#Char Mary Keay

[envihellbender]

Desolation!Gerry :3c

Desolation Gerry

Appearance:

His hair is as black as charcoal, when using his powers it glows orange like dying embers.

His irises are grey and misty like smoke. His lips are red contrasting to his sickly pale skin, that’s permanently clammy. The tip of his nose is an ill pink, the whites of his eyes are bloodshot. He looks constantly sickly.

His extremities are always painfully cold and his chest and forehead are burning hot.

When he’s using his powers his legs and arms stretch out, his spine elongates, and he gets up to two feet taller. His frame sways like a candle flame.

Powers:

Gerry’s powers are similar to Grifters Bones’. He is the lead guitarist and vocalist of a Thrash Metal band named Burning Placenta. They play once a month, spending the weeks leading up to it planning. A lot of people can’t make it through a performance, they are either burned to a charred corpse or they flee with burning, blistering flesh piercing their limbs.

Gerry’s singing voice is similar to a dirge, a keening banshees wail that has become melodic and soft. It hypnotises people, enchanting them, and makes their bodies feel weaker and hotter. By the third song, or concert depending on the strength of the listeners mind, they become obsessed with the band. Their fans are similar to a cult, lead by the musicians themselves. The songs slowly send their brains over the edge.

What is happening whilst the music is playing is the following: the fluid in their spine and brain starts to grow hotter and hotter. Eventually it starts boiling and bubbling, and their organs begin to melt into clumps like plastic. This happens more and more with each song, until their bodies and mines are completely destroyed.

Their posters and album covers are hypnotising. Gerry and his band mates, agents of the Desolation, look different every time you look at them, despite it being a still image. The edges are constantly burning, the smell of charred paper filling your nostrils. Some posters show the band slowly aging, but not in the right order. For example, Gerard could be shown from him in the modern day as an eighteen year old, to him as an old man, to him as a thirty year old. They blurred into each other, making the transition seamless rather than jarring.

Origins:

Mary Keay always intended for Gerry to become an Avatar, that’s why he was the victim of her experiments, with sigils all over his body desperately hoping that one of the Entities would take to him. She wanted him to become apart of the Eye or the Web. For years Mary thought Gerry hadn’t started showing signs, until she discovered when he was fifteen he was hiding his connection to the Desolation from her.

Gerry has always been well acquainted with fire and cold, as a child he used to take a box of matches from the kitchen drawer. He’d sit in the park and light the leaves on fire until they became ash. The first time he could do it without the matches was when he was thirteen, he knew instantly his mother couldn’t know.

Gerry found that what he truly connected with was less heat and cold and more sheer emptiness. The destruction was what he craved, he would sneak out books from his mum’s bookshop, pile them up, and practice with his abilities. Sometimes he’d burn them to a crisp, occasionally he’d freeze them until they were white shards of ice.

It was an accident that Gerry discovered his powers became stronger when listening to music he felt a strong personal connection to. He was in his room, with Slayer’s album Reign in Blood blasting from his iPod touch. He had just obtained his latest sigil on his skill from his mum - one for the Dark. Whilst he was lying down on his bed, feeling emotion fill his body and the music fill his ears and mind, he came to discover that he’d turned the room into a frigid, ice cold wasteland. Everything was covered in snow and ice. It wasn’t permanent, but given it covered every part of the building including Mary Keay’s bookstore and office… Gerry couldn’t hide it any longer.

[magpodconnections]

Ep4 Page Turner

Case 0132806

Location: Notting Hill, London

Other Places: Pinhole Books, 

Statement Giver: Dominic Swain

Other People Mentioned: Jurgen Leitner, Mary Keay, Gerard Keay

Items: Book (Ex Altiora) 

Other Items Mentioned: Book (The Key of Solomon)

[magnusmysteries]

Part 3: The Wheel of Fear

The Magnus Archives was a horror podcast. It is now completed. Many of the show’s mysteries were never explained on the show. I intend to explain them. Spoilers for the show, but also spoilers if you wanna solve these mysteries yourself.

