DOCSLIB.ORG

Thesis Call of Cthulhu and Vampire

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Thesis Call of Cthulhu and Vampire THESIS CALL OF CTHULHU AND VAMPIRE: THE MASQUERADE: INVOCATION, SPATIALITY, AND RITUAL TRANSCENDENCE IN TWO TABLETOP ROLE-PLAYING GAMES Submitted by Tyler Brunette Department of Communication Studies In Partial fulfillment of the requirements For the Degree of Master of Arts Colorado State University Fort Collins, Colorado Fall 2015 Master’s Committee: Advisor: Scott Diffrient Greg Dickinson Jeffery Snodgrass Copyright by Tyler Brunette 2015 All Rights Reserved ABSTRACT CALL OF CTHULHU AND VAMPIRE: THE MASQUERADE: INVOCATION, SPATIALITY, AND RITUAL TRANSCENDENCE IN TWO TABLETOP ROLE-PLAYING GAMES In 1974 the world’s first Tabletop Roleplaying Game (TRPG) was published, Dungeons and Dragons. Since that time hundreds of TRPGs have been published in multiple genres. In this thesis I explore the rhetoric of two of the most popular horror-themed TRPGs: Call of Cthulhu and Vampire: the Masquerade. I focus on explaining how these games came to be, how they serve their players as equipment for living, how they rhetorically (re)construct real-world places and spaces, and finally, how they encourage transcendence and jamming through ritual play and participation. This thesis hopefully helps to show the complex multi-layered rhetoric taking place in a relatively ignored form of media. Additionally, I introduce the concept of textual invocation as a complimentary theoretical construct to that of textual poaching as an explanation for how players and designers engage in a give and take of authorship. ii ACKNOWLEDGEMENTS I would first like to thank each of the members of my excellent committee, Dr. Diffrient, Dr. Dickinson, and DR. Snodgrass. Each of you has helped immeasurably with the creation of this project which would have absolutely been impossible without you. I would also like to thank the members of my graduate cohort who helped me to finish this document, you know who you are. Additionally, I would never have been able to come up with some of the ideas in this thesis without having my partner Danielle Reimer to bounce ideas off of. Finally, I would like to thank the fantastic authors and employees of Chaosium, White Wolf, and Onyx Path. Thank you all for making such wonderful, moving, and engaging products which have inspired me to finish this project. iii TABLE OF CONTENTS ABSTRACT………………………………………………………………………………………ii ACKNOWLEDGEMENTS………………………………………………………………………iii INTRODUCTION…….…………………………………………………………………………..1 EXIGENCY AND EQUIPMENT FOR LIVING………………………………………………..25 TAKING PLACE AND MAKING SPACE…..…………………………………………………51 TRANSCENDENCE THROUGH RITUAL PLAY…………………………………………….71 CONCLUSIONS...………………………………………………………………………………91 NOTES………………………………………………………………………………………….100 iv CHAPTER ONE: INTRODUCTION ...I feel quite justified in believing that games and sports ought not be ranked among the major phenomena of life. H.P. Lovecraft to Robert E. Howard, October 3-5-7, 1932 While I adore his fictional works and their contribution to American literature, I could not disagree more with Howard Phillip Lovecraft. I believe games and play are fundamentally important aspects of the human experience. Games, such as the Olympics, can inspire a nation, speak volumes about a culture, and, in the case of role-playing games, open new worlds for exploration. Like many role-players, I remember the exact moment when I became “hooked’ on gaming. It was the summer between my freshman and sophomore years of high school and I was playing my third or fourth session of Dungeons and Dragons (D&D). Within the game, our adventuring party was travelling to a nearby city so that the paladin in the group could compete in a sword-fighting tournament and win glory for his god. As dusk approached a thunderstorm began and our party was forced into the woods seeking shelter. Eventually, we found a man- made entrance carved into the rock wall of a cliff. On either side stood two large onyx statues depicting a minor deity worshiped by vampires in the area. The entrance looked deserted so, after much debate between members of our adventuring party, we entered the cave. As the last of us passed the threshold, entering the long hallway before us, the statue groaned and crumbled to the ground, blocking any avenue of retreat and leaving us shrouded in darkness. At the moment when our Dungeon Master (DM) described the statues crashing down behind us, I as a player felt 1 a shiver of fear that literally shook me. I could feel anxiety building, and as I looked around on the other players faces, I could see they felt it too. My fellow players and I had all experienced a moment of very powerful immersion, and had a physical, bodily reaction to it. It mattered little that we were a group of teenage boys sitting around our friends’ kitchen table at two in the morning. It mattered little that we were far from