JOHN GOODFELLOW And Death and Hades were cast into the fire. This is the second death, And whosoever was not found written in the book of life, was cast into the lake of fire. PANEL 4: Morning, The Crow flies overhead as smoke rises from the blackened spot on the snowy mountain. THE CROW They have set fire to thy sanctuary: they have defiled the dwelling place of thy name on the earth. PAGE 8 PANEL 1: CAPTION 140 years pass LeRoy Clovis, a tall and lanky, well cut, black man in his early 40’s, is driving his car, his wife, Zeline, a beautiful hour-glass figured black woman in her early 40’s, is in the passenger seat, & their daughter Lougenia, a 17 year old, tall and thin, Goth of Colour, lays in the back seat, her arms crossed over her chest, her sunglasses shielded face looking bored and upset. LEROY Honey, you should really look out the window, The mountains create quite a view. ZELINE Never had a view like this in Louisiana. LOUGENIA I Don’t care! I want to be with my friends. PANEL 2: The family stand outside of their car, Lougenia’s door still open, and look at a newly built cabin on the side of the mountain. LEROY Well, it’s finally finished, isn’t it a great? ZELINE It’s a dream! LEROY And imagine all of the skiing, camping, the fresh air! LOUGENIA Yeah, and the cold, And the wind, And the frostbite, and no friends. ZELINE You can make new friend. PANEL 3: Inside, they are unpacking. PANEL 4: When they hear a knock at the door. SFX Knock Knock LOUGENIA Suddenly there came a rapping… ZELINE Hush! PANEL 5: LeRoy goes to answer the door, Zeline stands up, and Lougenia continues digging through her stuff. LEROY I’ll get it, it is probably people from Dixen, come to welcome us. LOUGENIA Or to sacrifice us to their cult… ZELINA Lougenia! PAGE 9 PANEL 1: LeRoy opens the door, revealing a man who looks almost identical to Reverend John Goodfellow, and a woman, who closely resembles one of the women of the village from so long ago. They stand there, their faces as puritan-like as ever, the woman holding a plain looking humble loaf of bread. LEROY Clovis residence, Hi, we are new here. REVEREND JOHN GOODFELLOW THE 6TH Yes, we all have watched as your lovely home has been being built these past few months. I’m Reverend John Goodfellow the 6th, and this is my good wife, Sarah. SARAH We have come to represent the town, and give you a Dixen welcome, Here, have some freshly baked bread. PANEL 2: LeRoy waves them in, as Zeline takes the bread; Lougenia rolls her eyes. LEROY Why Thank you, come on in! I’m LeRoy, this is my wife Zeline, and this is our special little girl, Lougenia. PANEL 3: Rev. Goodfellow and Sarah sit down on the sofa, LeRoy and Zeline pulling up chairs, LeRoy next to Goodfellow, Zeline next to Sarah. LEROY So, could you tell us a little about the area? REVEREND JOHN GOODFELLOW THE 6TH Yes, The town of Dixen was founded in the 1800’s by my ancestor Reverend John Goodfellow the 1st and was made up of him, his wife Chastity, And the good people of their church LOUGENIA (Whispering/Off) See, I told you they were a cult ZELINE (Whispering) Lougenia! PAGE 10 PANEL 1: Trying to move past his daughter’s comments, LeRoy continues to try and engage in pleasant conversation. LEROY So...this is a really fantastic spot up here, overseeing the town, great for skiiing… Why hasn’t anyone built up here before? REVEREND JOHN GOODFELLOW THE 6TH Oh...Someone did, once PANEL 2: LeRoy, a little surprised by this fact, inquires; Lougenia come up and stands behind her father, leaning over his shoulders. LEROY Really? We didn’t see any former building, what happened, was there an avalanche or something? LOUGENIA(Whisper) I bet it burned down...Sacrifice… ZELINE Lougenia! No more! PANEL 3: The Reverend and Sarah have stern looks on their faces, LeRoy and Zeline have looks of concern. REVEREND JOHN GOODFELLOW THE 6TH She is correct… the previous house did burn down… in 1849 ZELINE What happened? SARAH It was awful… poor soul. LEROY Who? PANEL 4: The reverend in his stern way, tells the story. REVEREND JOHN GOODFELLOW THE 6TH There was a man who lived on this very spot, Josiah. He was not a very good man--he studied the dark arts. LOUGENIA Cool! ZELINE Lougenia! PAGE 11 PANEL 1: The Reverend continues the story, as he does, we see the fictional version of events, as the listener would imagine them. We see Josiah as an evil cloaked warlock walking through the town at night, and Reverend John Goodfellow the 1st, depicted as a kind man, standing before him, offering salvation, but the warlock holding out a hand in refusal. CAPTION (REVEREND JOHN GOODFELLOW THE 6TH) My forefather, John Goodfellow the 1st Had tried to save his soul, But the poor man would not listen. REVEREND JOHN GOODFELLOW THE 1ST You need not go down that dark path, we will help lead you into the light PANEL 2: The warlock, inside his house, stands in front of a Cauldron with a goat head and odd plant matter hanging out from the top. Blood red Candles are lit all around him. CAPTION (REVEREND JOHN GOODFELLOW THE 6TH) One night Josiah was at his cauldron, it filled with the flesh of animals and strange roots PANEL 3: The warlock dances before the cauldron like a wild man, a bottle of moonshine in his hand. CAPTION (REVEREND JOHN GOODFELLOW THE 6TH) The man was intoxicated with the spirits of evil PANEL 4: The warlock, while in his mad dance, bottle in hand, knocks over several of the candles. CAPTION (REVEREND JOHN GOODFELLOW THE 6TH) But praise the good Lord, he did not harm this town, Josiah, in his own intoxication, knocked over the candles of his demonic rituals PANEL 5: The warlock’s silhouette, slowly turning skeletal while dancing within the flames. CAPTION (REVEREND JOHN GOODFELLOW THE 6TH) And burned in the hellfire that he so desired PAGE 12 PANEL 1: The family was shocked when they heard this horrible story. LOUGENIA So you are telling me that we’re standing over an unmarked grave? REV. JOHN GOODFELLOW THE 6TH Yes. Lougenia gets up from the sofa and stuffs something in her bag. PANEL 2: LEROY C’mon Lougenia,Josiah has no reason to haunt this place! Lougenia storms to her room and slams the door. PANEL 3: LEROY Reverend, I’m so sorry. REV. JOHN THE 6TH No, no, it’s okay, you nice folks come to us if you need anything! LEROY Thank you! Sarah shakes LeRoy’s hand. PANEL 4: They leave. PAGE 5 PANEL 1: Zeline goes to check on Lougenia. PANEL 2: Zeline sees Lougenia packing her clothes, her IPod, and her diary. PANEL 3: ZELINE That was very rude of you. LOUGENIA There is a unmarked grave on our property, and that leads to angry ghosts, God Damn it! PANEL 4: ZELINE HEY! You watch your mouth! LOUGENIA I’m 17 fucking years old, when will you stop treating me like a child?! PANEL 5: she storms out of the house. PAGE 6 PANEL 1: Zeline gasps as LeRoy walks in. ZELINE That’s it! I can’t take it anymore! PANEL 2: LEROY It’ll be alright honey, you’ll just have to give it time. ZELINE Maybe to you, but not for me! We’re disturbing the dead for christ’s sake! PANEL 3: Zeline storms to their room and slams the door. PANEL 4: LeRoy sighs heavily. PANEL 5: LeRoy sees his daughter sitting on the front porch. PANEL 6: LEROY Look… I know it’s been rough for all of us. LOUGENIA I know… i bet you guys always hated me… PANEL 7: LeRoy hugs his daughter. LEROY No! We don’t hate you. We love you! Come back inside. It’s cold out here. LOUGEINA Okay, Dad. PAGE 6 PANEL 1: CAPTION The next day the Clovis family decide to go out and explore their new town. LEROY Isn’t this nice? Our 1st family outing in a new town! PANEL 2: but they instantly feel out of place. PANEL 3: all of the stern white faces staring at them with judging eyes, whispering, covering their children’s eyes as the family walk by, marking their businesses as closed when the family walks up to the doors. PANEL 4: ZELINE Well, this is weird. PANEL 5: LEROY Probably they’ve haven’t seen new faces in a long time. LOUGENIA Probably they’re weird… LEROY I highly doubt that, sweetie. PANEL 6: The Clovis family heads home, trying to forget the whole incident. PAGE 7 PANEL 1: A pale beam of light from the full moon streams through the open window of Lougenia’s bedroom, falling on the floor illuminating a spot where an alter-table sits. Lougenia, in the background, stands at her wardrobe, pulling up the final sleeve of her ritual dress. PANEL 7: Late at night, Lougenia practices her voodoo. LOUGENIA Oh, spirits of the beyond,please send a messenger to protect my family! PAGE 8 PANEL 1: Suddenly,a Crow sits on her bed post. Nobody can see it but her. PANEL 2: THE CROW Be warned of the townspeople, child! PANEL 3: Lougenia at first thought The Crow was a demon, but she now thinks this spirit bird is an angel if it’s trying to warn her. PANEL 4: LOUGENIA But, how? PANEL 5: The Crow flies out of Lougenia’s window, making her question who will save her family. PAGE 8 PANEL 1: CAPTION The next day… PANEL 2:

Thank you for your interest in the project, C3 and I are very grateful and honoured by your contribution and collaboration. I am Jack Danya Kemplin, the current owner and Editor-in-Chief of C3: Collective Crow Comics. C3 is a fanfiction website that has existed since October 2000, specializing in The Crow comics created by fans. We are currently in need of an Artist for a limited-colour 29 page one-shot comic book. Because it will be fanfiction there will not be any pay for this, it will be out of love for The Crow comics, and for your portfolio and promotion of your name. C3 has previously had projects with now famous comic book creators such as Ben Templesmith. I use 3 e-mail addresses, kemplin2@juno.com for small e-mails, jackkemplin@gmail.com for ones with large attachments, and collectivecrowcomics@gmail.com is technically the one these sorts of stories are normally submitted through, but submitting it through the jackkemplin one serves the same purpose. The plot for Ange de la Mort: In New Orleans, at the local college there is a student named Lillian Toussaint, the only child of a wealthy family. Her parents are friends with the even more wealthy Edwin family, who’s son is the school’s lead quarterback, and whom Lillian’s family is desperately pressuring her to marry. But while in college Lillian has secretly began a lesbian relationship with a butch woman named Veruka Dekay. Their relationship is cut short when the quarterback discovers the secret relationship and arranges for him and his teammates to lynch Veruka. After the killing, Lillian, who realizes who committed it and why, feels no choice but to do as her family wishes and marry him. Racked with guilt and despair, the morning after the honeymoon, Lillian hangs herself while he is in the shower. Unable to rest with the horrors which have been committed against Lillian and herself, Veruka returns to the land of the living, to haunt the football players. If you are not familiar with The Crow mythos, here is a summary: The Eternal Power of The Crow possesses the bodies of people who's souls cannot rest, using the blood of The Gorgon to bring them back to life. While reanimated that person has until the blood of The Gorgon runs out, to do something which brings their soul peace. If they do not find peace by the time the blood of The Gorgon runs out, then they lose their powers and begin to rot. The Crow is not a corporeal bird, but an ethereal one existing in the avatars' minds, and sometimes being visible to others. The avatar can hear The Crow speaking to them in English, and this condition of being dead, yet alive again, disturbs and deranges the avatars' minds, making them more poetic, more psychotic, and more sadistic. Some The Crow comics which