In the Architecture of Fear Smirke talks about a great wheel of fear. He talks of the fourteen powers, each with their opposites and their allies. I think Smirke believed the fourteen fears could be arranged in a circle, and that two fears on opposite sides of the circle are opposites. 

In Old Passages there is a circular room with fourteen corridors leading out of it and a datestone that says “Robert Smirke. 1835. Balance and Fear.” I think each corridor represents a fear, with opposing fears placed opposite each other. The building is supposed to balance and thereby neutralize the fears. I think it works to some extent. In End of the Tunnel there is a similar structure. This one was damaged by a bomb during World War 2. This ruined the balance, and the Dark got out.

In Family Business Gerard says some fears really clash with each other, while others can blend together.

I tried to work out how Smirke arranged his fears on the wheel. I looked for episodes where two fears seemed to blend together and put them next to each other. With some fears it is fairly obvious they are neighbors, if you look for the clues. Others connections are harder to spot. I tried a few versions of the wheel that didn’t feel completely right. But then I found a version where suddenly lots of things clicked. It explained why the web table could trap the Not-Then, why Robert Monthauk’s ritual banished the darkness monster and things like that. I think this is the correct wheel:  

Description of image: A circle with 14 spots similar to a clock. On each spot is a number and the name of a power: 1. Corruption. 2. Desolation. 3. Hunt. 4. Slaughter. 5. End. 6. Lonely. 7. Stranger. 8. Flesh. 9. Spiral. 10. Buried. 11. Dark. 12. Vast. 13. Eye. 14. Web.

Here is how powers overlap:

Corruption and Desolation 

Desolation deals with suffering and loss of loved ones, and disease can cause both of those things.

Asag is a god of both fire and disease.

John Amherst is an avatar of both powers. There is fire in every episode he appears. In Taken Ill the old folks home he managed burns. It appears it was burned by Trevor and Julia, but this is misdirection. Amherst burned it himself. In Pest Control Amherst is burned, yet survives. In the Tale of A Field Hospital Jonathan notices the statement is charred. He speculates this happened when Gertrude burned the book. But I think the book spontaneously combusted. In A Cozy Cabin we learn that Gertrude is very much against burning books in the archives, and would have been more careful and not ruined the statement. And in Rotten Core Adelard says he will sit on Amherst’s throne and burn himself and it. I think that was a very bad idea, more on that in a later post.

In Squirm the protagonist, after being infected by worms, burns his own apartment down. He is influenced by Corruption/Desolation.

Desolation and Hunt 

You can run from a hunter and you can run from fire.

Vampires are Hunt, Desolation and Corruption. In Vampire Killer we learn that vampires burn very easily. Because of the Desolation.

Why do vampires have a long bloodsucking tongue? Because the Corruption deals with mosquitoes.

There is a hint about the vampire-mosquito connection in Dead Horse; “That night the mosquitos were out in force, thick with fever, and hungry for our blood. I did my best to simply ignore them, safe as I was in my net. But over in Raleigh’s tent I kept hearing a sporadic thumping, or clapping sound, as if he were killing them with his bare hands. When I asked him about it the next day, he simply told me he had inside him a strong and enduring hatred of bloodsuckers.”

And then later: “Now, he and his crew were pinning the things that looked like men to trees, with long, iron spikes. They thrashed, and struggled, and a long, bulbous tongue hung from their throats, pinned by the iron of von Toll’s men. “I cannot stand bloodsuckers,” Raleigh said approvingly, as he conversed quietly with Baron von Toll in French.”

Also in Vampire Killer, the vampire offers rotten fruit to Trevor. Her house is dusty, a book Trevor picks up is damp and moldy and the bed is musty. 

Hunt and Slaughter 

The similarities are obvious.