any caves or any danger (apart from running out of snacks and soda); we all experienced a moment of shared and constructed fear, brought about by nothing other than our friends’ masterful storytelling and our own investment in the game of storytelling. Ever since that morning I have found myself fascinated with tabletop role-playing games (TRPGs). I have been playing and running them for years, trying to achieve those rare moments of full immersion, trying to help others find them, and generally enjoying the opportunity to exercise my imagination with good friends, while creating a memorable story. For the most part, my own experiences with playing and running TRPGs have focused on horror-themed games, thanks, most likely, in no small part to the previously mentioned story. Aside from the sheer joy of play, I have always had a bit of an academic interest in TRPGs. I have been fascinated by the notion that people can jointly tell a story to which none of them know the conclusion. I have been interested in how TRPGs have encouraged other players and myself to look at the world differently, and I have found myself fascinated with the levels of immersion achievable through the ritualized activity of play. In an attempt to answer these questions I will examine two horror- themed TRPGs which have been highly influential over the years, Call of Cthulhu and Vampire: the Masquerade. First being published in 1981, the Call of Cthulhu role-playing game is one of the longest running role-playing game lines in the industry. Call of Cthulhu was published a scant seven 2 years after the first printing of Dave Arneson and Gary Gygax’s industry-founding Dungeons and Dragons.1 While Call of Cthulhu has never achieved the popular media exposure or industry popularity of Dungeons & Dragons, it has nonetheless endured and thrived. Call of Cthulhu has won numerous industry awards over its thirty years and many editions.2 Award highlights include: 1981 Game Designer's Guild Select Award, 1982 Origins Awards Best Role Playing Game, 1985 Games Day Award Best Role Playing Game, 1986 Games Day Award Best Contemporary Role Playing Game, 1994 Gamer's Choice Award Hall of Fame, 1995 Origins Award Hall of Fame, and in 2003 GamingReport.com readers voted it as the Number One Gothic/Horror RPG.3 As plainly acknowledged in the sixth edition of Call of Cthulhu, “This game was first published in 1981. At that time, three major national awards were issued in the United States for excellence in game design. Call of Cthulhu won all three”.4 Based on the collected works of celebrated American horror and science-fiction writer Howard Phillip Lovecraft, Call of Cthulhu encourages players to play the roles of investigators looking into the supernatural horrors lurking in the shadows of its fictional version of the real world (Circa 1890’s, 1920’s and the modern day). Unlike many fantasy-themed TRPGs like Dungeons & Dragons, the focus of Call of Cthulhu is not fighting monsters but instead uncovering their secrets, retaining character’s sanity, and preventing the return of ancient god- like beings called the great old ones.5 As presented in the Introduction to the core book: If you have ever been enthralled by a ghost story or spellbound by a horror movie, you are in for a treat. Part the veil that separates frail humanity from the terror that lurks beyond space and time. Investigate forgotten ruins, haunted woods, and nameless menaces.6 This theme of investigation into the unknown and unnamable can be seen beyond the Call of Cthulhu game. The gaming themes first developed by Chaosium Inc. have spread to many other games, coinciding with a greater popular culture awareness of Lovecraft’s works. 3 Chaosium Inc. has agreed to license the core concepts of their game system to other TRPG companies ( as evidenced in Wizards of the Coast’s 2001 d20 Call of Cthulhu, Green Ronin’s 2008 Shadows of Cthulhu, Pelagrane Press’s 2008 Trail of Cthulhu, and Pinnacle Entertainment’s 2009 Realms of Cthulhu). Chaosium has used the popularity of Call of Cthulhu to engage in horizontal integration as well, with brief forays into the ancillary markets of collectable card games (Mythos and Call of Cthulhu Living Card Game), portable and non- portable videogames (Call of Cthulhu: The Wasted Land, Call of Cthulhu), Live Action Role- Playing Games (Cthulhu Live) and miniature figurines (produced through Grenadier Models). Furthermore, the Cthulhu mythos has seen a recent explosion of exposure in several other markets with the release of stuffed animals, re-printings of Lovecraft’s original works, films such as Andrew Leman’s The Call of Cthulhu (2005), board games such as the award-winning Arkham Horror, and a host of other merchandise. While it would be foolish to claim Call of Cthulhu as solely responsible for this resurgence in Lovecraftian horror, its success did provide an early showing of the sustainability of a Lovecraft niche market.
