Errata for H. P. Lovecraft: the Fiction

Total Page:16

File Type:pdf, Size:1020Kb

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 Man, the] to the of greater Man, the 9.38: covered with dust of ages] covered by the 31.31: of ancient Lineage bred,] of antient dust of ages Lineage bred, 12.23: the farther rend of the] the farther end of 32.8: the Doctor’s death, at which] the the Doctor’s Death, at which THE TOMB POLARIS 17.21-22: being indeed, stimulated] being 33.17-18: the vapour-soaked trees that] the indeed stimulated vapour-soaked swamp trees that 17.39: of the first Puritan colonists] of the Puritan colonists BEYOND THE WALL OF SLEEP 18.2: At the time, indeed my attention] At the 38.3: these old folk, who] these odd folk, who time, indeed, my attention 38.37: some “big, big cabin] some ‘big, big 18.24-25: locked the cabin of the door] locked cabin the chain of the door 38.38: far away.” As two] far away.’ As two 39.1: certain “thing that] certain ‘thing that DAGON 39.1: and laughs.” At length] and laughs.’ At 23.22: us as navel prisoners. So] us as naval length prisoners. So 39.4: stopped him’.] stopped him.’ 23.31-32: the heaving vastness of unbroken] 44.36: crossed over the couch] crossed over to the heaving vastnesses of unbroken the couch 26.15-16: than himself I remarked,] than himself. I remarked, MEMORY 26.26: to certain measures sounds.] to certain 46.15: treasure-vaults write poison serpents] measured sounds. treasure-vaults writhe poison serpents OLD BUGS unfamiliar words, and 47.21-22: strong, wicked, whiskey] strong, 67.15: brooded only fear and ignorance.] wicked whiskey brooded only fear and hatred and ignorance. 47.24-25: to the unknown attachés of] to the unkempt attachés of THE DOOM THAT CAME TO SARNATH 48.10: constantly carried with him] constantly 70.16: Very odd and ugly where these beings,] carried about with him Very odd and ugly were these beings, 48.24: was horribly elan, the] was horribly 70.27: and knows little of the] and knows but lean, the little of the 48.34: he would show a sardonic] he would 70.29: flocks, who guilt Thraa,] flocks, who shew a sardonic built Thraa, 48.37: one thing old Bugs would] one thing 71.9-10: labour how even the stones] labour Old Bugs would how ever the stones 50.2: always showing a genius] always 71.24: upon the alter of chrysolite.] upon the shewing a genius altar of chrysolite. 51.10: was just like Sheean’s.] was just like 71.38: caravans, and more intersecting them.] Sheehan’s. caravans, and fifty more intersecting them. 51.18: as ye kin] as ya kin 73.15: with bowers vines and] with bowers of 51.36: now recovering form his astonishment] vines and now recovering from his astonishment 52.2: outa here before I kick] outa here afore I THE STATEMENT OF RANDOLPH CARTER kick 77.18: find. You witness says] find. Your 52.32-33: and al wondered] and all wondered witness says 53.3: he did now know the] he did not know 78.13: bordered by most walls encrusted] the bordered by moist walls encrusted 53.4: that no one could not be expected] that 80.15: losing time—So long,] losing time— So no one now could be expected long, 80.18: legions—My God!] legions— My God! THE TRANSITION OF JUAN ROMERO 80.18: My God! Beat it! Beat it!”] My God! 55.29: formed the heart of extensive] formed Beat it! Beat it! Beat it!” the seat of extensive 80.28: brought this could over my] brought this 55.2: a large heard of unkempt] a large herd of cloud over my unkempt 55.34-35: found my Oxoninan Spanish] found THE TERRIBLE OLD MAN my Oxonian Spanish 81.17: generally keep him save from] generally 58.20: hidden terrors an monstrosities] hidden keep him safe from terrors and monstrosities 81.23-24: a strange collection of large stone, 58.22: glimmering from the lower space] oddly] a strange collection of large stones, glimmering from lower space oddly 58.27: but the shapes, all] but then shapes, all 81.28: more curious fold who] more curious folk who THE WHITE SHIP 82.5 fellow, who everybody shunned,] fellow, 61.2-3: its sails distant and] its sails distent and whom everybody shunned, 62.38: my new yearnings to] my new yearning 82.10: Messers. Ricci, Czanek,] Messrs. Ricci, to Czanek, 64.2: I fancied here came] I fancied there came 82.17: afterward. Messers. Ricci and] 64.10: ahead the titantic spray] ahead the afterward. Messrs. Ricci and titanic spray 82.22: for ages sea-captains are] for aged sea- captains are THE STREET 82.23: there were to visitors.] there were two 66.22: their walking sticks, tall] their walking- visitors. sticks, tall 82.24: Messers. Ricci and Silva] Messrs. Ricci 66.39: Its trees wee all gone now,] Its trees and Silva were all gone now, 82.24: were experiences in the art] were 67.5: spoke unfamiliar words and] spoke experienced in the art 83.4: for his colleagues wee not there at sparkled beneath all] for his colleagues were not there at 112.34: somewhere in space,and] somewhere all in space, and 83.9: horribly mangles as by] horribly mangled 113.7: such a beauty] such beauty as by 114.9: houses and villages as Chaucer] houses 83.13: citizens. but in this idle] citizens. But in and villagers as Chaucer this idle 114.11: travelled more softly, till] travelled 83.14: all. he was by nature] all. He was by more swiftly, till nature 114.12: flying uncan nily as if] flying uncannily as if THE TREE 114. 