THE BIG STEPPERS & THE MADDNESS OF A GOODKID.
This isn't just a story-it's a trap. A story within a story. Because Death isn't just the narrator-he's the writer, twisting reality, rewriting fates, and crafting a novel of his own.
He calls it The Hunter Eats The Hunter-a novel of power, madness, and the thin line between predator and prey. As Death twists the narrative for his own amusement, Eville Barbara-a town where horror wears a familiar face-begins to unravel. Nightmares walk the streets. Disappearances go unsolved. The past refuses to stay buried. Reality isn't just fragile here; it's negotiable. And within the city's shadows, masked figures known only as the Pig Head Killers stalk their victims, their purpose unknown, their methods ritualistic.
At the center of it all is Liam Adler-Death's twin brother, an angel who sacrificed his wings to walk among humans. Now, in his seventh and final life, something is wrong. The lines between past and present fracture. Reality bends. And Liam is being toyed with. Because Death isn't just telling his story-he's rewriting it.
As Liam spirals through a city devouring itself, he begins to realize his fate was never his own. The past is a puzzle. The present is a lie. And the future? That depends on whether Liam can survive the final game Death has written for him.
The First Church of Eville Barbara stands at the heart of the town's oldest and darkest mysteries. It's where the faithful gather. It holds secrets that should have never been written. And above it all, Death watches, weaving a story that feels less like a tale-and more like a trap.
But here's the real question: Is Death telling this story, or is he rewriting it? And if he is, how much of it was ever real? What does that mean for Liam, for Eville Barbara, for the very idea of free will?
