Young Artist Posting Your Work Online, Heed My Warning. Im Holding Your Face So Gently In My Hands, You

Ceaseless Watcher, did you pay for that train ticket?

I Lied to you. We aren’t having sex, put your clothes back on. It’s time for me to explain to you the entire plot the Magnus archives and tell you which fear entity you would serve.

Huevember 17-18 🌀👁

RENDERING THAT HAIR TOOK SO MUCH TIME FROM ME 😭 its worth it though it turned out okay. Still working on Michael Distortion's design. If i draw him in the future expect a lot of changes in his outfit :]

Guys im so lucky i dont have a skeleton this is crazy

please I need this as a crack fic so bad

TMA AU in which Jonathan Sims got himself a car after the promotion. He's not exactly a car person, but that's what people do, he's pretty sure of it. And he can do so much with that car. He can bitch about the parking in central London, he can use it to spy on his assistants, he can name the car, live in it for a while, have it stolen, have it confiscated, have it vandalized by every avatar in Britain. When Jon is on a run, he throws away his license plates and can't find them after his charges are cleared. He loses his driving license too, but that's alright, he can just consult with the Beholding to avoid police. At this point everyone tells Jon to leave the cursed pile of metal somewhere in the woods already, but he can't just abandon his beloved automobile! What do you think he named it? I think Barnabas. I also think the car became sentient and drove away after the apocalypse, as per the laws of the genre. Jon met Basira in one of the domains, asked if she's seen his car and got smacked immediately.

Oh no. Oh fuck. I am relistening to some of the earlier Protocol episodes, and I have a horrible, terrible, no good very bad suspicion about Gerry.

I could, I want to emphasize, be completely wrong! I could be wildly, hilariously, off the mark. But--hear me out. This is going to take some explaining about what I think is going on in the bigger picture worldbuilding stuff; hopefully it'll be coherent, but fair warning, it may get a bit long.

First: there have been a lot of cases that have boiled down to trying to keep only the "good"/desirable/etc aspects of things or events or people, and discard the "bad"/unwanted, right? We saw this happening very explicitly in episode 23 with Alesis Newman, and way back in episode 2 with Daria the painter, but a number of episodes have presented variations on a similar theme.

Two variations in particular that I've been thinking a lot about are the violinist in episode 4 and the gambler in episode 9. The violinist can play his violin beautifully, but he wants to be rid of the price in flesh and blood that it demands. Similarly, the gambler wants the rewards of rolling high on his magic dice, but wants to be rid of the misfortunes that come with rolling low. Crucially, both episodes make clear that in this type of balance--something unwanted for something wanted--you can't just make the unwanted piece vanish. It has to go somewhere, it has to happen. But you can make it happen to someone else, somewhere else. And when that's how the game works, one of the major questions for players who want to get ahead then becomes: "how do I make the bad stuff stay happening somewhere else, and keep reaping the benefits of the good stuff that balances it out?"

Here's where this gets wildly speculative and from here on I freely acknowledge that I may be talking out my ass:

I think the Magnus Institute was investigating that question. I suspect a great many alchemists before the Institute, probably going back to the times of Albertus Magnus, were investigating it as well. I think the Great Work they were attempting -- the "universal transmutation" alluded to in episode 21 as the Magnus Institute's aim -- was the exact opposite of Jonah Magnus's own "Great Work" in TMA. In other words, I think they were probably trying to make the world an eternal paradise, rather than an eternal hell.

But if you're getting rid of all the "bad" stuff, all the suffering and misfortune, it's got to go somewhere.

I think they were sending it through to other worlds.

