"Five Thousand For Justice."

"Five thousand for justice."

One for sorrow Two for joy Three for a girl Four for a boy Five for silver Six for gold Seven for a secret never to be told

Eight for a wish Nine for a kiss Ten for a chance you must not miss Eleven for a wasp Twelve for a bee Thirteen for a coffee Fourteen for tea

Fifteen for a pencil Sixteen for a pen Seventeen to hear these options once again

Eighteen for pepper Nineteen for salt Twenty for an accident in which you were not at fault

Twenty one for Jerry Twenty two for Tom Twenty three - where are all these magpies coming from?

Twenty five no seriously Thirty this is weird Forty eight from where have all these magpies suddenly appeared?

Sixty two stop counting Seventy just run Ninety nine the revolution of the magpies has begun

Two hundred no more sorrow Five hundred no more fears One thousand for how long the empire of the magpies will last in years

(John Finnemore)

this is so mean but sometimes i see published writing and suddenly no longer feel insecure about my own writing ability. like well okay that got published so im guessing i dont have much to worry about

I love seeing how practical effects can work!

Montage de photos

Matches my own thoughts about Choice. Glad I'm not the only one seeing that as a pattern!

(minor TMA spoilers and general TMAGP spoilers) Having so much time to think about incidents in TMAGP due to hiatus made me realize that all of them, to some degree, contain the theme of "sealing your own fate" or "consequences of greed/hubris".

You see, while I do not believe that TMA had a consistent theme every statement was based on, the overall messege seemed to be that horrors are inevitable. Once you've been marked you cannot escape, no amount of therapy or running can release you from it. I think Michael Crew is the best example of that:

"The thing that chased me, you see, it was an arcing branch of the Twisting Deceit, taken shape to follow me. (...) And I knew within that book was something that could not only release me from my pursuer, but chain my being to that rush of wind and vertigo forever." Michael Crew in "The Coming Storm"

You cannot escape it once you've been marked, only bind yourself to different one and this marking is, most often than not, nonconsensual. Jane Prentiss would run around and infect random people, Not!Them didn't need anybody to come to them before it was sealed and Peter Lukas also tended to just disappear random people just to feed. The fears were very predatorial and active and the victims were selected based on their own fears and anxieties. This is not to say there weren't victims who failed due to their own curiosity/hubris/greed, but I think it's telling that few of the most greedy/curious people in the series, Mikaele Salesa and Jurgen Leitner, stayed largely uncorrupted by the fears not cause they avoided interacting with them, but simply avoided getting marked by them.

Now we come to protocol and every incident so far has the main subject of that incident actively engage with the horror and have one or multiple points at which they could stop and leave, but they do not. Daria went to the tattoo shop on her own accord, Harriet wanted her husband back no matter what and even Dr Webber was described to be able to leave the garden whenever he wanted, but, due to hiding from authorities, chose to stay until it was too late for him. Every incident so far seems to have this theme of consent, characters detailing very clearly that consent was given to engage with the abnormality:

"Ah well that’s a tricky one. Sort of? In many ways he stabbed himself on me. By the time he saw the needles we were already very close. Close enough to smell his sweat and cheap aftershave. In fact, he barely had time to be afraid before we embraced. He’s terrified now of course…" Needles in "Introductions"

"The young man's interview was not exceptional as he had no experience in charity work, no driving license nor any demonstrable experience in retail. He claimed however, to know the Hilltop Centre better than anyone and as he was the only applicant in the role I elected to give him a try." Dianne Margolis in "Give and Take"

"I hesitated a moment but before I could consider her strangeness a particularly high tide of color swept down the corridor toward me. I panicked, and before I realized what I was doing I had darted inside the lift and slammed the close-door button." Terrance Stevens in "Running on Empty"

It does not matter some of these are under duress or deception, all of them contain some type of action "confirming" consent. Mind you I do not believe all the victims of of these horrors confirm consent in some way, like people who get killed by Bonzo probably didn't agree to it (though considering he's most likely a hitman, some degree of "you agreed to this by overstepping your boundaries" philosophy could be applied), but subjects of the incident very much pay for consequences of their own actions.

That brings us to OIRA itself, and how every character so far seems to actively dig themselves deeper by their own accord, Gwen wants position of power, Colin wants to figure out the system, Sam wants to know why he wasn't chosen and Alice is in it for the money (for her brother which still counts as consent). This is literally said directly to us in episode 1:

"If you hate working here so completely, you are perfectly within your rights to resign. No one is forcing you to stay here." Lena to Gwen in "First Shift"

All of this, all this horror is happening due to their own accord, curiosity, obligation, greed for knowledge or just for the money, it does not matter, the choice is there, but they delve deeper anyway. We will see how long it holds up, but I will be on the look out for this theme in the future.

It is November of 1893. You have just killed a vampire. Exhausted and worn, you close your eyes and rest.

You wake up. It is May of 1893. You are on a train en route to Transylvania. Your diary says you have had queer dreams lately.

You try to believe it.

(An old woman puts a rosary in your hands. You accept it without question.)

You are a guest in a castle you have never been in before (you recognize every hallway and know without trying that every door is locked). Your host is a man you have never met before (you killed him you killed him you killed him he had turned to dust and there was blood on the snow).

One morning you cut yourself while shaving.

There is nobody behind you in the pocket mirror’s reflection.

You turn fast, and the razor is like a Kukri knife in your hand.

Related to poor medical phrasing, way way back in elementary school, a dental assistant was trying to convince me to brush my teeth twice a day. Specifically, she said I should brush my teeth "first thing in the morning", and I was confused, because first thing in the morning I wouldn't have eaten anything, and I had brushed my teeth the night before, so what was there to clean off? I started to question it with, "But I brushed my teeth the night before, so—" and was cut-off with something that didn't address the fundamental issue. Took me years to figure out that what was meant was that I should brush my teeth after eating in the morning, and not just before bed.

When I was younger and researching the autism diagnosis criteria and symptoms, I thought “oh I couldn’t POSSIBLY be autistic.” Because when I read “takes everything literally” I thought it literally meant EVERYTHING and I was like “I don’t take EVERYTHING literally, just most things!” And I just realized the other day that it didn’t actually mean EVERYTHING and that was an overstatement.