For the uninitiated, in 2015 there was a user named TheDOSFag who came to our forums making personal army requests to get help writing an article about some no-name furfag called Immelman, who nobody cares about. The original thread chronicles his descent from a whiny lazy faggot, to eventually outing himself as a closet furry before quitting ED. Wiki here. Original thread here. However, the story doesn't end there. He later decided to bitch about ED on an autism awareness forum, before being caught by one of our users, leading to a series of hilarious captures and a raid that revealed even more of his sordid affairs. Like the fact that he jacks it to plushies. Then he fucked off into the aether again. That thread is here. And for a while that was the end of it. None of us knew more about his literary masterpiece, and it seemed that we never would. Well, fellow EDiots, tonight you're in for a rare treat, because earlier tonight a fluke reverse GIS of an image of one of his fap dollies revealed his new hiding place, and with it we finally get to see the EPIC story that he was dangling out of our reach 4 years ago. So without further ado, I'll drop the text version below, followed by a screen capture version. Spoiler: TL;DR TheDOSFag's Story Concept Graphic Novel Story Concept I'm wanting to use this account of mine mainly for showing my concept art for my book writing. I am an aspiring author who's working on a graphic novel for the furry community as of now, I've been working on it for about a year and a half now. The story is a serious tale taking place in college and follows about fifteen different characters in all, and tackles some pretty big topics as well. Some of these topics are coming out of the closet, the social and emotional ramifications of rape, physical and emotional abuse, discrimination, living with disability, and addiction. It's definitely not a story for everyone, it's meant to be very much grounded in reality, even though it's done with anthropomorphic animals. One of the biggest things about my story is that it is visually bereft of anything sexual. I make certain that nothing sexual is seen within the panels of the book, even though it does include sexual scenes (of which there are only a couple of, and they are left implied through the storytelling instead of being pushed into the reader's face in graphic detail like a number of other furry comics out there). My reasoning is that the sex is not the focus of the story, that would be the story itself. Most furry comics I've at least heard of were made almost solely for the purpose of making characters that are to be put in sexual scenes. I find that to be a waste of one's talents of writing and artistry. The way I handle such things will almost certainly make my story stand out among other furry stories along with the fact that I'm going to have my comic legitimately published as a full graphic novel. I am very happy that I have found a site such as this as I hope to use this site as a means to have a way to show my ideas for my graphic novel and discuss what would and wouldn't work in the story with anyone who would like to assist me in brainstorming more ideas for the finished product. I thank you for reading this message in its entirety if you have, I'm sorry it was so long, but I wanted to give a decent introduction as to why I made an account on this site. Hopefully in the process I have made you interested in my book ideas. Once again, thank you for reading this, and if you can, please give me feedback, as I would really appreciate it. Spoiler: TL;DR TheDOSFag's Masterpiece Graphic Novel Prequel Story Part 1 Scene 1 Scene starts looking upon a suburban home with a red door. It is raining, and there is a silhouette of a figure in the upstairs bedroom window. The “camera” switches to show the figure in the window, and it is shown to be Irene, who is depressively looking out the window on the rainy evening, as if waiting for something. She picks up her cell phone and flips through her contacts until she finds the one labeled as “Henry”. The scene then switches to a group of friends at a bar, laughing and drinking, except one who is looking down in his hand at a small black box he is holding. He flips it open to reveal a beautiful ring. Suddenly, his phone rings, and he closes the box and puts it in his pocket. He answers his phone. HENRY: Yes, hello? IRENE: Hey, Henry, it’s me. HENRY: Oh hi, Rain. What’s up? [NOTE: Rain is the nickname Henry lovingly calls Irene.] IRENE: Oh, not much, Dear. It’s just the weather is making my depression feel a little stronger. I really need some cheering up. HENRY: Oh, don’t worry, Rain. I’ll be over as soon as I can. It’s just that I’m out with my friends at the moment, so it might be a little bit before I get to you, but it’ll be worth it, as I have a