may help you better understand our comic: Flesh And Blood (to become familiar with female avatars of The Crow) http://thecrowcomics.wordpress.com/2012/02/24/the-crow-flesh-and-blood-1-1996/ The Crow: Flesh and Blood # 1 http://thecrowcomics.wordpress.com/2012/02/23/the-crow-flesh-and-blood-2-1996/ The Crow: Flesh and Blood # 2 http://thecrowcomics.wordpress.com/2012/02/23/the-crow-flesh-and-blood-3-1996/ The Crow: Flesh and Blood # 3 Concept: Trista Musco Plot: Trista Musco and Jack Danya Kemplin Writing: Jack Danya Kemplin Artist: (artist) Lettering: (letterer) C3: Collective Crow Comics Editor: Jack Danya Kemplin The Crow™ © 2016 James O’Barr (under exclusive license to Top Dollar Comics, Inc and Crowvision, Inc.) The Crow™ and “THE CROW”, The Original Motion Picture © 1994 Crowvision, Inc. All rights reserved. Any similarities between characters, names, and/or institutions, living or dead (or undead) is purely coincidental, but for instances of satire, and should not be inferred. This is a work of fanfiction, no part of it may ever be printed or sold without permission of Crowvision, Inc. PAGE 1 PANEL 1: A distant landscape of dense and wild southern swamp trees, amongst the gnarled branches hangs a barely noticeable silhouette of a human body dangled from a rope attached to one of the branches. CAPTION Southern trees bear a strange fruit PANEL 2: Close up of leaves splattered and dripping with blood. CAPTION Blood on the leaves PANEL 3: Close up of the large tree’s massive winding roots, blood dripping on them and pooling between them. CAPTION and blood at the root PAGE 2 PANEL 1: Mid-distance shot of the body swinging by it’s neck from the tree, it’s features still not completely visible. CAPTION Bodies swingin' in the Southern breeze Strange fruit hangin' from the poplar trees Pastoral scene of the gallant South PANEL 2: Close up, birds-eye view of Veruka’s face, her eyes bulging from the pressure of the noose around her neck, the whites of her eyes have turned to blood red as the vessels within them haemorrhage and burst, the blood running down her face like tears. CAPTION The bulgin' eyes and the twisted mouth PANEL 3: Her body hangs there as weeks turn into months, her flesh beginning to rot. CAPTION Scent of magnolias sweet and fresh Then the sudden smell of rotting flesh PAGE 3 PANEL 1: The Crow lands on the shoulder of the rotting, hanging body. CAPTION Here is a fruit for the crows to pluck PANEL 2: The Crow stays perched on her shoulder as time continues to pass, lightning flashing as torrents of rain fall, the body swinging in the cold wind. CAPTION For the rain to gather, for the wind to suck PANEL 3: The sun now beats down on the body as it is almost done rotting, what leathery skin it has left stretches across the haunting face, its blood tears still visible. The Crow remains at its boney post. CAPTION For the sun to rot PANEL 4: Close up: The now heavily weathered rope barely holding onto the corpse. PANEL 5: The rope snaps, the body falling through the air, towards the ground. The Crow, seemingly shocked by the sudden loss of its perch, taking wing in the exact spot where it once sat. CAPTION for the tree to drop PANEL 6: Mid-distance: Veruka’s semi-skeletal body lays on the ground in the shadow of the ancient trees, The Crow circling above it. CAPTION Here is a strange and bitter crop PAGE 4 PANEL 1 TOP BORDER: An EKG pulse line passes over entire the page, one pulse detected, and in the space of the peak is an image of Lillian. PANEL 1: Worm’s Perspective: Close up on Veruka’s face, her decayed corpse lays on the ground below the tree, The Crow circling over head. PANEL 1 BOTTOM BORDER: A second EKG pulse line, another pulse later on the line, in the space of the peak Veruka and Lillian embracing, Lillian looking passionately up into Veruka’s eyes. PANEL 2 - 1ST INNER PANEL: A bolt of electricity cuts horizontal-diagonal across the page, along the way it forms a panel displaying a memory: Dark, close-up of a nude, beaten Veruka, one man kicking her in the stomach while the other one slips a noose over her head. MARK Dyke! SFX (kick) Kak VERUKA Uumpf EDWIN Lilly’s mine, you wife-stealing bull-bitch! SFX (Rope) Shliipp PANEL 2 - 2ND INNER PANEL: The winding bolt of electricity branches out into a second panel displaying another memory: Dark, birds-eye-perspective from up in the tree, close-up on Veruka’s panicked, struggling face, her hands frantically tugging at the tightening rope around her neck, her body flaying as it is hoisted up the tree, the silhouette of two men pulling on the rope below. VERUKA }gasp{ Please }gasp gasp{ PANEL 2 - 3RD INNER PANEL: The bolt branches into a third memory panel: Dark, birds-eye-perspective from the tree, extreme close-up on Veruka’s face, pulled taunt in its struggles, her eyes bulging from the pressure, her hands desperately grasping the ever-constricting rope at her neck. VERUKA }gasp gasp gasp{ PANEL 2 - 4TH INNER PANEL: The bolt branches into a fourth memory panel: Same as previous, but now Veruka’s eyes have exploded from the pressure, their blood flowing down from their sockets, forming into dark tears. Her hands have fallen to her sides, her mouth hangs open, she is dead. Below the silhouetted men grin. EDWIN That’s what your kind gets MARK T’was good n’ tight pussy though, bet it never had a dick ‘til ours PANEL 2 - BACKGROUND PANEL: Same as Panel 1, except now the body of Veruka which lays on the ground, has been restored to how it was in life, with the exception of the blood tears which still trace their path down her cheeks, and the whites of her eyes which are stained red with blood, making her silver-grey irises look ghostly. PAGE 5 PANEL 1: Electric bordered memory: Veruka protectively embraces Lillian, comforting her, as Lillian, in tears and with a deeply worried face, talks to Veruka. LILLIAN He won’t stop until he has me. Veruka, I am so scared Edwin is going to find out about us. PANEL 2 The electric border branches into another panel: This panel is identical to the panel “Page 4 Panel 2 - 3rd Inner Panel”. Below this panel is another EKG pulse line running horizontally across the page, indicating another strong heart beat. PANEL 3: Veruka’s restored corpse surges with life! It rolls on the ground, gasping for breath, and not realising how much time has passed, her hands shoot up to her throat, frantically tugging at the rope around her neck- VERUKA }gasp gasp gasp{ PANEL 4: -but now the weathered and broken rope crumbles at her tearing grasp and falls away; Veruka rushing to breathe, her lungs taking in air for the first time in a year. VERUKA }heew heew{ PANEL 5: Veruka lifts her head in agony, One of her arms reaching forward, her hand grasping the dirt beneath it, as she mournfully mouns- VERUKA Lillian PAGE 6 PANEL 1: First-person-perspective: Veruka’s hand brushes aside a bush, revealing The Crow flying in a full moon lit night sky, hovering over a grand, well kept, yet unlit, mansion. A large trellis, covered in creeping vines, runs up the side of the building to a bedroom window balcony on the second floor. VERUKA (Whispering) Lilly, please don’t worry about me PANEL 2: Normal/Third-person perspective: Veruka’s naked body climbs up the trellis towards the balcony, the railing of which The Crow sits on. PANEL 3: Profile-view: Veruka has made it the top, her arm in the foreground laying across the railing, grasping it as she struggles to pull herself up, the other reaching out towards the window; The Crow perched on the railing on the other side of her. PANEL 4: Now on the balcony, Veruka opens the glass French doors that lead to the bedroom; The Crow flying in. VERUKA Lillian? PAGE 7 PANEL 1: Veruka walks into the dark room. Everything looks overly neat, put in its place, spotless, like some sort of exhibit, unlived in; the bed-covers lie flat, perfectly squared without a wrinkle. The Crow stands perched on the canniped bed post. VERUKA Lillian, are you asleep? PANEL 2: Veruka lays her palm upon the bedspread, her face filling with concern in realising that Lillian isn’t there. VERUKA Lilly? PANEL 3: Veruka rotates the knob which turns on the lights, illuminating the dark room to reveal its sterile, presentation-like state; Veruka stares in bewilderment, her concern not diminishing. VERUKA What? Why’s her room look so...unlived in? PANEL 4: Veruka sits on Lillian’s bed. Next to the bed, against the wall, is a nightstand, on which sits a book with a latchet and a heart shaped lock. VERUKA Lilly, where are you? PAGE 8 PANEL 1: Veruka notices the book; The Crow standing next to it on the nightstand. THE CROW Something worth reading? PANEL 2: First-person-perspective: She picks the book up, focusing on its heart shaped lock. PANEL 3: Third-Person-Perspective, Close up: With her other hand, Veruka touches the heart-crowned key which hangs between her breasts. PANEL 4: Lillian, blushing and nervous with romantic butterflies fluttering within her, holds out a heart-topped key to Veruka. LILLIAN Veruka, I want to give you this, It’s the key to my heart. PANEL 5: Close up: Grasping the key, Veruka pulls on it, breaking the fine chain. VERUKA The key to your heart PAGE 9 PANEL 1: Close up: Veruka inserts the key into the lock SFX (Key) Shlick PANEL 2: Close up: She turns the key, the lock springing open. SFX (Lock) Click PANEL 3: Veruka opens the book. PANEL #: Birds-eye-View - Close up: The book lies open, flat across her naked thighs, her left hand resting on the bottom of the left page, her right hand across the top of the other. On the pages are words written in beautiful feminine cursive from a red pen, each lower case “i” dotted with a heart. CHARACTER Dialogue PANEL #: Description CHARACTER Dialogue PANEL #: Description CHARACTER Dialogue July 16, 2001 I am excited to be going to college, to a new school, to meet new people, and learn new things...But I also don’t see why my parents are even letting me attend, I guess it is just another thing for them to brag about, about how their “Little Lilly” is a “College educated woman”, even though they will only be happy with me being a trophy wife to some rich man, never destined to work a day for myself, never to make my own name in the world, never to walk my own path, but forced to further theirs. August 20, 2001 Today was the first day of school; the classes went well, and I really enjoyed meeting my professors. Leave it to my parents to make sure that I have as many classes with Edwin as possible. Edwin, the boy who from my earliest years our parents have been pushing us to get married, playing with us like their little dolls; and Edwin, always thinking he owned me, that I was his “Little wife”, that he had some claim over me as promised to him by his parents! August 23, 2001 Typical! Edwin couldn’t even go a week without threatening someone over me! I was just chatting with some guy in class before the lecture began, and Edwin walks in, sees us talking, and runs over, all puffed up, yelling and pushing the guy! Damn it!! Can’t I even talk to people without him getting in their faces, beating them up, and yelling at me?! Edwin Goldman disgusts me, and I will never marry him! August 30, 2001 Of course Edwin got picked for lead quarterback, and he’s been bragging about it all day. I don’t know why things like that even matter to him, it’s not like it’s going to be his career, he is going to go into the family business, but I guess a man has to look like a man...makes me sick! They have to beat up one another to feel good about themselves...Well the team can have him, I want nothing to do with any of them! October 28, 2001 Last night was the Halloween Social at