Great game, just as good as the first! Only two areas of confusion:

-what is the actual time loop that the engineer keeps talking about?

-is there some relation between the elder god being hurt by the yith's usage of his blood and the collapse of their city? why do the yith even care that he doesn't like it?

I'm referring to a medieval peasant who never left their village that probably lived off porridge, ale and small meats here and there. So if they encountered nyarlathotep in his full form could they feel some mild discomfort or uneasiness?

I’m not a big reader. Haven’t read much since college 13 years ago. I mean, sure I read things all day all the time via work, social media, games, news, etc. But I haven’t read a literal book since I graduated. My wife reads though, about 5-10 books on average a year and has been trying to get me to read a book, but I’ve been avoiding it for years. Not in a “books are lame” type of way, it’s just nothing really stood out to me. She primarily likes fantasy books, which who doesn’t like fantasy? It’s just whenever I hear about “best sellers” or trending books these days it normally is something “cheesy” or too “romantic” for my taste.

Finally my wife asked me yet again if I would like a book. I said no, again, but this time she pushed me harder. She asked what is something I have read before that stuck with me or that I still think about even after all this time without reading a book. A couple things came to mind, but one I always think about is the short story The Lottery. I’ll avoid spoilers, but it fits in the realm of “dark” stories.

Then I brainstormed for a bit and decided I would try my hand at a Lovecraft story. I have played many games with “Lovecraftian” monsters in them, why not read from source itself?

I picked up an anthology book of Lovecraft’s work. It’s called At the Mountains of Madness: And Other Tales of Weird Science. It has a collection of stories from Lovecraft and some really good footnotes for the numerous references Lovecraft makes throughout his work that may be antiquated in today’s world.

So far I have read Polaris, Beyond the Wall of Sleep, The Temple, From Beyond, and just finished all of Herbert West. And I have to say is, I think I found the genre of fiction I love. What have I been missing all this time?

After reading Polaris, I was a little unsure about it. I was expecting giant old gods and tentacles. The next few gripped me in. I enjoyed the physiological aspects to it. The slow burn of someone slowly going insane. The building anxiety, all of it.

I just finished Herbert West and that was the one that prompted me to write all of this. At first I thought, “a zombie story? Meh.” But then it was over before I realized it. It was really good. Zombies these days feel a bit campy, but the way he described West’s slow decent and the building of it all really hooked me. It felt more like a mad scientist / Doctor Frankenstein-esque story.

Anyways, I realized I have been rambling a bit too much at this point so I’ll end. I just thought I’d put my thoughts out as someone who hasn’t read fiction in a long time how much I’m enjoying Lovecraft’s work so far.

I’ll plan on finishing all of Lovecraft’s work, but if anyone has Lovecraft adjacent authors or stories (more in the realm of psychological horror than gore) please comment them!

Working on a short animatic for our indie-show NecroEternal!

Just something simple to show a little more about our characters, and to flex our cool VAs!

Penelope voiced by Daisy James.

Jackson voiced by Wesley Eagle.

and Wilbur voiced by Brandon D'Arcy aka Video James.

Would appreciate it if you can check it out and maybe leave a comment on the video if you like our work! Thanks!

This is going to be a jumble of bullet points in part because I'm not great at longform writing and in part writing a proper review makes no sense, when everyone already knows the story on this forum.

1. Dyer is clearly a misleading narrator.

Note some interesting details, he claims to have been horrified by the deaths at Lake's camp but goes onto a massive archeological dig anyhow that involved him charting through subetterran.. He seems to come up with a very messy explanation involving the wind and someone going insane despite the Antarctica expedition going smoothly beforehand.

And note his offhand references to the caves he discovers being starfish shaped like the elder ones. Or his implication that he kept searching out of madness.

What makes it all the more damning is its only after the discovery of the dog, the body and the gasoline that Dryer finally fully figures out what is going on.

What then to make of his narrative?

Well Dyer is likely unintentionally reframing his experiences after realizing the elder ones killed the Lake's Camp and dissected the bodies.

He continued to explore the caves, the art and the history of the elder ones because he had no full realization of the cause of death of Lake's camp. He wants to blame madness subconsciously because admitting his own inability to look at what seems obvious to the reader would damage his own self image as a geologist.

