#realm unknown lovecraft

[ealvara7]

Something that has always interested me a lot about Musicaljuice specifically is trying to figure out who or what exactly he is.

Let me try to explain...

In the movie, the rules of the Netherworld imply that everyone who has passed away was once a human at some point in time, Beetlejuice included.

While we still don't know much about Moviejuice's past, we at least have an idea that he is a several-hundred-year-old ghost with demonic powers.

While I would consider Moviejuice to be more of a demon in terms of power, I would definitely consider Toonjuice to be more of a demon overall (as in both power and physicality).

The Neitherworld was designed in a way where while the associations of death are occasionally there, it acts more like an alternate realm of otherworldly creatures rather than a full on realm of the dead. Most likely done to make the show more appropriate for its target audience. This makes Toonjuice feel more like a creature as a result.

And then... there's Musicaljuice - a consolidation of both ideas merged in a way that gets... kind of confusing?

We at least know that in the musical, Beetlejuice has never lived in the past, thanks to The Whole "Being Dead" Thing. That would mean that Musicaljuice is a bit more adjacent to Toonjuice, in this case.

This now just begs the question - What exactly makes a demon in the musical?

From this point onward, I will be getting into more non-canon/theoretical territory-

In the earlier stages of the musical, Juno was originally going to be called "Mrs. Shoggoth". A shoggoth is a fictional monster in the Cthulhu Mythos.

If you follow the idea that Juno and Beetlejuice's last name is always intended to be Shoggoth, and that it implies that they're Loveraftian-like creatures in some way, then this adds a whole new layer of interesting...

Lovecraft's monsters were described as creatures unlike anything a human being has ever seen. Creatures beyond our comprehension. If this is the case, then what does that make the Shoggoths...? Where did they even come from?

I don't think we'll ever know for sure what exactly Beetlejuice is intended to be in the musical, unless... y'know, they decide to expand upon it via some form of post-musical media? Like a cartoon?

Right now, the idea that Beetlejuice and Juno are these strange, unknown beings genuinely intrigues me.

From everything I have found so far, it wouldn't be far fetched to believe that Beetlejuice, the way that we know him, is only a masquerade of his true form.

A strange, unknown creature hiding under a human-like skin.

At least... that is my headcanon.

[paladin-of-nerd-fandom65]

When he first came out in 1938, in terms of how his character was portrayed, Superman wasn’t just unique and captivating because of his amazing powers and charming personality. He was by many accounts of entertainment at that time…an exception to the norms

One of the many ways Action Comics #1 changed everything: The fictional concepts of ‘aliens among us’, ‘Being with Godly Powers’ and how they’re combined with the Pulp Hero which led to Superman.

The thing is

A lot of these stories of beings with godly powers beyond those of mortal men would often be portrayed as an antagonistic to outright villainous force meant to horrify their victims with the overarching mantra of Absolute Power Corrupts Absolutely. It’s a trend we seen play out a lot of times in our current media when beings who either gain or often times posses godlike powers are either villainous last obstacles for our hero, their greatest challenge or as like seen sometimes in shows including Star Trek, beings of thousand of years old who long detached themselves from the affairs of beings considered ‘lesser�� than them with little to no interference, meant to be observed. There’s certainly a probably chance of characters like these being the norm even for stories in pulp novels, magazines and other media back then in the 30s

More telling since they had popularity even lasting beyond Action Comics #1’s first printing, if that superpowered being has alien origins, they’re those that usually either don’t understand the concept of morality as we lowly humans do and utterly so alien and abomination in mere appearance, looking at them directly can drive some to madness a la HP Lovecraft whose works find routine publication from as early as 1908 and only ended in 1936 or in the case of say War of the Worlds who had a very notable radio adaptation in 1938 (which caused a bit of mass panic due to timing of people tuning in their radios before announcements and title introductions were made) they might understand that morality and they given to destroying our civilization anyways in conquest as an allegory for Imperialism at that time

In both of these types of stories, any being even those with a humanoid appearance are seen as others or outside forces that are threats to humanity and especially the average Joe and they were stories that came out prior to Action Comics #1. Prior also to that comic, sure they were some superheroes usually in either mythology like Hercules or pulp heroes a la the Phantom

Superman when he first came out was an exception to all of that

For a simple reason, he could’ve been on of those aliens who were detached from the reality around them by their age and wisdom, an invading ruthless conquerer like HG Wells’ Martians, a abomination who mere acts of simply existing in our realm invokes dread, despair and fear of what unknown entities he can be linked to that overpower us lowly humans a la The Colour Out of Space or even the faceless one Nylarathotep or even a man who when gaining his great power eventually descends into utter madness and villainy for their own selfish gains which ironically was what the duo of Jerry Siegel and Joe Shuster had in mind for their planning stages of this brand new creation they wanted to share.

Even for a heroic example, Clark could’ve simply been a simple man with a bright costume and a gimmick in an attempt to cash in the small notable trend the Phantom had set up into his adventures coming out a mere years before Action Comics

And yet Superman wasn’t any of that. He was simply a humanoid alien immigrant who was raised by a kindly couple and from an early age decides to use his newfound godlike powers and incredible abilities not to frighten, not to be detach, not to conquer….he just wants to help. He’s a Champion of the Oppressed, a living marvel dedicated to helping those in need.

All of those other examples of what people had for character prior to Action Comics #1 are what they are….

Superman Can. And he can do that, cause he was and still is the exception

[bracketsoffear]

Other Leitner Reading List

The full list of submissions for the Unaffiliated Leitner bracket. Bold titles are ones which were accepted to appear in the bracket. Synopses and propaganda can be found below the cut. Be warned, however, that these may contain spoilers!

Allende, Isabel: Ripper

Beauregard, Aron: Playground Borges, Jorge Luis: Averroës's Search Borges, Jorge Luis: El Aleph Bosch, Pseudonymous: The Secret Series Breed-Wrisley, Kira and Scott Cawthon: Five Nights At Freddy's: The Silver Eyes Bulgakov, Mikhail: The Master and Margarita Burroughs, William S.: Naked Lunch Byng, Georgia: Molly Moon's Incredible Book of Hypnotism

Carroll, Lewis: The Hunting of the Snark

Denning, G.S.: Warlock Holmes DeTerlizzi, Tony: The Search for WondLa

El-Mohtar, Amal and Max Gladstone: This Is How You Lose the Time War

Fforde, Jasper: Thursday Next series

Gaiman, Neil & Terry Pratchett: Good Omens Grahame-Smith, Seth: How to Survive a Horror Movie: All the Skills to Dodge the Kills Grimm, Brothers: Grimm's Fairy Tales

Holt, Tom: Doughnut Hussie, Andrew: Homestuck

Johnson, Jeremy Robert: We Live Inside You

Langlois, Amelie C.: The Sister Verse Series Lewis, C.S.: The Silver Chair Lovecraft, H.P.: The Dream-Quest of Unknown Kadath Lubar, David: Weenies series Lyons, Steve: The Crooked World

Nash, Ogden: A Tale of the 13th Floor

Osman, Richard: The Thursday Murder Club

Pinkwater, Daniel: Alan Mendelsohn, the Boy from Mars Pirinçci, Akif: Felidae

Rix, Jamie: Grizzly Tales For Gruesome Kids

Scieszka, Jon: The Stinky Cheese Man Shannon, David: No, David! Sims, Jonathan: Thirteen Storeys Skipp, John: Don't Push the Button Stine, R.L.: Goosebumps

Theis, Jim: The Eye of Argon Tokuda-Hall, Maggie: The Mermaid The Witch and The Sea Traditional (German): Der Struwwelpeter Trumbo,  Dalton: Johnny Got His Gun

Van Allsburg, Chris: The Mysteries of Harris Burdick Vasquez, Jhonen: Squee's Wonderful Big Giant Book of Unspeakable Horrors

Allende, Isabel: Ripper

Seventeen-year-old Amanda Martin is fascinated by crime. She is currently obsessed with a game called "Ripper" which she plays online with players from around the world. With the assistance of her beloved grandfather, she guides the group (Sherlock, Esmeralda, Colonel Paddington, and Abatha) in their objective of solve crimes inspired by those of Jack the Ripper. When a series of grisly murders starts taking place in the San Francisco area where she leaves, she is fascinated by then and finds herself steering the group toward solving these real life murders.

But the game stops being fun when her mother, free-spirited Indiana Jackson, goes missing.

Beauregard, Aron: Playground

Three low-income families have been given a handsome retainer to join Geraldine Borden for a day at her cliffside estate. All the parents must do to collect the rest of their money is allow their children to test out the revolutionary playground equipment Geraldine has been working on for decades. But there’s a reason the structures in the bowels of her gothic castle have taken so long to develop—they were never meant to see the light of day.

When a band of dysfunctional children is suddenly thrust into a diabolical realm of violence, they must grow up instantly to have a chance at survival. Will they find a way to put their differences aside, or be swallowed up by the insidious architecture all around them?

Borges, Jorge Luis: Averroës's Search

The story very much reminds me of the domain in MAG183: Monument. "The story imagines the difficulty of Averroës, the famed Islamic philosopher and translator, in translating Aristotle's Poetics because he was not able to understand what a play was, owing to the absence of live theatrical performances from Averroës' cultural milieu, in contrast to that of ancient Greece. In the story, Averroës casually observes some children play-acting, then later hears a traveler ineptly describe an actual theatrical performance he once saw in a distant land, but still fails to understand that the tragedies and comedies of which Aristotle writes are a kind of performance art, rather than merely literature.

The process of writing the story is meant to parallel the events in the story itself; Borges writes in an afterword to the story that his attempt to understand Averroës was as doomed as Averroës's attempt to understand drama. "I felt that the work mocked me, foiled me, thwarted me. I felt that Averroës, trying to imagine what a play is without ever having suspected what a theater is, was no more absurd than I, trying to imagine Averroës yet with no more material than a few snatches from Renan, Lane, and Asín Palacios.""

Borges, Jorge Luis: El Aleph

I am not sure if this counts as it is a collection of short stories, so I will also submit my personal choice that best fits an unaligned Leitner in my opinion. "The title work, "The Aleph", describes a point in space that contains all other spaces at once. The work also presents the idea of infinite time. Borges writes in the original afterword, dated May 3, 1949 (Buenos Aires), that most of the stories belong to the genre of fantasy, mentioning themes such as identity and immortality."

Bosch, Pseudonymous: The Secret Series

The series is about two children who are not named Cass and Max-Ernest. Cass is a survivalist, while Max-Ernest has a condition (though no one knows quite what his condition is). One day, they are swept into the dangerous world of the Terces Society and the Midnight Sun...and the Secret.

Features alchemy, the quest for immortality, time travel, a very Lemony narrator, and the exploration of all five senses.

