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And if they can't call you a casual, they say you're "sweaty" for putting effort into something you're clearly passionate about. Gamers really hate it when someone plays a video game

"casual" as an insult is really funny tbh. hey everybody this guy plays games for fun. they like to relax and have a good time

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Creaseless watcher, turn your irons on these wretched jeans

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The way you talk about this show leaves me so curious on how badly I want to suffer

Like I could take the boring option and listen when someone screams that I should run far away, but... what if I sprinted headlong into the great pit of bleeding and agony instead? Who knows what could happen

911 tomorrow... A cross I must bear every week now

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assign your other fandoms/interests a fear domain. I'll start:

dead plate is 100% The Flesh

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Reblogging this as well. Another example of potential "Coding logic" to answer these riddles before us...

tadc theory

orbsman said 'thats right its me orbsman' when ragatha said his name

gummigoo gave pomni That Look when she said his name

all the real people remember everything about their lives except their names

do names have power in the circus? more specifically the power of memory?

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This is as good a place as any to put this:

I think everyone in the Digital Circus might have been converted into code? As if they had their brain map all compressed and jammed into the computer, and now they're basically just a complex npc based off of their former selves. The headset isn't like a pair of goggles that you look into to see the digital world; it's a scanner that the digital world uses to see you.

And maybe the reason that people abstract is because, although their code is able to make certain changes to reflect human thought patterns and our ability to develop in complexity, there are some errors when someone has developed so far off from their source material that something integral about them has managed to shift. Maybe their breaking point does something to destroy the code that gives them their identity, or their sense of purpose, or something else that the code uses as an integral part of their functionality. And since the program doesn't know how to handle changes to that essential element, abstraction acts as some sort of failsafe that keeps the whole program from crashing. All the abstractions look the same because they're using the same model; it's the error model for when the program doesn't know what to attach someone's code to.

if Caine can't control minds why does stupid sauce change ragatha's behavior?

Hehehe...

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thinking about jonathan sims and daisy tonner both feeling more like themselves than ever in the coffin because in there they were simply two scared people and not avatars. they felt their lightest when the weight of the world was pressing down on them. in this essay i will-

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au where instead of Melanie getting shot and infected by The Slaughter, martin has some kind of spider bite and gets infected by The Web

all I’m saying is we’ve never seen martin blackwood and peter parker in the same room

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In my opinion, it's both.

When the Distortion called itself "the architect of lies," it's a "this statement is false" paradox. The implication that it does not just bend the truth with lies, but also changes the nature of truth. At the center of it, Helen was the "structure" of a person that was scared and confused. But the Distortion cannot be that, because its nature is within the scaring and confusing. Its nature now contradicts itself, both its victim and its torturer, not both and not neither. It Is Not What It Is. Its intention can only exist as a question never truly answered, Because it is a paradox.

Question because I’m curious and unsure

When Helen Distortion first came to be and she went to Jon saying “talking to you made Helen feel better, I just want to feel better 🥺”

Was that manipulation or genuine? In your opinion, because Helen’s existence was truly to fear what hides behind the masks of others

For the manipulation side, when Jon pushed back a bit with the “but you’re not that Helen”, she managed to get him to spiral I believe on two occasions into a crisis of self and humanity

But for the genuine side, she HAD recently become a Whole New Thing that was just learning how to be, and I can fully imagine and feel the eldritch pain of being New And Other yk?

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We're so close to 69420 notes we can do it guys

it is so jarring and weird when a fantasy book is like “ok let’s go around the circle and have each character talk about which lgbt umbrella category they identify with” like ok your fantasy world doesn’t have to be feudal europe but can it not be 2023 twitter please

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The Candy Disposal Service, your best defense against the Summerween Trickster

"i'm too old to trick-or-treat" what the HELL are u talking about. that is FREE candy. in this economy. "i'm too old to make responsible financial decisions" you sound like a goddamn lunatic

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Someone else noticed the Network!! And it's also described as being similar with the Eye and the Web! And the Deep as similar to the Vast and the Buried! The rest of these are also very interesting, I think I'll be studying this potential counterargument as we move into Season 2...

tmagp entities??

has anyone does this before? idk man, i feel like i should make one bruh

The Deep - a mix of vast and buried

The Wanderer - does anyone else feel like the lonely in this universe ALWAYS walks around??

