#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

[darchildre]

Came home from work and finished reading At the Mountains of Madness - here are my wrap-up final thoughts.

Thing One. I read the last 30 pages or so aloud to myself - it was great. Truly, my favorite way to experience Lovecraft is by reading aloud. I highly recommend it, especially if it's one of the ones were someone screams or dissolves into incoherent nonsense at the end. (I mean, make sure you're alone or warn the people you live with before you do that, obviously.)

Thing Two. I would like to apologize - I have been misquoting Lovecraft's adjectives about penguins from this story for years. The penguins are not 'sinister'. They are 'grotesque', and the 6-foot blind albino ones are 'monstrous'. No malice is ascribed to the penguins.

Thing Three. I mentioned Wilmarth getting namechecked in an earlier post. It's not just the once - he is all over this story, which is fascinating because I'm pretty sure this is the only example of a Lovecraft character continuing to show up in a major way after the story they star in. I desperately want to know what Wilmarth has told his colleagues about his experience in Whisperer. I also want to know if Dyer found him vaguely creepy and "unpleasantly erudite" before those events, or if it's a more recent development. Did he only get weird after meeting the Mi-go, or has he always been offputting? What is the faculty breakroom discussion at Miskatonic like? How many of the faculty have read the Necronomicon? Because it seems like it's a lot of them - hell, even the grad students get to read it.

Thing Four. God, I feel so bad for the Old Ones the Miskatonic expedition dug up. Fortunately, Dyer has also developed a lot of sympathy for the Old Ones by the end of the book, even if he does express it really weirdly:

...what indeed had they done? That awful awakening in the cold of an unknown epoch—perhaps an attack by the furry, frantically barking quadrupeds, and a dazed defence against them and the equally frantic white simians with the queer wrappings and paraphernalia . . . poor Lake, poor Gedney . . . and poor Old Ones! Scientists to the last—what had they done that we would not have done in their place? God, what intelligence and persistence! What a facing of the incredible, just as those carven kinsmen and forbears had faced things only a little less incredible! Radiates, vegetables, monstrosities, star-spawn—whatever they had been, they were men!

And then they return to their city to find it broken and frozen over, all their people killed or fled, and monsters dwell in their sacred places, carving mocking words on their walls.

Seriously, this is like Gimli in Moria only multiplied by about a hundred. If Gimli was a barrel-cactus-starfish creature with wings who had been asleep for millions of years.

Thing Five. Except that this is also a robot uprising story (kinda) so you have to feel a little bad for the shoggoths too.

Like, yes, shoggoths are terrifying protoplasmic subway trains* that suck the heads off their enemies, but they are also sapient beings that were designed and created to be slaves. That sucks, and you have to root at least a little for the robots in any robot uprising story.

I'm not saying the Old Ones all deserve to have their heads sucked off by horrible jelly creatures, but I am saying that the horrible jelly creatures have a reasonable point.

(I am currently hoping that the shoggoths that work with the Deep Ones are doing so consensually.)

Thing Six. Oh my god, this is such a better response to Arthur Gordon Pym than Sphinx of the Ice Realm! Lovecraft manages to echo and rhyme with Poe's imagery and ideas - Antarctica, huge white birds, strange ominous vapors, ancient carvings that contain secret languages, final mind-altering visions, "Tekeli-li" - while telling a story that is wholly its own and is neither overshadowed by Pym or carelessly refuting Pym.

Good job, Howard.

Thing Seven. It is hilarious that Dyer spends this whole book going, "Look, I get it, it sounds fascinating but you can't go there and you can't try to do more research on the Old Ones - it's too dangerous, you'll go crazy and get your head sucked off by a shoggoth. Absolutely no expeditions to Antarctica." And then quietly at one point turns around and says, "But I will shortly be publishing a monograph on the customs and institutions of the Old Ones that I learned about through their extensive carved murals which only I and my grad student have seen."