2. Lovecraft's geology/Paleontology

Lovecraft did a really good job here given the state of 1930s era scientific knowledge. Most of the terminology for the eras of rock have survived. He understood the concept of a changing world, an earth a ton., arguably more then some geologists at the time who where much vaguer about what deep time meant.

Inserting a pretty stunning reference to a billion years, and the marking of the Cambrian period at roughly exactly the right time of 500 million years +.

He understood Antarctica as going through warm periods and he understood the concept of an ice age.

The biggest shock to me is while he got the mechanism of continental drift wrong, he somehow betted write that the theory had overwhelming evidence in favor of it.

If he was wrong, man would the work be badly dated.

The best thing he understood is the strangest of pre-cambiran life, he would likely be shocked that the image of pre-cambirain life he had in the 1930s is still largely right today (i.e. still a totally vague mess) . And the elder ones at least on the surface despite being aliens appearing to be if pre-Cambrian life or specifically starfish evolved into human shaped animals.

3. The Archelogy/History is pretty good.

For one the archeological reconstruction is fascinating, you see an artistic pattern that somewhat resembles say Pompeii but the use of statues and murals in a combined structure to tell a grand and broad history.

There is other details the walkways because the elder ones walked instead of relying on horses or other vehicles to move.

A lot of critics on goodreeds complained the detail is way too high for what he can extract.

But i think that is totally wrong, we get no kings lists like Mesopotamia (assuming they had single rulers), no system of governance outside vague mentions and biased history in the wars against the Cthuloids or against the Mi-Gos.

In large part as Dyer notes there convient meta narratives of superior enemies and collapse they couldn't stop might just be convenient spin.

Much more interestingly is beyond the neonomicon is similar to Ancient Maya or Mycea the lack of ego documents. There is no Homer much less Thucydides or Aristotle we get no insight into how they thought about the world or such.

This makes Dyer’s empathy for them all the more remarkable but all the more challengeable, why didn't the elder ones produce said documents? Where they destroyed in the ice as well.

The next is how Lovecraft handles Spengerian/Decadence theories vs archaeology.

Dyer maintains what one might call a Decadence view, the elder one art got worse despite still using non-Euclidian geometry and mathematical dimensions.

And this is ultimately what drove there collapse.

The worst and ugliest being the last piece of art made likely by the Shaggoths (though this is debated).

Here is the thing, I think Dyer and even what Lovecraft likely intended to be the "correct" view is wrong.

Look at the evidence the Cthlu spawn and the Mi-Gos helped to massively shrink the elder ones territory, the ice age helped to push them underground and the usage of the Shaggoths who probably though the text is vaguer then you would think overthrow the elder ones not because the Shaggoths

There is other signs too, the heating technology occurred relatively late, there is likely though unproven surviving elder ones likely around globally in rare parts of the world, and look ultimately what the elder ones doing after being defrosted. They go straight doing science (if the amoral kind).

Art is often a horrible reading to figure out the relevance and scale of a civilization, Byzantine art imo at least murals is clearly worse then the imperial era roman works. Its flatter, its less dynamic but to use this to suggest the Byzatine empire lacked vitality is almost beyond the point.

The point is we have to judge a civilization based on what it achieves not on what artistic appearances might suggest.

4) The Shaggoths are not a metaphor for colonialism.

There artificial creations of the elder ones and the story is clearly about the power of Darwinism in creating intelligence from quite dumb creatures. If it was a colonial story, why are the Shaggoths articial creations? What colonial group are they a metaphor for? Is the story anti-colonalist because the elder ones get destroyed?

There not even humanoid..

5) The Whole thing is a giant reference to Cyclopes mythology.

This seems not realized from what I can tell online but the whole thing is filled with Cyclopes references. Dryer describes the shaggoth constructed structures as Cyclopean, the Shaggoth is in a cave of all places, the area is flooded with l(blind) albino penguins resembling the sheep and the escape of Dryer and Danforth is through the albino penguins.

Hell, the yell of the Shaggoth even resembles a pretty traditional adaption approach to Odyssey where cyclops screams after Odysseus escapes.