Load more

Recommended publications
  • Vampire: the Masquerade
    Vampire The Masquerade 2nd edition Vampire: The Masquerade A Storytelling Game of Personal Horror By becoming a monster, one learns what it is to be human 1 Vampire The Masquerade 2nd edition By Mark Rein•Hagen Vampire TM Game system Copyright 1992,1997 by White Wolf. All rights reserved. Reproduction of this book in any manner without consent from the publishers is prohibited. Players may reproduce the character sheets for personal use only. Credits Design: Mark Rein•Hagen Written by: Mark Rein•Hagen, Graeme Davis, Tom Dowd, Lisa Stevens, Stewart Wieck Development: Mark Rein•Hagen, Andrew Greenberg, Stewart Wieck Editing: Robert Hatch Design Contributors: Lisa Stevens, Travis Williams, Chris McDonough, Joshua Gabriel Timbrook, Nicole Lindroos, John Brandt, Brenda Stiles, Tom Dowd, Graeme Davis, Timothy Carroll, Stephan Wieck, Aaron Voss Art Director: Richard Thomas Art: Tim Bradstreet, John Cobb, Felipe Echevarria, Max Shade Fellwalker, Doug Gregory, John Lakey, Laura Lakey, Larry McDougall, Robert McNeill, Ken Meyer, Jr., Richard Thomas, Joshua Gabriel Timbrook Models: Tristan M. Duarte, Max Shade Fellwalker, Doug Gregory, Ken Meyer, Jr., B.J. West Typesetting & Layout: Sam Chupp, William Hale,Chris McDonough Production: Richard Thomas, Josh Timbrook, Sam Chupp, William Hale, Chris McDonough Cover Design: Chris McDonough Cover Photograph: Mark Pace Playtesters: Joshua Gabriel Timbrook, Chris McDonough, Brenda Stiles, John Brandt, Nicole Lindroos, Stewart Wieck, Andrew Greenberg, Lisa Stevens, Ann Nappo, Seth Tepher, Stephan Wieck, Kelly Golden, Jeff Berry, Guy Wells, Gail Starr, Mark Matthews-Simmons, Christopher Lancaster, KC Lancaster, Stacia M. Bannan, Timothy Carroll, Bryan A. Case, Michael Coyne, Shane D. Harsch, Steven Kaye, Edwin Nealley, Laurel Schippers, John Schippers, Robert G.
    [Show full text]
  • UC Riverside UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture Permalink https://escholarship.org/uc/item/65f2825x Author Young, Mark Thomas Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Mark Thomas Young June 2015 Dissertation Committee: Dr. Sherryl Vint, Chairperson Dr. Steven Gould Axelrod Dr. Tom Lutz Copyright by Mark Thomas Young 2015 The Dissertation of Mark Thomas Young is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS As there are many midwives to an “individual” success, I’d like to thank the various mentors, colleagues, organizations, friends, and family members who have supported me through the stages of conception, drafting, revision, and completion of this project. Perhaps the most important influences on my early thinking about this topic came from Paweł Frelik and Larry McCaffery, with whom I shared a rousing desert hike in the foothills of Borrego Springs. After an evening of food, drink, and lively exchange, I had the long-overdue epiphany to channel my training in musical performance more directly into my academic pursuits. The early support, friendship, and collegiality of these two had a tremendously positive effect on the arc of my scholarship; knowing they believed in the project helped me pencil its first sketchy contours—and ultimately see it through to the end.