Several of the Slaughter episodes have music that makes people go violent: The Piper, Strange Music, Grifter’s Bone, Civilian Casualties, Nemesis.  Total War had singing corpses. Two hunter episodes also had music connection. First Hunt has the werewolf whistling “A-hunting-we-shall go”. Thrill of the Chase had the protagonist tapping her foot as if to music right before the violence started.

Thrill of The Chase is a Hunt/Slaughter episode. The Man in the mask is like a serial killer from a movie, very Slaughter. But it is a wolf mask, very Hunt.

Slaughter and End

People die in war.

Absent Without Leave covers both fears. Slaughter obviously, but it is also about the inevitableness of death.

Many Slaughter episodes deal with the living dead. And they usually seem to have a horrible existence: The guy getting stabbed in the Smell of Blood. All the soldiers fused together that shot Melanie. The dead people in Grifter’s Bone that had to fight each other. The dead woman in Absent without a leave. The corpses in the tunnel in the same episode. This makes people fear death since they don’t wanna end up like that.

The End also has the skin book which similarly makes people live after death, and it is agony. And Oliver Banks was alive after death.

In Total War, a Slaughter episode, the statement giver says he could believe he was dead and in hell. 

End And Lonely 

You’re all alone when you’re dead I guess.

In the episode Alone, the statement giver is almost drawn into an empty grave. Very End. 

There is also a ghost in that episode. So life after death, like with the End and the Slaughter.

The Lucas family only meet for funerals.

From Boatswain’s call, regard Peter Lukas: “His eyes only moved a fraction of an inch to focus on me, but it felt as though the movement had the weight of a heavy stone door. Like a tomb. Don’t know why that’s what popped into my head, but there you go.”

Lonely and Stranger 

If everyone is a stranger to you, you are lonely.

Lost in the Crowd and Monologue are Lonely/Stranger episodes.

Stranger and Flesh 

Stranger deals with objects that behave like people. Flesh deals with thinking people are just flesh, an object.

Anatomy Class is a Stranger/Flesh episode.

Flesh and Spiral 

Thinking you are just meat is a kind of madness.

In Killing Floor the protagonist is lost in a slaughterhouse maze, very Flesh and Spiral. He also walks a spiral staircase at some point.

I think Jared Hopworth is both Flesh and Spiral. Many reasons for him being Spiral: First: He prays on people with mental problems, body dysmorphia, anorexia etc.

Second: In The Butcher’s Window he twists a bone into a spiral and inserts it in himself.

Third: The book The Boneturner's Tale makes nearby books bleed. I think objects that bleed, that should not have blood, is a sign of the Spiral. The door handle in a Sturdy Lock bled. The tree in Burned Out bled. I think the tree is Spiral, much more on that in another post. Books, door handles and trees that bleed are all impossible, madness. Some might object that blood also fits with the Flesh, but the Flesh is actually fairly into cleanliness. I’ll explain why below.  

Fourth: when Michael Crew is tormented by the Spiral he tries to escape by using the Boneturner’s Tale. “...but when I tried to shift the bits of myself I thought might set me free, the only shapes I could form with them were laced with that horrid, hunting fractal.” You can’t escape from the Spiral by using a book of the Spiral.

Mary Keay seems to think the book that drops bones is of the Flesh “Just a bit of viscera. Poems about dying animals...” The book is part Flesh, hence the dying animals, but is also Spiral. If you see a book producing bones you’d think you’d gone mad right? 

Also in Old Passages, the bone book is stored in the room corresponding to the Spiral. The floor of that room’s corridor apparently bleeds. “I put my hand onto the floor to push myself up, and it came away faintly tinged with red.” There is a mummified hand in the Spiral room, hands are often an element with the Spiral. Think of the Distortion’s hands, or the Worker-in-Clay’s weird hands, or the hands coming out of the pot in Lost and Found. After entering the room, the statement giver gets very confused. He says his memories start to blur, and he ends up apparently taking the wrong door several times. That’s the Spiral messing with his mind and making him lost.