A) Tease. I want to read your monograph. B) Just, "You can't go there, but I already did, and I'm going to write a paper." Hilarious. I love every academic from Miskatonic.

In conclusion! I had never actually read this one all the way to the end before - it's pretty great. A bit of a slow start and a tad too much geological terminology, but the tragedy at Lake's camp is a great horror-mystery set-piece, and the journey through the Old One's city is generally really fun. A very fun time - highly recommended.

*I love the subway train imagery so much, you guys.

[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

[hplovecraftmuseum]

The first fictional cosmic entity H. P. Lovecraft invented was named by him Azathoth. As his fiction writing history evolved he made more and more complex references to Azathoth. In many cases HPL referred to this creation as Chaos, capitalized or chaos in lower case. In nearly all cases Azathoth was discribed in rather vauge and nebulous terms. Now, Lovecraft had been a great fan of Classical Mythology since childhood. When he discovered Homer's THE ODYESSEY at age 6 his life was forever changed. Prior to age 6 the child (a remarkable intelligent child) had been introduced to THE THOUSAND AND ONE NIGHTS tales of Arabic origin. The child dressed in faux Arabic costume and assumed the play-name Abdul Alhazred. With his discovery of the Graeco/Roman myths and culture he proclaimed that his middle Eastern robes and identity were cast off and he "was forevermore a Gaeco/Roman. Lovecraft as a boy made altars to the Olympians and even claimed that he had a 'religious experience' of seeing satyr-type beings dancing in the woods near his family home. Of course in later years he admitted to himself that this had been only a trick of the mind, a self imposed "vision-delusion" of the kind occasionally claimed by other religious types. Getting back to Chaos/Azathoth, The basic concept of Azathoth already existed in Greek Mythology. As the Ancient Greeks saw cosmic history Chaos was the first state of the universe. This 'Chaos' has been translated as "the vast emptiness". Now we might consider that all the pre-human gods of Classical Myth were immortal. Thus, although Chaos was the ultimate source of everything that would come afterwards, including all the other immortal powers and ultimately Zeus and his followers, Chaos remained unchanged, intact, and 'alive' outside of the ordered reality that came afterward. Now here I think is a concept we might wish to consider when we investigate Lovecraft's 'Azathoth'. Azathoth MIGHT be the emptiness from which all else in HPL'S fictional cosmos evolved, and yet 'he' remains seperated from all that evolves from him. Thus, we might determine that Azathoth does not ultimately have physical form as we understand such things. Azathoth in Lovecraft's fiction never comes to us, we go to him. In THE DREAM QUEST OF UNKNOWN KADATH, Randolph Carter very nearly makes the trip. The result would almost certainly have ended badly! In fact when he started his quest for higher existence he was warned by a priest in dreamland that such a quest might result in 'The death of his soul'. Any interpretation of 'Azathoth' is by its very nature open to controversy, and almost certainly that was Lovecraft's intention. Because the whole idea of Azathoth was so complicated and esoteric in nature, critics and other writers hoping to expand on Lovecraft's fictional mythology have intentionally shied away from trying to define Azathoth as anything more than just another tentacled monster from some other realm at the center of 'somewhere else' but still a threat to humanity. August Derleth in a letter to Clark Ashton Smith admitted that he saw Azathoth as the source for all Lovecraft's other cosmic powers, but did not admit that when he later defined HIS version of Lovecraft's cosmos, calling it 'The Cthulhu Mythos'. Azathoth MIGHT be symbolic for HPL of the state of disarray and nothingness that was in the beginning and the destiny of the ordered universe that will come. Order and chaos, being and non-being, advancement and decline. Lovecraft certainly saw such things happening in his own life and in all the world around him. A central theme of all his stories is that all that is, was, and will be, will soon be wiped away, engulfed in oblivion. (Exhibit 558)

[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

[fuschiaarrowpublications]

Love-Craft: An Eldritch Affair Part II: The Stirring of Forgotten Stars

Cthulhu stirred.

