The Dread Page of Azathoth
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Spawn Monsters
TM TM WELCOME TO INNSMOUTH COMPONENTS A rotting fishing village on the coast of Massachusetts, Your copy of Innsmouth Horror should include the Innsmouth is being devoured from within by a cancer. following components: The Marsh family, greatly respected in the town by most, • This Rulebook have long brought prosperity to the little village, but only • 1 Expansion Game Board they know at what cost. For just off the shore, beneath the • 16 Investigator Sheets waves, lies a secret so terrible that the Marshes would • 16 Investigator Markers destroy anyone and anything to protect it. The investigators • 16 Plastic Investigator Stands must venture into this xenophobic backwater, fearing for • 96 Investigator Cards their very lives, in order to stop the plans of the Ancient » 96 Personal Stories One. The investigators will find no allies in Innsmouth, • 8 Ancient One Sheets and few safe havens. But if they are to stop the advance of • 176 Ancient One Cards the terrible Deep Ones, they have no other choice. » 36 Arkham Location Cards The Innsmouth Horror expansion to Arkham Horror » 42 Innsmouth Location Cards adds the neighboring town of Innsmouth. It includes new » 36 Mythos Cards investigators, new Ancient Ones, new monsters, and new » 16 Gate Cards cards that may be used with the base Arkham Horror » 24 Ancient One Plot Cards game. It also features new game elements including a » 10 Innsmouth Look Cards new board, new heralds, personal story cards for each » 12 Small Dust Cards investigator, and the Deep Ones Rising track. • 2 Herald Sheets • 32 Monster Markers • 6 Uprising Tokens Using This Book • 8 Ghatanothoa’s Visage Tokens • 1 Zhar Token The first part of this rulebook contains rules for playing • 2 Aquatic Markers Arkham Horror with the Innsmouth Horror expansion. -
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. -
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). -
Pandemic: Reign of Cthulhu Rulebook
Beings of ancient and bizarre intelligence, known as Old Ones, are stirring within their vast cosmic prisons. If they awake into the world, it will unleash an age of madness, chaos, and destruction upon the very fabric of reality. Everything you know and love will be destroyed! You are cursed with knowledge that the “sleeping masses” cannot bear: that this Evil exists, and that it must be stopped at all costs. Shadows danced all around the gas street light above you as the pilot flame sputtered a weak yellow light. Even a small pool of light is better than total darkness, you think to yourself. You check your watch again for the third time in the last few minutes. Where was she? Had something happened? The sound of heels clicking on pavement draws your eyes across the street. Slowly, as if the darkness were a cloak around her, a woman comes into view. Her brown hair rests in a neat bun on her head and glasses frame a nervous face. Her hands hold a large manila folder with the words INNSMOUTH stamped on the outside in blocky type lettering. “You’re late,” you say with a note of worry in your voice, taking the folder she is handing you. “I… I tried to get here as soon as I could.” Her voice is tight with fear, high pitched and fast, her eyes moving nervously without pause. “You know how to fix this?” The question in her voice cuts you like a knife. “You can… make IT go away?!” You wince inwardly as her voice raises too loudly at that last bit, a nervous edge of hysteria creeping into her tone. -
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. -
Kuhn-Conference Paper