The demon In Confession and Desecrated Host might be of Spiral/Flesh. Or it might be the two Fears working together. More on that in a later post.

Spiral and Buried 

Strong claustrophobia can be irrational, a mental problem. The Spiral includes the fear of getting lost, and you can get lost in a cave.

The Distortion has a yellow door that is a portal to impossible places. The Coffin is yellow and is a portal to an impossible place.

Held in Customs is Buried/Spiral. Time behaved differently for the protagonist, typically Spiral. John says the protagonist got Alzheimer, but it is the Spiral messing with his memories.

Lost Johns’ Cave is Buried/Spiral/Dark. The protagonist's memories are all wrong, the Spiral has changed them. And the cave is a maze. Mazes are spiral. The statement giver is a big fan of darkness.

Buried and Dark 

Caves are dark and cramped. The ocean is dark and choking.

Lights Out is Buried/Dark. Quote: “I was in the Sandman’s sack. (...) The darkness pressed in, and seemed to fill my mouth, my nose.” Also the Sandman spills sand from his mouth, similar to how people chocked on sand in Dust to Dust and how the man spit out mud in We All Ignore The Pit.

Submerged is Buried/Dark. The protagonist is in danger of drowning but there are lots of references to darkness: The lights at the lawyer office don't work because the lightbulb is filled with water. There is thunder but no lightning, that is there are no lights in the sky. There are no street lights or lights on in the other houses. Water is described as dark and murky. The lights of the cars come on, to show dark shapes moving in the water. Quote about the water: "It would wrap itself around me, reach down my throat and fill me with its choking darkness." The water is murky. Dark water is also in several Dark episodes: a Father Love, Nightfall, Tucked In and the Movement of the Heavens. 

Dark and Vast 

The ocean is dark and vast. Space is dark and vast.

High Pressure is a Dark/Vast/Buried episode. The space the protagonist enters seems too dark. The vastness of the underwater space and the size of the creature is Vast. The enormous pressure is Buried.

In Big Picture we learned that Hailey, of the Dark, helped make the diving bell for the Vast ritual.

In Old Passages the first corridor the statement giver is in, is of the Buried. He keeps thinking the corridor is getting narrower. When he gets to the circular room he looks down the other doorways. One makes him feel like he’s gonna fall into it. One is exceptionally dark. It’s the corridors of the Vast and the Dark. They would be the corridors next to the Buried, the first doorways the statement giver would look into.

Vast and Eye 

From The Coming Storm, Mike Crew discussing the Vast and the Eye: “We have a lot in common, really. After all, what, what good’s the height, the terrifying draw of gravity, unless you, unless you really know the scale of what you’re facing?”

In The Architecture of Fear an enormous Eye fills the sky.

In Twice as Bright Jude says of Michael Crew “...he’s closer to your lot than mine.” Meaning the Vast is closer to the Eye than the Desolation.

Quote from Jurgen Leitner: “Imagine, you are an ant, and you have never before seen a human. Then one day, into your colony, a huge fingernail is thrust, scraping and digging. You flee to another entrance, only to be confronted by a staring eye gazing at you. You climb to the top, trying to find escape and, above you, can see the vast dark shadow of a boot falling upon you. Would that ant be able to construct these things into the form of a single human being? Or would it believe itself to be under attack by three different, equally terrible, but very distinct assailants?”

Jurgen is referencing four powers here, the eye is the Eye. The boot is the Vast and the Dark. The digging fingernail is the Buried. And these four powers are next to each other, so in a way they are the same.

When Jurgen said this he was compelled by John. John did not know that he was compelling Jurgen, but Jurgen did know. Jurgen seemed to not want to give too much information. He was perhaps worried John would learn that destroying the archives would kill John. That Leitner, indirectly, was planning to kill John. So Leitner talked in riddles. That way he could give into the compulsion without John getting wiser.