    [Show full text]
  • Sample File the Hutchingsonian Presents the Habitition of the Stone Giant Lord and Other Adventures from Our Shared Youth
    Sample file The Hutchingsonian Presents The Habitition of the Stone Giant Lord and other adventures from our shared youth Introduction 1 Jon Peterson Editors Notes 6 Tim Hutchings The Habitition of the Stone Giant Lord 7 Gaius Stern Stone Death 26 Richard C. Benson The Crack at Garn’s Canyon 38 Matt Morrison The Ring of Gaax Sample file 45 Wayne Lacroix The Golden Scepter of the Trollfens 58 Mike Walters The Tomb of Areopagus the Cloaked and Japheth of the Mighty Staff 86 Michael M. Hughes The Lair of Turgon 96 Todd Nilson The Maze of Death 108 Mike Walters All content copyright of the respective creators. Layout ©2013 Timothy Hutchings and The Hutchingsonian Presents. No claim is made on any copyrighted or trademarked material intentionally or accidentally presented herein. The Hutchingsonian Presents Introduction Jon Peterson When Dungeons & Dragons first appeared early in Thus, there was little thought at first that dungeons 1974, it contained an extraordinary invitation: it asked should be made into commercial products. us all to participate in the creation of fantastic worlds. By the middle of 1975, demand for dungeons at No longer would we merely passively read about - conventions began to chip away at this secrecy. When fantasies someone else had conceived, or watch them - Gary Gygax operated a tournament dungeon for the in films—now we would be participants and protago first Origins Game Fair in July, there was sufficient nists, authors and architects of fantasy. This is per demand to play that he scheduled two groups to haps best captured by a line in the final pages of the - explore instances of the dungeon simultaneously: one original rules, which asks, “why have us do any more under Gygax’s own supervision, the other refereed by of your imagining for you?” Everywhere there are op his son, Ernie.
    [Show full text]
  • Spring 2008 Issue
    www.diplomacyworld.net Variety Melange Variants: The Spice of Life Notes From the Editor Welcome back to another issue of Diplomacy World. that continues in the coming issues as well! This is now my fifth issue since returning as Lead Editor, and in some ways it was the hardest issue to do. I This issue you’ll also find the results of the latest believe this was simply a case of all the additional time Diplomacy World Writing Contest. While I would have and effort that went into doing Issue #100. It wasn’t until liked to get more entries than I did, at least we received #100 was finished and uploaded to the web site that I enough to actually award the prizes this time! realized how many extra hours I’d been spending each Congratulations to our winners, and keep your eyes week trying to assemble all that material. Sitting back open for future writing contests, or contests of other the next day, I was a bit worried about whether I had run types. If you have suggestions, please let me know. the well (or my personal gas tank) dry. Which leads me into the usual quarterly mantra: this Fortunately, that wasn’t the case. First of all, we had a particular issue, and Diplomacy World as a whole, is few wonderful pieces of material set aside for this issue, only as good as the articles you hobby members submit. starting with Stephen Agar’s variant symphony and I can’t write the whole thing myself, not even with the David McCrumb’s designer notes on 1499: The Italian assistance of the DW Staff…we need your ideas, your Wars.
    [Show full text]
  • Queer Geometry and Higher Dimensions: Mathematics in the Fiction of H.P. Lovecraft
    Queer Geometry and Higher Dimensions: Mathematics in the fiction of H.P. Lovecraft Daniel M. Look St. Lawrence University Introduction My cynicism and skepticism are increasing, and from an entirely new cause – the Einstein theory. The latest eclipse observations seem to place this system among the facts which cannot be dismissed, and assumedly it removes the last hold which reality or the universe can have on the independent mind. All is chance, accident, and ephemeral illusion - a fly may be greater than Arcturus, and Durfee Hill may surpass Mount Everest - assuming them to be removed from the present planet and differently environed in the continuum of space-time. All the cosmos is a jest, and fit to be treated only as a jest, and one thing is as true as another. 1 Howard Philips Lovecraft lived in a time of great scientific and mathematical advancement. The late 1800s to the early 1900s saw the discovery of x-rays, the identification of the electron, work on the structure of the atom, breakthroughs in the mathematical exploration of higher dimensions and alternate geometries, and, of course, Einstein's work on relativity. From his work on relativity, Einstein postulated that rays of light could be bent by celestial objects with a large enough gravitational pull. In 1919 and 1922 measurements were made during two eclipses that added support to this notion. This left Lovecraft unsettled, as seen in the above quote from a 1923 letter to James F. Morton. Lovecraft's distress is that it seems we can no longer trust our primary means of understanding the world around us.