The Bodies/The Satiated - Body-related horrors? Definitely Ink5oul related, but there's also that demon baby, and the cloned guy. idk man, i feel like the flesh with themes of the slaughter

The Armed - Basically the hunt but with a different name, so far i think only Lady Mowbray is the only external for this entity (nvm we got needles and maybe bonzo but he's sorta special)

The Inanimate - Normal everyday objects suddenly becoming alive?? Tape recorders that bite, carriages that digest you, keys that can open anything, dice that controls luck?? ok but fr mr bonzo should be included here, he's just a mascot turned sentient

The Network - the web and the eye lol, they both contain information, observe, and influence you. see episode 13 and 5

The Static - definitely the slaughter but fr so far all blood and violence related all got music or noise related.

The Union - here we have the corruption and extinction combined. hilltop might be involved in this, sure, but i like the theory that hilltop might no longer be part of the web but something else. - anyway, this is where we observe the guy turning into a tree, the dog putting down roots, and obviously the guy in episode 30. There is something going on with this tho, obviously concerning with the ground and... roots?

anyway, yeah, this is my theory. anyone join in if ya want

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I am unwell

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Hey so not to get too wildly off-track from the normal topic of conversation on this blog, but if you so permit it, I'd love to talk about another little theory of mine about the Magnus Protocol of all things. It's only a little hatchling, too young to really be too particular on the details, but we've got that season 2 drop closing in, so there's only so much time I have left to ship it off before it gets completely demolished from being proven wrong 6 times over.

As you might expect, spoilers incoming for pretty much the entirety of Season 1 (Not including the s1 epilogue).

So, the fears, right? If you've not heard of them, then you are the very rare individual that has somehow both found my blog, and listened to the entirety of Magnus Protocol before listening to half of Magnus Archives. I am very proud of you for managing to find this; though perhaps you should check if you've been marked by the Eye. (Joking.)

We're here to get down to the fears, where are they now, what's their new business plan, etc. etc. Well, I can say one thing for certain: Smirke's 14 is certainly not the main system we're operating with. There are some clear remnants of this system, such as the Stranger--they're still going strong, what with the Mr Bonzo and such. And I'll get into why that's still here later, but my point is we will not be relying on Smirke's 14.

But even if it's not 14, there are still some kind of division of the fears present. While the motifs may not be familiar to us, they are there if you look for them. The Deep is a clear example, because once it is literally name-dropped by an avatar external, the motifs become pretty easy to look out for. Even in one season, the amount of episodes involving drowning or water is too statistically significant to be some accident.

So you may be asking, "how does this work? How are the fears being stretched in such awkward ways that they have to go by completely different names?" Well, the thing is, they are not being stretched any more awkwardly by these new names than they were by the old ones. Think of it this way: they are mapping out the same landmass, but they break up the landmarks with completely different borders. You can see some decent overlap between certain fears, like the Deep with the Buried, and that's because that area has to go somewhere. And the Deep takes a good chunk of it, so as a result it seems awfully familiar.

The next question to answer: "If it's not 'Smirke's 14' anymore, then who's responsible for this one?" Shockingly, I think we can answer this. With the statement regarding Sir Isaac Newton himself, a Historical figure just like Robert Smirke, that shows him speculating on fear and its mechanics, we have a potential culprit for this new arrangement. Consider this parallel: Robert Smirke was always focused on balance, and how the fears are supposedly able to cancel each other out; Newton's third law of motion states that "for every action, there is an equal and opposite reaction." That's not much evidence to place him as specifically responsible for all the current fear stuff, but it would be particularly powerful foreshadowing if the guy who designed these new fears was name-dropped all the way back in Season One, and Mr. Sims has made it clear he is quite fond of making sure everything is included for good reason. So I'm just going to make an educated guess and point my finger at Newton.