little surprise for you. IRENE: Really? Oh, you don’t have to do something like that. Could you give me a hint, though? HENRY: Oh, ha ha, I wouldn’t do that, it would ruin the surprise. I’ll see you in a bit, Rain. IRENE: Alright, bye. Irene hangs up the phone and sets it down, going back to looking at the rain hitting the window as she feels the slight bit of happiness she received from talking to her boyfriend on the phone slowly vanish from her. The scene cuts back to the group of friends leaving the bar and piling into a car, with Henry being the driver. As the car starts up, Henry looks down at the square-ish bulge in his pocket, not paying attention to the fact that the rain is starting to grow heavier. Henry’s friends are still laughing and joking, as if they haven’t left the bar. Nobody but Henry remembered to put on their seat belts. The car makes its way down the road, the windshield getting plastered with raindrops, making it hard for Henry to see the dimly lit road. On the opposite side of the road, heading towards the car, is a large trailer truck. One of Henry’s friends puts his hands over Henry’s eyes, causing Henry to unwittingly swerve into the wrong lane. HENRY: Guys, stop it. I’m trying to drive here, y’know? Henry removes his friend’s hands from his eyes, only to be blinded by the headlights of the truck. The truck’s driver blares his horn. Henry tries his hardest to get out of the way of the truck, but the car starts to hydroplane, and the two mechanical bodies collide in a devastating wreck. The scene changes to Irene still sitting at the window an hour after calling Henry, looking sad. It is completely dark outside now. She hears the home phone ring, yet does not move an inch. Irene’s mother picks up the phone downstairs. IRENE’S MOTHER: Oates residence, how may I help you? Irene’s mother’s expression changes from happy to horrified as she hears the news of Henry’s accident from the caller. She drops the phone and quickly runs upstairs to Irene’s black bedroom door. The door swings open, startling Irene. IRENE: What? What is it, mother? IRENE’S MOTHER: Henry’s been in a horrible accident! He’s at the hospital! IRENE: What?! Irene jumps from her seat and rushes downstairs, where Irene’s father has already gotten up and put the phone back where it was. IRENE’S FATHER: What has gotten into you two tonight? IRENE: Henry’s been in an accident! I have to go see him! Irene grabs her coat and keys and hastily makes her way outside to her car. The scene shifts to Rain arriving at the hospital, where she runs up to the receptionist. IRENE: Where can I find Henry Williams?! RECEPTIONIST: What? IRENE: Henry Williams! I need to know where he is! The receptionist checks on the computer. RECEPTIONIST: He’s in room 13-B, but you’ll need- Rain dashes down the hall before the receptionist can finish talking. RECEPTIONIST: Clearance…to get past…security… Rain finds her way to the doors of the emergency wing of the building, when her path is blocked by a couple of security guards. GUARD 1: Miss, you can’t go past this point without clearance. IRENE: I don’t have time for this! I need to see someone! GUARD 2: We’re sorry miss, but we’re not allowed to let you pass. IRENE: Please! You don’t understand! My boyfriend’s in there! GUARD 1: Look, you have to have clear- Irene pushes her way past the guards and through the doors. GUARD 1: Hey, get back here! Irene quickly turns a corner and hides in a janitorial closet until the guards lose track of her and go to report to the security station. She then rushes off to find room 13-B. She does, and sees her boyfriend Henry in critical condition from the hallway window. She gets inside the room and tries to wake Henry. IRENE: Henry! Oh my god, please wake up! Tears begin to well up in Irene’s eyes as she gets no response. IRENE: Henry, please! It’s me, Rain! Henry begins to awaken, but only barely. HENRY: …R…Rain…? IRENE: Oh, thank god! What happened? HENRY: The…car…hit a truck…Everyone died… Irene begins to cry. HENRY: I…I can’t feel my...body… IRENE: It’s okay, Henry! You’ll be okay! HENRY: Where…is it…? Henry’s heart monitor begins to flat-line. IRENE: What? Where is what? Henry?! Henry!!! NO!!! Henry goes limp, and Irene can’t believe what has just happened. She begins to sob uncontrollably over her boyfriend’s lifeless body as the doctors and security guards come into the room and try to pull her away from the bed. Irene resists and rushes back to Henry, clutching his head close to hers, her tears spilling onto his lifeless face. END SCENE Scene 2 Scene takes place at a graveyard where Henry is being buried. The priest reads passages from his bible and everyone is dressed in black. As everyone is getting up to leave, Henry’s parents stop to talk to Irene. IRENE: What is it? HENRY’S MOTHER: We have something to give to