    [Show full text]
  • SLAV-T230 Vampire F2019 Syllabus-Holdeman-Final
    The Vampire in European and American Culture Dr. Jeff Holdeman SLAV-T230 11498 (SLAV) (please call me Jeff) SLAV-T230 11893 (HHC section) GISB East 4041 Fall 2019 812-855-5891 (office) TR 4:00–5:15 pm Office hours: Classroom: GA 0009 * Tues. and Thur. 2:45–3:45 pm in GISB 4041 carries CASE A&H, GCC; GenEd A&H, WC * and by appointment (just ask!!!) * e-mail me beforehand to reserve a time * It is always best to schedule an appointment. [email protected] [my preferred method] 812-335-9868 (home) This syllabus is available in alternative formats upon request. Overview The vampire is one of the most popular and enduring images in the world, giving rise to hundreds of monster movies around the globe every year, not to mention novels, short stories, plays, TV shows, and commercial merchandise. Yet the Western vampire image that we know from the film, television, and literature of today is very different from its eastern European progenitor. Nina Auerbach has said that "every age creates the vampire that it needs." In this course we will explore the eastern European origins of the vampire, similar entities in other cultures that predate them, and how the vampire in its look, nature, vulnerabilities, and threat has changed over the centuries. This approach will provide us with the means to learn about the geography, village and urban cultures, traditional social structure, and religions of eastern Europe; the nature and manifestations of Evil and the concept of Limited Good; physical, temporal, and societal boundaries and ritual passage that accompany them; and major historical and intellectual periods (the settlement of Europe, the Age of Reason, Romanticism, Neo-classicism, the Enlightenment, the Victorian era, up to today).
    [Show full text]
  • Teaching Speculative Fiction in College: a Pedagogy for Making English Studies Relevant
    Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English Summer 8-7-2012 Teaching Speculative Fiction in College: A Pedagogy for Making English Studies Relevant James H. Shimkus Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Shimkus, James H., "Teaching Speculative Fiction in College: A Pedagogy for Making English Studies Relevant." Dissertation, Georgia State University, 2012. https://scholarworks.gsu.edu/english_diss/95 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. TEACHING SPECULATIVE FICTION IN COLLEGE: A PEDAGOGY FOR MAKING ENGLISH STUDIES RELEVANT by JAMES HAMMOND SHIMKUS Under the Direction of Dr. Elizabeth Burmester ABSTRACT Speculative fiction (science fiction, fantasy, and horror) has steadily gained popularity both in culture and as a subject for study in college. While many helpful resources on teaching a particular genre or teaching particular texts within a genre exist, college teachers who have not previously taught science fiction, fantasy, or horror will benefit from a broader pedagogical overview of speculative fiction, and that is what this resource provides. Teachers who have previously taught speculative fiction may also benefit from the selection of alternative texts presented here. This resource includes an argument for the consideration of more speculative fiction in college English classes, whether in composition, literature, or creative writing, as well as overviews of the main theoretical discussions and definitions of each genre.
    [Show full text]
  • The Dracula Film Adaptations
    DRACULA IN THE DARK DRACULA IN THE DARK The Dracula Film Adaptations JAMES CRAIG HOLTE Contributions to the Study of Science Fiction and Fantasy, Number 73 Donald Palumbo, Series Adviser GREENWOOD PRESS Westport, Connecticut • London Recent Titles in Contributions to the Study of Science Fiction and Fantasy Robbe-Grillet and the Fantastic: A Collection of Essays Virginia Harger-Grinling and Tony Chadwick, editors The Dystopian Impulse in Modern Literature: Fiction as Social Criticism M. Keith Booker The Company of Camelot: Arthurian Characters in Romance and Fantasy Charlotte Spivack and Roberta Lynne Staples Science Fiction Fandom Joe Sanders, editor Philip K. Dick: Contemporary Critical Interpretations Samuel J. Umland, editor Lord Dunsany: Master of the Anglo-Irish Imagination S. T. Joshi Modes of the Fantastic: Selected Essays from the Twelfth International Conference on the Fantastic in the Arts Robert A. Latham and Robert A. Collins, editors Functions of the Fantastic: Selected Essays from the Thirteenth International Conference on the Fantastic in the Arts Joe Sanders, editor Cosmic Engineers: A Study of Hard Science Fiction Gary Westfahl The Fantastic Sublime: Romanticism and Transcendence in Nineteenth-Century Children’s Fantasy Literature David Sandner Visions of the Fantastic: Selected Essays from the Fifteenth International Conference on the Fantastic in the Arts Allienne R. Becker, editor The Dark Fantastic: Selected Essays from the Ninth International Conference on the Fantastic in the Arts C. W. Sullivan III, editor Library of Congress Cataloging-in-Publication Data Holte, James Craig. Dracula in the dark : the Dracula film adaptations / James Craig Holte. p. cm.—(Contributions to the study of science fiction and fantasy, ISSN 0193–6875 ; no.