school, The story of Lillian's family, of her relationship with Veruka, of the murder, the forced marriage, and the suicide is revealed when Veruka reads Lillian's diary, which Lillian continued to write in until moments before her death, even detailing what she was going to do and why. Lillian hangs herself with her wedding veil the morning after her wedding, to symbolise how he raped, hanged, and killed her, just as he had literally done to her beloved Veruka. END OF SCRIPT My Mirror Does Not Define Me By Kyler Prescott A 14 year old trans-man who committed suicide after being bullied. My mirror does not define me: Not the stranger that looks back at me Not the smooth face that belongs to someone else Not the eyes that gleam with sadness When I look for him and can only see her. My body does not define me: Not the slim shoulders that will not change Not the hips that give me away Not the chest I can’t stand to look at When I look for him and can only see her. My clothes do not define me: Not the shirt and the jeans That would look so perfect on him But that I know would never fit me When I look for him and can only find her. And I’ve been looking for him for years, But I seem to grow farther away from him With each passing day. He’s trapped inside this body, Wrapped in society’s chains That keep him from escaping. But one day I will break those chains. One day I will set him free. And I’ll finally look in the mirror And see me-- The boy I was always meant to be. WILLA 1993-2016 By William Lavinia It is several months before July 20th, 1993. The nurse has called to tell my mother over the phone that she is having a son. My mum is effusive, she mentions her husband has previously only had daughters. Then nurse pauses, and tells my mother to hold. When she returns to the line, she says: I'm so sorry, that was my mistake, the test shows you are having a daughter. That baby's name was Willa. She was born two months early and kept in Sick Kids Hospital for a month. She weighed 3lbs 12oz. Willa could never quite understand why she disliked pink. She couldn't tell you why she made her mother cut the bows off her clothing or why she despised the word 'actress'. Willa liked boys. She was right on track for girlhood. Willa like Disney princesses and dress-up. Her favourite Disney princess was Hercules. Her favourite song was I Can Go the Distance. Willa lost herself in theatre, where you could find her most often cast as every little boy in famous theatre cannon. She was always good at playing boys. Willa called herself a collection of characters. Willa spent a lot of time alone. Willa went through estrogen puberty. Willa was a 34C. Willa wore Revlon No 740 "Certainly Red" lipstick. Willa wore high heels everyday and bleached her hair. Willa's bra and underwear always matched. Willa was a doll I dressed. She gave me confidence and grace and protection. One summer, the most important theatre director in my life told Willa that she was wearing a mask. When Willa was 18, she moved to Canada. Willa liked girls. Willa could no longer wear heels everywhere. Her sense of identity began to fracture. She cried when she tried to read about sapphic sex. Willa still loved the way she looked in nude pictures. Willa couldn't have her breasts touched. Kink brought Willa new options, new words, new head spaces. Non-binary Identity gave her an anchor and guide as she became they. We were no one then. William was a very dark door in my brain, and I didn't have the neural connections to know what was behind it. but time passed, and one day, I did. As if someone had shown me the other side of a quarter I'd been carrying around my whole life: What if, I wasn't a masculine woman? What if, I was a feminine man? What if, I was a drag queen? I began to see myself. William's door was finally unlocked. On a day in 2016, at no particular time or place, Willa's name was manifested for the last time. and I became Will. I think we killed her when I shaved my head. The next day, I went under the knife. I sacrificed the source of much of her power, for the rebirth of a real boy. I am only 1 1/2 years old. On October 26, 2018, Willa came back from the dead. She goes by Archie Maples now. and on April 20th, 2019, while listening to music from my girlhood, every part of me came together to lay her to rest for good. In blood and ink. She is part of my story. She taught me much. She made me a better man. I wouldn't trade my time as her for anything. Though female assignment has caused me hardship, without her, I wouldn't be the creature I am today. My mutant self. Today I am thankful for my womanhood, which is still a part of my non-binary self. I am thankful for all the moon blood I shed, for the intimate understanding of my femme identity, for my hips, for late night women's washrooms, for a childhood that gave me permission to be soft. Today I am thankful for Willa. May she Rest in Peace. July 20th 2019 By William Lavinia Today I am twenty-six years old, yet I am also turning two. I have only been celebrating William's birthday for two years. Everything is different now, we didn't just start a new chapter, we're writing a whole new playbook. Last year I felt like an egg. Brand new, freshly shorn, lost in testosterone sauce. Then my hair began to grow back, and my face began to sharpen. My sense of identity began to sharpen along with it. I can see it, the way people are beginning to react to me differently. I've seen several sparks in cis-men's eyes these last few months, like they were actually seeing me as a queer boy for the first time. I feel positive about coming into my masculine form, positive that my 'boy' headspace is beginning to match my idea of my 'boy' body. I also feel complicated by it. For I am not always a 'boy'. I am a femme too. We live in symbiosis together. I am more than most can hold. I am small, I am strong, I am romantic, my Venus is in Gemini. I am a sadist, I am a service sub. My nails are sharp, my toes are shellacked, my pussy is fat, my cock is small and juicy. I've had it with trying to hide any part of me, and I will not apologise for my sexual, queer, trans life, I will share all of it! If it in any way makes room for any of my beautiful trans siblings, I will gladly put myself on display. PAGE # PANEL #: Description CHARACTER Dialogue PANEL #: Description CHARACTER Dialogue PANEL #: Description CHARACTER Dialogue PANEL #: Description CHARACTER Dialogue PANEL #: Description CHARACTER Dialogue PANEL #: Description CHARACTER Dialogue

The Plot: A teen Goth is beaten one night while leaving a dance club, and later in the hospital he dies. A year later the hospital is haunted by his restless spirit which is made corporeal by The Crow who brings the revelation that his death was caused by more than the beating. CHARACTERS Damaen Damaen is a shy, timid, effeminate and petite 19 year old Goth. Damaen is partly inspired by the real Forensic Data / Damaen, and partly by Sophie Lancaster. Physical appearance inspired by a male model in a Luke Nugent photoset. K’Zee / Kamikaze / Stacie Damaen’s long time best friend, she is an open hearted, fun-loving, person who sees life as an adventure and is always looking for the next fun activity. She tries to bring cheer and excitement to anyone who seems lonely, outcasted or sad. She dresses sort of like a Gothic-Steampunk Amelia Earhart, replete with flight jacket and goggles. The character is partly inspired by the real K’Zee / Kamikaze / Stacie Smakal, and by Zina Nicole Lahr. Her physical appearance is inspired by Zina Lahr. Villains Joseph Andrew Kimveer - first one Damaen kills. Brian Hugh Warner - changed his ways, Damaen spares him. Ryan Dylan Dyleski - The one who is unremorseful, threatens to kill K’Zee, and who had his girlfriend Danielle kill Damaen. Danielle Quinn Harris - The girlfriend of Ryan, she is a nurse and killed Damaen. Their names are based on a jumble of names of people who have caused hardship for the Gothic subculture or who murdered Goths, the names are a mix of: The people who murdered Sophie Lancaster - Ryan Herbert, Brendan Harris, Joseph Hulme, Danny Hulme, Daniel Mallett; The Columbine Shooters - Dylan Klebold, Eric Harris; The Dawson College shooter - Kimveer Gill; The murderer - Scott Dyleski; And the people who attacked Paul Gibbs - Andrew Hall, Ryan Woodhead and Quinn Colley. The one who Damaen spares is named after Marilyn Manson whom it is not his fault that Norms created a Satanic panic over him, but nonetheless his existence did cause hardship for Goths. Forensic used to walk around with tacks in his shoes, you could hear him walking down the halls a mile away! Especially when he ran! Forensic has Temporomandibular Joint Dysfunction and he scares his killers with it by making is jaws snap during fights, it throws them off balance. Plot: Jack Danya Kemplin Writing: Jack Danya Kemplin Artist: (artist) Lettering: (letterer) Edited by: Jack Danya Kemplin The Crow™ © 2016 James O’Barr (under exclusive license to Top Dollar Comics, Inc and Crowvision, Inc.) The Crow™ and “THE CROW”, The Original Motion Picture © 1994 Crowvision, Inc. All rights reserved. Any similarities between characters, names, and/or institutions, living or dead (or undead) is purely coincidental, but for instances of satire, and should not be inferred. This is a work of fanfiction, no part of it may ever be printed or sold without permission of Crowvision, Inc. New pages for beginning of book: K’Zee takes Damaen to The Chamberoom They have a wonderful time dancing, everyone at the club introducing themselves, tWISTEd sPINe, Moon Mistress, Salem, Deaderman, Holy Guyver, Child of Insanity, Child of Destruction Shadow Obscured, N1mrod, Antaydos, Delirium, Hellstorm, LeeAnn, Patsy EP, Devious Vixen, Soul Reborn, 12usted Wings, Acidpet, Kubra D, Skingraff City, Korax Dawn, Draven Maniac, Undedgurl, Aterxia, DJ Jungle, Zorstrom, Smak WEASLE, That Dead Artist, Trigger Puller, QTRNevermore, etc. Soul Reborn and Everlasting Night run the bar, called The Crowbar; Yohko waitresses and dances; The local DJ, DJJungle plays music. Since Damaen is only 19, they serve him Crow Reality Punch. Outside there are three Chav men sitting at their car, badly teasing and harassing the people as they are leaving the club. K’Zee and Damaen exit the club, and the guys start walking up to K’Zee and sexually harassing her. Damaen asks them to stop, and they start harassing him, calling him a fag. They start shoving him worse and worse until they start kicking him and stomping on him. One of them shoots Damaen in the stomach. Damaen, on the ground, is turned to face the sky, from Damaen’s perspective we see the starry sky, then next we see Ryan standing over, his boot coming down towards us, followed by black. Beginning of what is already written. PAGE 1 PANEL 1: First several panels are completely black with only speaking and sound. SFX Rustle Rustle Rustle DAMAEN Can I open my eyes yet? *Cough* K'ZEE Not yet PANEL 2: Completely black with only speaking and sound. SFX Squish Whoosh Squish Whoosh Squeak Whoosh DAMAEN *Cough* Come on! I want to see! *Cough* K'ZEE It's called a Surprise for a reason, Damaen *giggle* PANEL 3: Completely black with only speaking. K'ZEE Okay, you can open your eyes PANEL 4: First-person-perspective, looking slightly up: The darkness has been replaced by the harsh fluorescent lights of a hospital room. In the bottom of the view we see hospital blankets draped over the lower-body and feet of Damaen, the person whose eyes we are looking out of, who is laying on a hospital bed. In front of him to his right is K'zee, dressed in a Gothic-Steampunk fashion with flight jacket