you. IRENE: You don’t have to do that for me. HENRY’S MOTHER: You don’t understand. It’s something recovered from the crash. We believe it was meant for you. Henry’s father hands over the battered black box. Irene opens it and is surprised to see the diamond ring, untouched from the crash. HENRY’S FATHER: We think he was going to propose to you that night. We’re very sorry that you had to find out about this. Irene falls to her knees, still clutching to the small box, and begins to cry. The scene changes to Irene and her parents in Irene’s bedroom, on her bed, Irene still crying. IRENE’S FATHER: Honey, I think it would be best if she had some time alone. Irene’s mother nods. IRENE’S MOTHER: I’ll go make her something to eat. Irene’s parents both leave the room. Irene looks down at the broken black box in her lap, and picks it up. She becomes so driven by her negative emotions that she hastily throws the box at her bedroom mirror, which smashes, all the while she is still sobbing. She slowly moves over to the broken mirror and pries a piece of it off. The scene switches to Irene’s mother in the kitchen, preparing Irene some food. Suddenly, she hears a loud thump come from upstairs, and realizes quickly what it could mean. She quickly goes back up the stairs and to her daughter’s bedroom door. She nocks. IRENE’S MOTHER: Irene? Are you okay? She opens the door and is horrified to see Irene lying unconscious on the floor, blood spilling from her right arm. Irene’s mother lets out a scream. End Scene Scene 3 SETTING: Scene takes place in the psychiatric wing of the hospital, where Irene is just waking up from being unconscious. She looks around the room, taking in the new surroundings. She is in a bed. The walls are painted a bright baby blue, and there is another bed that looks like someone just got out of. Irene feels a stabbing pain race through her right arm. She clutches it, and notices it is covered in bloody bandages and gauze. She also notices that her clothes have been swapped for hospital wear that matches the color of the walls. Someone walks in through the doorway. It is Debbie, a shy dolphin girl. DEBBIE: Oh, you’re awake now, are you? They’ve already started breakfast. IRENE: When did I get here? DEBBIE: Yesterday. You were out cold ever since, though you were calling out to someone during the night. Who was it…? Harry? Henry? Irene feels the shock of her boyfriend’s death once again and becomes visibly anguished, trying to hold back tears. Debbie becomes concerned. DEBBIE: What’s wrong? Was it something I said? IRENE: It’s…it’s nothing. I’m fine. Irene calms down after the shock. She lets out a quiet sigh as a single tear falls from her eye. DEBBIE: Anyway, I’m Debbie, your roommate. And you are? IRENE: Irene. You mentioned breakfast? The scene changes to Irene getting breakfast in the patient cafeteria that consists of a couple of pancakes and some milk. She sits with Debbie, who is already sitting with two other people: Amy, a tomboyish bird girl (a laughing falcon), and Daryl, a curious crocodile guy with a stutter. Before Irene can start on her breakfast, Daryl sticks his hand out in front of her over the table. DARYL: H-h-hi! My name’s D-Daryl. IRENE: Uh, hi. Irene. Irene shyly shakes his hand. DEBBIE: Yes, this is Daryl, and that’s Amy. AMY: Hi. giggle IRENE: What’s so funny? AMY: Oh, nothing. It’s just a habit. DEBBIE: So, what brings you here, Irene? Irene begins to look sad again as she looks down at her bandaged arm. IRENE: My boyfriend. He died recently. There is silence among the group as Debbie, Daryl and Amy look at each other. Amy courteously tries to hold back her habitual laughter. DARYL: W-w-what happened t-t-to him? IRENE: I don’t want to talk about it anymore. DARYL: …Ok-k-kay… Irene looks down at her pancakes and sighs. She begins to eat. The scene changes to show Irene in a montage of different scenarios in the institution, including arts and crafts, group therapy, watching movies with the other patients, and keeping a journal of her thoughts. There isn’t very much that goes on within the institution, aside from the occasional freak-out by a patient. Irene shows signs of getting better, though she does have instances of regression in her emotional progress, especially at night, where she often cries herself to sleep. End Scene Scene 4 Scene shows a family of bats in a hospital room as they watch over their wife/mother Mary as she slowly dies of a terminal illness. She is surrounded by a plastic tent and is hooked up to life support. Her body is covered in patches of a contagious white fungus. A doctor walks in to give the family the bad news. DOCTOR: It’s White Nose Syndrome. There’s nothing we can do to stop the fungus from spreading. She doesn’t have long left to live. As the doctor leaves, the oldest of the three children standing