The Colour out of Space Lovecraft, Howard Phillips
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Extraterrestrial Places in the Cthulhu Mythos
Extraterrestrial places in the Cthulhu Mythos 1.1 Abbith A planet that revolves around seven stars beyond Xoth. It is inhabited by metallic brains, wise with the ultimate se- crets of the universe. According to Friedrich von Junzt’s Unaussprechlichen Kulten, Nyarlathotep dwells or is im- prisoned on this world (though other legends differ in this regard). 1.2 Aldebaran Aldebaran is the star of the Great Old One Hastur. 1.3 Algol Double star mentioned by H.P. Lovecraft as sidereal The double star Algol. This infrared imagery comes from the place of a demonic shining entity made of light.[1] The CHARA array. same star is also described in other Mythos stories as a planetary system host (See Ymar). The following fictional celestial bodies figure promi- nently in the Cthulhu Mythos stories of H. P. Lovecraft and other writers. Many of these astronomical bodies 1.4 Arcturus have parallels in the real universe, but are often renamed in the mythos and given fictitious characteristics. In ad- Arcturus is the star from which came Zhar and his “twin” dition to the celestial places created by Lovecraft, the Lloigor. Also Nyogtha is related to this star. mythos draws from a number of other sources, includ- ing the works of August Derleth, Ramsey Campbell, Lin Carter, Brian Lumley, and Clark Ashton Smith. 2 B Overview: 2.1 Bel-Yarnak • Name. The name of the celestial body appears first. See Yarnak. • Description. A brief description follows. • References. Lastly, the stories in which the celes- 3 C tial body makes a significant appearance or other- wise receives important mention appear below the description. -
This Paper Examines the Role of Media Technologies in the Horror
Monstrous and Haunted Media: H. P. Lovecraft and Early Twentieth-Century Communications Technology James Kneale his paper examines the role of media technologies in the horror fic- tion of the American author H. P. Lovecraft (1890-1937). Historical geographies of media must cover more than questions of the distri- Tbution and diffusion of media objects, or histories of media representations of space and place. Media forms are both durable and portable, extending and mediating social relations in time and space, and as such they allow us to explore histories of time-space experience. After exploring recent work on the closely intertwined histories of science and the occult in late nine- teenth-century America and Europe, the discussion moves on to consider the particular case of those contemporaneous media technologies which became “haunted” almost as soon as they were invented. In many ways these hauntings echo earlier responses to the printed word, something which has been overlooked by historians of recent media. Developing these ideas I then suggest that media can be monstrous because monstrosity is centrally bound up with representation. Horrific and fantastic fictions lend themselves to explorations of these ideas because their narratives revolve around attempts to witness impossible things and to prove their existence, tasks which involve not only the human senses but those technologies de- signed to extend and improve them: the media. The remainder of the paper is comprised of close readings of several of Lovecraft’s stories which sug- gest that mediation allowed Lovecraft to reveal monstrosity but also to hold it at a distance, to hide and to distort it. -
Cthulhu Monsters a Field Observer's Handbook of Preternatural Entities
--- S. PETERSEN'S FIELD GUIDE TO Cthulhu Monsters A Field Observer's Handbook Of Preternatural Entities Paintings and Descriptions From the Cthulhu Mythos As Created by H.P. Lovecraft, With Augmentations for Today Sandy Petersen Tom Sullivan Lynn Willis with Peter Dannseys E.C. Fallworth L.N. Isinwyll Ivan Mustoll Chaosium Inc. Publication 5105 The 27 Most Frequently Encountered Monsters Howard Phillips Lovecraft 1890 - 1937 t PETERSEN'S Field Guide To Cthulhu :Monsters A Field Observer's Handbook Of Preternatural Entities Sandy Petersen conception and text TOIn Sullivan 27 original paintings, most other drawings Lynn ~illis project, additional text, editorial, layout, production Chaosiurn Inc. 1988 The FIELD