I'm not going to get into all the reasons I think that right now, because that's a whole essay in itself, but basically--the Leitners in TMA? The artifacts? All the little bits and pieces of evil given physical form, that never had a clear origin point in the world where they caused so much suffering for so long? We've all been worried about them winding up here, post-Archives... but I think this is where they came from in the first place. I think they were sent away in the hopes that an increase in "bad" in other worlds would lead to an increase in "good" in this one. Remember all those books Albrecht von Closen found in the tomb in the Black Forest in TMA, that Jonah Magnus later stole and let loose on the world? Remember that Albrecht found a mysterious coin along with them dated 1279? Albertus Magnus died in 1280; I strongly suspect he sent those books from the world of Protocol to that of Archives shortly before his death, much as the world of Archives sent the tapes away centuries later. But I think Protocol's world kept sending things away, kept trying to export "bad" and import "good". Remember all those happy, laughing volunteers bringing strange and sinister items to the charity shop on Hill Top Road in episode 7? "All for a good cause."

Okay so. Now. With that bit of hypothetical framework for Protocol's worldbuilding in place, let's next go back to Alesis Newman of episode 23. Her expressed wish is to create a new her. "Someone better. Someone the pain can't touch." Someone who can be everything Alesis wishes she could have been. Someone "free of all (her) mistakes."

But increasingly it sounds like what she actually wants isn't to create someone new. It is to create someone who is only a part of her current self. Someone who, she says in one of her last few posts, will "just be the good parts of me."

And if that's the case, if what she's really trying to do is make someone who holds only the "good" parts of her, someone who can be happy and strong and perfect and loved by everyone forever... what happens to the bad parts of Alesis Newman, as she currently exists? What about the parts of her that feel pain and fear, the parts of her that make mistakes, the parts of her that she rejects?

One might assume, from the experience she narrates, that those pieces of her are simply being destroyed. But that doesn't line up with the suggestion we've seen from earlier episodes that there has to be some kind of balance maintained in these bargains. What she actually says is happening to her--and what the forum members have apparently told her will happen, through this process--is that she and this "new her" are "becoming one... and then two."

I don't think the "bad" parts of Alesis Newman are dying. I think they're also going to become a "new her"--they're just going to go somewhere else, somewhere the new, happy, strong, perfect version of Alesis Newman never has to see them.

Still with me?

Okay.

Now let's talk about Gerry. Let's talk about the smiling, laughing, irrepressibly happy Gerry Keay we meet early in Protocol. Gerry who seems to have everything that the Gerry Keay of Archives was denied.

Gerry who underwent tests at the Magnus Institute as a child, and who, per the static over his and "Gee Gee's" words, holds a few more secrets about what went on there than he let on to Sam and Celia.

Back when I first heard Gerry's appearance in episode 8, it sure felt like a narrative gut punch: This is who he could have been in Archives, if not for the presence of the Fears. This is what Jon and Martin's final decision threatens to destroy--for this safe, happy version of Gerry, and for everyone else in his world.

I'm now suspecting it might be significantly worse than that. I think the Magnus Institute might have done to Gerry Keay something similar to what Alesis Newman later did to herself: made him New. Kept only the good parts--ensured a happy, comfortable, good life for him. In which case, all the bad stuff--all the parts of Gerry Keay that would ever have to suffer from bad luck, to feel pain and fear and misery...

...well. They'd have had to go... somewhere else, wouldn't they.

Which would suggest I had the causality the wrong way around the first time I heard Gerry's appearance in Protocol: maybe it's not "Gerry has a happy life in this world because he didn't have to suffer everything that the Gerry Keay of Archives did."

Maybe it's "Gerry in Archives had to suffer everything he did because Gerry in Protocol was made to always be happy."

ok i'll bite. *just starts fucking biting you*

NEEDLES????

(sculpture is Capacitor II by Antony Gormley)

i don't forgive you. but thank you for this

jonathan sims top character of all time. his best friend is his ex-girlfriend’s cat. he doesn’t drink coffee. he lies about his age but everyone believes him because he acts like a 60 year old man. the second he’s faced with death he asks his coworker if he’s a ghost. he later falls in love with that coworker. instead of having a beautiful narrative arc about the importance of friendship and surrounding yourself with anchors he had a meat freak rip out his rib. he’s canonically asexual.