Lina Kuhn [email protected] Department of English and Comparative Literature University of North Carolina at Chapel Hill “Affect and Deep Time in Lovecraft's The Shadow Over Innsmouth, and the Turn Towards Thinking Through the Epoch of the Anthropocene” Mark McGurl begins his article “The Posthuman Comedy” with an analysis of a work by Wai Chee Dimock entitled Through Other Continents: American Literature across Deep Time as a way to think through the concept of deep time and its appearance in fiction. McGurl states that “the perspective of deep time holds the promise, for Dimock, of reinvigorating ‘our very sense of the connectedness among human beings’” which becomes important in, for instance, “dissuading us from the wisdom of war” (McGurl 533). I will return later to the possible benefits of thinking of the ‘connectedness among human beings,’ or as Dipesh Chakrabarty states in his article “The Climate of History: Four Theses,” “the knowledge of humans as a species,” but first I would like to explore the ways in which a work of fiction might gesture towards those benefits on its own terms (Chakrabarty 219). In 1936 H.P. Lovecraft published his novella The Shadow Over Innsmouth, a horror story told by a nameless narrator about his encounters with an alien species in an American town shunned by the rest of the country. The narrator of this tale, through the abjection and horror caused by his loss of agency in relation to the aliens and their status as other, reveals how a sense of deep time changes a human’s reactions to his situation. -
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. -
Cthulhu Lives!: a Descriptive Study of the H.P. Lovecraft Historical Society
CTHULHU LIVES!: A DESCRIPTIVE STUDY OF THE H.P. LOVECRAFT HISTORICAL SOCIETY J. Michael Bestul A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Dr. Jane Barnette, Advisor Prof. Bradford Clark Dr. Marilyn Motz ii ABSTRACT Dr. Jane Barnette, Advisor Outside of the boom in video game studies, the realm of gaming has barely been scratched by academics and rarely been explored in a scholarly fashion. Despite the rich vein of possibilities for study that tabletop and live-action role-playing games present, few scholars have dug deeply. The goal of this study is to start digging. Operating at the crossroads of art and entertainment, theatre and gaming, work and play, it seeks to add the live-action role-playing game, CTHULHU LIVES, to the discussion of performance studies. As an introduction, this study seeks to describe exactly what CTHULHU LIVES was and has become, and how its existence brought about the H.P. Lovecraft Historical Society. Simply as a gaming group which grew into a creative organization that produces artifacts in multiple mediums, the Society is worthy of scholarship. Add its humble beginnings, casual style and non-corporate affiliation, and its recent turn to self- sustainability, and the Society becomes even more interesting. In interviews with the artists behind CTHULHU LIVES, and poring through the archives of their gaming experiences, the picture develops of the journey from a small group of friends to an organization with influences and products on an international scale. -
The Weird and Monstrous Names of HP Lovecraft Christopher L Robinson HEC-Paris, France
names, Vol. 58 No. 3, September, 2010, 127–38 Teratonymy: The Weird and Monstrous Names of HP Lovecraft Christopher L Robinson HEC-Paris, France Lovecraft’s teratonyms are monstrous inventions that estrange the sound patterns of English and obscure the kinds of meaning traditionally associ- ated with literary onomastics. J.R.R. Tolkien’s notion of linguistic style pro- vides a useful concept to examine how these names play upon a distance from and proximity to English, so as to give rise to specific historical and cultural connotations. Some imitate the sounds and forms of foreign nomen- clatures that hold “weird” connotations due to being linked in the popular imagination with kabbalism and decadent antiquity. Others introduce sounds-patterns that lie outside English phonetics or run contrary to the phonotactics of the language to result in anti-aesthetic constructions that are awkward to pronounce. In terms of sense, teratonyms invite comparison with the “esoteric” words discussed by Jean-Jacques Lecercle, as they dimi- nish or obscure semantic content, while augmenting affective values and heightening the reader’s awareness of the bodily production of speech. keywords literary onomastics, linguistic invention, HP Lovecraft, twentieth- century literature, American literature, weird fiction, horror fiction, teratology Text Cult author H.P. Lovecraft is best known as the creator of an original mythology often referred to as the “Cthulhu Mythos.” Named after his most popular creature, this mythos is elaborated throughout Lovecraft’s poetry and fiction with the help of three “devices.” The first is an outlandish array of monsters of extraterrestrial origin, such as Cthulhu itself, described as “vaguely anthropoid [in] outline, but with an octopus-like head whose face was a mass of feelers, a scaly, rubbery-looking body, prodigious claws on hind and fore feet, and long, narrow wings behind” (1963: 134). -
