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Tentaclii

~ News and scholarship on H.P. Lovecraft (1890–1937)

Tentaclii

Monthly Archives: June 2019

June 2019 on Tentaclii

30 Sunday Jun 2019

Posted by asdjfdlkf in Odd scratchings

≈ 4 Comments

It’s time for another monthly summary. Here in the UK the delightful sunny Maytime weather vanished for nearly all of the month. To be replaced by a typically English cool and ‘moist’ June. This ‘settled in’ and offered many a misty and mizzling dawn, attenuating away into a grey distance. 15,000 words were launched into this grey aether from Tentaclii Towers, opening with the popular post “Lovecraft’s bloody fingerprint”. In which a new partly-unpublished postcard from Lovecraft was noted and a fingerprint spotted on it. Despite the resulting big boost in traffic, my Patreon is still at only 16 people, though they kindly give $51 a month.

I’m pleased to report that a little bit of the Patreon helped me to bag a very cheap first-edition hardback of the de Camp Lovecraft biography, having previously only had the Gollancz ebook reprint which appeared on Amazon a few years ago. The 1975 hardback is said to have 20,000 more words than all later editions, and also has scholarly endnotes which pinpoint which letter or source he used. A bonus is that despite its price it isn’t a mauled-about ex-library copy. It’s in rather nice crisp condition in un-yellowed mylar wrapper, with only a corner-clipped dust-jacket to indicate it was probably once in a remaindered bookstore in the late 1970s. It’s a fat book, but despite my ‘small letter-box, block-of-flats’ delivery hurdle I was able to get the book via a hassle-free route.

This month my blog noted many books newly published or new-in-ebook included Frank Belknap’s Long memoir Dreamer on the Nightside in ebook via Amazon, Joshi’s expanded Weird Fiction in the Later 20th Century, and precise details of what’s in Joshi’s new The H. P. Lovecraft Cat Book. Plus a rich crop of new journal-books such as Windy City Pulp Stories #19, Lovecraftian Proceedings #3, Dead Reckonings #25, and the new Lovecraft issue of the academic journal Brumal. I also posted advance news of reprints such as 1991’s H.P. Lovecraft: Against the World. In the archives, I found a free scan of Index To The Verse In Weird Tales, plus a rare on-the-spot article by someone who met the bookseller Irvin Binkin (who saved so much Lovecraft material in the early 1970s) and had visited his final bookstore.

Various scholarly items and notes were posted here, including calls, an essay contest and research fellowship opportunities for 2020. Three more items were found and added to the Open Lovecraft page.

Several items of Lovecraft comics news appeared here. I’m now editing a monthly publication for comics-makers, as well as Digital Art Live magazine, so my interest in the better type of comic is higher than usual. I’ll be interviewing comics-makers for the new publication, so please comment and suggest names of non-gore comics makers you may know. We’re especially interested in people who use digital workflows, possibly involving 3D models.

Various art scans were posted, plus the call for the Ars Necronomica art-show to be staged at NecronomiCon 2019 later this year. A big Beardsley show at the Tate in London was noted, as was the release of the major Lovecraftian videogame The Sinking City.

I instituted a new regular themed post here: “Kittee Tuesday”. This will feature artistry involving fantasy, sci-fi and horror cats, and these will often be forlorn kittees I’ve rescued from the stygian blackness of forgotten archives.

In music and audio, noted items included the CD Sonnets of the Midnight Hours; the release of Dark Adventure Radio Theatre’s The Lurking Fear; Graham Plowman’s Lovecraftian classical music; and Lovecraft’s Murray Ewing’s retro sci-fi soundtrack album, Future City. Also linked where a couple of podcast episodes, and the first of the Howard Day videos.

My post “Whose work is entering the public domain in 2020?” was, I hope, a useful post for readers who are also publishers or artists.

My archival investigations led me into Lovecraft’s Red Hook, and I discovered that the real demographics of the place fitted those that Lovecraft described. In all but one respect. Having one of his protagonists in the story be Irish, he thus switched the Irish in the Red Hook population to ‘Spanish’ in his introductory scene-setting. Otherwise, Lovecraft’s Norwegians, Syrians and others were not figments of his overheated imagination, as some have claimed. Maps and pictures of the area were uncovered, and this post was followed by the 1,700-word Patreon-only post “Lovecraft and The Cult of the Peacock Angel”. That was on the topic of Lovecraft’s use of the Yazidis in the story “Red Hook”, and the surrounding historical context in the 1920s.

Other new discoveries this month were the address of the store where Lovecraft concluded his epic hunt for a cheap suit, after his clothes were stolen, and the location of a photo of the store interior (though not the photo itself). I also found a 1933 photo of a “biggest selection in the city” “50,000 magazines” store on Fulton St., Brooklyn — I can’t imagine this place was unknown to the Lovecraft Circle. If just one of the Circle had spotted it, then he would have told all the others.

New historic pictures made inside the Ladd Observatory were also noted, found over on the Observatory’s blog.