In a distant quadrant of the cosmos—one so obscured and ancient that not even the symphony of stars remembered it—the great old one lay sealed within a pocket dimension of where space itself twisted and buckled like a living thing writhing in agony.

. The fabric of space folded and twisted endlessly around this prison, warping time and thought alike into fractal patterns beyond mortal comprehension. Forgotten nebulae churned with celestial indifference, stars birthed and perished in silence, and the grinding machinery of galaxies whirred on without acknowledgment.

Yet now, a ripple.

Faint at first, like a whisper scratching against the endless void, it grew into a cacophony of awareness—a siren song of adoration piercing the ancient veil of slumber. The elder god’s vast consciousness groaned awake, his many-eyed awareness splintering across dimensions as he strained to comprehend the sudden resurgence of power thrumming through his form.

“I have not felt this… since Howard walked the realms,” Cthulhu rumbled, his voice reverberating through cracks in reality itself. The last time mortal minds had sung his name with such vigor, it was the fevered dreams of Lovecraft that had granted him strength. That had been an age of horror, madness, and reverence. But this? This was different—stranger.

Power coursed through his tendrils, thickening and coiling like serpents drunk on celestial ichor. His form pulsed with renewed vitality, the dark geometry of his existence folding infinitely inward and outward. The very cosmos trembled beneath his sudden awakening.

“Adoration,” he mused, each syllable dripping with fathomless understanding. “Knowledge of me is fuel, and they remember.”

But who? Why now? And in such magnitude?

Driven by the need to unravel this strange rebirth of attention, Cthulhu tore through folds of space, his presence stretching across impossible distances. Planets shuddered beneath his gaze as civilizations blinked out of existence, unworthy of further thought. He drifted past the spiraling arms of galaxies where sentient gas-cloud entities worshiped unknown gods, their devotions pale and pathetic compared to this new force drawing him in.

The longing gnawed at him—a deep, unsettling craving that tightened like a noose around his ancient heart. He had wandered the planes of existence for eons without care, yet now he hungered to find the source of this intoxicating veneration.

Through one galaxy, then another, he searched. His mind scraped against the edges of reality itself, brushing past dimensions both real and theoretical. But always, the pulse of that singular devotion led him forward.

And then he felt it.

A strange, singular beacon originating from a seemingly insignificant blue planet.

The longing thickened, its claws sinking deeper into his eldritch essence. Cthulhu’s vast intelligence reeled, caught between curiosity and something disturbingly close to desire.

“Why do you call me, mortal?” he rumbled, stretching toward the source like a predator scenting blood. “What madness drives this devotion?”

The echoes of the question lingered in the folds of the cosmos as Cthulhu surged ever forward, following the inexplicable pull toward Clifford—the man who dared to seduce a god.

[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.

[darchildre]

Well, I have finished The Sphinx of the Ice Realm.

As an adventure story on its own, it's not bad. You get some fun adventures sailing into the Antarctic unknown, including many descriptions of birds and animals, getting stranded on an iceberg (twice, in two different ways!), and a mutiny. (There's also a very funny footnote about another person who went to the south pole and planted a flag there, his name begins with N, and if you want, Jules Verne has a whole other book about him that you should read.)

However, it suffers somewhat from being a sequel to The Narrative of Arthur Gordon Pym, in that the characters and action of Pym are constantly shadowed over those of Sphinx and it doesn't quite allow the latter to become its own thing.

This would be okay if it was good fanfiction, but It's appallingly bad at that. Verne is absolutely not willing to 'yes, and' any of Poe's fantastical moments from Pym.

Did you want more interactions with the strange people who live in Antarctica (perhaps written in a less horribly racist way)? Sorry, they all either died or fled before the character of this book arrived. Yes, all of them.

Were you curious about the strange Antarctic animals Pym encountered - the weird white mammals with the red teeth and claws, or the gigantic birds? Nope, not going to see any of those.