and goggles, sort of resembling Amelia Earhart, standing with her body turned slightly to the side, her arms outstretched in presentation as she presents to Damaen that she has erected above his hospital bed, a giant hammock mesh, in the pattern of webs and filled it with stuffed-animal spiders of every size and colour. K'ZEE Ta-Da! DAMAEN Wow! *Cough* PAGE 2 PANEL 1: Third-person-perspective: Side view of Damaen lying in the bed, his IV connected arms loosely wrapping around K'Zee, one of her arms holding tightly around him, her other holding a purple and green stuffed-animal spider which she presses against his chest, between their bodies. Damaen looks sickly and weak, his eyes blacked and sunk in, his cheeks both bruised and gaunt; yet you can see such a loving, caringness in his eyes. K'Zee, who's body is healthy, looks back with the same loving-caring in her eyes. DAMAEN *Cough* Thanks, K'Zee. You always know how to cheer me up. *Cough* K'ZEE I am glad you like it. *giggle* Now I just have to get out of here before the doctors catch me and kick me out for this. PANEL 2: Slightly tighter/more intimate version of the previous panel. Them both looking at each other with such caring, trying to crack smiles, trying to keep their spirits up. DAMAEN Always the little Kamikaze pilot, getting yourself into all sorts of scrapes that would kill anyone else. *Cough* K'ZEE *Giggle* And you, always the safe one, too afraid to fly into life's adventures PANEL 3: Same setting, only slightly change angle to keep interesting. They look at each other with Platonic passion and love, both trying to smile and hope amidst their fears. DAMAEN *painful laugh* Hey, I've had more than enough adventures living vicariously through you. *Cough Cough* K'ZEE Well, once you get better, all of that is going to have to change. *giggle* You know I am going to take you on some great adventures. You need to experience all the exciting moments of life. PANEL 4: Sadness starts to break through Damaen's cheerful mask, and tears start to stream down K'zee's face and her lip begins to tremble as their hurt and fears crack through their facades. DAMAEN I'm not sure I will be strong enough. *Cough Cough* I think I have flown my last mission. Who knew that I would be going Kamikaze before you? *painful laugh* *Cough cough* K'ZEE Don't say that… PANEL 5: K'Zee collapses into Damaen, crying against his chest; Damaen wrapping his arms around her. PAGE 3 PANEL 1: Close up of K'Zee weeping as Damaen's arms and body wraps around her. K'ZEE I should have never asked you to go with me that night! I shouldn't have insisted that you come! DAMAEN *Cough* Come on, K'Zee. You had no way of knowing what would happen. You just wanted me to have a good night *Cough* K'ZEE And look how that turned out! PANEL 2: K'Zee, in sorrow, tears streaming from her closed eyes, turns her head away from Damaen and towards us, tearing off her goggles with her right hand (the one closer to Damaen). K'ZEE I am putting away my goggles for good. No more adventures for me! From now on I will just be Stacie. PANEL 3: Damaen, with his left hand, cups K'Zee's goggles in her own hand, signalling for her to keep them. He gently places his right hand on her jawline, bringing her face back towards his. DAMAEN Now, don't do that Stace. Who would you be if you weren't the K'Zee that I know and love? You have got to keep that adventurous spirit, for me if no one else. Keep having adventures for me, huh? PANEL 4: They both embrace in an upright position, him sitting up on the bed, her sitting sideways in front of him. PAGE 4 PANEL 1: Their sorrowful and compassionate friendly embrace is interrupted by a nurse (Danielle) who is upset with the sight of the ceiling of the room she has entered. K'Zee quickly grabs her backpack and is about to run out of the room. DANIELLE What have you done! K'ZEE Sorry, gotta go! PANEL 2: Damaen puts his hand to his mouth, trying to hold back his amusement at the nurse's reaction and K'Zee rushing out. The nurse, who is around the same age as them, thin and blonde, stands to the left of the door, miffed by K'Zee's actions. In the background, K'Zee can be seen through the open door, running down the hall, bumping into a cart of medical supplies being pushed by another nurse. DANIELLE The Nerve! Who does she think she is? This is a hospital, not a playroom! K'ZEE Oops! Sorry! Gotta run! PANEL 3: Damaen, no longer able to hold it back, chuckles. The nurse walking to the side of his hospital bed. DAMAEN *Hahaha* DANIELLE And you--you encourage her! PANEL 4: The nurse stands next to Damaen's IV drip, and pulls out a syringe. DANIELLE Well, fun-time is over--it is time to rest. Here, I've brought in something that should help you relax. PANEL 5: Extreme-close-up of her hand attaching the syringe to the IV drip-line. DANIELLE You and your friend are just weird, and bad things happen to weird people like that. DANIELLE (BETWEEN THIS PANEL AND THE NEXT) If you knew what was good for you, you would wise up before you both get killed PANEL 6: A completely black panel. DANIELLE There you go, rest up. Nighty-night. PAGE 5 PANEL 1: A black panel with a green heart-rate line steadily bouncing through it. CAPTION Midnight PANEL 2: Black panel with green heart-rate line, but this time the line indicates distress. DIFFERENT NURSE Doctor, Doctor, there seems to be something wrong with the patient! PANEL 3: Black panel, the line now showing major distress! DOCTOR Shit, we are losing him! Get the defibrillator stat! PANEL 4: First-Person-Perspective: The edges of the panel are foggy, the fluorescent hospital lights shine overpoweringly bright, our vision white-washed and distorted as we see a panicked doctor standing over us, pressing the defibrillator paddles to our chest. Danielle, the nurse who gave us the IV injection stands behind him, her face a skull. SFX Zzzzaaapppp Zzzzaaapppp PANEL 5: Black panel, the heart-rate line runs flat. DOCTOR Anyone save a prayer? Page 6 Panel 1: A section of a dimmed hospital hallway, within view there are two open doors leading to brightly lit patient rooms. Nurse Danielle stands at the more distant room door. CAPTION March 4th 2002 - One year later DANIELLE Time for lights out. Panel 2: Her finger flicks off the light switch. SFX Click Panel 3: Over-The-Shoulder view: In the now dark room, there is an old woman laying, covered, in a hospital bed, and an open window, a large bolt of lightning flashing outside of it as the rain falls in torrents and the window blows the billowing room curtains. SFX Ka-craack DANIELLE There's a big storm coming in, so try and get some rest. PATIENT Could you please close my window? DANIELLE Yes, of course Panel 4: The nurse closes the window, as she does so, she looks back towards the door. DANIELLE Hey Chris, could you get the lights and window in the next room? CHRIS (OFF PANEL) Umm...Sure Page 7 Panel 1: Chris, a male nurse, nervously walks towards the room which was closer in panel 1 of page 6. Panel 2: A large crack of thunder runs through the building, causing the power to go out and the hospital to only be light by the lightning from the windows. Chris jumps in fear. SFX CRACK CHRIS Aaahhhhh! Panel 3: Chris stands in the darkened hallway, his face white with fear, his hand on his chest, clutching his heart. DANIELLE (OFF PANEL) Oh, come on, the power only went out, that's all. CHRIS I...I know… DANIELLE (OFF PANEL) The backup generators will kick in any moment now Panel 4: Danielle standing at the now closed window which she was shutting, her eyes rolling with an expression like "Come on, really?" DANIELLE You're not scared, are you? Panel 5: Chris nervously finishes his walk through the dark hall to the doorway. CHRIS Me...no...of course not. DANIELLE (OFF PANEL) Good, then shut off that switch for when the power does come back on, and close that window! Panel 6: Close-up shot: Chris' finger flicks down the light switch. SFX Click Page 8 Panel 1: Chris nervously enters the room, unseen by him is the very, very faint, translucent figure of Damaen, curled into a ball under the window, weeping, as the curtains gently billow, the rain continuing to pour and the lightning flashing outside. CHRIS ...This room just gives me chills some nights... Danielle (OFF PANEL) This is a hospital, the rooms are meant to be a little cold, silly CHRIS I know...but you’ve heard the rumours...that this room is haunted DANIELLE *Hahaha* You actually believe that superstitious crap, Chris? CHRIS Hah, What? No… Panel 2: As Chris walks towards the window, another crack of lightning strikes, scaring him a little. Still unnoticed by him, Damaen becomes a little less translucent. SFX Ka-crack CHRIS ...Well, maybe a little DANIELLE Chris, we work in a hospital, people die here daily, if ghosts were real, don’t you think we would be swimming in them? Panel 3: As Chris attempt to close the window, straining to budge it, the ghost becomes more prominent, his cries more loud as the wind begins to kick up the curtains more. DAMAEN WWWAAAAAAAAAAAAHHH WWWAAAAAAAAAAAAAAAAAAHHH CHRIS Danny...do you hear something?! It sounds like someone is crying out!! DANIELLE It’s just the wind rushing through that damn window Now shut it! PAGE 9 Panel 1: A massive bolt of Lightning strikes right outside the window, the ghost again grows more visible and louder! Chris’s face flushed white with terror, as now he see it! SFX BOOOOM DAMAEN WWWAAAAAAAAAAAAHHH WWWAAAAAAAAAAAAAAAAAAHHH Panel 2: Chris cannot take it any more & flees down the hall, Danielle chasing distantly behind. CHRIS Sorry, Danny, I am out of here! DANIELLE You Coward! Get back over here!! Panel 3: Close-up: She glances back towards the room, rolling her eyes far to the side, the corner of her mouth quivering, signs that she too is a little freaked out. DAMAEN WWWAAAAAAAAAAAAHHH WWWAAAAAAAAAAAAAAAAAAHHH Panel 4: She quickly rushes down the hall too, while still trying to seem brave and unfazed. DANIELLE Hey, come back! If you’re clocking out early, so am I! Page 10 Panel 1: As the ghost of Damaen weeps below the open window, The Crow can be seen gliding in the distant sky, illuminated by a lightning bolt which is striking behind it. SFX Ka-crack Panel 2: The Crow flies in through the open window- Panel 3: And lands on the IV stand. THE CROW Damaen Damaen I know of your pain Panel 4: The Crow, from its IV perch, stares at the sobbing ghostly figure; The ghost of Damaen, still curled below the window, a tortured and tormented look on his face and in his twisted arms, as he continues to become less transparent. THE CROW You were taken from life so young Your life was just beginning And it was ended Panel 5: Close-up: A look of painful rage passes across Damaen's face, him continuing to grow more corporeal. THE CROW (Off Panel) All because you didn't look like what they deemed "Normal" Your life was taken from you unjustly! Damaen, I know of your suffering For the past year your spirit has lingered here, unable to rest Panel 6: The Crow on his perch. THE CROW Damaen, I have come with revelations! You did not die from the beating- Page 11 Panel 1: At hearing this, Damaen's sobbing wails turn into screams of rage, & he grows almost completely corporeal. THE CROW (Off Panel) -You were murdered Here in the hospital Poisoned! DAMAEN WWWAAAAAAAHHH- -AAAAAARRRRRRRRRRRGGGGGGGGGG!!!!!!!!!!!! Panel 2: Close-up: Damaen, throbbing with rage, completely composed of it! Fueled by it! Wills himself completely into corporeal existence! THE CROW (Off Panel) And who knows how many other lives they may destroy Even now they plan to hurt your friend K'Zee DAMAEN AAAAAARRRRRRRRRRRGGGGGGGGGG!!!!!!!!!!!! Panel 