GUIDe is p «blished by Chaosium IIIC . • PETERSEN'S FIELD GUIDE TO CfHUU/U MONSTERS is copyrighl e1988 try Chaosium IIIC.; all rights reserved. _ Similarities between characters in lhe FIELD GUIDE and persons living or dead are strictly coincidental . • Brian Lumley first created the ChJhoniwu . • H.P. Lovecraft's works are copyright e 1963, 1964, 1965 by August Derleth and are quoted for purposes of ilIustraJion_ • IflCide ntal monster silhouelles are by Lisa A. Free or Tom SU/livQII, and are copyright try them. Ron Leming drew the illustraJion of H.P. Lovecraft QIId tlu! sketclu!s on p. 25. _ Except in this p«blicaJion and relaJed advertising, artwork. origillalto the FIELD GUIDE remains the property of the artist; all rights reserved . • Tire reproductwn of material within this book. for the purposes of personal. or corporaJe profit, try photographic, electronic, or other methods of retrieval, is prohibited . • Address questions WId commel11s cOlICerning this book. -
Errata for H. P. Lovecraft: the Fiction
Errata for H. P. Lovecraft: The Fiction The layout of the stories – specifically, the fact that the first line is printed in all capitals – has some drawbacks. In most cases, it doesn’t matter, but in “A Reminiscence of Dr. Samuel Johnson”, there is no way of telling that “Privilege” and “Reminiscence” are spelled with capitals. THE BEAST IN THE CAVE A REMINISCENCE OF DR. SAMUEL JOHNSON 2.39-3.1: advanced, and the animal] advanced, 28.10: THE PRIVILEGE OF REMINISCENCE, the animal HOWEVER] THE PRIVILEGE OF 5.12: wondered if the unnatural quality] REMINISCENCE, HOWEVER wondered if this unnatural quality 28.12: occurrences of History and the] occurrences of History, and the THE ALCHEMIST 28.20: whose famous personages I was] whose 6.5: Comtes de C——“), and] Comtes de C— famous Personages I was —”), and 28.22: of August 1690 (or] of August, 1690 (or 6.14: stronghold for he proud] stronghold for 28.32: appear in print.”), and] appear in the proud Print.”), and 6.24: stones of he walls,] stones of the walls, 28.34: Juvenal, intituled “London,” by] 7.1: died at birth,] died at my birth, Juvenal, intitul’d “London,” by 7.1-2: servitor, and old and trusted] servitor, an 29.29: Poems, Mr. Johnson said:] Poems, Mr. old and trusted Johnson said: 7.33: which he had said had for] which he said 30.24: speaking for Davy when others] had for speaking for Davy when others 8.28: the Comte, the pronounced in] the 30.25-26: no Doubt but that he] no Doubt that Comte, he pronounced in he 8.29: haunted the House of] haunted the house 30.35-36: to the Greater -
Herbert West — Reanimator
DARK ADVENTURE RADIO THEATRE: HERBERT WEST — REANIMATOR Written by Sean Branney and Andrew Leman Based on "Herbert West — Reanimator" by H. P. Lovecraft Read-along Script June 18, 2013 ©2013 by HPLHS Inc. All Rights Reserved. NOTICE: This script is provided as a convenience only to DART listeners to follow along with the recorded show. It is not licensed for professional or amateur performance of any kind. Inquiries regarding performance rights should be sent to [email protected] 1 INTRO 1 SFX: static, radio tuning, snippet of ‘30s song, more tuning, static dissolves to: Dark Adventure Radio THEME MUSIC. ANNOUNCER Tales of intrigue, adventure, and the mysterious occult that will stir your imagination and make your very blood run cold. MUSIC CRESCENDO. ANNOUNCER (CONT’D) This is Dark Adventure Radio Theatre, with your host Erskine Blackwell. Today’s episode: H.P. Lovecraft’s “Herbert West -- Reanimator!” THEME MUSIC DIMINISHES. The sound of MOANING, BUBBLING CHEMICALS, and FUNEREAL MUSIC underneath. ERSKINE BLACKWELL A brilliant medical student dreams of bringing life to the dying, and to the dead. How far will he go to achieve his dream? Will his genius unlock the secrets of life and death, or will boundless ambition twist his noble purpose into something monstrous? A few piano notes from the FORHAN’S TOOTHPASTE JINGLE. ERSKINE BLACKWELL (CONT’D) You know, folks, nothing says success quite like a bright radiant smile. And for truly gleaming teeth, there’s no better toothpaste than Forhan’s, now with new Radiol! It’s the very latest thing: a safe extract of radium, scientifically developed in the finest medical laboratories of Europe. -
Do You Believe in the Lord and Saviour Cthulhu?