    [Show full text]
  • Martial Arts
    Stock #37-2614 COVER ART INTERIOR ART CONTENTS Bob Stevlic Greg Hyland JupiterImages FROM THE EDITOR . 3 HARDCORE . 4 by Stephen Dedman N HIS THE THREE BROTHERS I T SCHOOLS OF MARTIAL ARTS . 13 by Alan Leddon ISSUE FIGHT WHILE IN FLIGHT . 17 by Kelly Pedersen The righteous battle never ends – certainly not with this, the Martial Arts issue of Pyramid. With two new adventures, eight INSTANT TOURNAMENT. 21 new styles for GURPS Martial Arts, and other dojo-powered delights, this issue is sure to have something to add punch to THE GROOM OF your two-fisted campaigns. THE SPIDER PRINCESS . 24 Heroes need to get Hardcore in a modern-day adventure by J. Edward Tremlett centered on illegal (and immoral) underground fighting. Do the PCs have the guts and skill to break up this operation? RANDOM THOUGHT TABLE: NO BLOOD, What started as a school of martial arts run by three broth- NO GUTS, NO PROBLEM!. 35 ers has splintered into three different schools – each with its by Steven Marsh, Pyramid Editor own focus. Sadly, although the schools teach effective skills, they do not teach particularly honorable ones . Learn the ODDS AND ENDS . 37 secrets of this family business, plus three GURPS Martial Arts styles, in The Three Brothers School of Martial Arts. APPENDIX Z: Many martial-arts students have been criticized for having THE CRUMBLING GROUND . 38 their heads in the clouds, but Fight While in Flight shows the other side of this admonition. These five GURPS Martial Arts ABOUT GURPS . 40 styles are designed for fighters looking to make best use of their ability to fly, jump, or aerially maneuver.
    [Show full text]
  • Language and Monstrosity in the Literary Fantastic
    ‘Impossible Tales’: Language and Monstrosity in the Literary Fantastic Irene Bulla Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Irene Bulla All rights reserved ABSTRACT ‘Impossible Tales’: Language and Monstrosity in the Literary Fantastic Irene Bulla This dissertation analyzes the ways in which monstrosity is articulated in fantastic literature, a genre or mode that is inherently devoted to the challenge of representing the unrepresentable. Through the readings of a number of nineteenth-century texts and the analysis of the fiction of two twentieth-century writers (H. P. Lovecraft and Tommaso Landolfi), I show how the intersection of the monstrous theme with the fantastic literary mode forces us to consider how a third term, that of language, intervenes in many guises in the negotiation of the relationship between humanity and monstrosity. I argue that fantastic texts engage with monstrosity as a linguistic problem, using it to explore the limits of discourse and constructing through it a specific language for the indescribable. The monster is framed as a bizarre, uninterpretable sign, whose disruptive presence in the text hints towards a critique of overconfident rational constructions of ‘reality’ and the self. The dissertation is divided into three main sections. The first reconstructs the critical debate surrounding fantastic literature – a decades-long effort of definition modeling the same tension staged by the literary fantastic; the second offers a focused reading of three short stories from the second half of the nineteenth century (“What Was It?,” 1859, by Fitz-James O’Brien, the second version of “Le Horla,” 1887, by Guy de Maupassant, and “The Damned Thing,” 1893, by Ambrose Bierce) in light of the organizing principle of apophasis; the last section investigates the notion of monstrous language in the fiction of H.