Eye and Web

Both powers can seem passive, waiting and watching. Spiders have eight eyes.

The Book A Guest for Mister Spider is part Eye. Mr. Spider has eight eyes of all shapes and sizes.

Archivists are Eye/Web. First, the way they compel people to speak is very Web. 

Second, the ancient archivist in Alexandria had long spindly fingers. Like spider legs. In Web Development Annabelle Cane is also described as having long spindly fingers. In Thought For The Day Annabelle moves her fingers along the wall, “...like a spider”.

Third, In Doomed Voyage, after John takes Floyd’s statement, Floyd seems confused. John tried to soothe him. Then John says “It’s alright, Floyd. You just need a break.” Floyd says “Yeah. Sure”. I think John was mind controlling Floyd. I think there is a little static when John speaks. Static on the tape often indicates that something magic is happening.  

In Heavy Goods John tells Breekon “Stop”. Breekon is upset. Then John extracts a statement from Breekon’s mind. I think John mind controlled Breekon to stand still. There’s definitely a lot of static.

In Infectious Doubts Gertrude tells Arthur that he can try to leave. It seems he tries but is unable to. I think Gertrude is mind controlling him to stay. 

Web and Corruption 

Insects and spiders are similar. Probably many people afraid of one of them are also afraid of the other.

In Hive Jane Prentiss talks about the song of the hive that affects her. She says webs has a song as well.

Each fear has an opposite:

The Corruption vs. The Flesh 

Because rot harms meat.

The Flesh tends to be very clean. The student in Anatomy Class cleaned up all the blood they spilled. The slaughterhouse maze in killing Floor was very clean. This is to combat the Corruption.

The Man Upstairs was about a Flesh avatar being attacked by the corruption.

I think Blood Bag was also about the Corruption versus the Flesh. More on than in a later post.

The Desolation vs. The Spiral

I’ll explain why they are opposed in a later post, when I get to Hill Top Road.

The Hunt vs. The Buried

The Hunt is a lot about running from a predator. Can’t run in a cramped space.

When Daisy was in the Buried she was freed from the Hunt. It could not reach her there, because it was an opposite force.

The Slaughter vs. The Dark

I’ll explain why they are opposites in the next post.

In The Piper the Slaughter kills Jonathan Rayner of the Dark.

In A Father’s Love the father performs a ritual that involves killing many people. The ritual destroys the darkness monster that is coming for his daughter. I think this worked because it was a ritual of the Slaughter, the opposite of the Dark. The father is chanting as he stabs the human heart. The Slaughter is often associated with music. 

The End vs. The Vast

From Dead Woman Walking, Georgie talking about the End: “The promise of a cold and lonely eternity in the grave would have been a mercy; at least it would be eternal. But everything ends, even the universe, even time. (...) ...the monumental realization of the scale we existed on. Not the meaningless vastness of the universe, but the… the smallness of it.” Sounds like the opposite of the Vast.

I think the Vast also deals with the fear of eternity. First: notice how Georgie said eternity would be a mercy. 

Second: notice how old Simon Fairchild was.

Third: In Submerged we learn that Gertrude threw Jan Kilbride’s body into the pit to disrupt the Buried ritual. John says “But Gertrude also realized that the body need not be alive. Or in one piece. She thought it was a mercy. It wasn’t.” I think this means she chopped up the body, but Jan was still alive. Jan was touched by the Vast. I think this had made him immortal, to make him fear eternity. 

Fourth: In Personal Space a door in password to the door is E109GHT8. Someone on the Magnus subreddit figured out what it means. It refers to the three fears that owned the space station, the Lonely, the Dark and the Vast. For the Lonely, the 10 should be read like lo, and the beginning of the nine as n, giving is elon, sounding like alone. For the Dark, the 9 sounds like ni, making 9GHT sound like night. For the Vast, the 8 sideways is an infinity symbol 

Fifth: in Freefall, when the guy is falling through infinite sky, his watch has stopped and he doesn’t know how long he has fallen. It feels like hours or days. But when he returns it has not been that long. The spiral messes with time to make people doubt their sanity. The Vast does it to make people fear eternity. 