Do you believe in the Lord and Saviour Cthulhu? The application of Lovecraft and his Cthulhu Mythos in Western Esotericism Nadine Eekhout s1526804 M.A. Davidsen 2018-2019 MA Theology and Religious Studies thesis 09-07-2019 1 Table of Contents 1. Introduction ........................................................................................................................... 3 1.1 H.P Lovecraft: Writer or Prophet? .................................................................................... 3 1.2 Introduction to Cthulhu Mythos ...................................................................................... 5 1.3 Introduction Fiction-based Religions ............................................................................... 7 1.4 Lovecraftian Magick: From Fiction to Magick ................................................................ 10 2. Method ................................................................................................................................ 12 3. Analyzing the Man, the Mythos and the Magick ............................................................... 15 3.1 Adaptations of Lovecraftian magick into an existing religious frame….……….……………..15 3.1.1 The Church of Satan: Cthulhu versus Satan .......................................................... 15 3.1.2 Temple of Set ....................................................................................................... 16 3.1.3 Grant’s Typhonian Order ..................................................................................... -
A STUDY of NIHILISM and SCIENTIFIC UPHEAVAL Brandon L
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by CSUSB ScholarWorks California State University, San Bernardino CSUSB ScholarWorks Electronic Theses, Projects, and Dissertations Office of Graduate Studies 3-2014 THE DYNAMICS OF XENOGENETICS AND SECTRANRIANISM IN LOVECRAFTIAN HORROR: A STUDY OF NIHILISM AND SCIENTIFIC UPHEAVAL Brandon L. Matsalia California State University San Bernardino, [email protected] Follow this and additional works at: http://scholarworks.lib.csusb.edu/etd Recommended Citation Matsalia, Brandon L., "THE DYNAMICS OF XENOGENETICS AND SECTRANRIANISM IN LOVECRAFTIAN HORROR: A STUDY OF NIHILISM AND SCIENTIFIC UPHEAVAL" (2014). Electronic Theses, Projects, and Dissertations. Paper 6. This Thesis is brought to you for free and open access by the Office of Graduate Studies at CSUSB ScholarWorks. It has been accepted for inclusion in Electronic Theses, Projects, and Dissertations by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. THE DYNAMICS OF XENOGENETICS AND SECTRANRIANISM IN LOVECRAFTIAN HORROR: A STUDY OF NIHILISM AND SCIENTIFIC UPHEAVAL _____ A Thesis Presented to the Faculty of California State University, San Bernardino _____ In Partial Fulfillment of the Requirements for the Degree Master of Arts In English Composition _____ by Brandon Linn-Spendi Matsalia March 2014 THE DYNAMICS OF XENOGENETICS AND SECTRANRIANISM IN LOVECRAFTIAN HORROR: A STUDY OF NIHILISM AND SCIENTIFIC UPHEAVAL _____ A Thesis Presented to the Faculty of California State University, San Bernardino _____ by Brandon Linn-Spendi Matsalia March 2014 Approved by Dr. Chad Luck, Committee Chair, English Dr. David Carlson, Committee Member © 2014 Brandon Linn-Spendi Matsalia ABSTRACT The purpose of this thesis project is to affix the attention of Lovecraftian scholarship on the oft ignored racism that pervades many of H.P. -
Herbert West–Reanimator by H.P. Lovecraft Written: June 1922 | Published: July 1922
