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The L

The L

by UrbanMysticDee
Currently in the middle of a major overhaul. Ignore the page numbers for now, I will fix them later. For now the pages are in the correct order, regardless of what the page numbers say.

The beginning has not yet been completed but what is up so far is still readable as is.
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2 Years Ago

The L

Currently in the middle of a major overhaul. Ignore the page numbers for now, I will fix them later. For now the pages are in the correct order, regardless of what the page numbers say.

The beginning has not yet been completed but what is up so far is still readable as is.

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Designed as a test of the perfect human. They don't look it, but they're human alright.

Humans as is are incapable of using the Seed. To do so perfect humans need to be created. 22 test units are created and 1 final Omega unit planned to be the final product (the Seed itself is Alpha). Elements from human test subjects are combined with Seed material to create the Kanaim.

Depicted here are Beta, Eta (recommissioned Upsilon), Sigma, and Phi. Also depicted is the Merkaba, which is situated inside next to the [White] Core.*

*[Red] Cores only appear in the Abdals.
Since I'm cutting this story short in order to finish it I'm going to have to do without some really cool stuff. The Abdals are among the menagerie of otherworldly beings I won't get to touch on.
The last chapter in the story. I'm going to wrap everything up.

I chose the title "One Last Time" because I needed something with a capital L in more or less the middle. This is also, hopefully, the last rewrite I will ever do.

The grey text in the background are several passages from Revelation, in order, in Greek (from the official Greek Orthodox Bible).
Xev is Hero's daughter. The Committee of Twelve promote him as President of the United States, though the position is totally worthless as they are the true authorities. She is the oldest character in the story, created before I started the first incarnation of the story in 2001. She is also, probably, the most stable character in the story, after David/Julian, and certainly one of the most mature, though her nurturing attitude is covering up her own insecurity. She was born 2 June 2012, so here she is 14 (I was 15 when I started writing the story and I tend to write about characters who are my age, even today).

This scene is based off of a chapter in the original story Glimpse of God, where unit Beta goes crazy and has to be destroyed in the desert. Here it is a little different, since Beta did not transform while Omicron does.

Remember that dust storm. It wasn't really a dust storm. The Seed (which the human mind is too fragile to comprehend in all its glory) is trying to run its per-programed operations, and the humans keep getting in the way. They, Sweet and the Twelve, are trying to harness its awesome power, and it is fighting back. Remember, a lot of cruelty, a lot of things go horribly wrong. The dust is really more like a solid holographic fungus (sentient light you can touch) that has coated the surface of Omicron and is controlling it like a puppet. With Xev quickly being killed inside. And it can transfer itself to different surfaces, making it difficult to eliminate, because if you touch it it may transfer onto you.

Why? To eliminate the human threat? Like an immune system? Maybe, but more than that, because the Seed was damaged and needs to be repaired. Outlaw Seed was kind of like an arms race, where the humans and the Seed were constantly trying to outdo each other. Kind of like the real immune system trying to keep up with ever changing pathogens. Does that mean the humans are the villains? Maybe? Of course, none of this may be happening. It may all be one extended metaphor for whatever, unless it isn't. It's hard to tell at this point, with all the changes that have happened with the story.

I'll admit, after all these years I still can't figure that part out. I'm satisfied thinking that the Seed is so alien that it is impossible to comprehend its motives.
I'm uploading some stuff I did way back. This is from Outlaw Seed, the series that I was working on before The L. It takes place after the events of The L. Quite literally, the last scene of The L is one of the first scenes in Outlaw Seed.

Outlaw Seed dealt more with those things you see on pages 14, 15, and 110. The Merkaba fits inside (see pages 35 and 36). They are called Kanai (plural Kana'im). They are test platforms for the creation of the Abdals ("Replacements"), the only beings perfect enough to operate the Seed. The human mind cannot comprehend the Seed, cannot approach it, cannot activate it, and as such more intelligent, totally obedient, completely unemotional creatures must be created. There is a lot of trial and error involved over several decades. Making something more perfect than humans involves wrecking a lot of human test subjects.

As Sweet mentions on page 110, certain individuals are raised from birth specifically to operate them after it was discovered that the Kana'im have a tendency to turn suicidal. The idea was to give them a reason for living: a person to protect. As such, each is paired with one specific person. The process involves a lot of cruelty, and a lot of things go horribly wrong.

There are three series: P (don't remember), E (Experimental), and K (Production).

E Series
Unit Omicron
Operator: Xev Strife (the little girl from page 8, now older)
Date Activated: 8 January 2027
Date Destroyed: 8 January 2027

Omicron was the second "empty" unit tested (Nu was the first. Operated by Skyla Sweet, activation failed). This time they brought it to the Nevada Test Site, in the middle of a dust storm.