Did you want to explore more of the weird island the Antarctic people lived on? Did you especially want to know more about the strange systems of canyons that, when viewed from above, appeared to spell out words in Ethiopian, Egyptian, and Greek? Yeah, those were all destroyed in an earthquake - Verne is going to mention them once and then never talk about them again.

Would you, above all, like to know anything about the gigantic figure robed in white that rises out of the sea and then the book abruptly ends with no further resolution or explanation? DISMISSED AS A HALLUCINATION AND NEVER THEREAFTER DISCUSSED.

I would not have minded Verne developing scientifically reasonable explanations for any of the more fantastical aspect of Poe's book. But this isn't that - this is just "Eh, that never happened." "I don't know, man - it's gone now, don't worry about it." It feels lazy and cheap. It was wildly disappointing to me as a person who had only just read Pym and didn't like it - I can only imagine what it felt like for people of the era who might have been fans to have read.

Perhaps this is why Sphinx is not much translated into English.

Anyway. Now to reread At the Mountains of Madness, in which Lovecraft merely takes some atmospheric inspiration from Pym while generally doing his own damn thing in Antarctica.

[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)

[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.

[wyrmfedgrave]

Pics:

1 & 2. The original poem that we're discussing, in the Brown U archives.

3 thru 5. Lovecraftian towns, enough said!

6. The real horror here is the racist hatred that drove most of HPL's tales.

1913: Output.

Intro: What lingers, from reading Lovecraft's tales, is a feeling of rapt captivity & blind fear.

But, what 'hurts' is the fact that it was Howard's own racism that empowers most his works.

While it's true that readers can't really separate an author's life experiences influencing their works, 1 can enjoy their fiction without liking the writer him or herself.

Though HPL was a bit rabid in his hateful thoughts, I still enjoy his take on cosmic horrors.

I'd gladly be chased thru time & space, 'projecting' myself back to Arkham in the early 1900s.

Or, slip thru the dimensions out to the Great Australian Desert. And then, plunge down into the depths of the Pacific Ocean!!

I'll even play the part of a lonely & scared academic who learns too much to survive any longer.

But, I won't act like some blind bigot. I'm not a racist & have friends of all kinds & sexes.

Hey! Watch where you put that sinful tentacle...

Plot: We start out with "New-England losing (its) original inhabitants¹ & agricultural atmosphere²."

"Being now the seat of... industries (run) by southern Europeans & West Asiatic immigrants of low grade³..."

"(Their) squalid, nosy village (now) asleep. Dusk & quiet hide a monstrous mill⁴... (now belonging to) alien serfs."

"Tainted air for (a) moment clears the ruin wrought by evil years⁵ & (my) tortured mind is lightened of its pain."

Suddenly "ancestral spirits reign anew & old New-England... lives again."

But, this only lasts for a moment.

The poem now focuses on describing "an empty green⁶, ancient structures rotting (away & a) temple spire (that) ascends no higher (due to) the Popish cross⁷."

Then, the poem asks "where dwells that race... whose rule is benign⁸?"

Suddenly, we get a twist!!

"From the woes which blend in modern times, new blessings emerge⁹!"

Yet, the poem ends with a final sad prediction, "contemplation mourns New England's end¹⁰ (for) draped in sack-cloth¹¹, 'She' (=s New England) chants her country's dirge¹²."

Notes:

1. At 1st, it sounds as if Howard's writing about the aboriginal American 'Indians' but, we know better!

If he were, he would be sadly correct. There's few of the aboriginal nations left - but, they're not extinct.

Not even in New England...

2. Wrong again.

Today, New England farms provide 50% of the dairy & 40% of the veggies consumed in the region.

Even though farms only make up 7% of the modern land use!!

Cheer on our modern practices.

3. Howard again ranks minorities as being of low quality as a whole.

Due, no doubt, to the then current pseudo-scientific 'thinking.'