But the main thing I'm going to be discussing here is what the new fears are, how they're broken up, what their motifs/"motives" are, and afterwards, how the old fears factor into all of this. The thing is, I'm not exactly studied up on all the alchemy stuff, or much of anything regarding Isaac Newton outside of his theory of gravity; Maybe I'll research in the future, but again, we're working with a limited amount of time so I won't be diving into Isaac's methods and ideas just yet. Right now, I just mentioned him as a possible lead so I could have a name in here for the sake of naming this system of fears. That being Newton's system of 8. But let's get into that, shall we?

Here's how I think the fears are broken up:

The Deep. Related to the Buried and the Dark (and a portion of the Vast and the Lonely).

(Note: this is the only name confirmed in canon--the only other possibly canon name is "Liminal Hunger," which although it could be a name, it is likely not a frequent name. But for all the other names, they are speculations based on their themes.)

There seems to be only a small difference between the choking of the Buried and the drowning of the Deep. But there is certainly a difference. In the Buried, there is no action, no moving, no seeing. But the Deep is always moving. It pulls you downward, always further in, perhaps even convincing you to try and swim. But the pull is too much. You are locked in its grasp, and it will never stop pulling you closer and closer. The shock of cold gets you, paralyzing all your muscles except the ones in your heart, that cannot stop beating faster and faster. You struggle and fight and you try to swim, try to get one gasp of air. But it holds you close, and yet closer still. The cold grip tightens until you freeze. And only then do you stop moving.

Occurrences of this fear are: Episode 11 case file; statement of the corpse from episode 15; Episode 29 case file.

The Wild. Related to the Corruption and the Hunt.

The climbing, crawling, creeping Wild. It describes the Wrath of Demeter, the dense weeds with desire to spread and take control, the angry beast that wishes to fight and defend its territory. Sometimes it comes to devour, sometimes it comes for the sport of sewing chaos. Its truth reveals we are all not too distant from animals. It's angry, and hungry, and it just wants to survive. So it will take, splitting rock open with its roots. From nature we came, and it promises that to nature we will return.

Occurrences of this fear are: Ink5oul's floral serpent tattoo (described in episode 2); episode 3 case file; episode 14 case file; Lady Mowbray (episode 15); episode 24 case file.

The Risk/Never Enough. Related to the Desolation and the End (and a portion of the Web).

There's always a risk. At any time, there's risk of an accident, an injury, death--every day is a gamble. We believe that we get control over our lives, but there will always be a risk of losing everything. And if that's the case, what harm is there in challenging risk? If you're already living with a ticking clock that could run out at any moment, why not try for something more? If a small gamble pays out, then maybe you'll earn yourself a bit of a safety cushion? You'll only be taking one risk to replace another, and if your luck is as good as it's been so far, with you still being alive and all, maybe you'll finally be safe from the risk entirely. Except, there's still a risk. Maybe smaller after taking that chance, but not small enough. You need more gambles, more wins, until you're finally safe. Finally free. It won't matter how many times you lose, as long as you win in the end. Just one more try, just one more risk...

Occurrences of this fear are: Episode 1 case file 1; Episode 9 case file; Episode 13 case file.

The Pain. Related to the Slaughter (and a portion of the Flesh).

Fear of pain is simple. We're all familiar with it; that sting as some new injury has disgraced your flesh. Perhaps some marking their brand forever on your body, cutting deeply enough that your skin cannot repair without producing scars. A fear so common, it is almost ubiquitous. And yet despite this, it is a fear so commonly disrespected. What harm is there in hesitance in the presence of a needle? Why compare it to larger injury, when even such a tiny thing is capable of causing permanent damage? One needle is enough. Enough to burrow deep into you with complete disregard for the body it has infiltrated. Even a single sting is small, but it stays, and leaves you with some unnamable, deeper ache. A fear of its ability to return, and to take the opportunity to cause something much, much worse.