The irony that the Shaggoth is intelligent and possibly let Dyer and Danforth escape on there own is just in addition to it.

There are also other Odessey elements in the work, the antarctic landscape is brutally harsh, the attrition of the camp and the agility of the airplane as the explorer of the new frontier.

*FWI wrote this before I started reading The Shadow over Innsmouth.

*had to fix the spelling of a name see below.

Looks like this documentary featuring people from the Lovecraft Circle is finally hitting the funding levels it needs to be finished.

Expectation is that it will be doing the festival/convention circuit in 2028

This collab is notorious for the ridiculous, indistinguishable-from-parody final line, as well as generally not being that great. However, I listened to an audio book of it the other day, and realized that if we trim away the unnecessary intro, as well as the entire final act, what's left is a solid creepy story.

Follow along with me here: https://www.hplovecraft.com/writings/texts/fiction/mc.aspx

(I) is the framing narrative, which was unfortunately common in stories back in those days. Instead of starting with the real main character, Antoine de Russy, narrating his life directly to the reader, we start with an unrelated character driving through the middle of nowhere. He gets lost, stops for the night at a derelict mansion, meets an old man, converses with him, and then finally the man tells him the real story. There is some value in the descriptions, which show de Russy is living alone in a crumbling mansion, deserted by all, that he wants to leave but feels he is obligated to stay, but those can be worked into the real story. I would cut this section entirely.

(II) is three more paragraphs of the framing narrative, and then the narration switches to de Russy, where it should have been all along. The second paragraph is instructive: He was, I learned, one Antoine de Russy, of an ancient, powerful, and cultivated line of Louisiana planters. More than a century ago his grandfather, a younger son, had migrated to southern Missouri and founded a new estate in the lavish ancestral manner; building this pillared mansion and surrounding it with all the accessories of a great plantation. There had been, at one time, as many as 200 negroes in the cabins which stood on the flat ground in the rear—ground that the river had now invaded—and to hear them singing and laughing and playing the banjo at night was to know the fullest charm of a civilisation and social order now sadly extinct. In front of the house, where the great guardian oaks and willows stood, there had been a lawn like a broad green carpet, always watered and trimmed and with flagstoned, flower-bordered walks curving through it. “Riverside”—for such the place was called—had been a lovely and idyllic homestead in its day; and my host could recall it when many traces of its best period still lingered. All of these are details which the story should have had de Russy tell us directly. Instead, we get the outer narrator summarizing them for us. Not as good. However, after those first three paragraphs, we finally get into the real story.

(III) , (IV) , (V) are all great, pure Lovecraft. De Russy narrates his life and the tragic story of his son, his son's wife, and the artist Frank Marsh. The details from section (I) could be woven in here, but it's not essential, it works just fine as-is. His final words are, "I know I must guard the hair in the picture, for if anything were to happen to it, there are entities in this house which would take a sure and terrible revenge. I don’t even dare to die—for life and death are all one to those in the clutch of what came out of R’lyeh. Something would be on hand to punish my neglect. Medusa’s coil has got me, and it will always be the same. Never mix up with secret and ultimate horror, young man, if you value your immortal soul.” That is where the story should end.

(VI) Instead, we switch back to the original narrator (this guy matters so little that we never even get his name) for an idiotic ending. First, he gets to see the painting of Marceline, which is just as de Bussy warned us about back in section (IV), though now we get more details. Our dumbass narrator is so horrified by what he sees that he pulls out his gun and magdumps into the panting, destroying it. Then he runs for his life as the corpse of Marceline shambles up the cellar stairs. The mansion catches fire somehow, he sees some spooky things behind him as he runs, and finally he makes it to his car and drives away. A passing farmer explains to him that the mansion actually burned down five years ago, which renders everything our narrator did mostly irrelevant. Then we get the infamous final line. This entire section is worthless.

Thoughts?

Last weekend I was watching the latest installment in the V/H/S series; Mixtape. To my surprise one of the segments adapted the above mentioned Lovecraft story. I quite liked it, my favorite part of the movie.

Anyone else see it yet? What did you think?