Herbert West–Reanimator By H.P. Lovecraft Written: June 1922 | Published: July 1922 I. From The Dark Of Herbert West, who was my friend in college and in after life, I can speak only with extreme terror. This terror is not due altogether to the sinister manner of his recent disappearance, but was engendered by the whole nature of his life-work, and first gained its acute form more than seventeen years ago, when we were in the third year of our course at the Miskatonic University Medical School in Arkham. While he was with me, the wonder and diabolism of his experiments fascinated me utterly, and I was his closest companion. Now that he is gone and the spell is broken, the actual fear is greater. Memories and possibilities are ever more hideous than realities. The first horrible incident of our acquaintance was the greatest shock I ever experienced, and it is only with reluctance that I repeat it. As I have said, it happened when we were in the medical school where West had already made himself notorious through his wild theories on the nature of death and the possibility of overcoming it artificially. His views, which were widely ridiculed by the faculty and by his fellow-students, hinged on the essentially mechanistic nature of life; and concerned means for operating the organic machinery of mankind by calculated chemical action after the failure of natural processes. In his experiments with various animating solutions, he had killed and treated immense numbers of rabbits, guinea-pigs, cats, dogs, and monkeys, till he had become the prime nuisance of the college. -
A Structuralist Approach to Understanding the Fiction of HP Lovecraft
University of Rhode Island DigitalCommons@URI Open Access Dissertations 1992 Out of the Shadows: A Structuralist Approach to Understanding the Fiction of H. P. Lovecraft James A. Anderson University of Rhode Island Follow this and additional works at: https://digitalcommons.uri.edu/oa_diss Recommended Citation Anderson, James A., "Out of the Shadows: A Structuralist Approach to Understanding the Fiction of H. P. Lovecraft" (1992). Open Access Dissertations. Paper 696. https://digitalcommons.uri.edu/oa_diss/696 This Dissertation is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. OUT OF THE SHADOWS: A STRUCTURALIST APPROACH TO UNDERSTANDING THE FICTION OF H.P. LOVECRAFT BY JAMES A. ANDERSON A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ENGLISH UNIVERSITY OF RHODE ISLAND 1992 Abstract Although Howard Phillips Lovecraft (1890-1937) is generally regarded as one of the world's finest writers of horror and science fiction, his work has received little critical attention by mainstream critics. This study takes Lovecraft out of the shadows of literature by shedding light upon his work through a structural analysis of fifteen of his stories. This analysis shows that Lovecraft's fiction, while it may appear fantastic, expresses early twentieth century naturalism in a cosmic context. Part One subjects four of Lovecraft's best known stories to a detailed structural analysis using the theories of Roland Barthes and Gerard Genette to isolate Lovecraft's major themes and narrative techniques. -
A Narratological Comparison of the Morals of Herbert West and Victor Frankenstein Traces of Prometheus Through Shelley Towards Lovecraft
English literature Level: G3 Supervisor: Anne Päivärinta Course: 2EN20E Examiner: Anna Greek Credits: 15 hp Date: 2017-02-28 A Narratological Comparison of the Morals of Herbert West and Victor Frankenstein Traces of Prometheus through Shelley towards Lovecraft Daniel Sundberg Sundberg i Abstract This essay explores the influence of contemporary values in two iterations of the Greek Prometheus myth and argues that the events portrayed in the two texts follow the structure of the myth, and that the discourse in the texts shows traces of contemporary moral values. Mary Shelley’s Frankenstein (1818) is used as a starting point, but the focus is on Howard Phillip Lovecraft’s “Herbert West: Reanimator” (1922) as a later iteration of the Prometheus myth. The method for comparison is centered on disassembling the texts in accordance with the instructions found in Mieke Bal’s Narratology: Introduction to the Theory of Narrative (1997) to form tables of events. The functions of the events found in the Prometheus myth will then be used to sort the events from Lovecraft’s and Shelley’s work to assert focal points for comparing the moral values in the discourse. Sundberg ii Table of contents 1.1 Introduction……………………………………..1 1.2 Contextual clues…………………………….