Occurrences of this fear are: Ink5oul (episode 2, 11, 16, 20); episode 6 case file.

Liminal Hunger. Related to The Spiral and the Flesh.

I'm not sure I understand this one. It is a hunger that must be sated, an emptiness that wishes to be filled. A place waiting to fulfill its purpose. But are the people who made it the source of this desire? The wish to have their work mean something, brought to life? Or is it something carried by the viewer, who expects something from a building until it decides to oblige them? Either way, there's something about those places. That it was created, theoretically with some purpose, and now its potential is being wasted. Even if it's some niche use, it still deserves to be used. It deserves to have a place, to get the appreciation that it earned. It deserves to have its purpose. At first I believed this fear to be something from the Flesh, being that the Hungry Man Grill really suggested that that fear was still around. I considered that it could have just expanded to be more than just meat and food, shifted toward a matter of creation. A hunger for purpose. But that wasn't it. While there are shared components with the Flesh, it is distinctly separated from its desire for simplicity and nature. The Flesh says we are all nothing but meat, but Liminal Hunger says we are something more. Something strange. And whatever it is, the fear wants it drawn out of us, have it pushed out our lungs and our hands and our eyes. It wants to live through us. It wants to be our creation.

Occurrences of this fear are: Episode 7 case file; episode 8 case file; episode 18 case file; Helen Richardson (Episode 26); The Custodian (Episode 30).

The Stranger. Mostly similar to the version of the Stranger in the Magnus Archives.

This version of the Stranger is very similar to the one we're familiar with, but it's not the same. All these ideas on the "other" and the unfamiliar are present, but they have been shifted to be an examination of objectification and desire. For an example of the contrast: while the previous horror in the taking of Breekon and Hope's name was about identity theft and your name no longer being yours, the loss of Nigel Dickerson's self is quite different. Mr. Bonzo was a simple property of his, one that was such an obsession for people that it eclipsed him as a person. People knew Mr. Bonzo, they liked him and were familiar with him, but everybody forgot the person behind the character. And then, all of it was taken away when the famous face was turned infamous. Mr. Bonzo is a story about celebrity culture, about being popular but never seen. Breekon and Hope were quiet, a personal and secret theft of personhood, while Mr. Bonzo was loud, an identity tainted and swept away by a roaring crowd. Not all of the fear is reaching this level of publicity in its motions, but it does permit itself to be seen more often, even if that image will always be false. If the Stranger had a name-change to reflect the way it's been changed, it could be called the Performance.

Occurrences of this fear are: Episode 5 case file (possibly located at the amphitheater); Mr. Bonzo (episode 10, 12); Episode 27 case file (though seemingly a more traditional version of the Stranger than my suggestions of the Performance).

The Mirror. Related to the Lonely and the Spiral (and a small portion of the Eye).

Sometimes when we look in the mirror, we are disturbed by what we see. Either by what is there, or what isn't. Some become trapped by the sight, trying to make fixes, or make conversation. Some are disturbed by the warps they see in the reflection, wishing to find an image of themselves that portrays them in perfect accuracy--in the attempt to deny something they wish to not be true, or in the hope that they will one day be able to understand just what they are. It's a fear that many people interact with in many different ways. And because the way we fear the Mirror is personal, I can do no more than describe its silhouette. I cannot fully express the complexity of its design, the intricacies of its attack. Because it is impossible for me to be a part of the dialogue that only You and the Mirror can share.

Occurrences of this fear are: episode 17 case file; episode 21 case file; episode 22 case file; episode 23 case file.

The Network. Related to the Web and the Eye.