3: Damaen, now fully physical, stands erect in his hospital gown, his cut and bruised face, arms, and hands twisted and balled up in rage. The Crow, perched on the IV bag-rack next to him, as the curtains billow frantically and the room is unevenly lit by lightning as the rain torrents outside. Page 12 Splash: Damaen stumbles down the narrow hall, pushing against the wall for support, his face pulled taut in anguish, The Crow on his shoulder. CAPTION Glimer - by Damaen Forensic Data I am afraid There's no getting around it. I am young Though experienced in my youth. I am alone While surrounded by others. I am hopeless Or am I while walking down these halls. I am worthless In your hardened eyes. I am loved By those who have never seen me. I am hated By the man who helped create me. Am I stuck In this fragile web of beliefs. You, the spider, Can make or break my fragile web. I am a glimmer Of light, of hope, of love, if only you'll see me ... Outline of things to be written: Joseph and Ryan, two of the guys who killed Damaen are sitting at their car down the street from the club, still speaking badly of the people who attend the club. K'Zee exits the club alone She walks down the street. The two men see her, get up, & rush to attack/jump her. She tries to fights them off & screams in fear- Out of nowhere Damaen grabs one of the men, Joseph, & smashes the guy's head into the curb of the sidewalk until he is dead. The other, Ryan, seeing this, runs away in fear. K'Zee realizes the man who saved her was her friend Damaen. She notices that he is still in the hospital apron which he died in a year ago, and invites him to go back to her place, where she has kept some of his stuff. Damaen is shown in K'Zee's room, in his closed long black trench coat. They have a moment where they look at his stuff, strewn across her room, mixed in with her stuff. They reminisce about their life together, their friendship, how deeply they cared about one another, how much they were each other's world. Damaen’s stuff strewn and intermingled in the room includes a 12” The Crow action figure by McFarlane Toys, sitting atop the computer, another nearby, still in the box. Others are an Edward Scissorhands figure, Masters of The Universe figures, and spawn figures, including the 12” Mandarin Spawn figure that he thought was just killer! And his collection of trigun related stuff, and his diecast cars surrounding them in their "island of darkness"! ______The above taken from a description Forensic Data gave of his room. Some dried roses hang upside down from the ceiling. K’ZEE They delivered my birthday flowers. All the delivery woman could tell me is that you preordered them a while ago, with instructions to deliver them if you wasn't there to pick them up on the first or second of October ...Why did you order the delivery so far in advance? ...it was like as if you knew? DAMAEN You never know what may come up K’Zee also has Damaen’s cat Mr. Knubs, whom K’Zee calls Kuhteepuu ("kitty poo" said really fast, "kuh-tee-poo"). DAMAEN So what did they say was my cause of death? The gunshot, the bruised organs, the fractured skull? K’ZEE A brain tumour which they found while you were in the hospital. DAMAEN Wow, so I was fucked either way? K’ZEE Well, that is what they said at least; but hey, what else’ new? DAMAEN I am alive again...sort of *laughter* Your Birch tree can’t say the same K’ZEE Yeah, because you pissed on it until it died! DAMAEN I was watering it! DAMAEN So how are my Rentals doing? K’ZEE Chewie is okay, though still overwhelmed by all of the kind things the guys at The Chamberoom said about you. They then remember the night they were attacked a year ago, & the moment they shared in the hospital before he died. Damaen walks over to the closed window, sits on the heater which lies beneath it, and stairs out at the rain drenched peopled passing below. He vows to not allow those who harmed him to do it to anyone else. A poem written by Forensic Data, the last he ever wrote, to incorporate into the above part of the story: _____ As I stare at the window ... The world passes by, Children laugh, People die. I begin to see other things ... Friends far away, Friends passed on, Friends to be there on a rainy day. I look deeper and closer than ever before ... I see a reflection, The room, without me, I seem to escape even my own detection. I'm frightened by this, the room, no me ... I get out of the bed And move to the window, Looking out, my heart is like lead. I lean against the cool sheet of glass ... My warm hand leaving a trail of steam The smooth surface beneath my fingers, The constant reminders of one man's dream. I see him now, outside, taunting ... I try to tell him I'm here, And call out his name, But my own voice fails in fear. I hit the glass with a closed fist, defeated, But before I strike again, It’s caught, And the healing begins. Damn ..... why does that bastard haunt me so ____ K’Zee embraces him from behind. K’ZEE the world kept turning without you there to keep it spinning right. One year has passed so slowly in the batting of an eye. so tortoise slow and light speed fast. the world kept turning without you there to keep its orbit tight. It is night time, the rain has stopped, and Damaen and K’Zee are seated on the rooftop, talking about nothing, joking with one another. DAMAEN Frankly, my dear, I don't give a beaver's lodging! Hey, ever smell mothballs? K’ZEE Yeah? DAMAEN How'd you get their little legs apart? They get in a playful “bitch slap” fight, breaking out into laughter. They embrace, she lays her head upon his shoulder K’ZEE Late Gifts Gifts For all the times you gave me so much And I thought I gave so little back Candles A mirror to add to your wall A shoulder to cry on A moving, untouchable target And now even though you gifts keep coming I can give nothing back And those times before When I thought I gave so little Seem like so much more These words seem so futile So miniscule So small In comparison But I added my heart My compassion My love And though they do not show in words And cannot show in acts now and forever I give them to you All these words And everything I added. And she falls asleep. The next morning she wakes up in her bed, sad that Damaen isn’t there to greet her, and thinking that the previous night must have been a dream, but then as she goes to look out the window, she finds in its sill, leaning against the glass, a message written on a notebook, “Boo! Don’t be sad K’Zee, it wasn’t a dream, I’ll be back tomorrow, I promise. D.” At the funeral for the man Damaen killed, Joseph Andrew Kimveer, Damaen watches from far off in the graveyard, he does not wish to cause a scene at the funeral or cause harm to innocent family members and friends. Damaen recognises the other attackers as they arrive and sign the guestbook, Joseph’s Book of Ego. After the funeral he takes the guestbook, which has the addresses of the people who attended, including the ones who killed him: Brian Hugh Warner 1989 Marilyn Rd. Blue Springs, MO 64013 Ryan Dylan Dyleski 2007 Bacup Blv. Blue Springs, MO 64013 Danielle Quinn Harris 1999 Columbine St. Blue Springs, MO 64013 Damaen shows up outside the house of Brian Warner, one of the men who killed him, the guestbook in Damaen’s hand. Brian, in his bedroom, sits at his desk working on a paper so intently that he doesn't notice Damaen behind him. Damaen confronts him, but Brian reveals that he deeply regrets what he has done, and that he has turned his life around & is helping people. Damaen sees that this is true, & lets him live. Back at K'Zee's K’Zee awakens to see Damaen looking down on her with a silly smile. DAMAEN Boo! Good morning, you look good! K’Zee gets out of bed. Damaen tells her of his decision to let that one live. He then reflects on how he has only two more left. K'Zee asks Damaen to join her one last time to The Chamberoom; he agrees to it. As they walk in the rain towards the club, Damaen begins to dance and sing: DAMAEN I'm singing in the rain Just singing in the rain What a glorious feelin' I'm happy again I'm laughing at clouds So dark up above The sun's in my heart And I'm ready for love Let the stormy clouds chase Everyone from the place Come on with the rain I've a smile on my face I walk down the lane With a happy refrain Just singin', Singin' in the rain … Why am I smiling And why do I sing? Happy and head up With joy in my heart Because I am living A life full of you. In The Chamberoom they are met with the friendly loving faces of their old friends, and Damaen and K’Zee dance and laugh the night away. Damaen arrives at the house of Ryan, the one who asked his nurse girlfriend, Danielle, to poison Damaen. Before killing Ryan, Damaen mentions how he will have to kill the man's girlfriend too. Ryan, the one who previously ran away in fear, is now very rude & spits on Damaen's face while calling him a "Queer ass faggot!" & threatening to kill K'Zee too. Damaen kills him. Damaen draws a chalk outline around Ryan’s body and says, DAMAEN I am the faceless shadow. I am the shadowless figure. I am the figure with no form. I am the best lost cause. I am the Forensic Data! Danielle is working at the hospital late at night. It is another stormy night & she goes into Damaen's old room the close the window. Damaen appears & confronts her. She begs for mercy, saying that she doesn't deserve to die since she has, in being a nurse, saved so many people's lives. Damaen explains to her that is not enough. That although he let one of them live, because he was saving people; that he could not let her live, because there is a fundamental difference. The other one only intended to beat him up, but has now changed, and is helping people. Where as she on the other hand, she deliberately chose to, while in the guise of a nurse there to help him, poison him to death, when he otherwise would have survived; and for that, her actions are unforgivable & must be punished. While he has been telling her this, he has been walking closer to her, her backing up. At one point she knocked over syringes of medicine. At the end of what he said to her, she backs up one more time, & accidentally stabs herself with some of the syringes. Damaen then tells her that it isn't him who is going to kill her, but that she has already killed herself by her own actions. She is then shown alone in the dark hospital room, dead on the floor from the medicine overdose of the injections. The comic ends with a hazy tribute image of K'Zee & Damaen having a great time dancing at The Chamberoom, surrounded by their friends, and the text dedicating the book to Forensic Data/Damaen's memory. Dedicated with love from everyone at The Chamberoom To the memory of Damaen / Forensic Data 11/05/1981-03/04/2001 A young man who conquered all the things he faced, except one. Now you truly are a Crow Immortal