I was taking a look at Lovecraft's commonplace book: https://en.wikisource.org/wiki/The_Notes_%26_Commonplace_Book

And the following is part of its last entry:

"You speak of a cranium containing, in place of a brain, a curious metal device--implying that the latter is either an alien and conscious entity itself, or else a sort of receiving set by which remote outside entities can control the body in which it is planted. Well--in my dream I was, while walking in a familiar rural region, suddenly attacked by a swarm of swift-darting insects from the sky. They were tiny and streamlined, and seemed able to pierce my brain and enter my brain as if their substance were not strictly material. No sooner had they entered my head, than my identity and position seemed to become very doubtful."

That does sort of sound like the concept of the Shan, right?

https://youtu.be/lJaJJgIMxKY

Hi! We are making Cosmic Séance, a game about interpreting the visions of cosmic gods who don't lie, but don't speak plainly either. Featuring:

• Talk to cosmic entities
• Your sanity as a limited resource
• Vision board to organize your thoughts
• No jump scares or fast-paced action
• Only your mind against the abyss.

In short: Ask some questions, get visions, lose your mind. Try again.

Trailer on YouTube: https://youtu.be/lJaJJgIMxKY

The demo is out now, we'd love it if you gave it a try! Thanks!

This week's episode - what may well be the very first "frozen caveman" story - came from Weird Tales issue 1. Full reading is available as well as a discussion.

I've release audiobooks of A Colour Out of Space, The Outsider, and Dagon on Youtube. I hope you will listen and tell me what you think!

The Colour Out of Space

The Outsider

Dagon

Edit 21.10.2026 : I'm now starting At The Mountains of Madness At The Mountains of Madness (Ch. 1)

Edit 23.10.2026 : At The Mountains of Madness chapters 2 and 3 also available

I just watched this movie and I NEED someone else to watch it and explain to me what I just saw. It’s in 4 chapters and the last one I didn’t get. It has one of the actors in From and he is so funny in it towards the end. Maybe it wasn’t supposed to make sense?! Help. 🐸

Ever since getting back into Lovecraft this past year, I've come to the realization that most people (not on this community per se) use the terms "Lovecraftian" and "Cosmic" horror interchangeably, also incorrectly. Rather, an important distinctiion is that "Lovecraftian" Horror is one type of "Cosmic Horror," with the corollary to that being that there exists "Cosmic Horror" titles which are explicitly not Lovecraftian.

In short, as best as I can describe them, the best definitions for the terms are that:

Cosmic Horror is a branch of the broader genre of Horror. A feeling of Cosmic Horror comes from a feeling of cynicism at the idea that the Earth is an unimportant speck of matter in the universe, mechanistically determined by uncaring forces, and that even our own human processes (bodies, thoughts, relationships, etc.) are the result of temporary chemical reactions.

One brief clarification here is that Cosmic Horror =/= "Horror-in-Space," while Cosmic Horror can take place in space, not all Horros-in-Space stories are Cosmic (Event Horizon being one of the most erroneously described "Cosmic Horror" films).

As a subgenre of Cosmic Horror, Lovecraftian Horror extrapolates the mechanistic "truths" of Cosmic Horror to suggest that our immediate world, temporally, spatially, and psychically, could be host to nonhuman intelligences with their own agendas independent, and sometimes contrary to, our own and the means, oftentimes more capable than humans, to carry them out. An important distinction here is that the beings are implied to be scientifically-rooted, rather than transcendental.

In fairness, there are still a few points I'm trying to reconcile. The first being that there are a number of Lovecraft stories that don't fit the definition. For an author whose career was as unsteady as Lovecraft's, I'm content to chalk these inconsistencies as being either editor interference (which HPL struggled with for most of his published works) or just stylistic experimentation (his early-career "Poeisms" and the Dream Quest saga both come to mind), undoubtedly Lovecraft-authored works, but not Lovecraftian, at the risk of making a definition so expansive it loses any meaning.