    [Show full text]
  • [Japan] SALA GIOCHI ARCADE 1000 Miglia
    SCHEDA NEW PLATINUM PI4 EDITION La seguente lista elenca la maggior parte dei titoli emulati dalla scheda NEW PLATINUM Pi4 (20.000). - I giochi per computer (Amiga, Commodore, Pc, etc) richiedono una tastiera per computer e talvolta un mouse USB da collegare alla console (in quanto tali sistemi funzionavano con mouse e tastiera). - I giochi che richiedono spinner (es. Arkanoid), volanti (giochi di corse), pistole (es. Duck Hunt) potrebbero non essere controllabili con joystick, ma richiedono periferiche ad hoc, al momento non configurabili. - I giochi che richiedono controller analogici (Playstation, Nintendo 64, etc etc) potrebbero non essere controllabili con plance a levetta singola, ma richiedono, appunto, un joypad con analogici (venduto separatamente). - Questo elenco è relativo alla scheda NEW PLATINUM EDITION basata su Raspberry Pi4. - Gli emulatori di sistemi 3D (Playstation, Nintendo64, Dreamcast) e PC (Amiga, Commodore) sono presenti SOLO nella NEW PLATINUM Pi4 e non sulle versioni Pi3 Plus e Gold. - Gli emulatori Atomiswave, Sega Naomi (Virtua Tennis, Virtua Striker, etc.) sono presenti SOLO nelle schede Pi4. - La versione PLUS Pi3B+ emula solo 550 titoli ARCADE, generati casualmente al momento dell'acquisto e non modificabile. Ultimo aggiornamento 2 Settembre 2020 NOME GIOCO EMULATORE 005 SALA GIOCHI ARCADE 1 On 1 Government [Japan] SALA GIOCHI ARCADE 1000 Miglia: Great 1000 Miles Rally SALA GIOCHI ARCADE 10-Yard Fight SALA GIOCHI ARCADE 18 Holes Pro Golf SALA GIOCHI ARCADE 1941: Counter Attack SALA GIOCHI ARCADE 1942 SALA GIOCHI ARCADE 1943 Kai: Midway Kaisen SALA GIOCHI ARCADE 1943: The Battle of Midway [Europe] SALA GIOCHI ARCADE 1944 : The Loop Master [USA] SALA GIOCHI ARCADE 1945k III SALA GIOCHI ARCADE 19XX : The War Against Destiny [USA] SALA GIOCHI ARCADE 2 On 2 Open Ice Challenge SALA GIOCHI ARCADE 4-D Warriors SALA GIOCHI ARCADE 64th.
    [Show full text]
  • Lovecraft Research Paper Final Draft
    Nagelvoort 1 Chris Nagelvoort Professor Walsh Humanities Core H1CS 13 June 2020 Becoming Anti-Human: How Lovecraftian Horror Philosophically Deconstructs Otherness The most horrifying monster is change. Having the comfort and consistency of normality be thrust into the foreign landscape of difference can be petrifying. The dormant mind can lose its sense of self, security, and, worst of all, control. In the horror genre, this is no different. Monsters are frightening because of the difference they impose on us and our identity. Imagining a world ruled by a zombie apocalypse or a ravenous vampire feasting at night may seem unobtrusive, but when the rabid ghoul trespasses the border of detached fiction into the interior of one’s identity, the cliche skeleton seems almost an afterthought. Much more terrifying than the grotesqueness or typicality of these horror villains is how they can turn one’s sense of self and control inside out. It invites the elusive glance inward, asking the subject to wonder if their pillars of psychological safety—identity, family, belief system, home—are very safe at all. This fear of something different is compartmentalized by the psyche as something so alien, so invasive, that it must be something Other. This effect is explored by the stories of Howard Philips Lovecraft, a horror writer whose stories are so bizarre that the average reader is stripped of all their preconceptions about reality and even their sense of self. This special subgenre of horror was pioneered by Lovecraft and is famously called “Lovecraftian horror” but is well known today as cosmic horror: A mesh of horror and science fiction that “erodes presumptions about the nature of reality” (Cardin 273).
    [Show full text]