Thank you for your interest in this project, C3 and I are very grateful and honoured by your contribution and collaboration. I am Jack Danya Kemplin, the current owner and Editor-in-Chief of C3: Collective Crow Comics. C3 was originally created as a fanfiction website in October 2000, specializing in The Crow comics created by fans. C3 has recently developed the goal of publishing original works, building a name for itself in the business, and eventually being granted permission to license The Crow brand so as to publish our Crow stories officially. Because this story will be initially released as fanfiction, there will not be any pay for it, it will be done out of love for The Crow comics, and for your portfolio. C3 has previously had projects with now famous comic book creators such as Ben Templesmith. You of course retain full permission to sell the original art pages created for your projects with C3. If C3 is able to officially licensed these stories in the future, C3 will give you back-pay for your work, as well as royalties from the future sale of books. I can be contacted by e-mail at jackkemplin@gmail.com or collectivecrowcomics@gmail.com which is technically the one files are supposed to be submitted through, but submitting it through the jackkemplin one serves the same purpose. We are currently in need of an Artist who can draw in the style of Alphonse Mucha for a full colour two issue comic book. The book takes place in the 1910's and 1920's, with a theme of Women's Suffrage. . The plot for Light: in 1916 a 13 year old girl and her family are murdered for their support of women's suffrage. In 1924 the girl's ghost contacts her childhood best friend, asking him to help her avenge their murder, and with the help of a mythical Crow and a skeletal cowboy she is able to set the wrong things right and find peace. If you are not familiar with The Crow mythos, here is a summary: The Eternal Power of The Crow possesses the bodies of people who's souls cannot rest, using the blood of The Gorgon to bring them back to life. While reanimated that person has until the blood of The Gorgon runs out, to do something which brings their soul peace. If they do not find peace by the time the blood of The Gorgon runs out, then they lose their powers and begin to rot. The Crow is not a corporeal bird, but an ethereal one existing in the avatars' minds, and sometimes being visible to others. The avatar can hear The Crow speaking to them in English, and this condition of being dead, yet alive again, disturbs and deranges the avatars' minds, making them more poetic, more psychotic, more sadistic. Some The Crow comics which may help you better understand our comic: Flesh And Blood (to become familiar with female avatars of The Crow) http://thecrowcomics.wordpress.com/2012/02/24/the-crow-flesh-and-blood-1-1996/ The Crow: Flesh and Blood # 1 http://thecrowcomics.wordpress.com/2012/02/23/the-crow-flesh-and-blood-2-1996/ The Crow: Flesh and Blood # 2 http://thecrowcomics.wordpress.com/2012/02/23/the-crow-flesh-and-blood-3-1996/ The Crow: Flesh and Blood # 3 Curare (to become familiar with Little Girl spectre avatars of The Crow) http://thecrowcomics.wordpress.com/2013/06/14/the-crow-curare-1-2013/ The Crow: Curare # 1 http://thecrowcomics.wordpress.com/2013/08/29/the-crow-curare-2-2013/ The Crow: Curare # 2 http://thecrowcomics.wordpress.com/2013/10/26/the-crow-curare-2-2013/ The Crow: Curare # 3 Wild Justice (To become familiar with The Crow mythos) http://thecrowcomics.wordpress.com/2012/02/23/the-crow-wild-justice-1-1996/ The Crow: Wild Justice # 1 http://thecrowcomics.wordpress.com/2012/02/23/the-crow-wild-justice-2-1996/ The Crow: Wild Justice # 2 http://thecrowcomics.wordpress.com/2012/02/23/the-crow-wild-justice-3-1996/ The Crow: Wild Justice # 3 The Crow Author's Edition/Special Edition [cannot currently be read online] (To become familiar with all of the basics and everything there is to know about The Skull Cowboy) http://www.amazon.co.uk/Crow-Special-James-OBarr/dp/0857687956/ref=sr_1_1?s=booksandie=UTF8andqid=1410445697andsr=1-1andkeywords=the+crow+special+edition There are 2 videos/songs which are big influences on our story. https://www.youtube.com/watch?v=4AzUauQEfd0 Last Goodbye - Alyona https://www.youtube.com/watch?v=co6qKVBciAw Bad Romance: Women's Suffrage and Alyona, that woman singing Last Goodbye, is also in part physical inspiration for adult Audrey. And Alice Paul, the inspiration for the character of the singer in Bad Romance Women's Suffrage is partly inspiration for Audrey’s mother Melanie. The art style for the comic should be reminiscent of Suffragette posters Which were very Art Nouveau / Alphonse Mucha, so here is a Mucha showing how the art of our comic should be styled Some Mucha's that show how he may have done sequential art are and I believe a comic done in his style, with even the sequential panels done in his style, would be spectacular. Audrey Light obviously has several appearances depending on the ages she is depicted at and whether or not she is ethereal or corporeal. The one thing which ties all of her appearances together is her very long, bright blonde hair. During life she is dressed as a Victorian girl of her age would dress, she is thin, but pretty. As a ghost she is slightly transparent, muted colours almost to the point of being white with a hint of blue, and in a long flowing white loose gown, with full sleeves and a high collar. She also has very thin, almost unnoticeable cuts in her skin going down her face from forehead to cheeks across eyes. As a corporeal undead adult she still has that long blonde hair, though the gashes in her face are far more thick, jagged, and prominent. Contrary to the drawing I did of her, her breasts should only be B's, nothing bigger, and her hips should be restrained, please do not sexualize her adult figure too much. I apologize for the oversexualized figure in my art. And if you feel it appropriate, you may add the man's shirt under the vest to her adult wardrobe as well. adult Audrey's physical appearance is similar to this woman's, but with hair almost to her knees Another reference for adult Audrey is this So take that first woman, make her blond hair go down almost to her knees, and then put her in the clothing of the second woman with the weapon of the second woman as well, and you have adult Audrey. As for young spectre Audrey, she looks similar to Curare (from The Crow: Curare) but with very long blond hair Adult spectre Audrey looks like Adult Audrey but with the thin scar lines of young spectre Audrey and the dress of young spectre Audrey with her adult body-shape underneath. The Light family is middle class, Melanie Light is lovely and feminine, but she can also hold her own, and has her own voice, which her husband supports. Visually you can pretty much depict them as you wish, though they should both be thin, Melanie blond, and Brandon dirty blond to light brown hair. Audrey's mother Malenie Light looks like a blond version of Suffragette Alice Paul Nick should, at all ages, have short-medium length feathery hair, of a black colour. He is thin and of average build. Nicholas’ hair should look somewhat like this, but black, and giving off more of an appearance like feathers Nick's family: Middle class, average build, and black hair, the rest is up to you. The Skull Cowboy is a recurring character within The Crow franchise. He is a previous avatar of The Crow who was unable to bring peace to his soul and therefore lost his powers and began to rot. He now helps other avatars try and stay on task so they do not end up like him. He is a skeleton with small bits of rotting flesh and hair in a tattered cowboy outfit. Images of The Skull Cowboy can be found here https://drive.google.com/folderview?id=0B0IjGUVAoq-adFlQM2Uxdm05VGsandusp=sharing The bad guys are a mixture of poor and well to do, conservative and ignorant, scheming and the type to take advantage of others. As to which is more one type than the other, I hope my writing conveys that well in their individual character. The Light family home is a humble shack, two bedrooms, and a main room which is both the living room and the kitchen combined. The floor is wood, with some flagstone on top of it directly underneath the wood stove. Plot: Anna Kuyper (Deaderman) Jack Danya Kemplin (Holy Guyver) Writing: Jack Danya Kemplin Art: Zoe Blickenstaff Lettering: Jack Danya Kemplin C3: Collective Crow Comics Editor: Jack Danya Kemplin The Crow™ © 2013 James O’Barr (under exclusive license to Top Dollar Comics, Inc and Crowvision, Inc.) The Crow™ and “THE CROW”, The Original Motion Picture © 1994 Crowvision, Inc. All rights reserved. Any similarities between characters, names, and/or institutions, living or dead (or undead) is purely coincidental, but for instances of satire, and should not be inferred. This is a work of fanfiction, no part of it may ever be printed or sold without permission of Crowvision, Inc. ISSUE ONE PAGE 1 This entire page/scene is set at a funeral gathering in a cemetery. The sun is setting as the scene goes on, clouds slowly engulfing the sky, and rain starting to fall. By the final panel the sun is set, the sky is all clouds, and it is pouring rain. PANEL 1 A funeral gathering at a cemetery. CAPTION Tales that begin in the minds of children echo on through myth and fable. It is only when one of pure heart is willing to allow the truth, then all pain can be released...into the light. PANEL 2 Close up on Nicholas Day standing and mourning with his parents standing behind him. CAPTION 1916. It is hard to deal with the loss of a friend, it is even harder when you are only 13 years old. Nicholas Day is now confronted with that nightmare. PAGE 2 PANEL 1 Close up of his parents talking. JULIA Charles, I cannot believe it, the whole family, and what happened to little Audrey... CHARLES Indeed Julia, She had her whole life ahead of her. What could they have done to deserve this? PANEL 2 Julia, shaking looks deeply at Charles. JULIA Charles, do you believe in ghosts? CHARLES You're tired and spooked, darling, maybe we should go home. JULIA No, Charles, I am not a child. I saw something... PANEL 3 As she describes what she saw, we see Audrey Light’s ghost standing near the tombstone, Julia intently staring at it as Charles tries to comfort her. JULIA A translucent figure... CHARLES My darling, you mustn't let the mind play tricks on you. JULIA But it was so real... PANEL 4 Charles takes her into his arms and holds her, hoping she'll let go of whatever she thinks she saw. Nicholas still in front of them. NICK I wish Audrey was still here... PAGE 3 PANEL 1 Long panel down the side CAPTION Eight years later The Grown Nicholas swings open the door of his parents house and enters. NICK I came as fast as I could, mother PANEL 2 Nick and his mother embrace. NICK The Tanney's have offered to help arrange for the burial. Is there anything I can do for you? JULIA No, Nicky, I am not a child, I will be fine. We've always known your father had a weak heart. PANEL 3 JULIA I missed you so much, baby. NICK I missed you too, Momma. PANEL 4 JULIA How's it going between you and Rebecca? NICK Things...Didn't work out. JULIA Nicky, She'll come back to you, if she loves you... PANEL 5 NICK It's not that...I just can't seem to find anyone right for me. JULIA You are still young, there will be others. NICK I'll worry about that after Dad's funeral. PAGE 4 PANEL 1 Close up on a headstone which reads "Charles Oaklen Day" PANEL 2 Nick is standing before the headstone. The gates of Darling Cemetery can be seen behind him. PANEL 3 Nick turns his head as he hears a weak, haunting, faint voice on the breeze. AUDREY Help... PAGE 5 PANEL 1 Having turned his head Nick sees the transparent, ghostly figure of Audrey Light, clothed all in white. PANEL 2 Nick walks over to the young girl who is standing by a cross shaped gravestone. NICK Did you ask for help? What are you doing here? AUDREY Waiting for my mother and father. NICK Well, what's your name? AUDREY Audrey Light... PANEL 3 His mouth gapes open in puzzlement NICK Audrey... PAGE 6 PANEL 1 At hearing that name Nick nervously looks at the engravings on the gravestone next to her NICK ...Light... PANEL 2 Close up of the grave, it reads: Brandon Lee Light Melanie Laine Light Husband and Father Wife and Mother Audrey Lynne Light Daughter PANEL 3 he recalls back to the funeral on that day so many years ago, standing with his parents, mourning his friend PANEL 4 The shock of totally realizing who he's talking to sends him falling to the ground, out cold. PAGE 7 PANEL 1 From Nick’s point of view: Nick's eyes open up and Audrey Light is right over him. AUDREY Are you okay, Nicky? PANEL 2 He crawls backwards hastily and screams, tripping over some grave markers. NICK You...you're-Ouch!