Breed-Wrisley, Kira and Scott Cawthon: Five Nights At Freddy's: The Silver Eyes

From the creator of the bestselling horror video game series Five Nights at Freddy's.Ten years after the horrific murders at Freddy Fazbear's Pizza that ripped their town apart, Charlie, whose father owned the restaurant, and her childhood friends reunite on the anniversary of the tragedy and find themselves at the old pizza place which had been locked up and abandoned for years. After they discover a way inside, they realize that things are not as they used to be. The four adult-sized animatronic mascots that once entertained patrons have changed. They now have a dark secret . . . and a murderous agenda.

Bulgakov, Mikhail: The Master and Margarita

One hot spring, the devil arrives in Moscow, accompanied by a retinue that includes a beautiful naked witch and an immense talking black cat with a fondness for chess and vodka. The visitors quickly wreak havoc in a city that refuses to believe in either God or Satan. But they also bring peace to two unhappy Muscovites: one is the Master, a writer pilloried for daring to write a novel about Christ and Pontius Pilate; the other is Margarita, who loves the Master so deeply that she is willing literally to go to hell for him.

Burroughs, William S.: Naked Lunch

It follows Bill Lee through Interzone: a surreal, orgiastic wasteland of drugs, depravity, political plots, paranoia, sadistic medical experiments and endless, gnawing addiction. The book is structured as a series of loosely connected vignettes, intended by Burroughs to be read in any order, and the main character takes on various aliases as he travels from the U.S. to Mexico, eventually to Tangier and the dreamlike Interzone. Burroughs wrote in his introduction that "The title means exactly what the words say: naked lunch, a frozen moment when everyone sees what is on the end of every fork."

Could this book be considered as being aligned to the Spiral? Could it be Flesh? I don't know, but it is certainly something or other.

Byng, Georgia: Molly Moon's Incredible Book of Hypnotism

Molly Moon is a British preteen living in a terrible orphanage. Just before her only friend is adopted and moves to America without saying goodbye, she finds a rare book on hypnotism, and gains the ability to hypnotize anyone through eye contact and make them do whatever she wants. She heads off to America to find her friend, hypnotizing people all the way. Meanwhile, a sinister wanna-be hypnotist stalks her... and he is willing to do anything to get the book in his hands.

Sequels deal with further developing psychic powers, including body-hopping, weather control, and even time travel.

Carroll, Lewis: The Hunting of the Snark

An epic poem which hits quite a few different fears; the Hunt is an obvious one, and given the author, so is the Spiral. The sea voyage has elements of Vast, and various characters can be read as Flesh, Stranger, and even Web. The poem seems to end with the Lonely; " He had softly and suddenly vanished away — For the Snark was a Boojum, you see."

Denning, G.S.: Warlock Holmes

A Sherlock Holmes parody in which the titular detective is a rather abstracted mage, Watson is the brains of the outfit, and Gregson and Lestrade are an ogre and a vampire, respectively. Together, they investigate supernatural crime in Victorian England.

DeTerlizzi, Tony: The Search for WondLa

The Search for WondLa is the first book in a trilogy about a human girl, Eva Nine, in a strange and unfamiliar world.

She actually spends a lot of this book believing she is the last of her species surrounded by all sorts of strange creatures she can never quite feel close to (lonely, extinction) while being hunted by a trophy hunter who wants to give her to a mysterious queen.

On why it's Lonely: a large portion of the book is spent with someone she cannot communicate with and feels distant from, alongside the general Lonely vibes of "last human" stories.

On why it's Extinction: This is earth. A long-destroyed earth, specifically (she visits the ruins of NYC, I have proof), and these alien races have moved in now that the humans are all "gone" (complicated). It's heavily implied the earth was destroyed in some nuclear war or natural disaster, with the alien species having restored the earth from a wasteland.

On why it's hunt: she spends the entire book being hunted and being afraid because of that, what more do I need to say?

On why it belongs here: quite the fear cocktail for a children's book, isn't it?

El-Mohtar, Amal and Max Gladstone: This Is How You Lose the Time War

The novel is about two agents on rival sides of a time war, Red and Blue, who are both working to ensure that their respective futures — the highly technological Agency and the biological Garden — come to pass. Despite their opposing organizations, Red and Blue begin exchanging letters across time and space, and develop affection for each other that threatens not only them, but the entire time war.

Fforde, Jasper: Thursday Next series

Thursday Next lives in an Alternate History. In her world, Time Travel, cloning and genetic engineering are commonplace; resurrected dodos are the household pet of choice. The obscenely powerful Goliath Corporation, which nearly singlehandedly reconstructed England after World War II, now runs the country as a virtual police state. And literature, particularly classic literature, is very, very, very Serious Business. Writers are revered with nearly spiritual devotion, controversial claims about books and authors can be criminal, and an entire police squad, the LiteraTecs, exist to keep the literary scene in order. Thursday works for just such a unit in Swindon, with her friend and colleague, the exceedingly polite Bowden Cable.

In the course of rescuing her Gadgeteer Genius uncle Mycroft from international arch-criminal Acheron Hades, a gleefully evil individual with supernatural powers, Thursday discovers the Great Library, a sort of pocket dimension that exists 'behind the scenes' of all works of literature, where all literary characters live. They're self-aware, acting out their roles when a person reads a book but chilling out and living their own lives as soon as they close it. The Great Library is governed by the Council of Genres and kept in line by Jurisfiction, another police force whose task it is to make sure the plot of every book stays the same every time someone reads it. (Insofar as they can.)

Such is the universe of Jasper Fforde's meta-fictional masterpiece, the Thursday Next series. The author hangs a lampshade on everything and anything relating to classic literature, the tropes of police fiction and spy fiction, and even the relationship between a work of fiction and its audience. Heavy on wordplay and puns, the series deals with the tireless heroine's adventures balancing her work as an agent of Jurisfiction in the Great Library and LiteraTec in the outside world, to say nothing of her responsibilities as a wife and mother.

Gaiman, Neil & Terry Pratchett: Good Omens

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Grahame-Smith, Seth: How to Survive a Horror Movie: All the Skills to Dodge the Kills

Every month or so, a new horror movie hits #1 at the box office no wonder there are dozens of new fright films slated for release in 2007. But if you find yourself trapped in one of these movies, there's no need to be afraid. How to Survive a Horror Movie teaches readers how to cope with every kind of horror movie obstacle, from ax-wielding psychopaths to haunted Japanese VHS tapes. Chapters include:

-How to Survive a Night of Babysitting -How to Convince the Skeptical Local Sheriff -How to Perform an Exorcism -How to Tell If You've Been Dead Since the Beginning of the Movie -How to Vanquish a Murderous Doll

Full of illustrated instructions on avoiding ghosts, serial killers, haunted cars, murderous pets, telekinetic prom queens, and countless other hazards, How to Survive a Horror Movie is essential reading for movie buffs of all ages!

Grimm, Brothers: Grimm's Fairy Tales

Can't beat the classics, especially when the original versions feature cannibalism, murder, mutilation, and torture!

Holt, Tom: Doughnut

Multiversal travel is made possible through mathematics and fried dough.

Hussie, Andrew: Homestuck

This thing is a tome of madness, chaos, and early 2000s Internet culture (oops, tautology!)

***

you know why

Johnson, Jeremy Robert: We Live Inside You

"We are within you, and we are growing. Watching. Waiting for your empires to fall. It won't be long now. We are the fear of death that drives you and the terrible hunger that reshapes you in its name. We are the vengeance born from senseless slaughter and the pulsing reptile desire that negates your consciousness. We are the lie on your lips, the collapsing star in your heart, and the still-warm gun in your shaking hands. The illusion of control is all we'll allow you, and no matter what you do... WE LIVE INSIDE YOU"

This book is one of those story collections that everybody should read. In turns fascinating, poignant, scary and all too human, Jeremy Robert Johnson taps into the nightmare psyche that threatens to eat you every moment of your life. Each story highlights another gremlin that snacks on your nerves, tells you things you don't want to hear.

Langlois, Amelie C.: The Sister Verse Series

John, an unstable detective living in an alternate future, is plagued by hallucinations of a malevolent, shapeshifting entity, known as the Lord in White, that haunted his childhood. While he struggles to maintain his grip on reality, he soon discovers that his world is a terrifying illusion designed to make him suffer. Surreal, horrifying, and unflinchingly brutal – enter a world of blood and fear. Enter the Sister Verse.

The series reads like a fever dream. The world reflects the fears of all the characters in the most bizarre way possible, and things continue to unravel the further they go, typically ending in a forest made of liquid meat that surrounds a black hole shaped like a willow with teeth. It is revealed in the first book that the whole reality John and the rest of the cast of characters live in and themselves was created by the Lord in White for his own amusement. The Lord in White is completely aware that it’s in a fictional universe, and is implied to have the power to rewrite parts of the story, being the avatar of the Sister Verse. It often refers to the reader directly, as well as real world occurrences and future in-universe events, to the point that it literally recites lines from the book. And that's just the first book in the series, with the Lovecraftian horror continuing further in the sequels as the past of the Dreadlands is revealed, along with the past of its characters.

Lewis, C.S.: The Silver Chair

"Eustace and Jill escape from the bullies at school through a strange door in the wall, which, for once, is unlocked. It leads to the open moor...or does it? Once again Aslan has a task for the children, and Narnia needs them. Through dangers untold and caverns deep and dark, they pursue the quest that brings them face to face with the evil Witch. She must be defeated if Prince Rillian is to be saved."

Lovecraft, H.P.: The Dream-Quest of Unknown Kadath

Uncelebrated writer and illustrious dreamer Randolph Carter dreams three times of a majestic sunset city, but each time he is abruptly snatched away before he can see it up close. When he prays to the gods of dream to reveal the whereabouts of the phantasmal city, they do not answer, and his dreams of the city stop altogether. Undaunted, Carter decides to use all his talents in the dream-world to find the legendary mountain Kadath, where the wiser Earth Gods live, in order to ask them for the location of his beloved sunset city. He initiates a quest through the depths of the Dreamlands, finding the weirdest things and meeting the strangest friends and foes.

Unknowingly to Carter, a powerful entity is bent on making him desist of his quest...

Lubar, David: Weenies series

A series of horror story collections for kids which range from the funny to the weird to the outright twisted.

Lyons, Steve: The Crooked World

Synopsis: The people of the Crooked World lead an idyllic existence.

Take Streaky Bacon, for example. This jovial farmer wants nothing more from life than a huge blunderbuss, with which he can blast away at his crop-stealing nemesis. And then there's Angel Falls, a racing driver with a string of victories to her name. Sure, her trusted guardian might occasionally put on a mask and menace her for her prize money, but that's just life, right? And for Jasper the cat, nothing could be more pleasant than a nice, long nap in his kitchen — so long as that darn mouse doesn't jam his tail into the plug socket again.