Omicron is probably the only one with four eyes.
This is so cool! Guest artist Chris Cote ( draws Upsilon, an important character who has flown under the radar up to this point in the story. This was for some thing on the forums.

Go check out more of his art, linked above.
January 6th, 2013
@The_Hankerchief: Thank you.
January 6th, 2013
How have I not seen this yet? Dude, you're awesome. Thanks!
January 5th, 2013
The original dialogue for this page really sucked, so I ad libbed some new dialogue. I really don't know what happens next (between the end of page 70 and the beginning of page 71 is a couple of days). I leave it to your minds to figure out.

The effect with the teal and black in panels four and five was inspired by a similar effect in comic called "Borrowed", which is done by a friend of mine (on page 23 he had black background with a teal shine in the middle, whereas I have a teal background with a black shine in the middle). Here's the link:

Hero is not exaggerating about the heat. Briefly, during the Holocaust, the Earth's temperature increased to 400 degrees and started fires all over the world that were soon extinguished when the ice caps melted and flooded everything. Now, the average daytime temperature is about 110 to 130 degrees, and there is not going to be one drop of rain for five years. Having long, thin limbs and little body fat I do just fine in the heat, and cannot stand the cold. The nice, dry heat is probably the only good thing about the world in The L.

These are two of the best outfits I have ever designed. I drew the final picture twice, giving Mandy two different shoes because I had trouble deciding on which was best. In the end it doesn't matter because her feet get cut off anyway. Now you know why Mandy is always wearing something on her neck – to cover that grotesque scar she has.

I always buy my boots and machetes at the same store so I can see how they look together. I model a lot of the poses and outfits, and I did not notice it at the time, but when holding a machete in repose it hangs at a certain height that kind of looks inappropriate. This was not intentional innuendo, I swear, even though the dialogue could be taken that way, it's just where I found it most natural to hold the thing.

In case you are wondering, my (distant) ancestors were the Romans, and they did not wear trousers.
December 9th, 2012
The page title is "Alpha 1", because I don't know how far into the 200s (300s?) it will be. I figured that since the story officially begins in less than two weeks I should put this up, just in case it actually happens. Those four years, since I started this, damn.

Bouvet Island (owned by Norway) is the most isolated place on Earth. Pictures of the island in its desolation are frightening. The island is an important sea bird sanctuary.

The Admiral inadvertantly looks a lot like Saddam Hussein.

On Sweet's scroll: DNA, Armenian Holy Lance (identified with the one found in Antioch in 1098), Seal of Solomon, Sephirot (pointing to Binah, Netzah, and Malkuth - Shekhinah), Tablets of the Law, Ark of the Covenant, and below a close up of the Mercy Seat. Try to figure out how all that fits together.
November 26th, 2012
Dude, page 69! I don't even remember when I posted page 68.

I wrote commentary for every page except this one, so this is all ad libbing.

The background in the last panel is a piece called "Introspection", which can be found here: 8342382
Hero's warning at the end is like saying "if you try to kill yourself again I'll kill you," or more accurately "if you try to kill yourself again I'll make you wish you were dead."

Before anyone (whom?) says anything, yes, I reused a picture from page 66, but only because my notes told me to.

I really like how this page turned out.
August 15th, 2012
This is one of the most difficult scenes I've done. Each page took about four hours to draw, which is very good, over one very winning week where I wrote twelve and drew three pages. However, unlike Volume One, Volume Two is not as rigidly planned, so I didn't know at the time where these pages would go (their production numbers were X1, X2, and X3).

With Lilith stuck to the wall (how she got up there I had to cut out – see commentary on page 28) there's a lot less that I can do with her. By the third page I covered nearly every angle I could think of. It was frustrating.

Raul wore the exact same shirt the last time he visited Lilith. As my first nonhuman character in the story, I wanted to go in a different direction than with the other nonhuman characters who look like monsters. Lilith isn't hideously scary or beat like, just off putting. She has red eyes (which will prove important later in the story), nictitating membranes, a very small saddle nose (she actually has no nasal bone), and several small pairs of wings.

The backgrounds for these pages are real easy – there are none. They're done entirely on the computer: the boxes, doors, and the dark gradient. The only things done by hand are the people, vent, and the pitch fork in the fourth panel.

I imagine that Lilith's skin is like a very viscous latex, still liquid but not so much for her to pull herself off the wall. I don't know what that would feel like, maybe a cross between dolphin skin and glue.