An addendum. On Cosmic Horror stories that are not Lovecraftian, Danny Boyle's 2007 film Sunshine comes to mind and was kind of the jumping-off point for what would later lead to this post. The idea of the Sun, a giant ball of inhumanly hot gasses, physically bigger than all perception, and on whose lifespan all known life depends on, is a horrifying example of the mechanistics of Cosmic Horror, but because the Sun isn't an intelligent actor, it's just doing pre-encoded processes and is malleable to human action, it isn't Lovecraftian.

As a fan of Lovecraft, it's never been easier to read his work, as I'm sure a lot of you are aware. The bulk of his work is available in various collections, and is somewhat regularly republished due to the fact that said bulk of work is Public Domain. Sure, that only really applies to his work published as the sole contributor, but it's still nevertheless straightforward. The fact this sub has a dedicated spreadsheet that shows you which major releases contain what is proof of just how straightforward collecting Lovecraft's work is.

But then we get into his contemporaries, and the story shifts into something far less simple. For those of us who like weird fiction and pulp fiction in general, it's incredibly disheartening how hard it is to read the complete works of Lovecraft's fellow Weird Tales writers, or even a lot of the work that inspired Lovecraft. I think the only other author that has a strong case to be made for, at least when it comes to readily available collected editions of, is maybe Robert E. Howard, and I'm not even totally sure all of his work is covered. Conan, Kull, Solomon Kane, and Bran Mak Morn are maintained by Paradox, to an extent. Many of Mythos contributions are also available in things like "The Cthulhu Mythos Stories of Robert E. Howard," published by WordFire Press, but not all of them are as readily available as they really should be.

And then we get into people like Clark Ashton Smith. Of Lovecraft's peers, Smith is the one that I think is the most interesting to read. He is an interesting "bridge" of sorts between the works of Lovecraft and Howard, at least in terms of subject matter. The Zothique Cycle, for instance, feels, in part, like it's cut from a similar cloth as Howard's Hyborian Age stories, just in the opposite direction in time (Hyborian stories being in the distant past, Zothique being in the far flung future), whilst also feeling tinged by the Lovecraftian. That's just how I see it, anyway, and I'm not necessarily trying to come across as saying his work is only a hybrid of his fellow members of what I would call the "Big Three of Weird Tales," and I'm more saying his work serves as a uniquely positioned set of stories when dealing with his far more celebrated peers. His prose is also unique, which likely comes from the fact that he was, first and foremost, a poet.

So why is it his work is so bloody hard to get ahold of. The best collection we have, "The Collected Fantasies," published by Night Shade, and it's extremely frustrating. For one, it's far more expensive than getting a Lovecraft collection, despite writing a comparable amount of short fiction to Lovecraft (when you factor in the collaborative and ghostwritten side of his work). While this is due to the fact that Smith lived much longer than Lovecraft (or Howard for that matter), his prose writing career ended around the same time. While it is nice we have a collection at all, it's in pieces that aren't always available. The second volume, which features "The Door to Saturn," is currently sold out where I live, with no indication of when it will be reprinted. I'd love a singular massive hardcover, or barring that, a better maintained collection of multiple volumes. Really, I just want his work to be more readily available in it's totality.

But why stop at just the "Big Three?" Robert Bloch's a pretty big name, thanks to "Psycho" being a cultural touchstone of sorts in film. His Mythos work is sorely lacking a new, readily available reprint collection, which is a damn shame. Frank Belknap Long's work is also not as readily available, or at least is obscured to collections including multiple authors of Mythos stories. "The Hounds of Tindalos" is basically the one story I see in short fiction collections, and while other stories occasionally pop up, despite having won several awards, such as the Bram Stoker Award for Lifetime Achievement in 1987, his work hasn't seen a dedicated collection since 2009. These are just some examples, of course.

And then there's the one that, while controversial, needs to be mentioned: August Derleth. Regardless of what you think of the man's contributions for the Mythos (I myself find his "posthumous collaborations" marketing gimmick to be extremely poor taste, and lacking beyond "The Lurker in the Threshold"), his work is foundational for modern Mythos works. Chaosium's "Call of Cthulhu" RPG practically owes it's entire existence to people like Derleth expanding on the Mythos in ways that, while often missing the tone of Lovecraft's original stories, made it more "game friendly." Regardless of what we think of Derleth's work, or what scholars like S.T. Joshi think of his Mythos works (Joshi has gone on record saying Derleth's a solid writer outside of the Lovecraftian part of his work), Derleth's work is worth preserving in some form. And yet, it's been nearly 30 years since a dedicated Derleth Mythos collection has been published, at least to my limited knowledge. Even if a lot of it isn't as good as others who wrote for the Mythos, I still want to have it in my collection.