12: In a dim dawn] In the dim dawn [The letter of the Greek word whispered by 114.25: of the city of Celephaïs, and] of the the trees should have an accent and a city Celephaïs, and rounded circumflex above it.] FROM BEYOND THE CATS OF ULTHAR 116.20: less a fanatic; but his] less a fanatic, [No errors to report!] but his 116.30: growing curiosity of fascination.] THE TEMPLE growing curiosity and fascination. 93.37: crew for a time,] crew for the time, 118.25: the revelation and the abrupt] the 98.28: the materials to] the materials needed to revelation and of the abrupt FACTS CONCERNING THE LATE ARTHUR NYARLATHOTEP JERMYN AND HIS FAMILY [No errors to report!] 102.22: Arthur Jerymn went out] Arthur Jermyn went out THE PICTURE IN THE HOUSE 103.9: him back for the second] him back from 124.4: the Miskatonic valley, both] the the second Miskatonic Valley, both 105.19-20: shrill, inhuman scram, or to] shrill, 124.23: while vines have crawled] while the inhuman scream, or to vines have crawled 105.30: slender, and Jerymn House had] 124.29: has ever seen.] has never seen. slender, and Jermyn House had 125.17: the house nonetheless impressed] the 106.14: attraction; speculation on the] house none the less impressed attraction; speculating on the 126.7: but her the antiquity] but here the 106.33-34: conjecture, but close questioning] antiquity conjecture, but by close questioning 128.28: was becoming obnoxious,] was 107.7: blacks had mad the most] blacks had becoming rather obnoxious, made the most 128.30: read, an wondered how] read, and 107.32: secluded wife he had been numerous] wondered how secluded wife had been numerous 128.31: which adorned his room.] which 108.24: though the distant sound of] though the adorned the room. instant sound of 129.12: Holt, ‘That’s suthin’ ta] Holt, ‘Thar’s 108.28-29: room, rushing fanatically toward] suthin’ ta room, rushing frantically toward 129.13: read the Scripter about] read in 108.33: and watched as the head] and watched Scripter about at the head 129.35: seemed not to notice.] seemed not to notice it.
Recommended publications
  • The Gods of HP Lovecraft Sa
    THE GODS OF H.P. LOVECRAFT Edited by Aaron J. French Copyright © 2015 Aaron J. French All rights reserved. No part of this book may be used or reproduced by any means, graphic, electronic, or mechanical, including photocopying, recording, taping or by any information storage retrieval system without the written permission of the publisher except in the case of brief quotations embodied in critical articles and reviews. “Call The Name” — Cthulhu — © 2015 — Adam LG Nevill “The Dark Gates” — Yog-Sothoth — © 2015 — Martha Wells “We Smoke the Northern Lights” — Azathoth — © 2015 — Laird Barron “Petohtalrayn” — Nyarlathotep — © 2015 — Bentley Little “The Doors that Never Close and The Doors that Are Always Open” – Shub-Niggurath — © 2015 – David Liss “The Apotheosis of a Rodeo Clown” — Tsathoggua — © 2015 — Brett J. Talley “Rattled” — Yig — © 2015 — Douglas Wynne “In Their Presence” – The Mi-Go — © 2015 — Christopher Golden & James A. Moore “Dream a Little Dream of Me” — Nightgaunts — © 2015 — Jonathan Maberry “In the Mad Mountains” — Elder Things — © 2015 — Joe R. Lansdale “A Dying of the Light” — Great Race of Yith — © 2015 — Rachel Caine “Down, Deep Down, Below the Waves” — The Deep Ones — © 2015 — Seanan McGuire Commentary on each deity by Donald Tyson This is a work of fiction. All of the characters, names, incidents, organizations, and dialogue in this novel are either the products of the author’s imagination or are used fictitiously. JournalStone books may be ordered through booksellers or by contacting: JournalStone www.journalstone.com Printed in the United States of America The views expressed in this work are solely those of the authors and do not necessarily reflect the views of the publisher, and the publisher hereby disclaims any responsibility for them.
    [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]
  • 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]
  • 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.
    [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]
  • 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.