Those boxes in the background are all golden cuboids - the ratio of the length of their three sides is the golden ratio (I modeled them in 3D; it should be impossible to tell just by looking at them).
July 27th, 2012
Not an easy page, but it looks good. The inlaid ceiling is entirely illuminated, somehow.

The expressions and effects are really cool on this page. This is one of the better pages. The poses, the expressions, that lovely room, and the drama. Doing a six page scene of all talk requires some inventive poses, all of which were modeled by me.

Sweet's knife has three functions, judging by its shape (sawing, stabbing, and possibly bottle opening).

Mandy cries a lot. Her expression in the last panel is fantastic.

Panel five is taped in place (like on page 20). I could have easily composited it in on the computer, but tape looks so much better.

The nail on Mandy's little finger is extra long, possibly for doing drugs.
July 20th, 2012
Most crucifixions involved people whose wrists are tied to the cross as nails were too expensive to waste on dead people (this was before wire-cut nails, when every single nail had to be made by hand by a blacksmith). A doctor experimenting on cadavers discovered that the nail would enter at the palmar furrow and exit through the wrist, causing the thumb to curl in toward the palm. The nail would hit the median nerve causing extremely intense pain.

At the top of the cross is a placard (the "Titulus Crucis", or "Title of the Cross") inscribed with the words "Jesus of Nazareth, King of the Jews" written in Hebrew, reverse Koine Greek (Jesus' native language), and reverse Latin. It is made of walnut and survives mostly intact. It was probably written by a native Hebrew speaker because the Latin and Greek portions are reversed (right to left). It is written as three continuous strands of letters as the concept of putting spaces between words had not been invented yet.

The titulus was the most difficult part of this page, by a lot. You can't actually read it because it had to be reoriented in 3D space and then reduced in size, so here's the full text:

On page 5 Hero says he's going to war to protect his daughter. He even says "forget patriotism," but Mandy chooses not to remember that, I guess because she's angry or something.

According to the image on the Shroud of Turin the man on the Shroud (identified as Jesus) had 120 individual cuts from a flagrum on his back and sides, his (rather large) nose is broken and pushed to one side, his one eye is swollen shut, and there is a large wound on his side (on page 109 from a Hasta spear) – all in accordance with Gospel account. The man on the Shroud is estimated to be between 5'9'' and 5'11'' (tall for the time) and about 174 pounds.

The Shroud itself is attested to in a painting in the Pray Codex from the tenth century based on the distinct weave and the "L" shaped burn marks on the back. The area sampled for the carbon-14 testing was taken from the corner, which was added as a repaired section in 1532, not from the original cloth, nullifying the results of the test.

The blood on the Shroud was placed on the cloth before the image itself, as would be expected from being placed on an actual dead body, and not what would be expected if someone were painting the image like all the debunkers demonstrate (painting blood on an already existing image). The image is a photographic negative containing holographic information of a 3D body. It displays a level of anatomical accuracy no Medieval artist even comes close to possessing, including features that could only come from a trained doctor familiar with actual crucified cadavers (the Romans did have doctors with such knowledge, but it would not be until the nineteenth century until that knowledge would be rediscovered).

The image of the crucifixion appear three times in the story so far. See if you can find them all.
July 6th, 2012
I modeled panel one with a bottle cap in my mouth to simulate eating a cookie. Not because I didn't have any cookies but because I didn't want one to turn into mush in my mouth while I drew it.

That smiley tattoo kills me.

At a lot of stores juice is in the same aisle as cookies, I guess because they're both sweet.

Unlike page 67, this page was very easy to finish after resizing.
June 27th, 2012
This page was scheduled for 1 April 2012, finished 30 March 2012 and then the computer broke. Right after finishing it I wrote this: "Finished page F3 with, what is it now, 2 days to spare (just turned midnight). Not sure what I'm supposed to do now. I'm not early often enough to have to plan for it." It's as if I predicted something bad would happen and subconsciously worked hard to finish it early, but I didn't realise it, so I lost the page (it's still safely tucked in my old computer, which I cannot access).

Broken nail – right hand. Nails are pretty long, too, especially her little finger. Possibly for doing drugs. Those cute crooked teeth too. It's all about the little details; little idiosyncrasies that make the characters more like real people. If everyone were perfect and everything were exactly where it should be, people just wouldn't look right. A flawless human looks like a doll. It is the flaws, the ever so slight deviations from perfection, that really brings out the beauty. It shows that you are looking at a real person and not just some object. I suppose, this is why I don't like those brilliant white teeth everyone seems to be mad for – teeth whiter than when they first grew in someone's head. They don't look like they belong to a real person who eats food instead of subsisting off of IV bags. They look creepy in a bad way.

