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Category: H.P. Lovecraft

Horror Roleplaying in 1890s England: Cthulhu By Gaslight

Horror Roleplaying in 1890s England: Cthulhu By Gaslight

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cthulhu-by-gaslightContrary to what you may read, it’s not all about Barbarian Prince and First Edition AD&D after hours here at the Black Gate rooftop headquarters.

No, sometimes during our friendly evening gatherings we just sit around and reminisce about great gaming sessions of old. I played a bit of Call of Cthulhu in my day; so much so that it’s probably my second favorite RPG (right behind AD&D).

Together with a few close friends I trekked down my fair share of fog-shrouded New England back alleys, trying to sound like Sam Spade while deftly making perception checks and shining feeble torchlight on things better left unseen.

Good times, good times. Except for the failed sanity rolls, of course, and the frequent times I was forced to crumble up my character sheet while Brian Muir, our game master, described how my character was dragged off to the asylum, screaming in wordless horror. Sometimes I wonder how I stumbled into this hobby.

But mostly what I remember about Call of Cthulhu was that Chaosium had hands down the best packaged adventures on the market. Seriously, they were epic. Larry Ditillio’s globe-spanning Masks of Nyarlathotep is still considered the high water mark for RPG adventures in the 1980s, and Keith Herber’s Spawn of Azathoth won the Gamer’s Choice Award for Best Role Playing Adventure in 1987.

Beyond the Mountains of Madness, an enormous 438-page masterwork from Charles and Janyce Engan, commands outrageous collector’s prices today (copies are currently selling at Amazon.com for $555 — and up), and that’s not even the most sought-after. That distinction belongs to Horror on the Orient Express, a fabulous boxed set released in 1991 which sold out quickly and has never been reprinted.

But it was William A. Barton’s Cthulhu By Gaslight that was always my favorite.

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Chris Braak Reviews Cthulhu’s Reign

Chris Braak Reviews Cthulhu’s Reign

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cthulhus-reignCthulhu’s Reign
Darrell Schweitzer, ed.
DAW (308 pp, $7.99, 2010)
Reviewed by Chris Braak

It is unquestionably a challenge to create a sense of drama in a set of stories that all share the premise of “human civilization has been destroyed by invincible monster-gods from space.” Cthulhu’s Reign is an anthology that sets out to do just that, using the theme of H. P. Lovecraft’s Old Ones – most often Cthulhu and his star-spawn, but not always – returning to prominence on earth after countless millennia of death/sleep. All of the book’s fifteen authors are to be commended for their imaginative takes on just what that return might look like, but there are some problems with the anthology as a whole.

The first and primary issue is that it’s just unrelentingly depressing. One story about the end of humanity out of a collection of fifteen is one thing; but a book in which every single story ends on a note of complete and utter hopelessness is exhausting. There is no reason to blame the authors; they are each separately and privately fulfilling their mandate. The problem is with the idea of the theme itself, which might be charitably described as “too much of a good thing.”

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LOVECRAFT eZINE: Keeping It Weird

LOVECRAFT eZINE: Keeping It Weird

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LOVECRAFT EZINE #1 - 5 are available for reading NOW.

Horror fans and Lovecraft afficionados have been darkly singing the praises of LOVECRAFT eZINE. Editor/founder Mike Davis and Crew offer monthly chills and thrills that “share the tone and themes of Lovecraft.”  That is, cosmic fear, or simply “weird fiction” if you prefer. Within that spectrum there is a vast array of possibilities for horror, dark fantasy, and beyond. Some of the zine’s current best include tales by horrormeister W.H. Pugmire, an Old School Gent when it comes to all things Lovecraftian, as well as stories by Joe Pulver and David J. West.

LOVECRAFT eZINE will be featuring my story “The Lord of Endings” in its August issue. This is a tale inspired by Lovecraft’s Nyarlathotep, the Crawling Chaos, the Black Pharaoh, the Haunter of the Dark, the Faceless God and Messenger of the Old Ones. It’s also about hate, and the power it has to poison the dreams of the living. Fans of Lovecrafts’ Dreamlands stories will either love it or weep about it.

The inspired art at the site is done by Pat (mimulux). Above is the fantastic cover of the first issue. Issues #1-5 are available for reading at: lovecraftzine.com/

Check it out now and keep an eye open for “The Lord of Endings.”

Sweet dreams!
John

Vincent N. Darlage reviews Age of Cthulhu: Death in Luxor

Vincent N. Darlage reviews Age of Cthulhu: Death in Luxor

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gmg7001coverlargeIf you’re in the mood for some good horror encounters with the dark forces of the Great Old Ones, then the new Age of Cthulhu line from Goodman Games may be of interest.  Vincent Darlage reviewed the first installment in this set of game modules. (Links to other Cthulhu resources at the bottom of this post.)

Age of Cthulhu: Death in Luxor

by Harley Stroh
Goodman Games (48 pp. Softcover, $12.99)
Reviewed by Vincent N. Darlage

This time, intrepid investigators are on the hunt for things man was not meant to know in Egypt, rather than Arkham or Dunwich – a nice change, so far as I’m concerned. A Lovecraftian horror is locked beneath Luxor in Egypt, and is unleashed, bringing with it a new era of darkness that will blast all of mankind, unless the intrepid player characters can stop it. The adventure is heavily focused on investigation, not on combat, which was nice to see.

The finding of the clues and the free-form nature worked well for me; Luxor doesn’t seem to railroad the players much, if at all. I especially liked the investigation summary on page four. The summary goes through each scene and lays out in a few sentences what is revealed and where it leads. For a free-form adventure, this is essential as it details which scenes have which clues. More adventures need to do things like this. …

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H.P. Lovecraft: The Style Adjectival

H.P. Lovecraft: The Style Adjectival

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Howard Phillips LovecraftEveryone has their heresies. Things they believe, or things they perceive to be true, with which many if not most authorities would disagree. That’s especially so, I think, with readers. Everybody who reads is going to have a list of writers who they feel are unjustly praised or unjustly criticised. Or, in some cases, writers whose work is wrongly praised or criticised; writers accepted as great, for example, but who you think are great for some other reason than is held by most people.