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 -
Lovecraft Patrons
Lovecraft Patrons Subclasses Specific to Various Great Old Ones of the Cthulhu Mythos By Zach Hitzeroth DUNGEONS & DRAGONS, D&D, Wizards of the Coast, Forgotten Realms, the dragon ampersand, Player’s Handbook, Monster Manual, Dungeon Master’s Guide, D&D Adventurers League, all other Wizards of the Coast product names, and their respective logos are trademarks of Wizards of the Coast in the USA and other countries. All characters and their distinctive likenesses are property of Wizards of the Coast. This material is protected under the copyright laws of the United States of America. Any reproduction or unauthorized use of the material or artwork contained herein is prohibited without the express written permission Sampleof Wizards of the Coast. file ©2020 Wizards of the Coast LLC, PO Box 707, Renton, WA 98057-0707, USA. Manufactured by Hasbro SA, Rue Emile-Boéchat 31, 2800 Delémont, CH. Represented by Hasbro Europe, 4 The Square, Stockley Park, Uxbridge, Middlesex, UB11 1ET, UK. Note on Expanded Spell Lists Player's Handbook Only Spells Spells marked with an asterisk are from Xanathar's 4th Level: fabricate Guide to Everything. If your DM does not allow these spells, alternate spells from the Player's Handbook can be found at the end of each subclass. Abhoth Also known as the Source of Uncleanliness, Abhoth is an Outer God depicted as an ooze or slime from which monsters and unnamable horrors crawl from. Followers of Abhoth tend to spread disease and carry oozes around with them to symbolize their patron. Expanded Spell List Abhoth lets you choose from an expanded list of spells when you learn a warlock spell. -
The Innsmouth Cycle: the Taint of the Deep Ones in 13 Tales the Innsmouth Cycle: the Taint of the Deep Ones in 13 Tales
[Download free pdf] The Innsmouth Cycle: The Taint of the Deep Ones in 13 Tales The Innsmouth Cycle: The Taint of the Deep Ones in 13 Tales r1v0JEvG4 The Innsmouth Cycle: The Taint of the Deep Ones in 13 zlnV5ihCk Tales mRMbCSMLk PG-51302 7yXAvxBUr US/Data/Literature-Fiction NXeemIpBB 5/5 From 650 Reviews UTHqT87sk From Chaosium Ru6CZzLAx *Download PDF | ePub | DOC | audiobook | ebooks RfpOULlII bYWbCng2V eeEhWce2b 73lczxhWG VD18J1Svk xpCIqMBJD lptxPU3FG 1 of 1 people found the following review helpful. "I saw them in a limitless LCso2gz4V stream-flopping, hopping, croaking, bleating-surging inhumanly through the iEINGuyrC spectral moonlight..."By Mark Louis BaumgartThe influence of H. P. Lovecraft, rq4yBjUVk both intentional and accidental, cannot be underestimated, and one of his most 32toKHZwl influential and famous stories is 'The Shadow Over Innsmouth' so its only W0x7cSBnh natural that anthologies would be built around this story and its mythos, and NCPiV3n6j when it comes right down to it, Robert M. Price is just the man to do it. "The NjFq6WbTI Innsmouth Cycle" collects both recent and rare Lovecraftian fiction from both TbDoJbtMW professional and amateur venues, with the idea of tracing the literary evolution iOeCmr8hN of the Innsmouth mythology.********And to set the stage for this anthology ZgCIIKQ4J Robert M. Price (Robert McNair Price: 1954--,) gives us 'Ontogeny xQsCp2mlC Recapitulates Phylogeny', which is this books introduction. Unfortunately for O0OcN22RG some of us, it is also a pretty densely worded thesis on assimilation and t71ZntRco alienation, particularly as seen in context of Lovecraft and Lovecrafts fiction. UC8J7QCTC It's a little too thickly worded for me, especially as I didn't have my Thesaurus handy.