I like bright eyes (green and blue). I can see them better. I love eyes, and looking at eyes, and bright eyes are easier to look at, so I love them even more.

Most glasses have little feet that go on your nose. I drew them here but they didn't look right, so I took them out.

This scene has the most close ups I've done so far.

Mandy is the most emotional character in the story. It's the end of the world, and while everyone else is trying to pull together she's always falling apart. Her mood swings actually make me uncomfortable.
June 23rd, 2012
This page looks really boss but making it was a nightmare. AFTER deciphering all my one line notes and making the page just right it has to be resized, just like every page. Unfortunately I've never don'e a page like this before, that's this festive, so resizing it created loads of arefacts that had to be removed. The process took an hour. The "background" (what my notes describe it as) in the first panel is the shine off of a coffee cup. The tiles in the last panel took three tries to get right. I tried to make a 3D model of the floor but it didn't work so I just drew it by eye. I usually do tile on the computer because it's easier. I don't have to measure things on a finite paper and my hand doesn't have to drag across many tiny lines, smudging the whole page.

Whoever was in that store last had to be a seizable group to move the whole shelf.

Mandy took a lot of her shit out before trying to kill herself. All she got was a sexy scar. (She has green eyes, glasses, and a gross injury! Add twincest, cannibalism, and tentacles and it's like all my fantasies rolled into one!)
When I drew her head she kind of looked like R&A, or, more accurately, R&A look like her when I do close-ups of them. Mandy started the trend of characters having full lips. Whenever you see full lipped characters she is the reason.
June 12th, 2012
According to my notes the first two panels took a combined 80 minutes to draw, about 70 of which were spent on the first panel alone. I'll often draw one or two really complex panels that take forever and take shortcuts for the rest to make deadlines (such as copying backgrounds, using McBackgrounds; a lot of panels are drawn without backgrounds and get one in the editing phase because I have seven days to produce a completed page, although this is way past deadline because my computer broke and I have a lot of catching up to do). This whole page took about five and a half hours to draw, exactly what I predicted when I first started.

King Arthur is a real brand of flour. Here bags of flour are used to make the cement wall more bullet resistant. King Arthur is one of the few real brands I use (I always make fresh bred for Thanksgiving and King Arthur is the brand of flour I really use) in the story, including Cord, Fiskars, and Vienna Fingers. Fictional brands I regularly use include Phi and Cow's Head (both shoes), and Tony Daniel's.

I usually sleep on my side, alternating between left and right every two or so hours. Sleeping people look funny.

This story is just so damn depressing any little lighter moments I can inject help. This is one of the lightest pages you'll get, but even with the funny faces the people make, they're still talking about tragic events.

The Greeks (the Classical Greeks, who were among the toughest people ever, not the modern Greeks who are pussies) had a concept called Katharsis, where you empathise with the characters on stage to enhance your own mental health. It was a lot like an early form of psychotherapy and was very effective. It is important to note that the Greeks didn't want to overwhelm the audience with more tragedy than they could take. The audience would know what was going to happen (see Volume One Preface), deaths were off stage (though dead bodies were brought out for everyone to see, you just didn't get to see the person die), and a comedy play would follow a tragedy. Every year playwrights would compete for kleos (undying glory). They would compose three tragedies with an unrelated satyr play (like a comedy) at the end. Later, Roman theatres performed Greek plays, only rarely coming up with new Roman drama (see Volume One Preface).

Between 20 and 40 percent of Americans report having at least one after-death communication (ADC), like Mandy here.
May 14th, 2012
Had to link a page for the first (second?) time. There's just no way to get it below 500kb without reducing the quality to sub-standard (there are just too many colours). It looks blurry here, so I guess SJ crappified the image I linked. To see the full HD glory of the original go here []

The Society's logo on the ramp and horned alter of the Third Temple. The whole time I was drawing this page I was thinking of the monkey chatter language Caiaphas was speaking in Mel Gibson's Passion of the Christ. However, the high priest here looks like an Anglo, not a Jew. With a whole waterfall of blood I can finally say I am satisfied with the quantity of blood on one of my pages.

This page uses the same format as S06 and is the second page to feature one large panel on top with two smaller columns beneath it. This is probably the best page yet and is the full realisation of what I want The L to look like.
May 10th, 2012
I know this page is out of order, but the last time I finished a page early my computer broke and I lost it so I'm more than a little scared now.

This scene recapitulates the scenes with Raul and Lilith (pages 28&29 and pages 106-108). This is the oldest scene so far, takne from version one of the story, way back in 2001.

This page is almost entirely effects. I barely drew anything before working on the computer. I must say, the return of what was on page 36, the first appearance of Phi, this page is damn hell ass good.