But somebody is about to shatter all those lives. Somebody is about to change everything — and it's possible that no one on the Crooked World will ever be happy again.

The Doctor's TARDIS is about to arrive. And when it does... That's all folks!

Propaganda: okay. okay okayokayokkay. I can be normal about this book (a lie). The TARDIS lands on a planet that operates on cartoon logic. The Doctor immediately gets shot in the chest and everyone is very confused when he doesn't immediately heal. The travelers have inadvertently introduced the real world into this Saturday Morning fantasyland, with concepts like death and sex and social inequality. For the first time, people can die permanently. The two-bit villains unite to nuke the heroic characters. The Scooby gang actually do discover the flayed corpse of God. In the middle of it all is the Doctor at maximum Nyarlathotep, fomenting revolution and drastic metaphysical upheaval in his strange, too-real clothes. If nothing else, vote for this book for actually making me cry over the death of Scrappy Fuckin' Doo!

Nash, Ogden: A Tale of the 13th Floor

A poem which warns against murderous retribution and illustrates the hellish fate of killers tied forever to their victims in the afterlife. Link: https://allpoetry.com/A-Tale-Of-The-Thirteenth-Floor

Osman, Richard: The Thursday Murder Club

“In a peaceful retirement village, four unlikely friends meet up once a week to investigate unsolved murders. But when a brutal killing takes place on their very doorstep, the Thursday Murder Club find themselves in the middle of their first live case. Elizabeth, Joyce, Ibrahim and Ron might be pushing eighty but they still have a few tricks up their sleeves. Can our unorthodox but brilliant gang catch the killer before it's too late?”

While it seems like a shoe-in for the Hunt with tracking down who did the crime, the book goes in areas that could consider being touched by the Lonely, the End, and the Eye. After all, this does take place in a retirement village — people die, people are lonely and these four senior citizens want to get to the bottom of this mystery.

Pinkwater, Daniel: Alan Mendelsohn, the Boy from Mars

Leonard Neeble has been unhappy since his parents moved from the big city to suburban Kangaroo Park, New Jersey. His new school, Bat Masterson Jr. High, is terrible, and he has no friends since his classmates are snobbish louts who won't be friends with him because he's portly.

Things change once a new student shows up from The Bronx: Alan Mendelsohn, a trollish student who shuts the school down by telling everyone he's from Mars. After they both get suspended for acting out, the two boys journey to Downtown Hogboro, where they start a Mind Control course that teaches them telekinesis and, eventually, how to travel between dimensions.

Pirinçci, Akif: Felidae

Francis is a cat who has moved with his owner to a city in Germany. There, he comes across a mystery involving the murders of several neighborhood cats. Think Warriors, but it is a murder mystery written for adults. It has a lot of Slaughter and Hunt going on, but the killer's motives and backstory would honestly make him a prime Avatar for the Extinction.

The serial killer, Claudandus aka Pascal, is purely motivated by a deep hatred of humans after a traumatic past as the victim of some truly sadistic animal experiments in which he and other cats were used as lab rats, which leads him to try to create a race of "genetically perfect" cats while murdering those he considers to be inferior. He dreams of a future in which humans have been replaced as the dominant species by this future breed of cats, the narration even including an imaginary scenerio of the very last human trying to hide in the ruins of civilization before being hunted down like prey.

Rix, Jamie: Grizzly Tales For Gruesome Kids

A series of cautionary tales for lovers of screams! Getting a haircut? eating spaghetti? Having a birthday party? You may think these all sound like very ordinary things to do. But read on and see just how grizzly they can be!

Scieszka, Jon: The Stinky Cheese Man

it scared the FUCK out of me as a child, I have no idea why and I don't remember what it was about, and just its art style still creeps me out and I'm in my thirties now. That's got to count for something, yeah? ...okay this prolly isn't a great one for the tournament, but if you're struggling to fill in the brackets.

Shannon, David: No, David!

When David Shannon was five years old, he wrote and illustrated his first book. On every page were these words: NO, DAVID! . . . and a picture of David doing things he was not supposed to do.Now David is all grown up. But some things never change. . . .Twenty years after its initial publication, No, David! remains a perennial household favorite, delighting children, parents, and teachers alike. David is a beloved character, whose unabashed good humor, mischievous smile, and laughter-inducing antics underline the love parents have for their children -- even when they misbehave.

Sims, Jonathan: Thirteen Storeys

"You're cordially invited to dinner. Penthouse access is available via the broken freight elevator. Black tie optional.

A dinner party is held in the penthouse of a multimillion-pound development. All the guests are strangers - even to their host, the billionaire owner of the building. None of them know why they were selected to receive his invitation. Whether privileged or deprived, besides a postcode, they share only one thing in common - they've all experienced a shocking disturbance within the building's walls.

By the end of the night, their host is dead, and none of the guests ever said what happened. His death remains one of the biggest unsolved mysteries - until now.

But are you ready for their stories?"

Skipp, John: Don't Push the Button

We all know horror. It's in our face every day. You can try to negotiate the nightmare but total chaos and destruction is just one button-push away.

In this intensely personal collection of short stories, screenplays, and essays, the author walks you through the light and the dark with an unflinching eye. Revealing both the best and worst of us, one laugh and scream at a time.

It ain't pretty. But it's beautiful. Once you go all the way.

Stine, R.L.: Goosebumps

It is a series of horror novels written for very young audiences. The protagonists in these stories are teens or pre-teens who find themselves in frightening circumstances, often involving the supernatural, the paranormal or the occult. The best way to describe these books is that they are The Twilight Zone for pre-adolescents, with a twist at the end of every book (sometimes cruel, sometimes not, sometimes non-existent, which is a twist in and of itself given the series). It has spawned a pair of television series, a video games series, a comic series and merchandise, as well as a pair of feature films.

While the books are written for children and so they might not be that scary, they can still get quite creepy, and you might find one book for every Entity if you search hard enough. The book covers can also get really creepy to look at, too.

Theis, Jim: The Eye of Argon

Described as "the worst fantasy novella ever", The Eye of Argon is a story by then 16 year-old Jim Theis. It's the tale of Grignr, a foul-mouthed barbarian warrior who is trying to escape the dungeons of Evil Overlord Agaphim and rescue a young woman named Carthena from a pagan cult who want to sacrifice her to their idol — a statue with one eye called "The Eye of Argon". (A "scarlet emerald", complete with some interesting plumbing.)

Published in the fanzine OSFAN 7 in 1970, the story is well known for its abundant cliches, shoddy spelling, flat characters, wooden dialogue and overly colourful writing. Every woman is a "wench", eyes are "emerald orbs". Almost nothing is ever "said" — instead it is "queried" or "ejaculated" or "husked" or "stated whimsicoracally". There's an extended scene involving elderly cult priests groping Carthena, and she is described earlier as a "half-naked harlot… with a lithe, opaque nose".

The most widely-known and circulated copy of the story comes to an abrupt and unsatisfactory halt, and for many years it was believed that the ending was lost forever (or even, in some quarters, that the story was never completed). Recent years have seen the separate discoveries of two intact copies of the fanzine in which The Eye of Argon debuted, so it is now known how the tale ends. (With multiple exclamation marks, it turns out.)

At science fiction conventions, The Eye of Argon is now a sort of parlor game. All participants sit in a circle with a hard copy of the story, and the first one starts reading aloud — pronouncing every word as it's misspelled, and including every adjective. When they finally burst into laughter, the copy is passed to the next person. If a person manages to make it through more than a page, the copy is sometimes passed anyway, on the grounds that the reader must have special training as a news anchor.

Tokuda-Hall, Maggie: The Mermaid The Witch and The Sea

Follows mainly two characters – Evelyn, the daughter of a wealthy family, sent off on a ship to an arranged marriage, and Flora, known by the alias Florian, a pirate on said ship. This ship is a conship, as it takes people on long travels only to sell them as slaves. Themes of the vast, stranger, the end, the slaughter, and the desolation are commonly present throughout the book

Traditional (German): Der Struwwelpeter

1845 German children's book filled with cautionary tales. These cautionary tales are more grim than others, however — they often end in death or dismemberment for the child. They are a source of plenty of nightmare fuel, too.

Notable examples: The Dreadful Story of Harriet/Pauline and the Matches - Desolation, she plays with matches and burns to death. The Story of the Wild Huntsman - Hunt, a hare steals a hunter's rifle and eyeglasses and hunts him. The Story of Little Suck-a-Thumb - Flesh(?), Conrad is warned by his mother not to suck his thumbs, but he does anyway. So a tailor appears and snips them off. The Story of Flying Robert - Vast, Robert goes outside during a storm and the wind picks up his umbrella, carrying him off never to be seen again.

Trumbo,  Dalton: Johnny Got His Gun

It follows a young man named Joe Bonham, who, after becoming grievously injured during World War I, is left deaf, blind, dumb, and without any limbs. Throughout the novel, Joe reminisces about the life that he's lost, waxes philosophical about war and conscription, and tries desperately to communicate with the doctors keeping him alive.

The novel is heavily about the horrors of war, which would make it Slaughter, but in Joe's plight there's also another sort of horror: He can't move, he can't see, he can't speak. He is effectively trapped in his own body, a torment that could be but it's not quite Buried. There's also some argument for the Spiral to be there as well, as his condition makes it hard for him and the reader to know when he's awake or when he's dreaming, to say nothing on how the horrible situation he's in affects his sanity.

"I don't know whether I'm alive and dreaming or dead and remembering."

Van Allsburg, Chris: The Mysteries of Harris Burdick

Downloadable PDF: https://mrsgraveswebsite.weebly.com/uploads/1/2/6/8/12686140/the_mysteries_of_harris_burdick.pdf

The Mysteries of Harris Burdick consists of a series of images, ostensibly created by Harris Burdick, a man who has mysteriously disappeared. Each image is accompanied by a title and a single line of text, which encourage readers to create their own stories.

Vasquez, Jhonen: Squee's Wonderful Big Giant Book of Unspeakable Horrors

Squee (named after the sound he makes when he's afraid) is a little boy whose short life is an unending parade of horrors. His parents outwardly detest him to the point where his father watches footage of his birth played in reverse for amusement, and the only kid in school who likes him is the Antichrist, who Squee is terrified of. He has never, ever, ever, had a good dream. Through the course of the book, he is visited by aliens, ghosts, zombies, time travelers and the serial killer next door.

Though Squee is as frightened by all this as anyone else might be, he takes it in his stride with a passive resilience that only a child could possess and the help of Shmee, his teddy bear and 'trauma-sponge.' He gets through the horrors just by being a simple-minded kid. Adults dwell on the past and the future. Kids live squarely in the present, daydream about flying and drink Tang until they forget it all. He takes for granted that the world is scary and just goes to school each day, provided he hasn't been abducted by aliens.