    [Show full text]
  • Machen, Lovecraft, and Evolutionary Theory
    i DEADLY LIGHT: MACHEN, LOVECRAFT, AND EVOLUTIONARY THEORY Jessica George A thesis submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy School of English, Communication and Philosophy Cardiff University March 2014 ii Abstract This thesis explores the relationship between evolutionary theory and the weird tale in the late nineteenth and early twentieth centuries. Through readings of works by two of the writers most closely associated with the form, Arthur Machen (1863-1947) and H. P. Lovecraft (1890-1937), it argues that the weird tale engages consciously, even obsessively, with evolutionary theory and with its implications for the nature and status of the “human”. The introduction first explores the designation “weird tale”, arguing that it is perhaps less useful as a genre classification than as a moment in the reception of an idea, one in which the possible necessity of recalibrating our concept of the real is raised. In the aftermath of evolutionary theory, such a moment gave rise to anxieties around the nature and future of the “human” that took their life from its distant past. It goes on to discuss some of the studies which have considered these anxieties in relation to the Victorian novel and the late-nineteenth-century Gothic, and to argue that a similar full-length study of the weird work of Machen and Lovecraft is overdue. The first chapter considers the figure of the pre-human survival in Machen’s tales of lost races and pre-Christian religions, arguing that the figure of the fairy as pre-Celtic survival served as a focal point both for the anxieties surrounding humanity’s animal origins and for an unacknowledged attraction to the primitive Other.
    [Show full text]
  • Terror Handouts
    TERROR HANDOUTS This supplement is best used with the Call of Cthulhu (7th Edition) roleplaying game, and optionally the Pulp Cthulhu sourcebook, both available separately. Terror Australis © copyright 2018–2020 Chaosium Inc. All rights reserved. Call of Cthulhu © copyright 1981–2020 Chaosium Inc. Pulp Cthulhu © copyright 2016–2020 Chaosium Inc. All rights reserved. Chaosium Arcane Symbol (the Star Elder Sign) © copyright 1983 Chaosium Inc. All rights reserved. Call of Cthulhu, Chaosium Inc., and the Chaosium logo are registered trademarks of Chaosium Inc. Pulp Cthulhu is a trademark of Chaosium Inc. All rights reserved. Ithaqua © copyright 2020 the Estate of August Derleth. Used with permission. Atlach-Nacha and Tsathoggua © copyright 2020 the Estate of Clark Ashton Smith. Used with permission. Chaosium recognizes that credits and copyrights for the Cthulhu Mythos can be difficult to identify, and that some elements of the Mythos may be in the public domain. If you have corrections or additions to any credits given here, please contact us at [email protected]. This is a work of fiction. This book includes descriptions and portrayals of real places, real events, and real people; these may not be presented accurately and with conformity to the real-world nature of these places, people, and events, and are reinterpreted through the lens of the Cthulhu Mythos and the Call of Cthulhu game in general. No offense to anyone living or dead, or to the inhabitants of any of these places, is intended. This material is protected under the copyright laws of the United States of America. Reproduction of this work by any means without written permission of Chaosium Inc., except for the use of short excerpts for the purpose of reviews and the copying of character sheets and handouts for in-game use, is expressly prohibited.
    [Show full text]
  • 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.
    [Show full text]
  • Cthulhu Through the Ages Is Copyright © 2014 by Chaosium Inc
    AUTHORS Mike Mason, Pedro Ziviani, John French, and Chad Bowser EDITING Mike Mason and Dustin Wright CARTOGRAPHY Stephanie McAlea INVESTIGATOR SHEETS Dean Engelhardt LAYOUT Nicholas Nacario COVER ILLUSTRATION Paul Carrick INTERIOR ILLUSTRATIONS Steven Gilberts, Sam Lamont, Florian Stitz, Paul Carrick, Goomi, Raymond Bayless, Nicholas Nacario. Some images were taken from Wikicommons and are in the public domain. THANKS TO Alan Bligh, John French, Matt Anderson, Penda Tomlin- son, and Dustin Wright. A special thanks to all of our 7th edition kickstarter backers who helped make this book possible. This supplement is best used with the roleplaying game CALL OF CTHULHU, available separately. Find more Chaosium Inc. products at www.chaosium.com Howard Phillips Lovecraft 1890 - 1937 Cthulhu Through the Ages is copyright © 2014 by Chaosium Inc. All rights reserved. The names of public personalities may be referred to, but any resemblance of a scenario character to persons liv- ing or dead is strictly coincidental. Except in this publication and associated advertising, all illustrations for CTHULHU THROUGH THE AGES remain the property of the artists, who otherwise reserve all rights. This adventure pack is best used with the roleplaying game CALL OF CTHULHU, available separately. Find more Chaosium Inc. products at www.chaosium.com Item # 23146 ISBN10: 1568824386 ISBN13: 978-1568824383 Printed in USA Contents Introduction ������������������������������������������������������������������������ 5 Cthulhu Invictus ������������������������������������������������������������������
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]