…..2 2 Narratology and the shape of myths……………...7 3.1 Dissecting the texts…………………………….10 3.2 Functions and events…………………………..12 4.1 Comparing Lovecraft and Shelley…………….15 4.2 Narrative………………………………………16 4.3 Fabula………………………………………....18 4.4 Story…………………………………………...23 5 Conclusion………………………………………30 Works cited……………………………………….34 Appendices:…………………………………….…36 Appendix A………………………………….…….36 Appendix B………………………………….…….37 Appendix C………………………………….…….38 Appendix D………………………………….…….40 Sundberg 1 1.1 Introduction Howard Phillips Lovecraft’s 1922 serialized short story “Herbert West – Reanimator” is one of the author’s more commonly adapted texts outside of the works related to the extended Cthulu mythos. -
Using Horror in Shoggoths Is Directing Their Efforts
Sample file We would like to dedicate this tome to our spouses and families who tirelessly supported us during its writing and development. And to he who must not be named. Sample file Credits AUTHORS AddITIONAL ART Sandy Petersen, James Jacobs, Arthur Richard Luong Petersen, Ian Starcher, David N. Ross GRAPHIC DESIGN AND LAYOUT DEVELOPMENT AND CONVERSION Tony Mastrangeli David N. Ross SALES MANAGER PROJECT DIRECTOR Christopher Helton Arthur Petersen SHIPPING BUSINESS MANAGER Christy Crace Christine Graham CUSTOMER SUPPORT EDITING AND PROOFREADING George Botelho Eytan Bernstein, Erik Scott de Bie, COMMUNITY AND VF SUPPORT Thomas Weber Pierre “Pit” Lanrezac COVER AND INTERIOR ART PLAYTEST SUPPORT Kent Hamilton Lincoln Petersen, Andrew Lucio, MONSTER AND GREAT OLD ONE ART Jonathan Cohen, Ryan Brown Helge Balzer Sandy Petersen’s Cthulhu Mythos, © 2018, Petersen Games. Printed in China. ISBN-13: 978-0-9995390-4-0 Product Identity: The following items are hereby identified as Product Identity, as defined in the Open Game License version 1.0a, Section 1(e), and are not Open Content: All trademarks, registered trademarks, dialogue, plots, storylines, locations, characters, artwork, and trade dress. (Elements that have previously been designated as Open Game Content or are in the public domain are not included in this declaration.) Open Content: Except for material designated as Product Identity (see above), the game mechanics of this Petersen Games game product are Open Game Content, as defined in the Open Gaming License version 1.0a Section 1(d). No portion of this work other than the material designated as Open SampleGame Content may be reproduced in any form without written permission. -
Game Narrative Review
Game Narrative Review ==================== Name: Kimberly Himmer School: American University Game Lab Email: [email protected] Month/Year you submitted this review: December 2014 ==================== Game Title: Call of Cthulhu: The Wasted Land Platform: PC, Mobile (iOS, Google Play) Genre: Combination Turn-based and Role-Playing Game Release Date: January 2012 Developer: Red Wasp Design Publisher: Red Wasp Design Game Writer/Creative Director/Narrative Designer: Tomas Rawlings Overview Taking place in the trenches of World War I, Call of Cthulhu: The Wasted Land is not your typical war game. While set squarely in the height of the Great War, the player is quickly indoctrinated into a narrative that there are otherworldly forces at play, and that British and German soldiers along the Western Front are merely pawns in a greater battle for the souls of mankind. The title of the game invokes two great literary works of the early twentieth century: H.P. Lovecraft’s “Call of Cthulhu,” and T.S. Eliot’s “The Waste Land.” These references are integral to the overall game design, and add tremendous metaphorical depth to this narrative of war. Call of Cthulhu: The Wasted Land is a turn-based role-playing game, in which the player controls up to six different characters fighting for the British Forces. It is up to the player to best harness the combination of characters, weapons, and magic, to thwart the enemy forces of an army of undead German soldiers, reanimated by the evil Dr. Kaul. Ultimately, the player must ensure that his main characters not only obtain their tactical objectives at each level, but also retain their sanity to thwart the forces of evil and win the game.