The Network is a lot of things. On some matters, it is much like the Eye, nosy and knows how to find people. But on others, it's blind and clumsy. Because the Network is the fear of people. Not like how the Stranger is the fear of people--crowds of unblinking dolls and false identities--but real, genuine humanity. People that are just the same as you, and yet will always stay separated. The disconnect from others that cannot truly be broken, despite how tightly we are all interwoven. The truth that everything, every bit of the social structure we have created to make people feel safe, will always be vulnerable to simple human error. And this fear is only exacerbated when systems of hierarchy are concerned. Humans that are no different than anyone, no better than anyone, are put above each other in a never-ending cascade of hierarchy. At times, some feel they gain power from this system, some genuine control over their lives, not subject to the bizarre whims of a stranger. But then, no matter how big the role they play, a bigger fish shows up. Even the Externals have something to fear. Because there is no top, no point where you're above other people. That's a fiction invented by the desire for control, for stability. The Network is the fear that there is no stability, because the world is filled with people just like you. The fear that we will continue to enforce a broken system, not out of ignorance, but because it's the best we can do.

Occurrences of this fear are: The OIAR (all episodes); episode 16 case file (though caused by Ink5oul, an External related to the Pain); statement of Samama Khalid from episode 28 (just speculative--motifs are unclear, but not sure how else to place it).

If you kept a careful tally of the different case files I divided up amongst the different fears, you might have noticed I missed a few. You might think this implies I left one of the fears unclassified or something of that nature, but I think it's different. All these edge-cases are essentially arguments between "philosophers"-- because despite the mostly lacking presence of Robert Smirke, there are clearly still some remaining artifacts from his work. Some examples include... You know... The Magnus Institute existing at all in the show. Also that violent violin that was nothing but a dead-ringer for the Slaughter (episode 4 case file). And I think they are present because, at some point in time, Smirke did actually get down to the brass tacks of trying to break up the fears like he did in the Magnus Archives. The only difference is, he failed, and most of the fear structures that he built eventually dissipated back into the format they were previously reliant on. There's a reason why the violin story was so old, and why the Archive only spits something out when someone goes picking at its supposed corpse. It's not clear whether the buildings were destroyed because Newton himself came down to beat Smirke to death with a metal pipe, or because Smirke made some little mistake that got him killed (resulting in his architecture being left to slowly erode over time). But clearly Smirke had a short time where at least some of his structures were in place, and if some fragments of their remains are intact, then they remain capable of producing the occasional little nugget of fear. The Stranger, however, might have outlived the rest for a reason. If Newton's setup already had something remarkably similar to the Stranger, it could have decided it was easier to adopt/reformat the new motifs than it was to wholly reject them-- perhaps even leaving the amphitheater mostly undamaged. This is why I listed the Stranger as one of Newton's system of 8.

With all that wrapped up for now, I wanted to leave you with an "honorable mention" of a theory. For how close the number of fears was to 7, and for the Christian themes in the Newton case file, I almost made my theory revolve around the seven deadly sins. But 7 just didn't make as much sense as 8, so you all have been saved from this theory cliché. But just so you all know how close it came: The Deep was Sloth, the Wild was Wrath, the Risk was Greed, the Pain was Envy, Liminal Hunger was Gluttony, the Stranger was Lust, the Mirror was Pride, and the Network was assumed to be from remnants of Smirke's 14--though that wouldn't have made sense when they were the ones responsible for destroying the Magnus Institute (and likely the other buildings).

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Pt. 9

(Same spoiler warnings)

The Stranger

Mask-making is a delicate craft. It is also an incredibly old one. When working in construction or in the making of more practical objects, there are plenty of tools engineered specifically to assist in creating it, down to perfectly straight lines and perfectly round cuts. But when making a face, almost all the important steps are entirely reliant on a precise hand. Similar to other crafts, there are certainly marks on whether a face is "functional," or if it is distinctly unreal. Normally this blatant fakeness occurs from the face being too simplistic, or from breaking many of the "rules" of how we interpret a face. But for mask-makers who work in extreme detail, their conflict with fakeness comes from the Uncanny Valley.

We are very skilled in studying faces, quietly detecting the smallest details and changes without much effort, and without even knowing what it is we notice. We see little more than the result of an interpretation, a simple mark of "right" or "wrong."

Have you ever been told you were pronouncing or spelling your own name wrong?