near their dying mother begins to sob uncontrollably. The boy is named Pete. He is blind, yet can still understand his surroundings through echolocation. He suffers from high-functioning autism, and only just reached the age of 18. He runs over to the plastic tent and tries to tear his way through it, though he is stopped by his younger brother and sister. He begins to show signs of a mental breakdown. PETE: Momma! I don’t want you to die! MARY: Do not grieve, Peter. Soon, I shall be one with the heavens. Mary’s voice is weak, but still audible. PETE: Please, Momma! Please don’t die on me! Pete fights to get free of his siblings’ grips. He does, and rushes towards the edge of the tent, putting his hands up against the plastic, tears spilling down his face. Although he can’t see through the plastic tent, he still knows his mother is able to see him. Mary slowly moves her head in the direction of her eldest son. She puts her hand up against his on the plastic. The feeling of her hand against his makes his sobbing lighten for a brief moment. MARY: You’ve grown so much, Peter. You’re a big man, now. Don’t you cry no more. Mary moves her head back to its original position on the pillow, and puts her hand down. A small, withering smile forms on her face, and a single tear rolls down her cheek. MARY: It’s time for me to go. Pete’s face becomes twisted with anguish. PETE: No! Please! I can’t live without you, Momma! Mary’s voice becomes a soft, almost angelic whisper. MARY: Let it be, Peter…Let it be. The machines begin to flat-line as the fungus begins to take its toll on Mary’s body. Pete’s family looks away in respect for their now dead mother, but Pete can’t believe what’s happened. PETE: Wake up, Momma! Wake up! As Pete gets no answer from the limp form that was once his dear mother, he lets out a scream of sorrow and slumps to the floor, curling into a ball next to the hospital bed. END SCENE Scene 5 SETTING: This scene is set back in the institution wing of the hospital, where Irene, Debbie, Daryl and Amy are talking in the patient lounge. IRENE: …You’re a lesbian? DEBBIE: Yes. Does that bother you? IRENE: No, not at all, I just never thought about it before. So, does that mean you have a girlfriend? DEBBIE: Of course. I miss her very much, as I haven’t been able to see her in so long. AMY: giggle DARYL: W-what-at is it, A-Amy? AMY: Nothing, nothing. The conversation is cut short as everyone is startled by the sound of someone yelling in the hall. The group rushes over to the doorway to see what’s going on. What they find is Pete, who is struggling with the hospital staff over the possession of a small plush dragon doll. PETE: No! No! STAFF MEMBER 1: There are rules! You can’t have it here! STAFF MEMBER 2: Let him have it, okay? He’s not going to give it up, so just let him keep it. STAFF MEMBER 1: Alright, alright! The staff member relinquishes his grip on Pete’s doll. Pete curls on the floor, holding onto the doll, as if for dear life, and begins to weep softly. STAFF MEMBER 1: I have to admit, he’s got a hell of a grip on that thing. One of the staff members kneels down beside Pete. STAFF MEMBER 2: Hey, c’mon, kid, let’s get you up. The staff member tries to assist Pete up by his shoulders, but Pete curls tighter. STAFF MEMBER 1: God, this new patient is a real pain. STAFF MEMBER 2: Help me get him off the floor. Both staff members hoist a still weeping Pete by the shoulders and begin to move him into the patient lounge, where they set him down gently in a corner of the room. Once they leave, Pete uncurls his head and “looks” around the room. PETE: Trapped… Pete scrambles further into the corner. PETE: Four walls… Pete’s weeping grows a little stronger. DEBBIE: Oh, I feel kind of bad for this new patient. He looks so sad. Why don’t we go try and make him feel at home? Everybody nods to each other and they head over to Pete’s corner. Pete at first doesn’t notice their presence (he is still weeping, facing the corner), until Debbie puts her hand on his shoulder, accidentally startling him, and he lets out a yelp as he turns to face the group of unfamiliar individuals. He “looks” at each of them in fear, until his “gaze” is focused on Irene, and he begins to look dumbfounded. PETE: M…m-m-m… IRENE: Hey there. We’re wondering if you would like to join our- PETE: Momma?! IRENE: …What? PETE: MOMMA!!! Pete immediately embraces Irene in a hug, thinking she’s his dead mother, surprising Irene, all the while Pete’s weeping growing stronger. Irene’s friends are shocked by this and don’t know what to do. PETE: H-help me, Momma! IRENE: No, please! Why are you calling me that? PETE: I don’t feel the same! I don’t feel the same! IRENE: Please, I don’t like this! I’m not your momma! Pete “looks” back up at Irene as her friends try to pry him off of her. Pete relinquishes his