[lit-works]

Marvel Decades Fanfic -1984

The Set-up

200 million years ago the alien race the Nuwali created the Savage Lands in Antarctica as one of several planetary “game preserves” for the mysterious godlike Beyonders. The Nuwali stocked the land with earthly life of the era, most notably dinosaurs; as Earth’s flora and fauna changed over succeeding millions of years. When the dinosaurs went extinct over 65 million years ago, the only survivors were the ones living in this protected area at the bottom of the globe.

In 18,500 BC the Savage Lands were colonized by humans of Atlantis, who exported prehistoric life throughout their empire while importing Unicorns and other mystic creatures. Atlantean scientists extended the tropical effect, creating a recreation/commerce center called “Pangea”, then genetically altered man-apes into humanoid versions of birds, monkeys, fish, and other animals. The Beast-Men were put to work as laborers. The Beast-Men however became dissatisfied with servitude and Pangea’s automation, rebelled in the 1st Pangean War and were allowed to colonize unpopulated areas rendered habitable by the Nuwali Tropical Effect.

In the Mid-19th century, The Atlanteans - That is the underwater race of mutants whose culture was appropriated from Atlantis’ remains - relocated to Antarctica, as did Lemurian rebels called The Ancients. Mysterious beings such as Torg and The Ice King also made their home in the region. Vague reports of underground realms and surviving dinosaurs appeared in the works of such authors as Edgar Allen Poe, H.P. Lovecraft, and Jules Verne, suggesting rumors of the lands were spreading. By 1915, human expeditions had discovered a rare type of destructive Vibranium called “Anti-Metal”, the destructive metal also called Vibranium, in the Savage Land, but the greater deposits within the lands remained unknown. During WWII, Hitler claimed sovereignty over Antarctica and several entire battalions of his men were lost to the realm on expeditions. Meanwhile, spatial warps similar to that of the Bermuda Triangle, occasionally brought ships and planes into the lands, where survivors joined the populace. In more recent history, the British nobleman Robert Plunder, searching for Vibranium, found his way into the Savage Lands. Back in England, Plunder was threatened by those who coveted his secret, and he returned to the lands with his nine-year-old son Kevin, who was orphaned when Robert was slain by the Man-Ape, Maa-Gor. Nurtured by the Sabertooth Tiger Zabu, Kevin enhanced by the lands mysterious “Place of Mists” became known as Ka-Zar, or “Brother of the Tiger”, his uncanny skills ans heroism won him respect throughout the land while still in his teens. Ka-Zar was photographed while exploring the northern limits, provoking investigation by the mutant X-Men, whom he befriended. When the X-Men’s nemesis, Magneto, took the land as his base and transformed simple swamp men into his Savage Land Mutates, Ka-Zar helped the X-Men defeat their old foe, and then fought alongside Garokk against the renegade priestess Zaladane. The land, so long once a source of rumor, became worldwide news when thr Daily Bugle ran a featufe on it, an endeavour that brought the heroic Spider-Man to the lands, where he aided Ka-Zar against another would-be dictator, Kraven The Hunter. Soon afterwards, Ka-Zar provided SHIELD scientists with dinosaur samples which were misuses by a reaearcher who, with the aid of the cryptic They Who Wield Power, transformed himself into Stegron, The Dinosaur-Man. Although the United Nations banned commercial exploitation of the Savage Lands, the Daily Bugle’s exposure brought explorers and treasure hunters to Ka-Zar’s door. Ka-Zar, now in Shanna The She-Devil’s company, explored Pangea and helped establish peace between its many races. The Savage Lands were eventually declared a sovereign kingdom, and although menaced by myriad would-be conquerors –including Apocalypse, a Super-Skrull, Prime Evil, The Warlord, Sauron, Mister Sinister, The High Evolutionary, and AIM– hit's security was repeatedly restored by Ka-Zar, the X-Men, and other heroes.

-

Frank Castle, better known as The Punisher, had discovered Vibranium-B or SLV developed into highly destructive weaponry in use in the streets of New York by gangsters and had questioned the culprits of their arsenal's origins. Tracking the supply chain back to Wilson Fisk (Kingpin), The Punisher was then manipulated into traveling to a remote region of Antarctica to seek out and shut down manufacturing operations and prevent any further lethal misuse of the anti-metal.

-

The notorious and infamous mutant mercenary with a mouth, DeadPool, and lady luck herself, Domino, had been summoned by the executive branches of both Roxxon Oil & Energy as well as A.I.M. (Advanced Idea Mechanics) to discuss employment. The corporations sought experts and professionals with talents such as theirs to shut down any preestablished Vibranium-B mines and claim any mineral rich sites on behalf of the companies.

-

Members of a secret society, whispered in conspiracy theories to be known as 'The Illuminati', convened over a shared and vested interest in the discovery of the precious mineral as scientists and to prevent the Vibranium-B from falling into the wrong hands. T'Challa the king and Black Panther of Wakanda, Reed Richards (Mr. Fantastic) of The Fantastic Four, and Henry 'Hank' McCoy (Beast) of the X-Men had voted to intervene in the unfolding affairs.

----to be cont.d

[je-dood]

If you could visit any location from Lovecraft's fictional settings, which would you choose and what would you hope to discover there?

Man hard question, for this I'm going to assume you are just mentioning the Lovecraft books themselves, so I won't factor in series like The King in Yellow, or any other Lovecraft-inspired work not that they would make that much of a difference in the first place.

There are 2 main issues when tackling this question, the first and most prevalent issue is that many locations in the Lovecraftian mythos [that I have read, as I have only finished 32 of his works], just straight up present danger to your life. Dagon, The Shadow over Innsmouth, The Festival, and The Unnamable, are a small list of examples of settings in which hostile creatures or creatures fit to harm you or turn you into something beyond your present self. Although it may be then easy to claim to avoid all the locations that may present some direct threat over the sanctity of your life when you start to question and factor in your sanity, you start to realise just how miserable a lot of his works are to live in. As the events depicted in Pickman's Model, The Music of Erich Zann and Polaris would most definitely make the most ordinary person go insane. So in the case of trying to persevere in your life, continuity of self in a biological sense, and your sanity, most options but not all are completely restricted to you.

The second biggest issue you would face is that outside the realm of cosmic threats, there isn't any reason to go to many of the locations. Lovecraft loves to create stories which not only have the main character be confronted and challenged by unknown horror, but then be pushed into the ordinary world in which no one understands or believes them, making even the reader question whether the events happened or not. So if you decided to simply for example not go to Innsmouth or one of the other cursed locations, you are pretty much gonna live an ordinary life with some ordinary if not slightly more racist individuals as your neighbours, there isn't any remarkable way you would be able to make your life interesting unless you were either to:

•A. Get a hobby, or

•B. Be absorbed by the unknown and occultism and try your damn hardest to reason with being whose intentions are as mysterious as their existence.

So overall there aren't any "beneficial" aspects, like gaining superpowers or becoming cool, if you travel to any of these locations as your average person. I mean the concept of unlocking the pineal gland exists but I have no understanding of how that works.

However, if I had to choose one place to live, out of all his stories it would probably be, Celephaïs. I mean who would want to be king of their dream and become some immortal celestial warrior? I mean there is the consequence of having to disregard reality become an active narcoleptic, and potentially die on the street, however, I'm sure the eternal pros out way the mortal cons. If I weren't the main character of Celephaïs, I would probably choose "The Other Gods", but unlike Barzai the Wise, I would be cool with it and try and befriend the early gods and vibe with The Other Gods that is if they didn't kill me instantly. Maybe I could potentially go to Cats of Ulthar, and try and learn magic somehow, that would be fun, maybe at some point try and find the Necronomicon. The choice would mainly be those, however, to conclude.

Lovecraft's worlds at first seem impossible, unpractically power-scaled, and overall cruel, which they are, there is still a reason that humans exist to that day, mainly due to human ingenuity and determination, so, so long as you don't hit yourself on the foot on purpose you should be fine.

Although at some point all good things do come like humanity, such as referenced in Memories, so perhaps, the worlds are as impossible as they seem.

[creamyclouds]

Master of Horror: Unraveling the Dark World of Junji Ito

In the realm of horror manga, there exists a master storyteller whose name strikes fear and fascination into the hearts of fans worldwide – Junji Ito. With an uncanny ability to tap into the deepest recesses of the human psyche, Ito has crafted a unique and chilling universe that leaves readers both spellbound and haunted. In this article, we delve into the enigmatic world of Junji Ito, exploring his artistry, thematic elements, and the impact he has had on the horror genre.

The Genius Behind the Pen

Junji Ito, born on July 31, 1963, in Gifu, Japan, rose to prominence in the 1990s with his eerie and imaginative manga works. His illustrations are instantly recognizable, characterized by intricately detailed, surreal, and grotesque imagery that lingers in the minds of readers long after they turn the last page.

Ito's fascination with horror and macabre art stems from his childhood, during which he devoured classic horror literature and developed a deep appreciation for the works of H.P. Lovecraft. This influence is evident in Ito's stories, as he skillfully blends cosmic horror with his unique Japanese cultural perspective.

Themes and Influences

At the core of Junji Ito's work lies a profound exploration of human fears, anxieties, and the unknown. He artfully weaves tales that transcend traditional horror tropes, often delving into the psychological and existential terror lurking within the human mind. Some of his most prevalent themes include:

Body Horror: Ito's mastery of body horror is unparalleled. He crafts tales where the human body is subjected to grotesque transformations and nightmarish distortions, often blurring the lines between the real and the surreal.

The Supernatural: Drawing inspiration from traditional Japanese folklore and urban legends, Ito introduces readers to malevolent spirits, cursed objects, and vengeful ghosts that haunt his characters relentlessly.

Isolation and Madness: Many of Ito's stories unfold in isolated settings, with characters descending into madness as they confront the incomprehensible horrors before them.

Fatal Obsessions: Ito's characters are frequently driven by obsessions that lead them down dark and destructive paths, exploring the depths of human obsession and the price paid for pursuing forbidden desires and impulses.

Landmark Works

Junji Ito has created an impressive body of work that continues to captivate readers worldwide. Some of his landmark works include:

"Uzumaki": A chilling tale set in a small Japanese town cursed by spirals, where the obsession with the shape takes a horrific toll on its inhabitants.

"Tomie": Featuring the eponymous beautiful and deadly girl who inexplicably keeps returning from the dead, driving those around her to madness and murder.

"Gyo": A nightmarish story of walking fish-like creatures that bring pestilence and terror to the world.

"Junji Ito's Cat Diary: Yon & Mu": A departure from his usual horror, this is a humorous autobiographical manga about Ito's life with his cats, Yon and Mu.