-you're...you're Audrey... PANEL 3 In an instant Audrey, who was in front of Nick, vanishes, and appears behind him. AUDREY Why are you running and screaming? PANEL 4 Nick, freaked out and with trepidation, turns, looks behind himself and sees Audrey there. He screams in fright. NICK Aaahhhhh!!! Audrey finds his behaviour humorous. AUDREY You're silly. PAGE 8 PANEL 1 In disbelief, and out of breath, He sits up and just looks at her. NICK Wh...What do you want? AUDREY I'm waiting for my Mother and father. PANEL 2 NICK Audrey, it is 1924...you and your family were killed eight years ago. PANEL 3 The ghostly image of Audrey Light grows blindingly bright. PAGE 9 PANEL 1 The illumination dims revealing their surroundings as they were in 1916. AUDREY Thank you. PANEL 2 NICK Wh...What happened? AUDREY You helped me complete my first task. NICK Task? PANEL 3 AUDREY Look... Audrey points PAGE 10 PANEL 1 Living Audrey is playing in the park with young Nick. CAPTION 1916 CAPTION (AUDREY) ...This is the day I was murdered... PANEL 2 Her mother calls out to her MALENIE Come Audrey, it is time to practice your reading LIVING AUDREY See you tomorrow at my birthday party, Nick! YOUNG NICK Yeah, it will be fun. Bye Audrey! PANEL 3 At home Melanie, Audrey's mother, is teaching Audrey to read Mark Twain's 'Advice To Little Girls', MELANIE If your mother tells you to do a thing, it is wrong to reply that you won't. It is better and more becoming- PAGE 11 PANEL 1 the door bursts open revealing three men. SFX Slam MELANIE AND AUDREY Aaahhhhh! PANEL 2 The three men rush in. MELANIE Who are you people? FORREST Do what you have to, guys. I'll get Daddy dearest. PANEL 3 As Forrest walks past, Melanie reaches in the direction of her husband Brandon. MELANIE Brandon! PAGE 12 PANEL 1 Quentin Mark grabs Audrey, Garrett Way grabs Melanie. She struggles to break free of Garrett. GARRETT Ain't she a wild little mare! (stroking Melanie's cheek) Think I should break her in? QUENTIN Forrest did say for us to do what we had to. PANEL 2 Garret rips open Melanie's dress PANEL 3 Quentin fondles Audrey's small budding breasts, Melanie struggles to try and help her daughter. QUENTIN You ever had a man? AUDREY No, please! QUENTIN You'll have one today. I never had myself a virgin before! PAGE 13 PANEL 1 Garret slaps Melanie hard in the face GARRET This will teach ya’ your place! SFX Smack PANEL 2 QUENTIN Mommy's little girl, huh? How does it feel to submit to a man? PANEL 3 The closed bedroom door FORREST Didn't your daddy ever teach you how to handle women? BRANDON Yes, they are to be treated with kindness and respect, As Equals FORREST Then your daddy done taught you wrong. They are to be kept in line, so they don't get too ambitious. But I guess your head's too thick to get that, lets see if it's too thick to get this SFX Bang PANEL 4 Duncan Forrest emerges from the other room QUENTIN Well, your pappy's dead. Time for you two to join him. PAGE 14 PANEL 1 They throw Melanie and Audrey against the wood-burning stove PANEL 2 Garrett grabs the wood cutting hatchet next to the stove PANEL 3 Raising it high above his head with an evil gleam in his eyes. PANEL 4 Melanie gives out a shriek PANEL 5 as the hatchet comes down onto her windpipe stifling the shriek before it can finish. PAGE 15 PANEL 1 Garret then tosses the hatchet to Quentin as Audrey, cowering next to her dead mother, looks up in trepidation. GARRETT She's all yours PANEL 2 Quentin slams the hatchet down upon Audrey face cutting downward across one eye PANEL 3 The wound is ghastly visible as he raises the hatchet from her head PANEL 4 Again the hatchet is brought down upon her delicate face over the other eye. PANEL 5 Both mother and daughter lay dead, their mangled faces and figures leaving a nightmarish scene. PAGE 16 PANEL 1 Adult Nick standing, emotionally destroyed by what he has just witnessed ADULT NICK I...I am so Sorry, Audrey. I didn't know it happened like that. PANEL 2 The memory of him at the funeral with his parents CAPTION(NICK) The day you died was the hardest day of my life. I felt alone, utterly alone. PANEL 3 Audrey and Nick playing as young children CAPTION(NICK) I lost my life-long best friend. We grew up together, had known each other our whole lives PANEL 4 Slightly older Audrey and Nick walking together CAPTION(NICK) No one knew me as well as you did, Audrey, and no one could make me more happy CAPTION(AUDREY) I felt the same way, Nick PANEL 5 13 year old Nick giving nearly 13 year old Audrey a flower CAPTION(NICK) This might sound crazy, Audrey, but I loved you, I always had. PAGE 17 PANEL 1 Immediately the ethereal 13 year old phantom figure of Audrey illuminates blinding out all surroundings. PANEL 2 They have returned to the cemetery of 1924 at the cross shaped tombstone with Audrey's family's epitaph. Audrey's spirit no longer resembles that of a 13 year old. She has transformed into a beautiful ethereal woman, her spirit's appearance now matching Nick's in age. Nick Staring in awe at Audrey's now 21 year old form. AUDREY I loved you too, Nicholas NICK Audrey, you are Beautiful! PAGE 17 PANEL 1 Nick Realizing what just happened, Audrey's transformation and their change in location. NICK Wh...What just happened? AUDREY I completed my final task... PANEL 2 Low to the ground angle, background Audrey and Nick, foreground the bottom of a tattered duster-jacket and cowboy boot. A gravelly voice cracks in SKULL COWBOY I'm Afraid not yet, My Dear! PANEL 3 Turning around, they see The Skull Cowboy. AUDREY But I completed both tasks you gave me... PAGE 18 PANEL 1 Full body front view of The Skull Cowboy SKULL COWBOY Unfortunately, in your previous state, you would've been unable to carry out the rest of your mission. But now you are ready and now...You know what to do. PANEL 2 Close up of Audrey's face. Awareness and necessity of what needs to be done crowds her mind. PANEL 3 AUDREY Nicholas, I must ask one last favour of you. NICK Anything, Audrey... AUDREY May I kiss you? PAGE 19 PANEL 1 Audrey and Nick passionately embrace and kiss CAPTION (AUDREY) Kiss me, please kiss me Kiss me out of desire, and not consolation PANEL 2 As their mated souls touch, Nick's flesh from his lips begins to grow onto and cover Audrey's Ethereal body making it corporeal, moving downward across her as the flesh leaves his spirit, making him more and more a fleshless ethereal ghost. CAPTION (AUDREY) You know it makes me so angry 'cause I know that in time I'll only make you cry PANEL 3 As the flesh completes its graft onto Audrey, Nick's ethereal spirit begins a metamorphosis, sprouting black feathers, a beak, and feet. PANEL 4 Close up on Nick as The Crow (bird) perched upon the cross shaped tombstone of The Light family grave. It is nighttime and raining. PAGE 20 PANEL 1 Landscape shot of The Crow perched upon the cross shaped tombstone of The Light family grave. It is nighttime, and the rain falls in torrents. CAPTION 1924 CAPTION The bells out in the church tower chime PANEL 2 the muddy ground at the foot of the tombstone begins to move and churn CAPTION Burning clues into this heart of mine PANEL 3 A beautiful nude woman with long flowing blond hair rises out from the grave, covered in mud, the rain falling down upon her CAPTION Thinking so hard on her soft eyes PANEL 4 The rain washes away the mud as she walks out of the cemetery CAPTION And the memories offer signs PAGE 21 PANEL 1 Quentin stumbles to an outhouse, dropping an empty whisky bottle on his way. PANEL 2 unleashing animalistic grunts as the results of what he ingested flies out PANEL 3 At that moment the door flies wide open. PANEL 4 Wiping the vomit from his face QUENTIN Close the damn door. PAGE 22 PANEL 1 Audrey pins Quinton against the wall. PANEL 2 Audrey begins to unbutton his shirt QUENTIN Darling, I don't know who you are, but you could've picked a better time. PANEL 3 Audrey, knelt down, undoes his belt buckle and pants buttons. AUDREY You knew me not back then and will not know me now. PAGE 23 PANEL 1 Quentin with an aroused grin on his face, while the top of Audrey’s head is just barely visible at his waist. QUENTIN ...Who are you? PANEL 2 Audrey looks deep into his eyes, Quentin only now noticing the hatchet wounds over them. AUDREY Do you not see innocent eyes on my horrid face? QUENTIN (in disbelief) ...She couldn't of survived that... PAGE 24 PANEL 1 Audrey Throws Quentin into the wooden toilet, splintering it. SFX crash PANEL 2 She then grabs him by both boots as he slips into the septic. AUDREY Wait! PANEL 3 His head nearly touching the waste. QUENTIN Whew PAGE 25 PANEL 1 She slips off one boot. AUDREY I forgot these! PANEL 2 He sinks lower, his forehead now submerged. QUENTIN No, please! PANEL 3 She slips off the other AUDREY Thanks! PANEL 4 And he falls completely into the refuge, gurgling unto suffocation, submerging into and becoming one with what he truly is. SFX plunk QUENTIN Gurgle gurgle PAGE 26 This page will be made up of 4 panels starting with one at the bottom left of the page, each panel going up the next level higher and to the right as we travel up her body. The final panel being the size of all of the others combined, thus revealing her whole body. PANEL 1 (still in the outhouse) Audrey's finishes putting on the second black leather boot. PANEL 2 Audrey is buttoning up the black leather pants. PANEL 3 Audrey is buttoning the top of the black leather vest. PANEL 4 Audrey full body shot. ISSUE TWO PAGE 1 PANEL 1 Beneath the billowing grey deluging skies, Audrey walks across a brown unkempt field landscape, towards her eight year abandoned family home. Nick, as The Crow, flies alongside her. THE CROW Where are you going, Audrey? AUDREY Home... PANEL 2 Audrey swings open the door. SFX Creeek PANEL 3 Panorama of the house Seeing a home covered in eight years of dust, dried blood still splattered where they were killed. PAGE 2 PANEL 1 Walking over to where they were killed, crouching down and placing her hand in the spot where she died. PANEL 2 Her as a little girl laying dead in that spot with the hatchet wounds over the eyes, the blood fresh. PANEL 3 Back to adult Audrey at the empty spot, she is overwhelmed with emotions. ADULT AUDREY What did we do to deserve this? PAGE 3 PANEL 1 Adult Audrey walks into her parent's bedroom. A panorama shot of the room. PANEL 2 She sees the spot where her father was killed. PANEL 3 A memory of him playing, bouncing her when she was a very young girl. PANEL 4 Him playing piggy back with her, still a very young girl, her laughing and smiling with her father. PANEL 5 Audrey is now aged 12, a few days before her 13th birthday. Her father is playfully dancing with her as they walk down the street. PAGE 4 PANEL 1 (this is to be drawn ambiguously so the reader doesn't know what the march is about and whether it is a fun parade or something else. The March will be shown in an unambiguous way in a few pages when she remembers more about her mother) Audrey remembers a march, sort of like a parade, coming down a street. There are crowds of people on both sides of the street watching it. On the nearer side, amidst the onlookers, stands Brandon Light, his daughter Audrey is seated upon his shoulders so as to get a better view. YOUNG AUDREY Hahahaha! PANEL 2 Closer shot of them, the march still in