While it may be your name, it may have been taken from someone else's before you. Someone old and long gone, with no right to the name you were born with, the one you grew up with. And yet, people reach to take it from you. To replace it with something that isn't your name. You want to keep your old name, permitting the changes they decided to define as "mistakes" or "flaws." But they just keep insisting that your name is not yours.

The perception of wrongness is subjective, changing from person to person. The fear of the Stranger is also subjective-- in fact, all the fears are subjective. That is why they exist in this translucent, shifting form. Where it has many truths to its form, and yet they contradict. It has its faces and pseudonyms, it's impossible for them to fully resolve into one true identity.

And is that existence all too distant from our own?

Our own idea of "self" is not the only thing that defines who we are. It's also up to the perception of those around you. By being perceived, we are being changed. Different ideas of "you," scattered around the world with different opinions, different motives, all while plagiarizing the exact same face. Or are they really the same face? Seeing them all together, you'd notice the changes; some small misremembrances about the cheek bones, an extra crease above the eyebrows entirely invented by someone's biases, some drastic changes by someone who wasn't even able to see your full face.

Taking enough lessons from the Stranger might teach you something about faces. That there is no true face, no true interpretation. That the uncanny valley does not close, or give way to "normal" and "familiar." Because familiar is nothing more than another wrong.

Perhaps in studying one face, and the ways people misread it, you can copy imperfection itself. Study the differences, extract the wrongness and use it as material to craft a new mask. A face that is wrong because it is true, and untrue because it is right. A mask of the Stranger that can never be complete--but with enough references, the resemblance becomes uncanny.

The path to true untruth is not simple, however. One face is a good start, but not enough. Even one who is experienced, who is properly familiar with the unfamiliar, will need practice in this effort. To get the face truly wrong, you cannot lean on a first draft. It's better to put more focus on the different perspectives, better drawing out their contrasts by focusing on the different directions in which one face is taken. For example, maybe the next draft will look for the faces that emphasize scars, that imagined sharper teeth, the ones that seemed distracted by either distant song or nearby prey. A draft of violence, a valuable aspect in the face of the faceless. A draft of anonymity could hide eyes that watch a web as it's spun, or breathless muttering from someone who wishes you would just leave them alone-- or could it be that the face's nature is obscurity, to be hidden in impenetrable darkness? There are many drafts, and many references to take. But when the final draft is ready, the impossible face of fear will arrive. Through being perceived, it becomes real. A truth shown to falsehood. And all that can wear fear will be the body with which it will dance.

Made this blog because I had a random idea and a need for a random corner of the internet to post it in.

Also Spoilers for the general plot of The Magnus Archives, all the way up to the season 4 finale.

The concept of The Watcher's Crown involved marking one individual as a "Sacrifice" to The Eye, but what if someone copied Magnus's blueprints and used it for a different fear?

For example, let's say someone wants to spread The Corruption. When marking someone for sacrifice to The Eye, the objective was to Show them each of the fears, and making sure they have an experience that will let them Know that fear. So for the Corruption, they might be marked in a completely different way. Rather than witnessing and understanding, they would somehow need to be Corrupted by fear. Could it perhaps adapt The Corruption's attachments to communities? Maybe the sacrifice would be bonding with avatars, making the victim take that fear and get "infected" with it--maybe it even turns these avatars into a whole collection of sacrifices, or otherwise grants them significant positions via the ritual (making them leaders of their "colony," etc). Or it could be something simpler, such as being changed by / spreading around / spreading into the fears.

The name I've got for it is The Host. Tune in for possible rituals for the other fears, but I'm starting out with the one I found easiest to adapt Because it's my favorite

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Pt. 8

(Same spoiler warnings)

I swear I did not plan to make this one part 8. I was literally just posting whatever I was able to finish first, and I did not check what part it was until it was ready to post.

The Web is connections. The fears that cling to us, beyond logic, beyond our own wish to be free of them.

All things are connected. Everything on this planet is pulled to its center; and in turn, this planet is pulled toward the sun, and the sun is pulled toward the center of our galaxy. In truth, all things are within the Web's domain. It's mentioned that eventually all things become The End's domain, but no fear is too distant from that all-encompassing presence. That is why Magnus's ritual worked, after all.