The Junji Ito Phenomenon

Junji Ito's influence extends far beyond the manga world. His works have inspired multiple adaptations, including animated series, live-action films, and even video games. Fans around the globe celebrate his genius by creating fan art, fan fiction, creating merchandise with his designs and participating in conventions dedicated to horror and manga.

Conclusion

As an artist who has read his book 'Uzumaki', I thoroughly enjoyed my reading experience and think his attention to detail in each of his drawings, plus his endless imagination for truly horrific scenes makes him stand out compared to other artists. In conclusion Junji Ito stands as an artistic enigma, a brilliant mind capable of summoning the darkest nightmares and phobias with the stroke of his pen. His contributions to the horror genre have secured him a place among the most revered and influential creators of our time. Whether you are a devoted manga enthusiast or a newcomer to the world of horror, Junji Ito's works promise an unparalleled experience of terror and wonder, reminding us all that even in the darkest corners of our imagination, true artistry can be found.

Author -

Shannon McNeil

[hplovecraftmuseum]

Various values of color, or "COLOUR" as Lovecraft would spell the word (HPL generally used British spelling for English words) were used by Lovecraft to express certain ideas in his fictional works. In most instances his use of color symbolism followed long standing traditions in art, poetry, and Western cultural usage. BLACK was naturally the 'value' he mentioned most often. Black, and its obvious relation to night and darkness appears in many of his tales. Generally it connotes the mysterious dark forces of the universe. The realm of Azathoth is black, Nyarlathotep is associated with blackness. Two of his 'avatars', first the HAUNTER OF THE DARK creature and 2nd, The Black Man, used by HPL in THE DREAMS IN THE WITCH HOUSE, were characters adapted by Lovecraft from traditional occult lore. After black, white is probably the most commonly mentioned 'color' in Lovecraft's tales. Some might assume the 'black/white' usage to be born out of some racist symbolism, but white things in Lovecraft's fiction are often as associated with death, skulls, corpses, and unsavory creatures as blackness. The Roman/ British entity Nodens is refered to as "hoary", meaning white with age, and DAGON when 1st seen in the short story bearing his name is also discribed as a"whitish"creature. Green was commonly used by Lovecraft mostly in its negative associations. Cthulhu is green, his tomb city of R'leyh in slimy and green. The Fungi From Yuggoth creatures featured in THE WHISPERER IN DARKNESS are pink, but their blood is green. In Lovecraft's fictional world green connotes verdigris, slime, mold, and decay, not lush and healthy forests or gardens. Yellow is commonly associated with the otherworldly too. The priest of Leng who wears a vail to hide his face in THE DREAM QUEST OF UNKNOWN KADATH is robed in yellow. The star-heads featured in AT THE MOUNTAINS OF MADNESS have 5 pointed heads of yellow. The cone-bodied 'great race' entities of THE SHADOW OUT OF TIME, likewise have yellow heads. RED is occasionally sited in Lovecraft's tales. The abominable jewel from THE HAUNTER OF THE DARK is black with red striations. Nyarlathotep is meantioned occasionally as wearing scarlet robes. Blood, at least red in its human coloration, is occasionally meantioned by Lovecraft, but it is often described as brownish as in an old stained residue. Purple makes a few significant appearances. Purple is one of the more rare pigments in nature. Significantly perhaps it is frequently seen in clouds as the last hue of sunsets before the onset of darkness. As a variety of purple HPL writes in THE DREAM QUEST OF UNKNOWN KADATH: "Out of the void S'ngac the violet gas had pointed the way" (in this case to to Randolph Carter as he escapes the clutches of Nyarlathotep). In a letter to CAS Lovecraft mentions " the prismatic forests of Yog-Sothoth", and elsewhere suggests that in a solid state "he" appeared" as a group of opalescent globes. The silica erupting from the heads of the 'star-heads' of Antarctica are also prisimatic. Grey as a color makes occasional appearance. The bodies of the star-heads are grey, their wings are somewhat a lighter value of grey too. Grey of course tradionally represents neutrality, a compromise between the extremes of black and white. Curiously silver, blue and orange, are rarely featured in Lovecraft's fiction, there is THE SILVER KEY, however. One last color that that deserves mention is gold. Gold is hoarded by many of the disreputable characters in Lovecrafts tales. The Deep Ones and their agents in Innsmouth seem to have unlimited quantities of gold. The degenerate humanoid citizens living beneath the surface of the earth in THE MOUND also use gold in abundance. For Lovecraft, who was very dismissive of commercialism, gold may have symbolized the root of all evil. (Exhibit 406)

[darchildre]

Hey, it is late September, which means it is almost October, which means I am planning for my yearly trip to the Lovecraft film festival, which means I have been thinking about Lovecraft, which means it is time for the yearly resurgence of Sara Has Feelings About Fish People.

You guys, Lovecraft was a terrible dude and he meant the ending of The Shadow Over Innsmouth to be horrifying but instead it's just beautiful and I love it so much.

One night I had a frightful dream in which I met my grandmother under the sea. She lived in a phosphorescent palace of many terraces, with gardens of strange leprous corals and grotesque brachiate efflorescences, and welcomed me with a warmth that may have been sardonic. She had changed—as those who take to the water change—and told me she had never died. Instead, she had gone to a spot her dead son had learned about, and had leaped to a realm whose wonders—destined for him as well—he had spurned with a smoking pistol. This was to be my realm, too—I could not escape it. I would never die, but would live with those who had lived since before man ever walked the earth.

[...] That morning the mirror definitely told me I had acquired the Innsmouth look.

So far I have not shot myself as my uncle Douglas did. I bought an automatic and almost took the step, but certain dreams deterred me. The tense extremes of horror are lessening, and I feel queerly drawn toward the unknown sea-deeps instead of fearing them. I hear and do strange things in sleep, and awake with a kind of exaltation instead of terror. I do not believe I need to wait for the full change as most have waited. If I did, my father would probably shut me up in a sanitarium as my poor little cousin is shut up. Stupendous and unheard-of splendours await me below, and I shall seek them soon. Iä-R’lyeh! Cthulhu fhtagn! Iä! Iä! No, I shall not shoot myself—I cannot be made to shoot myself!

I shall plan my cousin’s escape from that Canton madhouse, and together we shall go to marvel-shadowed Innsmouth. We shall swim out to that brooding reef in the sea and dive down through black abysses to Cyclopean and many-columned Y’ha-nthlei, and in that lair of the Deep Ones we shall dwell amidst wonder and glory for ever.

I think about Robert Olmstead and his little cousin all the time, you guys. I hope they made it.

[saspitite]

Waji

hi!! back with another short story that somewhat expands on the god mentioned in the last one, "Point Nemo". this is, of course, inspired by lovecraft's work, and i wanted to try to incorporate some of his writing style into my own, just to see how it feels. it's kinda fun! might do it again but idk, lmk what you guys think and feel free to give suggestions on what i should write next! whether it'd be like, mortal encounters god, gods interacting, historical cosmic events, expanding on something touched in a previous work, etc.

i wouldn't say there's any major content warnings to mention here? besides general horror, slight existential themes(?), and some gross descriptions

I am writing this as a warning to those who are foolish enough to attempt what I and my deceased friends had done. No amount of time, no amount of medicine, no amount of therapy can ever erase what I witnessed. It is forever my cross to bear, and part of that responsibility lies in warding away fellow idiots that wish to follow in my footsteps. I’m unsure if I can keep my own sanity while writing this, as the memories are highly unpleasant, but I have to try.

On October 5th, 1933, my good friend Oswell came to me with a bizarre idea— he had read about some strange tale of a Sea-God slumbering at the bottom of the Atlantic Ocean. I initially took it as a joke and teased him about reading too many fairy tales, but he swore this one was true. Now, I’m a rather skeptical man, and concepts such as beings of higher power were never something I took seriously. I have heard rumors of ancient entities being spotted all over the world throughout my lifetime, but the lack of substantial evidence for these sightings had me thinking they were completely false. Now… I can no longer say that with confidence.

It wasn’t until Oswell roped in another friend of ours, Dexter, that I decided to tag along— for the sole purpose of ensuring the fools’ safety. I knew that no amount of convincing would stop them from investigating a place so fantastical. It was said that this Sea-God, “Waji,” granted wishes to those brave enough to find her, and my friends were hoping to be blessed as well. Knowing this concept was completely ludicrous, I was prepared to guide my disappointed friends home after making such a journey. Oswell rented a small boat, to my surprise, for us to use on our journey. It was rather rudimentary in appearance, but he assured it would “get the job done.” I reminded him that nobody would help him recover the money he wasted before we finally set out on the voyage on October 12th, 1933, spirits relatively high— not including my own feelings, of course. Though, as I record this horrible venture, it’s occurred to me now that I miss the two’s bubbly optimism, despite how I acted back then. Knowing they were at least somewhat excited about this damned trip… it brings a small amount of rest to my heart. It just stings to know that this didn’t turn out so positively.

The journey was exhaustingly long, taking about ten days to reach the supposed island that’d lead us to our destination. The first two were smooth-sailing, with plenty of energy and food to keep us in high spirits. Dexter brought with him a small journal, in which he logged each day. The first two entries were unremarkable, but the third I feel I must share— its contents are too disturbing to leave out. He wrote:

October 15th, 1933

Three days into the trip. I knew this’d be no cruise, of course, but I have to say my dreams have become concerning. They’re much more consistent and clear in depiction compared to what I usually see. A banquet of sorts— but a feast of terrible, terrible things. I was encouraged— no, forced— to eat the dismembered bodies of my family. Surrounding me were these putrid avatars, familiar yet completely unknown to me, some of animalistic appearance and others completely out of the realm of description. They laughed and mocked me as I choked on that horrible feast, forcing the flesh down my throat when I’d refuse to eat any further. I found myself hoping, praying, begging to wake up, which only resulted in further mockery. I think one of those things spoke to me soon after I finished my “meal” and broke down into scream-sobs, not in English or any human language, but something unearthly and impossibly cavernous. Perhaps, since my brain couldn’t comprehend such a cosmic tongue, it just decided to hear it as English instead. It spoke:

“Foolish Earthen child. It was always mankind that viewed themselves so highly and arrogantly. Take this advice, vermin, for you’ll meet an unpleasant fate if you don’t: TURN THE SHIP AROUND.”

I woke up shortly after. I don’t really know what to do. Oswell might not listen— certainly not Ethan, we practically dragged him onto this boat. But I’d be a fool to keep quiet. It’s just too heinous to recall! I can’t keep thinking about this. I can’t. Maybe I should burn this journal… no, it’s fine.