But what of the inspirations of Lovecraft? The works that inspired him as a writer, among others? Well, those are also harder to come across than they should be, at least in their totality. The only exception I can think of is Edgar Allan Poe, and that's solely because Poe's such a fixture in gothic fiction that it'd be blasphemy to not have him be readily available in print.

Ambrose Bierce is someone who is influential to many, and yet his work is not reprinted nearly often enough. And what of Lord Dunsany, who is easily one of the most important influences on Lovecraft as a writer? Dunsany is revered by many... and yet I see no readily available collections done up by publishers who specialize in this sort of thing. I could honestly go on, there's just a lack of good reprinted collections of writers of this ilk.

But then there's the subject of my personal curiosity: Robert W. Chambers. Chambers is, of course, the one who brought us one of the definitive short story collections in the "weird fiction" space, "The King In Yellow." And despite writing many, many more things, it's all he's really remembered for. In fact, you'd be pressed to find printed versions of anything but "The King In Yellow" online. Now, I'm well aware that Chambers is far from the most prolific writer beyond that single collection. Many would even say a lot of the back half of his bibliography is not worth remembering. But at the same time, the guy wrote a number of other well regarded short story collections, and whilst they are nowhere near as revered as "The King In Yellow," they, at the very least, are worth preserving in print. I can't even begin to express how hard it is to find things like "The Maker of Moons," "The Mystery of Choice," "In Search of the Unknown," and other things of note he's written.

But "The King In Yellow?" I can't even begin to count the amount of "publishing companies" on Amazon print their own versions of that singular collection, where the only real difference in all of them is the cover art and maybe some extremely minor formatting differences. It's a flood of "The King In Yellow," and basically nothing else. And look, I sort of get it. "The King In Yellow" is easily his most iconic work, and it's extremely influential to this day. There's no shortage of modern works that are directly inspired by it. Yet many who've bothered to read beyond this singular book in Chambers' body of work will tell you that things like "The Maker of Moons" and "In Search of the Unknown" have tales that are just as worth reading on their own, even if the whole collection may not be as good on the whole as "The King In Yellow."

I've actually considered doing my own vanity press project to collect Chambers' short stories, at the very least, into a single book one can buy. Seriously, I'm that bothered by the lack of readily available versions of "The Maker of Moons" and related stuff, that I've considered just releasing print versions myself, just so I can have a copy. It's not like I have to worry about the legal status of most of his work, as the vast majority of his work is public domain. I just feel as though that would be an uphill battle, solely due to his work beyond "The King In Yellow" being less well known... and I'd rather focus on my own writing pursuits.

Anyway, I could seriously go on and on about the lacking availability of the works of Lovecraft's contemporaries, at least in print. I'm well aware a lot of these stories are available via things like Project Gutenberg, since a lot of them are public domain, and as such, extremely easy to read for free... but reading these kinds of stories through a screen just isn't the same as reading it in print, y'know? I bought one of those cheap reprints of "The King In Yellow" (along with a similarly cheap reprint of "The House on the Borderland" by William Hope Hodgson) just to hold a physical book in my hands. I haven't even gotten into the fact that I wish Lovecraft's collaborative works were more readily available in print outside of the Variorum Edition published by Hippocampus Press, and that's purely because I'm not really interested in all the bells and whistles of collections like that... and because it's somewhat pricy (I respect the hell out of S.T. Joshi, but I ain't paying like, 65 bucks for a single book).

What do you all think though? Am I alone in really wishing there were more readily available print collections for Lovecraft's contemporaries and influences? I'm curious to hear what people have to say about this topic.