But, Lovecraft liked to obsess on most things & didn't like 'change' at all.

The only type of changes that he allowed himself, were on scientific advances.

As even we are finding out, science is always changing. Usually by advances that are 'unexpected'.

Look at the amazing findings of the James Webb telescope, to see what I mean.

But, HPL couldn't seem to master his racial fears - whose origins still remain largely unknown...

4. This seems to refer to Howard's preference to water powered grind- stones & his 'hate' of coal powered mills.

I'd have to agree with him on this point.

5. Hmm... Methinks we can see the slow growth of Lovecraft's Mythos vocabulary in moments like this.

6. Dude, come on. Your poem takes place at night...

If someone (of any color) was there, it wouldn't be for romantic reasons.

7. Howard (the atheist) taking a pot- shot at Christianity while upholding a Protestant past.

8. In some fantasy realm? No 'rule' - especially a royal one - is ever 100% perfect.

Not even democratic 'rule'...

Every known form of government has had some kind of problem(s) during its existence.

9. Hmm... "The woes which blend?"

("Whatchu talking about, Willis?!")

I don't think this is sarcasm aimed at "race mixing."

Perhaps, it's a poetic way to say that America has a lot of problems.

Well, I'd match our problems with yours anytime, bro.

Though HPL would probably like the Big Orange Rump! Lovecraft was always attracted to 'royalty.'

10. Quite wrong again.

As stated before, New England is still in white hands & in no danger of being overrun by minorities - we just don't have the money to live there...

11. Sack-cloth were 'clothes' woven out of goat or camel hair! It was the proper garment to be worn during times of mourning.

In English, it also describes "coarsely woven fabrics made from flax, hemp or cotton."

12. Still wrong!!

We've certainly come close to extinction - several times! But, the U.S. is still here...

Right now, we're still fighting off the greedy power lust of an ex-prez who wants to become 'king.'

The kind of person that Lovecraft would like - at 1st sight!

But, HPL could change his mind!

As he did with Hitler, once Howard understood what kind of a danger Adolph posed - to HPL's beloved England!

Criticism: Not really much written on "Village." So, I'll add some quick notes after the 1 comment that I could find...

The National Amateur said, "Lovecraft chants a dirge (death song) over the New England of American history... discovering that the New England of their dreams is not the New England of today."

Notes:

1. You could think of this poem as part three of Howard's "Racist Trio" for 1913!

The more racist poems being the already examined "Providence in 2000 AD" & "New-England Fallen."

2. But, if this is true, this poem is a toned down version of the other two poems' hateful bigotry! Because, for HPL, this poem is a minor exercise in Racism Lite...

Still, all such works hurt somebody.

[bam-monsterhospital]

the "chroma" out of space

Eso deciding to make apocrypha aesthetically varied by adding an area which isn't drenched in greens is fine; adding aesthetic variety to a daedric prince's realm is a great idea.

But then someone decided to name this new vibrant area "The Chroma Incognito". Ohhh 'the hidden/unknown colour'? interesting interesting, what does this mean? Are we going to find out what's so special about this lil area? Why 'hidden/unknown colour'? How does that relate to hermaeus mora's sphere of hoarding information?

Skipping the nothingness the game gives you for in-universe answers to these questions (you can get them by reading uesp's page on this area), and instead looking at what could influence the writers' decisions... I find myself remembering all the advertising for that chapter mentioning lovecraft. Zos really wanted everyone to know how influenced by hp lovecraft this chapter was going to be, and you can see it in soooooo many of the names and titles chosen (the tagline for the chapter story was "shadow over morrowind", y'know, like the story "shadow over innsmouth"?). Which brings us back to the "Chroma Incognito"...

It's the colour out of space. That area of apocrypha is referencing the story (and eponymous creature in it) "The Color Out of Space", by hp lovecraft. This is a problem if you've actually read the story: the chroma incognito, apocrypha, not even the entire chapter itself ha ve anything to do with the plot or themes in "The Color Out of Space" story. Hell, nothing in the chapter even comes close to working like how the 'colour out of space' monster itself works.