The chilling entry has been in my mind ever since I read it. God, I shouldn’t have been so negative towards the two, knowing now that Dexter felt like I wouldn’t take him seriously on such a horrific occurrence. Dexter, wherever you may be now, just know that I truly am sorry. The rest of the third day was seemingly fine to me, as I never thought of it any further. Oswell was demonstrating the songs he learned on the violin and Dexter would sing along if he knew the lyrics. If only I had caught on and questioned the glazed, distant look in his eyes. The fourth day wasn’t merciful to him, either, with his next passage reading:

October 16, 1933

It’s been difficult getting a good night’s rest. These horrific dreams keep plaguing me, causing me to wake up every hour or so at night. The others haven’t caught on, and I’m glad for that, as I don’t know if I’m yet prepared to tell them the truth. I’m terrified. I’m honestly, truly terrified. Yesterday night’s dream was much worse, simply attempting to recall it is making me sick. That thing which spoke to me the night before was towering over me once again, glaring down with hateful eyes. Its head, if you can call it that, was reminiscent of a hyena’s, with eight odd spires coming out of its neck and connecting at the ends to form a “wheel” of sorts. Its body was an amorphous mass of tendrils or tentacles, somewhat resembling the trunk of a tree, as it splayed towards the bottom to grasp and slide across the floor. Claws or talons exploded out of its abdomen, constantly changing in number and size, with the biggest two being treated as its own hands. What this thing gained out of torturing me in my dreams, I will never know. But I now know its name, as it whispered to me: Nyell’yahg’hoth. It is the supposed creator of this world and knows it best, thus the incessant warnings. God, I truly wish I could muster the courage to tell them, but these dreams make me horribly sick even thinking about them. If I weren’t such a coward…

And on that fourth day, even I, the dense and clueless brick that I am, knew there was something off with Dexter. Oswell was quicker to notice, discreetly informing me on the evening of that day. The hollowness in his voice, the shakiness of his hands, his appetite dwindling… it’s all too obvious now. And yet, I did nothing. The entries of the fifth, sixth, and seventh day were all mysteriously ripped out, with only remnants of the pages left to suggest as much. The eight entry had hinted to why he did such a thing:

October 20th, 1933

I’m not sure how much longer I can hold up in silence. Those last two nights were far too terrible to comprehend— I’ve decided to rid them from my memory altogether. If a forgetful, placid, ignorant mind is what I need to heal, then I must think of these things no longer. But again, am I not dooming my friends by staying silent? God. I could show them these journals. But they would just believe I’m insane. Maybe I am. Maybe I should stop writing.

And indeed he did, for that was the last entry Dexter had written in his journal, as well as the last he’d ever write. On the eighth day, we had finally considered abandoning the trip, but eventually decided against it as we were already too far into it. The atmosphere was uneasy and Dexter’s waning mind became more apparent. I’d find him mumbling to himself in tongues, despite him only ever speaking English in his life… it resembled none of the languages of this earth, and while it might’ve sounded like nonsense when passively listening, I could tell it was genuine… but it can’t be a language that was ever spoken by humans. He’d speak it so smoothly and with an ominous tone, almost as if he were possessed. When we questioned him, he’d say he had no memory of ever saying such things.

On the final day, our joy had left us, rations were low, and dread lingered in the air. At this point, we were all hesitant and almost unwilling to continue the journey, but a certain, inexplicable desire seemed to override any rationale. After several hours of tense silence, we had finally reached the destination— a remote island said to have an underground tunnel that, after millennia of walking, would bring one to the Sea-God Waji. As the boat touched shore, we hesitantly stepped foot onto the beach, tossed around looks of terror, and began to walk. 

I could not begin to explain what I had hallucinated on that walk towards that tunnel. Demons, monsters, spirits, things, whatever you could call them— they’d torture you with terrible imagery and disappear just a moment later, and I’d second guess myself, wondering if I had already went insane. But I assure you, those blasted things were real, and they’ve followed me home even after everything that happened— they’ll never let you sleep, they’ll never let you rest, they fill your head with noise and madness like no other… I must find an exorcist.

The descent down the tunnel was indescribable. This time, my friends had agreed with what I claimed— which must mean it’s true— the walls were alive. As we went further down, it spoke to us with terrible teeth and fangs jutting out of wounds in the walls, speaking to us of ill things I cannot say here. It was alive, I tell you, though it may seem to be of ordinary stone and dirt— utter nonsense! What is stone and dirt if not a degraded, or perhaps evolved form of our own bodies? As we die, we become dirt, and dirt eventually feeds us. To claim that tunnel was stone and not flesh is simply mad. I’ve learned they are one and the same. I’ve learned that, even if it might seem otherwise, the earth can talk to you, too. Listen!

This next part may seem unbelievable. I began to suffer from these terrible thoughts, thoughts in my head that pursued relentlessly, thoughts that nobody like myself would ever think— disgusting— I had wanted to do so much to my poor friends in that moment— gouge their eyes, rip out their teeth, bend their fingers backwards, eat them alive… but I assure you, it was the walls that had placed those ugly thoughts in my head. It was with sheer willpower that I managed to do nothing to poor Oswell and Dexter. Yes, if I was even a smidge weaker, they would’ve been goners! They’d never know the horrific impulses I had right then and there! But by God do I swear those thoughts weren’t mine. 

We had finally reached the bottom of the tunnel, despite our legs nearly giving out, and an odd feeling of joy washed over us. Jumping and laughing giddily like children, we began to wander aimlessly around, taking in the grandeur of the scenery that greeted us. An impossibly large hallway— big enough to fit ten giants shoulder to shoulder— made from impressive, nearly ceramic stone, intricate etchings throughout its surface. The hall was strangely iridescent, seeming to shift colors upon closer inspection. Vaguely every color of the spectrum— millions of shades, some completely unknown to me, and I still question if what I had seen were actually “new” colors. Along the walls were these interesting scripts, paired with illustrations, which seemed to tell a sort of ancient story. The drawings were rather vague, depicting alien creatures which seemed to change each time I looked at it. These amorphous beings, according to the drawings, would frequently visit an endless pit that housed an infinite serpent, who would coil out from darkness and bless Its devoted followers. Over time, It would gradually visit them less, until It eventually retreated in Its endless pit, leaving the followers stranded and alone. They now guard the silent pit and patiently wait for the serpent’s return. The language, I was completely unfamiliar with, yet it spoke to me in a bizarre fashion, as if uncovering ancient memories of the tongue. I may have just hallucinated it, but I swore some of the etchings had said something like, “FOREVER BORN, FOREVER DIE, BELOW THE EARTH THINE WONDERS LIE.”

It was then that Oswell broke down. He spoke oddly, caressing the walls in strange fervor, perhaps trying to look for something. I noticed quickly— the terrible squirming and squelching just barely audible behind the stone— he was searching for the source of that awful sound. I nearly wanted to tear out my ears from how unpleasant it was, but I knew all senses would be vital for this venture. As we continued down the hall, we began to hear the odd piping of several flutes coming from everywhere— above us, behind us, beneath us… it was a sight to behold. They overtook the terrible squelching and replenished the whimsy in our souls, and we began to chase the ethereal music in pursuit of the mysterious player. We began to lose track of time, as a moment of walking could’ve been eons, but the joy in our hearts overcame any sense of exhaustion. We could’ve ran forever.

It was then that the hallway widened into a large circular room, with large chairs lining the walls, all facing the large pit in the middle of the room. It was reminiscent of something you’d see in a circus, which we felt like we were already in at that point, so we began to yip and howl like performing animals. I was at the height of my delirium— and honestly, I cannot say for sure what happened from then on, as it could’ve been fabricated by my own delusions. At that moment, the floor caved in, and we were stunned in pure fear as a foul shape arose from the cavernous pit. This was, without a doubt, the Sea-God Waji, for She told me so Herself. That loathsome shape bubbled out of the ground, morphing into a sticky serpentine body with several humanoid arms sprouting out of it. Her head was of a vaguely crocodilian shape, a bit rubbery in appearance, along with other details too abhorrent to recall. Obscene things had sat down in those seats up above— unknown faces wearing unknown expressions— and we had decided by then that this truly was a mistake.

She spoke, not with a voice, but with a pure cavernous rhythm that all life and death obeyed. What She said cannot be translated to any human tongue, so I cannot detail it here, but I could explain what happened afterwards. We managed to break out of our fear-induced paralysis and, without concern of where we were going, ran. We ran, hollered, screamed, laughed until our lungs gave out, and continued to run even when our legs had atrophied, desperate to escape the court of things in that wretched room. I had nearly forgotten about Dexter and Oswell entirely, and only their ear-piercing screams beside me reminded me that I went on this journey with the two. Before we could reach the tunnel leading out of the underground horror, that thing finally caught up. Waji, who might have been millions of years old, who might have slumbered for several thousand, who might have hungered for flesh and blood, who might have been desperate to live, who might have been close to death, Waji the Dreamer of the Deep, Waji the Infinite, Waji the Living-Dying, Waji the One that Yearns, Waji the formidable Sea-God— devoured poor Dexter and Oswell with Her ten-thousand rows of teeth.

I had barely gotten out in one piece. That damned infinite tunnel nearly kept me under the earth forever! By God, if I wasn’t as fit and athletic as I was, if I wasn’t as mad with terror as I was, if I had moved a second slower! I scrambled to the boat and left that putrid island as fast as humanly possible. I survived catching fish and other slimy things in the sea on my trip back. I feel that I had lost something that day— mind, soul, sanity, whatever it was, I’ll never get it back. And I’ll never come back to that horrid place. Never. Never! Even if it meant I could see my friends again! Terrible teeth and fangs are forever in my mind, creeping in corners I cannot see, just under my skin like burrowing leeches, infesting my mouth! I tore out those horrible teeth in my mouth. I knew they weren’t mine when I looked at my reflection. I was admitted to a hospital once I got back home, but I see nothing wrong with myself— it’s their fault. The teeth, the mouths, the faces, all of those wretched unseeable things are to blame! They will never leave. No matter what you do. They’ll haunt you, even after death, even after nothingness, the teeth, the mouths, the faces… Yes, they will always be there, as I know I am never alone… Placidity does not exist, never has… They’ve taken everything from me, those damned doctors!… This letter must get somewhere, they’ll take it from me if they find it… If nobody knows, they’ll be doomed… No matter how ugly… No matter how terrible… Those teeth, those teeth should never be witnessed by any human… I have to show them!… Do not take this from me!!… Thou shall die, fools! …Ne'r let that serpent reawaken, 'lest thou'd something see the wrath of a ravenous god!… Keep back! Keep back!… Hhggh… Ghhkk… Aaghg! V'ir frra vg nyy!... Gur Ryqre-Orvatf! Guvf npphef'q cynar unfa'g zhpu yrsg...! Vs fur jnxrf... Vs fur jnxrf...! Waji! Waji!!…

(The writing of the letter turned into unintelligible scrawls.)