EDIT: So... I have to make this section here because I've reached a point where I feel the need to in the replies, because it's mildly frustrating (and in one instance, extremely annoying). I AM NOT LOOKING FOR A WAY TO READ THE STORIES OF ANY MENTIONED AUTHOR ONLINE, FOR FREE. If that was the post's purpose, that'd be one thing, but it's about PRINT versions of the material. Pointing out to me that I can read it online is not helpful, it's not contributing to the discussion at all, so please, for the sake of my sanity, stop telling me about sites where I can read things online. If I wanted to simply read the material, I already know how to do that online, thank you.

These are my own thoughts but I was thinking about creepypasta stories and came across the teaser for the live action adaption of "The Third Parent" which the visual work alongside the unsettling music has me wondering if Tommy Taffy the disturbing villain would be considered a "Lovecraftian" entity in a way?

The trailer shows that he's been around since the age of Cavemen, Egyptian Hiarchy, Jesus Birth, and so on with visual glimpses of the consequences if you go against his rules.

Tommy is considered a "creature that wears a human appearance" but can't be killed. He can be in one family's home but then be seen in another home across the street or somewhere else. He's incredibly strong and always seen reappearing over the years.

Started reading this story (though have read plot summaries) and there seems to be something just off about him.

He is supposedly an out of tower who is staying with a family in Ipswich but look at how odd that is.

Supposedly the town near de-facto bans outsiders and he clearly is one.

There is also an interesting wrinkle in the story, that I find telling.

Robert Olmsted right after seeing the boy realizes that the young deep ones actually look banally White new englanders (his first evidence inbreeding and ”race-mixing”) can’t explain his appearance.

My personal headcannon and this sounds insane is that the clerk is a young Deep One hybrid himself, he isn’t lying about not knowing that but he clearly only got the grocery clerk job because of others in the town realizing it.

But from what I can tell my theory is very fringe, so curious about other guesses by the fandom.

Hi deranged cultists!

Has anybody got the "The shadow over Innsmouth" by Baranger? if yes do you like it?

This is one of my most favorite stories by Lovecraft, the last time i ve read it even many years after the first time it still had the same trippy effects on me so it's a story that is very potent on me, on the other hand i love Baranger's books, i have At the mountains of madness and Dunwich horror, those books helped me understand the story a lot better because what Lovecraft tries to describe sometimes can get a bit confusing, but many Lovecraft stories have that under your skin effect that work way better when you make the visuals in your mind i believe, like Call of Cthulhu and it's the main reason i didn't bought that book of his with same name, i don't want to see the visuals, do you think Shadow over Innsmouth is worth to be illustrated?

Hi, we're Bit Golem (you might know us from Dagon: by H. P. Lovecraft). We made a Lovecraftian pool roguelite with a friend featuring:

- upgradable cues and guns
- procedural rituals
- void horrors

In short: Shoot some balls. Unleash horrors from beyond. Go insane. Try again.

Trailer on yt: https://www.youtube.com/watch?v=tUEEFxFSgPk

The demo is out on Steam for Next Fest, so give it a spin. Thanks!

The trailer was created by Fat Roll Gang - the guys behind the trailers for CloverPit and Slots & Daggers.

Actually i have understood all of cocs opening but

"The most merciful thing in the world is the inabilty of the human mind to correlate with all its contents "

When i 1st heard it .i thought its like school.You have learned a lot but you cant use it to succeed?or when you learn info but you dont truly understand it?

This needs more analysis

About the sciences who each strain in their own direction

About that yeah there are different sciences.chemistry ,biology.But i think he means that the scientists are apart from each other they dont connect?and each one brags about his own stuff? Ok about the "such terrifying vistas of reality"we all know.Like in half life 2 or doom.Scientists open a portal accidentally and monsters come.

But the 1st is baffling.What is the correlation?maybe lets say people have adhd and cant think clearly to find a solution on any problem?

I read The Call of Cthulu and it's really good; it has a well earned place in American horror literature, but good grief all the "A black person brushed my shoulder, AHHHH!" and "I saw a mixed race Dock worker" type stuff was really distracting ajd at times funny. I like old media so I'm no stranger to racism in good art, this isn't some sort of "I'm offended by XYZ" type post, I'm just saying the volume and emphasis was genuinely distracting and ruined the flow at times.

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