Ficción

SCP-173: the Foundation's first file

añadido30 de agosto de 2026

On 22 June 2007 an anonymous user posted a short text to 4chan in the form of a containment report: an object of concrete and rebar that cannot move while it is being looked at, and kills the instant you blink. The entry came with a photograph of Untitled 2004 by the Japanese artist Izumi Katō, used without asking. That single post grew into the SCP Foundation, a collaborative universe of thousands of documents written over years by thousands of people. The illustration was replaced in 2022: the artist had never given permission.

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Long Horse

A rare thing in Henderson's bestiary: a creature that means no harm. A horse's skull on a neck tens of metres long, hanging down from somewhere above. In the mythology that accumulated around it online, Long Horse warns of danger — its appearance is a sign rather than a threat, and the only thing that hurts is the sound it makes, which it cannot help. Of the whole late-2010s internet menagerie it is the one that grew the friendliest fandom.

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SCP-173 — Wikipedia

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Aka Manto: red paper or blue

Another inhabitant of Japanese school toilets, and the cruellest in construction. A voice from the last cubicle asks which paper you want, red or blue. Choosing red means one thing, blue another, and both are bad; refusing to answer, in most versions, does not save you either. The legend is interesting because it is built as a trap with no exit: there is no right answer, and that is the point — it is the shape of a fear of being asked something you cannot answer correctly.

Aparición

Hanako-san of the school toilet

A girl in a red skirt who lives in the third stall of the girls' toilet on the third floor of a school. You knock three times and call her name; if she answers, it is better not to open the door. The legend has been known across Japan since the 1980s, and its power is in the domestic precision: not an abandoned mansion or a graveyard but a particular cubicle in the building where a child spends half their life. Every school has its own version of who Hanako is and why she is there.

Ficción

Lavender Town Syndrome

The legend says that in the Japanese release of Pokémon Red and Green in 1996 the music of the graveyard town carried high frequencies that gave children headaches and worse, and that the score was rewritten after a wave of complaints. Only one part of it checks out: the Japanese version does sound different from the international one — but the music was reworked for release abroad for ordinary technical reasons. No medical records, no cases, no names. The story appeared online a decade and a half after the game did.

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The Black Hand and the Red Spot

Two stories from the same body, usually told back to back: the black hand that reaches out from under the bed or out of the wall, and the red spot on the ceiling that grows every night until it swallows the people living there. Both work the same way — the threat comes not from outside but from the flat itself, from the furniture and the walls, which is the one place a child cannot get away from. Folklorists have recorded them in many variants across the Soviet Union since the 1960s, and they remain the most durable layer of children's urban folklore.

Ficción

The Queen of Spades: calling her in the mirror

A Soviet children's ritual: in a dark bathroom you draw a staircase on the mirror in lipstick, light candles and call the Queen of Spades three times. If she comes she may grant a wish or she may strangle you — there are as many endings as there were courtyards where children played it. A direct relative of the English-speaking Bloody Mary and a dozen similar rites worldwide: always a mirror, darkness and a threefold call. The mechanism is the same everywhere because the job is the same — to turn fear into a game with rules.

Ficción

The Red Film

A late-Soviet legend: somewhere there is a special photographic film on which people come out undressed. It was usually attributed to a foreigner, a Japanese or a German, who asked to be photographed in front of a monument and then left with the film. The story rested on two things at once — on scarcity, under which any imported object was credited with impossible properties, and on adolescent curiosity, which had no other outlet in the country. No such film ever existed, of course.