I’ve got a bunch of these heresies. I want to talk here about one such: I believe that H.P. Lovecraft is not only a major writer, but a major stylist. I think his use of language is powerful and original. I think he’s often misread as failing to do things he has no interest in, and I think what he is interested in doing is not often discussed on its own terms.

Before going on to explain what I mean, I should probably make a couple of points clear. Firstly, I have no particular interest in discussing Lovecraft`s life and personality except to note that the desire of many critics to focus on Lovecraft as an individual may suggest a need to evade dealing with the horrors of his fiction. In any event, Lovecraft was not a static thinker; his perspectives and opinions on many things changed over the course of his life. In writing this post, therefore, I’m going to try to talk about “Lovecraft” as a back-formation from the texts of his stories; I mean simply that I’m going to write about what I see in the fiction, treated as a whole, and not worry much over the details of his biography.

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Cthulhu Has Risen…

Cthulhu Has Risen…

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Anticipating CTHULHU’S REIGN (Part 3 of 3) cthulhu32

    “You made me master of the world where you exist
The soul I took from you was not even missed.”

–Black Sabbath, “Lord of This World”

“The process of delving into the black abyss is to me the keenest form of fascination.”

–H. P. Lovecraft

At last, the stars are right.

The long-anticipated horror anthology CTHULHU’S REIGN finally hits stores this week, and the world of Lovecraft-inspired fiction will never be the same.

Last week I interviewed a few of the authors who contributed to the collection. In this third and final installment of “Anticipating CTHULHU’S REIGN“ several more Architects of the End have shared with me the dark secrets behind their stories.

Although these 15 tales share a common concept (Great Cthulhu rising up to reclaim the world for the Old Ones), there is a wide array of story types and styles at play here, from cosmic adventures to philosophical nightmares, to humanistic stories of survival in a world gone mad, and more. The sheer diversity of storytelling in this single volume is stunning–a testament to the anthology-building skills of editor Darrell Schweitzer. Yes, there are some experimental pieces in CTHULHU’S REIGN, but there is just as much old-school Weird Tales flavor, which makes for a delicious blend of horror and strangeness.

Richard Lupoff’s “Nothing Personal” takes a science-fiction approach to horror. “The first decision I had to make was, Will this be a science fiction story or a supernatural fantasy? I then referred back to an earlier story of my own, utilizing the theme of a distant planet that had gone undiscovered because its orbit is at right angles to the plane of the ecliptic, and moved on from there.” That planet is Yuggoth, which (like its grotesque inhabitants) is composed entirely of antimatter.

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Everybody Loves Cthulhu…

Everybody Loves Cthulhu…

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Anticipating CTHULHU’S REIGN (Part 1)

Available on April 6, 2010...the end is near...
CTHULHU’S REIGN is coming on April 6…

“After vigintillions of years great Cthulhu was loose again, and ravening for delight.”
– H. P. Lovecraft, “The Call of Cthulhu,” 1928

“I want to know the same thing we all want to know: How’s it going to end?”
–Tom Waits, Orphans, 2006

There was a time, not so long ago, when only those who read H. P. Lovecraft’s masterful tales of cosmic horror had heard the name “Cthulhu.” In 2010 that is no longer the case. Thanks to an ever-growing legion of Lovecraft fans, books, magazines, movies, games, and web sites, Cthulhu has taken his place firmly among the Greatest Monsters of All Time.

Dracula. Frankenstein. Wolf-Man. Mummy. King Kong. Godzilla. Cthulhu.

Anyone can add a few more of his favorite monsters to this list, but one thing’s for sure: Great Cthulhu has risen into the mortal consciousness in a way that Lovecraft himself probably never imagined. And what’s not to love about this mountainous space-god with the head of a colossal squid, demonic batwings, a bloated and scaly body, and the ability to sleep for eons beneath the Pacific Ocean while sending evil dreams to haunt mortal men?  Today, even folks who have never read a Lovecraft story have heard of ol’ squid-head and his legacy.

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The Call of Cthulhu Movie, 2005

The Call of Cthulhu Movie, 2005

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the_call_of_cthulhu_dvd_coverDirected by Andrew Leman; starring Matt Foyer, Chad Fifer, Noah Wagner, Ramon Allen Jr., and Ralph Lucas.

I cannot say I’ve ever been impressed with any film I’ve seen purporting to be based on a story by H.P. Lovecraft, as they have all tended to stray pretty far from what makes Lovecraft’s stories interesting in the first place. And they generally show the limits of their budget as well as being both poorly shot and acted. But then I heard about this little gem, distributed by the H.P. Lovecraft Historical Society, that adapts Lovecraft’s foundational short ‘The Call of Cthulhu’ in as loyal and accurate a way as possible. Not only that — and here’s the really interesting bit — the movie itself is a black and white silent film, as if it had been filmed at the time of the story’s publication in the 1920s.

The choice to make this a silent film was a smart one. Firstly, it does help evoke the period of Lovecraft in a way no film before it ever has (all of the ones I’ve ever seen where contemporary pieces, for a start), and also makes it feel like a world apart from our own. In leaving some things unseen and unsaid, and in creating an at times stylized environment, this film activates the viewer’s imagination to fill in the blanks — and speeches or effects which would seem silly or dreadful when laid bare in a modern film are instead left in the shadows. In surmounting the very limited budget for this project, the choice could not have been better.

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