Sixth, quote from A Matter of Perspective: “I don’t know how long I was floating for. I know it was less than a billion years, which is barely a heartbeat in the life of the universe, so how can it really be said to matter? The stars began to wink out, one by one, and I thought – perhaps for a second, perhaps for a hundred years…”

I believe the immortal gamblers from Cheating Death, Section 31 and Burial rites, were not of the End, like John thought, but of the Vast. They didn’t want to die at first, hence they gambled for life. That is the choice they made to embrace the Vast. But later they become afraid not of death, but the opposite, of not dying. The mummy in the pyramid tried to stab itself to death. The gambler in Section 31 tried to shoot himself. There is a symbol of infinity on the pyramid. 

In High Pressure, the statement begins and ends with the statement giver saying she should be dead. She didn’t die because she was touched by the Vast.

The Stranger vs The Web 

The Stranger makes dolls, puppets etc. into living things. The Web does the opposite, makes living people into puppets.

In Heavy Goods Breekon says of the Spider “It knows too much to truly be a stranger.” The Stranger has the Unknowing, a ritual based on not knowing things.  

The Web table trapped a creature of the Stranger. Quote from Jonathan after he smashed the table: “Smash the table, kill the monster, stupid! Lazy, sloppy assumption. Of course the table was binding it. The table is webs and spiders. Spiders are something else. They don’t help each other, they oppose, they… they weaken.”

In Nightfall Officer Musterman tells John he doesn’t know who is listening to the tapes, but that he doesn’t like it. The tapes are Web and Mustermann is Stranger.

In Angler Fish, the Stranger targets smokers. Smokers, like other addicts, are weak to the Web. So the Stranger isn’t just getting victims, it is fighting the Web.

The Eye vs. The Lonely 

Because if you’re watched you’re not alone.

In Personal Space, there is a camera apparently recording the lonely astronaut. But then he finds out the wires of the camera were severed from the start. So it is scary for the astronaut that no-one was watching him, the opposite of the Eye.

But if every fear has an opposite, what about the Extinction? Find out next post.

[backofthebookshelf]

105 Hill Top Road

Let’s start with a timeline (does a timeline make sense, given that the place is now officially a "rip in reality"? Who knows??):

1891 - purchased by Walter Fielding (earliest records the team could find) (allllllso this is about a year after Millbank Prison was demolished, so presumably around the time when the Magnus Institute is looking at moving to its current location) 1923 - house inherited by Alfred Fielding (I'm not gonna put money on whether Walter died or just changed his name because he got too old to be believable any more) 1957 - house inherited by Raymond Fielding (just a couple of years before this: Mary Keay has recently acquired the skin book; Wallace Turner recently gave his statement about the Risen War) "early sixties" (no firm date given: forty-odd years ago from 2005, at age fifteen having been born in the forties) - Ronald Sinclair moves into the halfway house run by Raymond Fielding; Fielding appears to be about thirty, which is 100% meaningless. Every Sunday they go to church (sure they do) and then have dinner in the basement around a table covered in twisting lines two and a half to three years later, mid-winter: Agnes arrives at the house, age ten or eleven eight to ten years later, early seventies: Raymond Fielding disappears

(1972, Rosa Meyer makes her statement about being watched. 1973, James Wright takes over as Head of the Institute.)