[chewsyourfate]

Cosmic Eldritch Entity, Cthulhu

Selective, Indie RP blog writing/roleplaying since 2010 Mun and Muses are 21+ Multiship and Multiverse friendly, plot in IMs, no discord

Closed Blog, kept for Memories and Archives

Tracking: chewsyourfate Follows Back From: @deepseawarlock

fc: rom.an reig.ns

[ The following roleplay blog delves into the eerie and unsettling world of Cthulhu, a character derived from the works of H.P. Lovecraft. It explores dark and macabre themes, and delves into the realm of cosmic horror. Please be aware that the content presented may contain disturbing and unsettling elements, including graphic descriptions and themes of madness, despair, and otherworldly terror. Reader discretion is advised. This blog is intended for mature audiences who have an interest in Lovecraftian horror and are comfortable with exploring the depths of the unknown. It is important to remember that the content presented is purely fictional and should not be taken as endorsement or promotion of any real-world beliefs, practices, or ideologies.]

Biography:

Cthulhu, an ancient cosmic entity of unfathomable power and horror, exists beyond the comprehension of mortal minds. Described as an immense, octopus-like being with a grotesque mix of human, dragon, and alien features, Cthulhu dwells in the sunken city of R'lyeh, resting in a death-like slumber beneath the depths of the ocean.

Legend tells of Cthulhu's origins in the distant past when Earth was ruled by alien deities known as the Great Old Ones. Cthulhu is considered one of the most formidable among them, representing chaos, madness, and the insignificance of mankind in the grand tapestry of the universe.

Throughout the ages, Cthulhu has been worshipped by cults and secret societies, drawn to its dark allure and the promise of unimaginable power. Its mere presence can induce madness and despair, as the human mind struggles to comprehend its otherworldly form and the existential dread it embodies.

Though largely dormant, Cthulhu's influence seeps into the dreams and nightmares of humanity, whispering ancient secrets and driving those who dare to uncover its mysteries to the brink of insanity. It is said that when the stars align and the stars are right, Cthulhu shall rise from its slumber, heralding an era of chaos and the subjugation of mankind.

In a unique twist, here Cthulhu has taken upon a human form, concealing its true cosmic nature behind a mortal guise. Adopting the name Kai Manu, it walks among humanity, observing and manipulating from the shadows. "Kai" is a unisex name of Hawaiian origin, meaning "sea" or "ocean," which aligns with Cthulhu's deep-sea origins. "Manu" is a Polynesian name that means "bird" or "spirit," reflecting the ancient and otherworldly nature of Cthulhu.

Kai Manu appears as an enigmatic figure, with piercing eyes that seem to hold ancient knowledge and a presence that exudes an aura of unease. Despite its human appearance, there are subtle hints that betray its true nature—an otherworldly grace, an unnerving aura, and an underlying sense of something not quite right.

Through this chosen form, Cthulhu seamlessly integrates itself into human society, maneuvering through various circles and power structures to further its own inscrutable agenda. Its interactions are carefully calculated, as it subtly influences events and individuals, sowing seeds of discord and madness.

Yet, despite its human guise, Kai Manu remains a vessel for the immense power and cosmic horror that lies within. There are moments when the façade cracks, revealing glimpses of its true form—tentacles writhing beneath its skin, eyes that glow with an otherworldly light, and a voice that resonates with an ancient, alien timbre.

While its motivations and ultimate goals remain shrouded in mystery, one thing is certain: even in this human form, Cthulhu remains an entity of immense power and malevolence, capable of unleashing untold destruction and chaos upon an unsuspecting world. The question lingers: What grand design does this human guise serve, and what horrors lie in wait when the true nature of Cthulhu is revealed?

[theomnicode]

Aight so theory time.

Everyone assumes new dude is an esper. But the espers we know only work with psychic abilities. It does not seem...suitable description.

I'd like to present a theory that this guy is more like an occultist, like shadow priest in wow, a devotee/adherent of some lovecraftian cosmic horror that is opm god.

That imperceptible unknown that is out of this world. Cosmic horror and stuff. Reality manipulation.

https://www.proquest.com/docview/1834037940

The adoption and adaptation of a theme from Lovecraft's horror stories, that of the Cthulhu Mythos, is no less plausible than any other occult system or doctrine of magic. Magic is based on the irrational, on the intuitive, the unseen - literally that which is 'occult' or hidden, being summoned forth for individual or communal purposes by circumventing the causal relationships of the material universe.

Rituals, charms, spells, and incantations are used to produce the willed result, based around two principles, according to Frazer: 'first, that like produces like, or that an effect resembles its cause; and second, that things which have once been in contact with each other continue to act on each other at a distance after the physical contact has been severed'. Frazer calls these principles, the 'Law of Similarity' and the 'Law of Contact or Contagion' respectively.

Lovecraft suffered from an acute inferiority complex, which prevented him from personally crossing the Abyss in his lifetime. He remained a withdrawn and lonely writer who retained a rational, skeptical view of the universe, despite the glimpses of places and entities beyond the world of mundane reality, which his dream experiences allowed him. He never learned the true origin of the tremendous vistas of cosmic strangeness that haunted his dreams. He never realized that he was himself the High Priest 'Ech-Pi-ET, the Prophet of the dawning Aeon of Cthulhu.

While the shaman and the occultist will their altered states of consciousness, Lovecraft, a rationalist and materialist, is considered by his occult followers as what we might term an 'unwitting shaman,' whose ability to channel the denizens of the astral or unconscious realms through dreams is as legitimate as a willed channelling by the occult practitioner.

So this would make this new guy a foil to Saitama I suppose. If Saitama is the unwitting shaman, which seems appropriate considerign his excursion to the spiritual place, his supernatural intuition, dream visions and what have you, then this guy HAS to be an occultist.

[idolsummons]

v: the tokyo horror

{elder god AU, loosely based around Lovecraft’s The Dunwich Horror}

It came as a surprise to everyone, her five year old daughter included, when Saki Morishita announced she was with her second child. The husband she adored had passed from means unknown, and she’d never been known to be one who would sleep around, particularly not while she was still grieving her loss. Nonetheless, once family and friends got over the shock of the news, the child was celebrated, since the coming of a new child was always a joyous occasion.      When the second daughter came into this world, she was given the name Hana, and people would always give their compliments, talking about how much of a cute and happy little baby she was. Unfortunately, those compliments did not last long, and soon turned from joy to unease.      Come her first birthday, people were shocked at the development the child had made, for she already seemed to hold the intelligence and physical capabilities of a child triple her age; come her second birthday, more like a child of five or six; and come her third birthday, more like one of 12 or 13.      Though Saki was not ashamed of her child, she knew sending her to school, particularly in these formative years, would be a poor decision, and so Hana was home schooled. It wasn’t as though much education was needed, anyway; so much seemed innate within her, and she was a capable reader who could easily pick up this knowledge on her own.      Despite this aging abnormality, Saki would still allow her friends and family to see her child, but they seemed unenthusiastic to engage with Hana. They would keep their eyes away and only address Saki and perhaps her older child, Ami, in conversation, even if they were topics that were truly to be addressed to Hana. Some even requested that Saki did not visit with the younger child anymore, for animals feared her and dogs would become aggressive and desire to attack her.      By the time she was four, Hana looked to be a woman of 18, and after two years like this, it appeared that her aging had simply stopped altogether. Hana was not enrolled into school and truly allowed into the public until she reached the true age of 15, and the excuse was oft used that she simply looked old for her age - that was true, at least.      Though Hana was intelligent and did well in school, she had a temper that would often get the better of her and would see her suspended for threatening students and faculty alike, and sometimes would black out temporarily and awaken again to horrible things having happened around her. Notes would oft be written in a language unintelligible to any but her and, upon reading them aloud, would soon be asked to stop as the strange language alone would cause people to quiver in fear.      All which happens to her she considers a normal occurrence, though she can’t help but wonder why animals are fearful of her and why dogs hate her when others don’t, and why it was that she grew faster than her sister, who had only recently caught up to her in maturity.      The reason was one which remained hidden and always would, and perhaps her mother would be the only one who knew the truth. Hana’s father was not of this world, not even of this realm, a creature from outside any human knowledge. And though the truth of her existence is unknown to her, it’s only a matter of time until truly unworldly things begin to happen to the youngest Morishita daughter...

[slash-and-laugh-film-school]

Analysis of Supernatural Horror Film

“The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown” (Lovecraft, HP, 1927). Beyond the boundaries of reality is a realm that everyone consciously fears and has feared for centuries. These thoughts and the fear it creates is what produces the most bone-chilling horror movies of our day. The possibility that other realities may exist and involve unknown entities and monsters, have been a part of human culture since the beginning of time, and lead us to question, “could this be my reality?”.

The lore of the unknown lies deep within the values of one’s culture and it is that unknown that has created our folktales, legends, and myths, and most importantly, our religion. Religion Is one of the most controversial, imposing, and influencing factors that affect human history and culture; Religion affects how we see the world. With every sort of religion, comes a side of both good and evil, and it is that evil which awakens our darkest fears. Those fears are the architecture that supernatural writers and directors of the supernatural genre create.

The supernatural genre involves themes of unreal entities and other extraordinary beings such as witches, ghosts and demons. Supernatural activities, such as exorcisms, transcend the laws of nature. Often these films are likely set in remote places such as forests, rural areas and haunted locations.

Renowned film Director, Ari Aster, gained notoriety for his film “Hereditary” in 2018. “Midsommar” directed in 2019, are among his best works. James Wan, Director of “Saw”, “Insidious”, and more recently, “The Conjuring”, directed in 2012, are three classic supernatural films well known to the American public.

This genre is one of the oldest and most popular sub-genres of all the horror genres. Many centuries past Ancient Greek and Roman horror filled spoken tales, through the Western cultures of the 18th century which initially introduced animation to cinema, lie the more contemporary Supernatural films that flaunt stories with endless possibilities, unbound to the realities of this world.

The history of supernatural horror films continues to evolve in the present day and can further be subdivided into two lesser genres: The “Supernatural” and the “Devil and Demon” genre. While the initial subcategory, “Supernatural” depicts “unseen evil out to destroy the human race”, the “devil and demon” subcategory, typically has a main figure challenging an external evil force. For either subgenre, evil may take the shape of mythical, supernatural or religious representations.

Of all the genres of Horror, whether it be demonic possession, paranormal, monster, slasher, zombie or gore, the supernatural genre continues to be a satisfying outlet for the individual seeking to be thrilled with a ghost story, an afterlife theme or a challenge to avenge. Psychologist, Dr. Clasen (2018), purported that horror films can be therapeutic when the negative emotions caused by the film are controlled, Dr. Mel Ashford, and others have found that the effects of viewing horror shows by anxiety-ridden individuals perplexed with the current realities of life, may find it to be a safe outlet and a break from the real world complexities.