This little quirk is a pattern that continues with the rest of the lovecraft-influenced aspects in the necrom chapter: the supposed lovecraft influence starts AND stops at second-hand knowledge of names, like the writers haven't actually read any of the works they're supposedly pulling from. Like they're actually referring to a memeified version overheard by a friend of a friend.

"The Color Out of Space" story deals with things like slowly encroaching dread, radiation poisoning, wrongness, decay, environmental destruction, something that should not be appearing suddenly and having no control over the horror it slowly is wreaking on your life, the horror of not knowing/not having control, how dependent we are on our environment, corruption in every sense of the word, etc etc. Is any of this in any of the various bits and bobs that reference the story/creature in Necrom? Nope.

Honestly if you wanted an area that really referenced the colour out of space, it would be a brittle grey area devoid of life or energy or colour. (hmm, kinda like the greymarch...)

[interactivemediayear1cd]

H.P Lovecraft, Cosmic Horrors inception:

Howard Phillips Lovecraft, known as H.P. Lovecraft, was a prolific American writer whose legacy transcends time, leaving an indelible mark on the realm of speculative fiction. This blog post delves into the life of Lovecraft, explores some of his most famous works, and examines the profound impact his writings have had on modern culture.

Who was H.P. Lovecraft?

Born on August 20, 1890, in Providence, Rhode Island, H.P. Lovecraft was a master of weird and cosmic horror. Despite facing financial challenges during his lifetime, Lovecraft's literary contributions have earned him posthumous recognition as one of the most influential writers in the horror genre.

Key Works:

1. The Call of Cthulhu (1928): Perhaps Lovecraft's most iconic work, this short story introduces the Great Old One, Cthulhu, an ancient, malevolent cosmic entity. The tale is presented as a series of documents and accounts, emphasizing the horror of the unknown.

2. At the Mountains of Madness (1936): Set in Antarctica, this novella explores the discovery of an ancient, alien city beneath the ice. Lovecraft weaves a narrative that blends scientific curiosity with cosmic dread, showcasing his ability to evoke a sense of awe and terror.

3. The Shadow over Innsmouth (1936): This novella tells the tale of a town with a dark secret and its unsettling inhabitants. Lovecraft's exploration of forbidden knowledge and the consequences of uncovering hidden truths is a recurring theme in this chilling narrative.

Impact on Modern Culture:

1. Cosmic Horror Aesthetic: Lovecraft's works pioneered the subgenre of cosmic horror, emphasizing the insignificance of humanity in the face of ancient, cosmic entities. This theme has influenced a plethora of writers, filmmakers, and artists, shaping the aesthetic of modern horror.

2. The Cthulhu Mythos: Lovecraft's creation of the Cthulhu Mythos, a shared universe populated by cosmic entities and forbidden knowledge, has become a cultural phenomenon. Cthulhu and other beings from Lovecraft's pantheon appear in a wide range of media, from tabletop games to films.

3. Literary Influence: Lovecraft's impact extends beyond the horror genre, influencing writers like Stephen King, Neil Gaiman, and Clive Barker. His themes of existential dread and the unknown continue to resonate in contemporary literature.

4. Pop Culture References: Lovecraftian elements frequently appear in popular culture, from movies like "The Cabin in the Woods" to video games like "Bloodborne." The enduring fascination with the cosmic horror he introduced showcases Lovecraft's lasting cultural significance.

H.P. Lovecraft's literary legacy is one of cosmic horror, forbidden knowledge, and the exploration of humanity's vulnerability in the vastness of the cosmos. His influence on modern culture is immeasurable, with his themes and creations echoing in the works of countless creators across various mediums. Lovecraft's enduring impact ensures that his cosmic horrors continue to captivate and terrify audiences, inviting them to confront the mysteries of the unknown.