1974: five-year-old Henry White goes missing; the house burns with no signs of life. Only remains found were Raymond Fielding, a badly charred skeleton missing its right hand circa 1990: Something Happened to disrupt the ritual that the Lightless Flame blames on Gertrude (almost twenty years before Gertrude disrupts the Last Feast, which sure sounded like the first time she’d done it on purpose) 1991: Agnes Montague starts frequenting the Canyon Cafe

(1994, Jurgen Leitner’s library attacked and destroyed)

1996: Ivo Lensik's father dies of the Spiral after spending years obsessed with fractals

(’96 is also the year Elias Bouchard becomes Head of the Institute)

2001: Adelard Dekker traps the not!Them in the table of twisting lines 2005: Graham Folger has the table of twisting lines in his flat, says he bought it at a secondhand shop in Oxford "during his student days" (he's been attending colleges here and there since late 2001); it's missing the box in the center

(January 2006, Adelard Dekker finds evidence of the Extinction in the experience of a researcher in Garland Hillier’s flat)

autumn 2006: Jack Barnabas dates Agnes Montague mid-November 2006: Ivo Lensik is called in to assist on the construction of a new house at Hill Top Road; meets a young Raymond Fielding on the third night on the job, Fielding disappears with a smell of burning and a scorch mark on the floor November 23, 2006: Father Edwin Burroughs visits the house to do a blessing (attacked by fire, tells it "I am not for you. I am marked," (presumably by the Spiral) but it doesn't stop until); Ivo Lensik pulls down a tree in the yard: "very large and very dead" with "old, black scorch marks...curling up from the base of the tree." When he attacks it with a crowbar it bleeds; when he pulls it down he finds underneath a six inch square box belonging to the table of twisting lines; inside is a fresh green apple which explodes into spiders. Lensik smashes the box. Agnes goes on a date with Jack Barnabas. Just after dark she staggers in pain, makes an emergency phone call. "She said something about a tree falling, and that they had to finish something. Then she hung up. She leaned on my arm as we walked back to her flat. I'd never been there before, but it was clear she couldn't make it unassisted." Agnes Montague found hanged in her flat in Sheffield, with Fielding's hand tied to her waist, tissue decay indicating it died the same time she did. Since Lensik's statement was made [as of season one, late 2015], two families have lived in the house November 30, 2006: Eugene Vanderstock makes his statement (139)

(January 2007, Mikaele Salesa gives a statement as recompense for an accident with a Slaughter artifact he sold the Institute, though he thinks the employees should have known better) 

(sometime between July 2008 and early 2009, Mary Keay succeeds at her ritual with the skin book)

April 23, 2009: Anya Villette is hired for a cleaning job at a newly-constructed house at Hill Top Road. She sees a tree in the garden, "still bare from the winter" with eight branches that looked like they were reaching for her. She has a vision of standing under the tree and it grabbing for her. When she's finished with the rest of the house she goes into a basement that wasn't on the floor plans. In it she sees a foot-wide gap, and in it "those eight spindly arms reaching up to pull me in," and then she wakes up sitting in a chair in the house. When she gives her statement on April 22, 2009, she says that this was two weeks ago and she's never heard of the Magnus Institute before. 

(June 2009, Jason North runs afoul of the Desolation in Loch Glass, recognizes Gertrude from her picture there)

(October 2009, the Worker-in-Clay departs for Sannikov Land)

late spring 2016: Breekon & Hope deliver the table of twisting lines to the Magnus Institute (along with the web lighter) - Jon recognizes it from the statements, asks if there was a box with it February 16, 2017: Jon takes an axe to the table of twisting lines, releasing the not!Them

Supplemental details: Jon is very skeptical of Lensik's statement in 008 but acknowledges that there are some corroborating details (unusual for early S1 Jon) Martin discovered the statement of Anya Villette (114) and Jon says that Hill Top Road is "a thread that's been nagging at me for a while." They can find no evidence that Anya Villette exists. The house has no current owner [as of late season 3, July 2017]. Jon also says: "I've half a mind to just go down and have a look at it myself, but... I don't know. Ever since it first came up I've felt like it would be... just a very bad idea." Probably! They've been trying to identify an owner for the place for over a year and have made no progress.