grip on her and begins to tremble. PETE: sniffle Momma… IRENE: I told you, I’m not your momma! PETE: Then…who are you…? IRENE: Well, my name’s Irene. What’s yours? PETE: …Pete…Where are we…? IRENE: What? We’re in the hospital, can’t you see for yourself? PETE: sniffle No…I’m…I’m blind. Irene becomes puzzled. IRENE: I don’t understand. If you’re blind, then how did you act like you can see me? PETE: I can…See with…That thing…Echo-something… IRENE: You can echolocate? PETE: Yeah...that… IRENE: You are very lucky to be able to do that. Pete mumbles under his breath as he paws at the floor for his dropped dragon doll, which is sitting next to him. Daryl picks it up. IRENE: A-a-are you l-looking for this? Pete “looks” up and becomes scared at the “sight” of Daryl holding his beloved doll. PETE: MINE! Pete quickly grabs the doll back and hugs it like it were the last time he’d ever be able to hold it. DEBBIE: You really love that doll, don’t you…? PETE: It’s something my Momma made for me when I was little. It’s the only thing I have to remember her by… AMY: giggle Amy’s giggling causes Pete to get defensive. PETE: …You think that’s funny? What kind of person are you? DEBBIE: No, no! It’s nothing. It’s just a habit of hers. Amy’s giggling turns into an uncontrollable, maniacal laughter. [NOTE: Amy suffers from schizophrenia, which is the reason she has uncontrollable laughter, which at times can get out of hand.] DEBBIE: Oh, god! Not again! IRENE: What’s going on? What’s wrong? Pete covers his ears with his hands, visibly pained by the din of Amy’s laughter. PETE: Get away from me!!! Tears begin to fall from Amy’s eyes as her laughter grows and grows, obviously painfully for her. The hospital staff rush in and begin to hold her down. STAFF MEMBER 3: Somebody get the sedative! One of the staff members rushes out and comes back with a syringe, plunging it into Amy’s arm and pushes the button on it. The syringe lets out a small “tchsss”, and Amy begins to finally calm down, even going unconscious. The staff then proceeds to carry her back to her room. IRENE: What was that all about? DEBBIE: sigh Amy is schizophrenic. She doesn’t like us talking about it, so we just call her laughing a “habit”. Irene looks over at Pete, who is still cowering and covering his ears. She doesn’t know why, but she starts to feel pity for the poor blind kid. She gently puts her hand on his back, accidentally startling him. PETE: AAH! IRENE: Woah, hey! It’s okay! Everything’s fine now. PETE: I-i-is she gone? IRENE: Yes, it’s okay, she’s gone. Irene looks at Debbie and Daryl. IRENE: I’d like to talk to Pete alone, would that be alright? Debbie and Daryl look at each other and then back to Irene, nodding in understanding, and proceeding to get up and leave. Irene then looks back to Pete, and begins to talk in a soft tone. IRENE: Hey, I know what you’re going through right now. I lost someone close to me recently, too. This is a safe place. You don’t have to be scared. I want to help. Irene caresses Pete’s hair and smiles at him, putting him at ease. PETE: …what do you mean, you want to help…? IRENE: I want to help you get out of this place, to help you feel happy again. Pete wipes his face with his arm. PETE: I’ve never been happy…My life is…is pain… Irene’s pity feels as if it grows as he says this. Her smile falters into a frown. IRENE: You’ve been through a lot, haven’t you…? PETE: Every day is hard to live…I want my Momma back so badly… IRENE: Surely the rest of your family cares about you, right? PETE: They couldn’t care less about me, they locked me up here as soon as Momma… sob Irene gives Pete a gentle hug as he begins to cry again. PETE: sob Am…am I sniff insane…? IRENE: Aw, no, not at all. You’re no less sane than I am. Pete tries to wipe away his tears and hugs Irene back. PETE: Thank you…Nobody but Momma ever told me something…so nice… Pete “looks” back up at Irene. PETE: I forget…What is your name again…? IRENE: I’m Irene. PETE: Irene…I don’t think I like that name…How about… Pete thinks for a second. PETE: …Rain? Irene feels like she’s ready to burst into tears herself at the mention of such a nickname (since that’s what Henry used to call her) but tries her best not to show it. IRENE: Y-yes…Rain is good, I like it. Pete’s expression brightens ever so slightly as Irene says that and hugs her more. Irene feels her depression melt away at Pete’s reaction, something she rarely ever felt before, even with Henry. PETE: Rain? IRENE: Yes, Pete? PETE: You said something about leaving this place before. How do we do that? IRENE: Okay, here’s my plan… END SCENE TO BE CONTINUED IN PART 2 Spoiler: Screencaps His New Profile: His Other Profile: Screencap of first TL;DR post: Screencap of his EPIC STORY: @oddguy do you want to give us your assessment of his work, now that we finally got to see it?