Our First Harm: Fallout. Our First Harm, #2

The indictment was supposed to be the end. When U. S. Attorney Ben Carter charged Conrad Valerian and his pharmaceutical empire with racketeering, the world saw a monster brought to justice. The Valerian song of healing had finally been silenced by a roar of public rage. But for the House of Valerian, the indictment was not a surrender. It was a declaration of war. Now, Conrad mobilizes a new kind of army to fight a battle not in the courtroom, but in the court of public opinion.
At the helm is Evelyn Reed, a chilling "narrative epidemiologist" who treats stories as contagions and truth as a virus to be contained. Her mission: to infect the public with a new story, a counter-narrative so seductive it shifts the blame from the corporation to its victims, asking not, "Did Sterling-Valerius lie?" but "Why are some people so weak?". While Reed weaponizes the digital world, the battle shifts to the corridors of power.
In Washington D. C., the sophisticated lobbyist Elias Vance tends his "Iron Trellis"-the invisible architecture of legislation and influence that protects corporate power. He kills bills in the dark and hires investigators to unearth every skeleton in Ben Carter's closet, turning the prosecutor into the prosecuted. As the Valerian machine counterattacks, the heroes of the first war find themselves isolated and under siege.
Ben Carter, once the hunter, is now the hunted, his most personal tragedy weaponized against him. The FDA whistleblower, Dr. Marcus Thorne, becomes a pariah, intimidated and watched, his quiet suburban life turned into a prison of fear . And as the family's "blood money" is rejected by the very institutions it bought, the fragile alliance between the rebel artist Isla Hayes and the activist Maya Flores is tested by a kiss that threatens to shatter them both.
Forced deeper into the moral abyss, the heir apparent, Julian Valerian, must prove his loyalty by orchestrating a cynical scheme to corrupt the world's leading scientists, becoming a key player in the very evil he has come to despise. FALLOUT is a relentless, high-stakes thriller about the weaponization of narrative. It's a story of how power defends itself in the modern age-not by denying the truth, but by manufacturing a more compelling lie.
When the facts are a battlefield and reality itself is for sale, can the truth survive?