But if the Web already has control, why would it want a ritual?

Well, because like all of the fears, there are still flaws in the expanse where it may make its designs. There are laws it's forced to incorporate, solid rules that cannot be pulled and that require extensive work to maneuver around and adapt into its tapestry. So to permit control over these obstacles would only be an opportunity for the Web. All it needs to do is gently nudge things out of the way, and eventually fear's presence can be amplified without consequence. Perception and the very fabric of reality would bend to its will, not because it was required, but because it was a convenience with which to organize its plan.

As long as a ritual is helpful in the Web's plans, a ritual is acceptable. And the Carpenters, the chosen victims for its ritual, will be committed assets to the design of the first ritual specifically catered to the Web. They will become one with it, in some aspects--taking roles to plan a ritual, whether by coincidence, by accident, or by their own "independent," "uninfluenced" decisions. It is not necessary for anyone to fully choose the role of "planning" the ritual; in the end, a ritual catered to the Web will be one it arranged for itself. But these semi-"planners" would make choices that happen to lead them towards the Web's intentions, influencing each other and making their own little knot within the Web. For some these decisions eventually lead to a number of encounters, where they are left completely powerless under the weight of the Vast, the unreadable compulsions of the Slaughter, the endless pursuit of the Hunt. And yet they have choices. Cornered, they choose to praise the fears that have chosen to make them their victim. They ingratiate themselves to these avatars, and the fears they serve. And as they accumulate debts to each fear, and gain trust and power within the communities that these avatars gather, they become entirely committed to their roles as puppets. They are controlled by fear, and they make the choice to accept this truth. And when everything is aligned, all the marks and all the strings in place, their puppet show will truly begin. Without witness, the Web will take its seat behind the booth, welcomed onto the stage without ever needing to fully show its face. Fear already had control; the Web will make its changes, but none of them will be noticed. At least, not often. Every once in a while, when it is most convenient, a look behind the veil will show just how thoroughly changed everything is. The supposed normality was just an impression, now pulled into a perfect shape to further coax out fear. Every choice proven to be a conclusion that will always lead to some planned destination. The strings that pull everything along, all shown in full view. A perfect design, now fully completed-- as far this world goes. Hilltop Road will always be there, of course. An opportunity for the Web to obtain full realization. It only needs one ritual per world. That's why it seemed like it didn't have one. It was just waiting for the right moment. Waiting for the next step in completing the design.

Made this blog because I had a random idea and a need for a random corner of the internet to post it in.

Also Spoilers for the general plot of The Magnus Archives, all the way up to the season 4 finale.

The concept of The Watcher's Crown involved marking one individual as a "Sacrifice" to The Eye, but what if someone copied Magnus's blueprints and used it for a different fear?

For example, let's say someone wants to spread The Corruption. When marking someone for sacrifice to The Eye, the objective was to Show them each of the fears, and making sure they have an experience that will let them Know that fear. So for the Corruption, they might be marked in a completely different way. Rather than witnessing and understanding, they would somehow need to be Corrupted by fear. Could it perhaps adapt The Corruption's attachments to communities? Maybe the sacrifice would be bonding with avatars, making the victim take that fear and get "infected" with it--maybe it even turns these avatars into a whole collection of sacrifices, or otherwise grants them significant positions via the ritual (making them leaders of their "colony," etc). Or it could be something simpler, such as being changed by / spreading around / spreading into the fears.

The name I've got for it is The Host. Tune in for possible rituals for the other fears, but I'm starting out with the one I found easiest to adapt Because it's my favorite

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TMA FANS I CHOOSE YOU

please please comment ur favourite tma episodes (especially episodes which you feel are important to the plot of the whole show)

I NEED THIS FOR A PROJECT 🙏🙏🙏

ALSO IF U WOULDNT MIND PLEASE REBLOG I REALLY WANT MULTIPLE OPINIONS