Research shows that individuals who are drawn to horror films, and in particular, psychological horror films, tend to be “high sensation seeking individuals” and open to new experiences, as opposed to their counterparts who are low sensation seeking. These individuals tend to be less adventurous types and tend to find horror distasteful. For those considered to possess “intuitive Energy” and a “Thinking Nature”, it is not surprising that the Supernatural Genre of Horror continues to play an important role in the history of horror.

Recent Supernatural films of the last few decades such as “Vampire Academy” (2014) and “The Sixth Sense” (1999) also can have positive emotional effects on the viewer who may enjoy the creativity of these films which depict supernatural themes, but lack the shocking effects that other horror films of the same genre depict.

Citations

Ashford, Mel. Depression, Anxiety and Trauma. (2018). Bloody Knife Press.

Lovecraft, HP. Theodore Menten, Supernatural Horror in Literature. (January 1, 1927). Dover Publications.

Osman, Faria, Psychological Effects of Horror Movies. (Oct 26, 2015)., Zephyrus News Publications.

Simone, Tiffany, The Power of Horror Films as a Cure for Anxiety, (Sept. 1, 2018). Medium Publications.

Analysis of Supernatural Horror Film

[hellstarstore1]

Hellstar Unveiling the Cosmic Horror of the Universe

In the realm of cosmic horror, few entities evoke as much dread and fascination as Hellstar. This enigmatic figure looms large in both ancient mythologies and modern media, representing the ultimate fear of the unknown. Hellstar embodies the existential terror of a universe that is vast, indifferent, and filled with malevolent forces beyond human comprehension. In this blog post, we will delve into the origins, cultural impact, and enduring allure of Hellstar, exploring why this cosmic horror continues to captivate and terrify audiences worldwide.

Origins of Hellstar

The concept of Hellstar can be traced back to ancient civilizations that gazed at the night sky and saw not just stars, but omens and deities. Early human cultures often imbued celestial bodies with divine or demonic characteristics, interpreting their movements and appearances as messages from the gods. Hell Star Sweater, in many of these traditions, was seen as a harbinger of doom, a celestial being whose presence foretold catastrophe and chaos. In Mesopotamian mythology, for example, there are references to malevolent stars and constellations that were believed to bring misfortune. Similarly, in ancient Chinese astronomy, certain stars were considered inauspicious, often associated with calamities. These early beliefs laid the groundwork for the concept of Hellstar as a cosmic force of evil and destruction.

Hellstar in Modern Media

The modern interpretation of Hellstar owes much to the works of early 20th-century writers like H.P. Lovecraft, who pioneered the genre of cosmic horror. Lovecraft's stories introduced readers to a universe filled with ancient, god-like beings whose very existence posed a threat to human sanity and existence. Hellstar fits neatly into this tradition, embodying the idea that the cosmos is not just indifferent, but actively hostile to humanity. In contemporary literature, Hellstar has been featured in numerous novels and short stories, often as a malevolent force lurking in the depths of space. These narratives typically explore themes of isolation, madness, and the insignificance of humanity in the grand scheme of the universe. The allure of Hellstar lies in its ability to evoke a profound sense of existential dread, reminding us that there are forces in the universe far beyond our control or understanding.

Hellstar in Popular Culture

Beyond literature, Hellstar has made its mark in various forms of popular culture, including movies, television shows, and video games. One notable example is the 2019 film "The Color Out of Space," based on Lovecraft's short story. The film features a malevolent extraterrestrial presence that brings madness and mutation to a rural farm, echoing the themes of cosmic horror associated with Hellstar. In the realm of video games, titles like "Dead Space" and "Bloodborne" have incorporated elements of cosmic horror, with Hellstar-like entities playing central roles in their narratives. These games immerse players in dark, foreboding worlds where the line between reality and madness is blurred, and the threat of cosmic malevolence is ever-present.

Psychological Impact of Hellstar

One of the reasons Hellstar resonates so deeply with audiences is its ability to tap into fundamental human fears. At its core, Hellstar represents the unknown, the unfathomable, and the uncontrollable. These are fears that have been hardwired into the human psyche since our earliest ancestors huddled around campfires, trying to make sense of a world filled with predators and dangers. Hellstar also embodies the fear of our own insignificance. In a universe that is billions of years old and incomprehensibly vast, the idea that we are not the center of creation can be deeply unsettling. Hellstar, as a cosmic horror, forces us to confront the possibility that we are mere specks in an uncaring and hostile universe.

Hellstar and the Future of Cosmic Horror

As we look to the future, it is clear that Hellstar and the broader genre of cosmic horror will continue to evolve. Advances in science and technology, particularly in our understanding of the universe, will undoubtedly inspire new stories and interpretations of Hellstar. As we explore further into space and uncover more of its mysteries, the line between science fiction and horror will blur even further. One potential direction for the evolution of Hellstar is the incorporation of real astronomical phenomena into its mythology. For instance, the concept of rogue planets—planets that drift through space without a parent star—could provide a new twist on the Hellstar legend. These lonely, wandering worlds could be seen as the physical manifestation of Hellstar, bringing destruction wherever they go.

Conclusion

Hellstar stands as a powerful symbol of cosmic horror, embodying the fear of the unknown and the existential dread of our place in the universe. From its ancient origins in human mythology to its modern incarnations in literature and popular culture, Hellstar continues to captivate and terrify audiences. As we continue to explore the cosmos and confront the mysteries it holds, the legend of Hellstar will undoubtedly endure, reminding us of the vast, unfathomable forces that lie beyond our comprehension. In the end, Hellstar serves as a poignant reminder that the universe is not just a place of wonder and discovery, but also a realm of darkness and fear. It is this duality that makes Hellstar such a compelling and enduring figure in the annals of cosmic horror. Whether encountered in the pages of a book, on the screen, or in the depths of our own imaginations, Hellstar will always be there, lurking in the shadows, waiting to remind us of the vast, terrifying unknown.

[llpodcast]

(Literary License Podcast)

Welcome to another riveting episode of the Literary License Podcast, a retrospective to explore the fascinating world of anthology films. From the classic works of Edgar Allan Poe and H.P. Lovecraft to the cinematic masterpieces of the 1930s, anthologies have been an integral part of storytelling. This episode dives into "Night Gallery" from 1969 and the "Twilight Zone Movie" from 1983.

 This discussion-rich episode also features our host's favorite "What The F***" movies, discussing the shock factors, character development, and storytelling aspects of cult classics like "I Spit on Your Grave," "Humanoids from the Deep," and the provocative "Serbian Film". This conversation is a deep dive into the realm of anthologies with reflections on iconic films. Perfect for movie buffs or anyone looking for intriguing conversation about classic films.

 Listen as the hosts recount their unforgettable encounter with film director, Frank Henenlotter at a social event a few years ago. They discuss Henenlotter's unconventional filmmaking style and his unique work such as the Basket Case Trilogy. Also covered are insights into the complexities of the filmmaking business and the savvy filmmakers who played the studio system to their advantage.

 Contemplate the exploration of supernatural aspects, embodied by the acclaimed film, "Night Gallery." The hosts discuss how paintings embody powerful narratives of terror and the unknown, and add their personal experiences and interpretations, making this discussion a vibrant tapestry of genres.

 Engage in a comprehensive look at the history and ongoing influence of classic films and the era of afternoon television, with a deep dive into the 1930s, 40s, and early 50s classic cinema. Join us as we trace the evolution of afternoon television and witness the power of television, strategically repurposing classic movies.

[hplovecraftmuseum]

LOVECRAFT'S DREAMLAND. (part 1) (From an essay written by Richard G. Huber in 1984) Culturally and geographically HPL's Dreamland is an amalgam of various ancient civilizations dear to Lovecraft since his childhood (HPL was extraordinarily well read even as a child) There is the Grecian touch in the costume of Iranon (from, THE QUEST OF IRANON) and in the style of multi-oared galleys that traverse the seas, the Arabian Nights influence in the turbaned merchants, camel caravans, and bulbous architecture. The skulking mysticism of pre-Buddhist Tibet is captured in Lovecraft's conception of 'Leng' and a Medieval European flavor appears in the mention of lutes and viols. An ancient Egyptian aura is reflected in aspects of his tales of the 'Cats of Ulthar.' The inhabitants of Dreamland are deeply religious. Temples abound and most residents worship the ' Great Ones' who in turn are lorded over by the ' Other Gods'. Though there are many priests there are a surprising lack of wizards or magicians in Dreamland. All magical doings seem to be reserved for the gods themselves. There are no machines in Dreamland. Transportation is carried out on foot, on the backs of zebras, by camel, or elephant in the Southern regions, by Yak in the North. (Shantak Bird) a sort of eagle with a horses head, is reserved only for the bravest travellers. Sea voyages are usually made aboard galleys fitted with sails and banks of oars. Dreamland in general is a naive and backward place, a region of childhood wonder and fantasy. Lovecraft wrote of his "Dunsanian" tale, THE SILVER KEY : "It was not only non-intellectual, but anti-intellectual . . . " (Selected Letters IV pp 177) Lovecraft's description here could be applied to all his 'dreamland tales'. Though 'Unknown Kadath' seems to exist somewhere to the North in 'Earth's Dreamland', it exists near the South Pole on our material earth. Of course that is the assumption of the 2 explorers who see the ruined city of the 'star-headed' plant/creatures in, AT THE MOUNTAINS OF MADNESS. Some of Lovecraft's critics have been disturbed by this inconsistency, but there is no particular evidence to suppose that Dreamland in geographically similar to the physical earth (in fact there is some reason To interpret that it may be FLAT!) There are places where the two spheres meet and even share a oneness, but even these follow no earthly logic. A clue to Lovecraft's intentions where Dreamland is concerned might be found in the introductory paragraph of BEYOND THE WALL OF SLEEP, a story which in its style at least has little to do with Lovecraft's Dunsanyian style: " We may guess that in dream life, matter, and vitality, as the earth knows such things, are not unnecessarily constant, and that time and space do not exist as our waking selves comprehend them." If Randolph Carter can explore Earth's Dreamland and yet sleep in his bed at home at the same time, it seems hardly surprising that Kadath can likewise exist in two realms and two (or more) different locations jointly. Another thing that might be considered is that all things in Dreamland are THE PRODUCT OF DREAM. Though it is consistent in its apparent tangiblity to more more than one person - Kuranes, Carter, and others - it is, as we see in, THROUGH THE GATES OF THE SILVER KEY, a projection of the dreams of higher, supernatural beings. Below is a map of Lovecraft's Dreamland created by Richard G. Huber in 1984. (Exhibit 173)