view. YOUNG AUDREY I love you daddy! PANEL 3 Melanie can clearly be seen walking in the march. BRANDON (Pointing) Darling, look! Here comes mommy YOUNG AUDREY (waving) Mommy! PANEL 4 Melanie waves to them and they wave back. PAGE 5 PANEL 1 To escape the memories, Adult Audrey turns away from where her father was killed. PANEL 2 And finds herself staring into the mirror of her mother's vanity dresser. PANEL 3 A flash of a memory of her mother in the mirror. PANEL 4 She stares at the woman she sees in the mirror, this is the first time she has seen the adult her. She marvels at how much the woman she sees in the mirror looks like her mother. ADULT AUDREY Is...is that me? Mommy, I look so much like you... I...would have...looked like you... There is so much of you reflected in me. PAGE 6 PANEL 1 Adult Audrey opens up a drawer PANEL 2 Gently pulling out one of her mother's folded up dresses. PANEL 3 She Remembers playing dress up with her mother, putting on her mother's make-up and gowns. YOUNG AUDREY Mommy, I look just like you! PANEL 4 Adult Audrey then notices several items on the vanity that she never noticed before, because they are things a child wouldn't notice. A suffragette sash, purple, white, and gold with the words "Votes For Women" printed on it. PANEL 5 She remembers that when they played dress up, her mother put the suffragette sash over her. MELANIE Just a few more things, haha. There, now you look just like me. CAPTION (ADULT AUDREY) Mommy, I wanted so much to look like you, to be like you. Now, when I look in the mirror I see you... And I am lost... PAGE 7 PANEL 1 On the vanity Adult Audrey sees the Suffragette rosette PANEL 2 She again remembers the march her and her father attended, but it is in so much more clear detail now. She sees it is not a parade, but a rally promoting female equality and Women's suffrage. Some in the town clearly support the women, standing on the same side as Audrey's father and her, cheering on the brave women. She again remembers her mother marching, now in full detail with sash and rosette along with the other Suffragettes in town. PANEL 3 Adult Adurey sees a news article about the suffrage movement on the wall. It mentions the rally and the pro-suffrage and anti-suffrage crowds. PANEL 4 She now remembers the crowd opposite the one her father and her were in. This other crowd shouting, degrading the women, holding signs putting down the suffragettes, listing ridiculous reasons women should not be allowed to vote. SIGN Mr Voter: VOTE NO ON WOMAN SUFFRAGE The Ballot will secure a Woman No Right that she Needs and Does not Possess MAN Women are too emotional to vote! SIGN Vote NO On Woman Suffrage BECAUSE 90% of the women either do not want it, or do not care BECAUSE it means competition of women with men instead of co-operation BECAUSE 80% of the women eligible to vote are married and can only double or annul their husbands' votes BECAUSE it can be of no benefit commensurate with the additional expense involved BECAUSE in some States more voting women than voting men will place the Government under petticoat rule BECAUSE it is unwise to risk the good we already have for the evil which may occur MAN You never can depend on a woman! Do you want your leaders chosen based on what time of the month it is?! SIGN The HOME LOVING women do NOT WANT the BALLOT VOTE NO on WOMAN SUFFRAGE MAN Woman Suffrage is a MENACE to the Home, Men's Employment and ALL Business! PAGE 8 PANEL 1 Three of the men come out from the anti-suffrage crowd, angrily approaching her mother as the women march by. PANEL 2 Forrest shoves Melanie. FORREST Who the hell do you whores think you are? PANEL 3 GARRETT Yeah! Go back home! You disgrace your husband! MELANIE My husband happens to support a woman's equality! GARRETT He must be a dandy PAGE 9 PANEL 1 QUINTON Ya' ram this stuff into your children's heads too?! MALENIE This is a new century! The dawn of a new world! A world better than people like you! PANEL 2 Close up on Duncan Forrest's face FORREST We will see about that... PANEL 3 Adult Audrey crying. PAGE 10 PANEL 1 Adult Audrey picks up her mother's rosette PANEL 2 And pins it to her vest PANEL 3 Audrey wearing the rosette, The Crow perches on her shoulder. AUDREY I must do this for her THE CROW She didn't die in vain, Audrey. Women won the vote 4 years ago in 1920 with the passage of the 19th Amendment to the Constitution. PAGE 11 PANEL 1 Nighttime, the front of a building, a sign above the door reading SIGN National Woman's Party Headquarters A sign in the window reading SIGN Learn why women OUGHT to vote! A sign in the other window reading SIGN Women register to vote today! PANEL 2 Closer shot focusing in on a narrow passage space between the National Woman's Party Headquarters and the building to the left of it. PANEL 3 Closeup of a flask being pulled out of a boot PANEL 4 Closeup, the flask is brought up to the lips of a man who drink from it PAGE 12 PANEL 1 Less closeup, The Man spits. The shot reveals another man standing next to him, it is Duncan Forrest and Garrett Way. FORREST Damn booze taste like shit ever since those Prohibitionists got their way PANEL 2 Forrest passes the flask to Garrett GARRETT Yeah, and who knows what trouble these women are going to cause now they got the vote PANEL 3 Garrett takes a swig GARRETT Where the Hell is Quentin? Late as always FORREST No doubt passed out drunk somewhere PANEL 4 Garrett makes a disgusted face at the flask GARRET At least someone can stand this bootlegged piss PAGE 13 PANEL 1 GARRETT Well he probably ain't going to wake 'til tomorrow afternoon PANEL 2 FORREST No time to wait, we've got to do this tonight PANEL 3 FORREST you ready to teach those ladies a lesson? GARRETT Can't come soon enough PAGE 14 PANEL 1 A vision of the suffragettes instructing women on how and why to vote CAPTION (FORREST) Tomorrow night at their Women Voters meeting PANEL 2 Forrest hands garret a crate FORREST they'll get a lesson which should teach all women to remain in their place PANEL 3 Close up on crate, revealing the words "explosives" GARRETT It's fireworks time! PAGE 15 PANEL 1 Forrest and Garrett are finishing planting the explosives GARRETT That just about it, then? FORREST Just about, maybe we oughta-- PANEL 2 THE CROW (OFF) Caw Forrest, startled, twists his head in the direction of the noise FORREST --what's that noise?! PANEL 3 Full body shot of Audrey nearly in silhouette blocking the exit of the passage, her eyes and scars seeming to glow, The Crow perched on her shoulder. AUDREY That noise would be me PAGE 16 PANEL 4 Duncan Forrest and Garrett in foreground, Audrey in front of the exit in the background FORREST Seems Quentin's drunk arse blabbed our plans...and that these crazed broads now think they can wear our clothes and fight us... GARRETT I'll teach her, Duncan PANEL 2 Close up on Garrett holding a knife PANEL 3 Garrett's knife and Audrey's hatchet clash in mid air SFX Chank PAGE 17 PANEL 1 Audrey tackles Garrett to the ground, his head landing near the explosives’ detonator SFX Ouff PANEL 2 She is on all fours on top of his body, glaring at him with her haunting hacked eyes PANEL 3 From Garrett's perspective, Close up of Audrey's face glaring down at him PANEL 4 From Audrey's perspective, close up of Garrett's face, trembling, full of realization PANEL 5 Close up on the hatchet as Audrey raises it, ready to strike PAGE 18 PANEL 1 The hatchet slams down severing the detonation cords SFX Chook PANEL 2 The cords having been right next to Garrett's head, Garrett's eyes roll back as he loses consciousness having obviously wet himself in fear that it was going to be his throat which got hacked GARRETT ... PANEL 3 Forrest tries to flee through the now unblocked passage FORREST I knew givin' 'em rights was bad news PANEL 4 Audrey throws the hatchet at him PAGE 19 PANEL 1 It rams into the cleft of his arse SFX Chu-slick PANEL 2 Forrest keels over PANEL 3 His face smashing sideways into the ground PANEL 4 Forrest's perspective (distorted as he is passing out from the pain of the hatchet): Audrey approaching, dragging Garrett's passed out body behind her. The image is very demonic. PAGE 20 PANEL 1 Forrest's perspective (distorted as he regains consciousness): demonic image of Audrey standing above him with the hatchet in her hand, The Crow on her shoulder. PANEL 2 Image fades as he loses consciousness again. PANEL 3 Forrest's perspective (distorted as he regains consciousness again): close up on Garrett laying next to a stove, his throat hacked with hatchet wounds. PANEL 4 The image becomes sharply in focus as Forrest is shocked into alertness by the horror next to him. PANEL 5 Third person perspective. Duncan Forrest looks at his surroundings, in terror realizing that he is back at the house of the family he killed 8 years prier. PAGE 21 PANEL 1 Forrest's perspective: Demonic image of Audrey looking down on him, the hatchet above her head, ready to strike. Clearer version of Page 20 Panel 1. AUDREY I am the little girl you killed 8 years ago! PANEL 2 Extreme close up of Duncan Forrest's dead face with his eyes hacked out and the handle of the hatchet lodged into his mouth in a phallically suggestive manner. PAGE 22 PANEL 1 Back at the cemetery, Nick as The Crow is perched on Audrey’s family’s tombstone, Audrey standing at the foot of the grave. PANEL 2 The Crow leaps up from the tombstone and flaps his wings as he radiates light, the reys extending to the ground, roughlingly forming the shape of a body. PANEL 3 The Crow has transformed into a phantasmic form of Nick, just as Audrey was before they kissed, Audrey is still in the flesh. PAGE 23 PANEL 1 The phantasmic Nick looks puzzled as he asks Audrey why he was needed, her looking back with deep love in her eyes. NICK But why did you need me, Audrey? AUDREY Because Nicholas, we are soul mates. We were always meant to be together... PANEL 2 Audrey’s head drops in sorrow over the loss of what could have been. AUDREY ...But then I was killed PANEL 3 Nick, reflecting on his poor luck with other women, and on how deeply he loves Audrey, comes to the realisation. NICK I guess that explains why I could never find the right person PANEL 4 Audrey looks back at him, her face apologetic, regretful for the romantic travails the memory of her must have created for him. AUDREY I never meant to cause you hardship, Nicholas. Do not worry, you will be free now PANEL 5 Nick, with a gentle look of romantic sorrow, tilts his head lovingly to the side as he caresses her cheek. Audrey’s face is longingly drawn into his loving caress, but painful tears begin to well up in the corner of her eyes. NICK What if I do not want to be free of you? AUDREY Sometimes we just have to Nick, and it is time PAGE 24 PANEL 1 The two of them kiss one last time CAPTION (AUDREY) This is our last embrace PANEL 2 Her flesh moving back onto him, and his ectoplasm enveloping her PANEL 3 As he returns to the world of the living, and her that of the spirit. CAPTION (AUDREY) Must I dream and always see your face PAGE 25 PANEL 1 Nick can no longer see Audrey as her faded spirit stands before him. PANEL 2 And he begins to leave the cemetery. PANEL 3 Audrey is now joined by the spirits of her parents, as Nick exit the cemetery gates. CAPTION (AUDREY) This is our last goodbye I hate to feel the love between us die But it's over, Just hear this and then I'll go You gave me more to live for More than you'll ever know PAGE 26 PANEL 1 Nick and his mother are in his parent's house. NICK I think I am going to try again with Rebecca PANEL 2 JULIA You think things will work out this time? PANEL 3 NICK I have a feeling they just might END OF SCRIPT