More importantly, in terms of influence Lovecraft’s major stories, I discovered that the Cloisters had been a significant antiquarian site for Lovecraft while in New York. This post led to a similar finding to that of my Yazidis essay, namely that mainstream academic scholarship was narrowing the scope that Lovecraft had for reader-friendly stories of devil-worshippers and the medieval gothic, and thus that ‘the times’ were pushing him to be radically more inventive by 1925/26. “Cthulhu” was a response not only to modernism, or to the new scientific discoveries, but also to strong and sudden shifts in ethnographic and medieval scholarship in the mid 1920s.

Password-protected Patreon-only posts, this month, were:

* “Lovecraft and The Cult of the Peacock Angel” (Lovecraft’s use of the Yazidis in “Red Hook”, and surrounding historical context in the 1920s).

* The Plot Genie (on a ‘plot-writing machine’).

* My Patrons on Patreon will also find a large printable version of “H.P.L. in N.Y.C.” (showing Lovecraft in Puritan garb, with the Brooklyn Bridge in the background), on the Patreon blog.

Giving just $1 a month both supports Tentaclii, and also gets you access to posts like these. You can also support my work simply by telling your friends about Tentaclii, especially if you know them to be generous with their Patreon account! There must surely be some people out there with a stash of $13k bitcoins in their wallet, and who are thus feeling just a bit more generous than usual.

Artwork: Lovecraft and astronomy

30 Sunday Jun 2019

Posted by asdjfdlkf in Lovecraftian arts

≈ Leave a comment

Here’s a potential cover for a non-fiction history book on Lovecraft and astronomy. I’ve taken off the pre-existing text (it was the cover for an old booklet from India), fixed an obscuring label, and also re-coloured. It’s 2,900px on the longest size and thus should work for a cover / back-cover on a Lulu.com 6″ x 9″ book.

The space on the right could potentially host a Fivver-commissioned cameo done in the same style, featuring Lovecraft’s face. Or perhaps the Lovecraft silhouette in cameo, with a holding line added around it.

Irvin Binkin meets H.P. Lovecraft

30 Sunday Jun 2019

Posted by asdjfdlkf in Historical context, Odd scratchings

≈ Leave a comment

Uploaded to Archive.org in February 2019, The Alien Critic #5 (May 1973). It has the article “Irvin Binkin meets H.P. Lovecraft”, by Jack Chalker, in which Chalker meets and hears from Binkin. Reprinted from Chalker’s ‘zine Viewpoint #1 (February 1973).

… he’s decided that owning the world’s largest collection of Lovecraft is better than collecting the huge sums he could sell it for (he’s already turned down $30,000).

Ze German Cthulhu

29 Saturday Jun 2019

Posted by asdjfdlkf in Historical context, Lovecraftian arts

≈ 3 Comments

How Germany saw Cthulhu in 1968. Art by Heinz Edelmann. Is it meant to indicate the idol? Or perhaps “The Hound”?

Virgil Finlay, via 1979

29 Saturday Jun 2019

Posted by asdjfdlkf in Lovecraftian arts

≈ Leave a comment

A lovely bit of pen and ink by Virgil Finlay, tucked away in Fantasy Newsletter #09 (1979) which has just popped up on Archive.org.

Published: Brumal’s Lovecraft issue

29 Saturday Jun 2019

Posted by asdjfdlkf in New books, Scholarly works

≈ Leave a comment

Brumal, Vol. 7, No. 1 (2019), the special issue on “The fantastic universe of H.P. Lovecraft”. Public open access, and online now in full. Only the paper “H.P. Lovecraft on Screen” is in English. The editors’s introduction doesn’t (on translation) appear to be a summary of the papers, but on clicking through you’ll find that each paper’s record page has an English abstract.

Friday ‘picture postals’ from Lovecraft: The Copp’s Hill Burying Ground

28 Friday Jun 2019

Posted by asdjfdlkf in Historical context, Picture postals

≈ 1 Comment

In early 1923 Lovecraft investigated the old North End of Boston and climbed up to the Copp’s Hill Burying Ground, est. 1659—1825…

At present this part of the town is an Italian quarter of the most squalid sort … Thence I proceeded up the steps to that fascinating necropolis the Copp’s Hill Burying Ground. This latter spot hath for me a singular fascination … Here are interr’d some of the most illustrious Colonial dead of the Province, including the Mathers, who are interesting to me from my possession of Cotton Mather’s “Magnalia Christi Americana”. But the chief charm of the scene is in the entire broad effect; the bleak hilltop with its horizon of leaden sky, harbour masts, and Colonial roofs. Over the sod was a thin coat of snow, thro’ which the slabs peer’d grimly whilst black leafless trees claw’d at a sinister lowering sky. … As I beheld the black slate slabs rising ghoulishly above the snow, & cast my glance about at the adjacent chimney-pots, it was difficult to realise that full two centuries have pass’d since the heyday of my particular aera. … In fancy I could conjure up the Boston of the late 17th century with its narrow, hilly, curving streets and quaint wooden and brick houses.

The above is a blend of two letters mentioning the same 1923 visit, one to Galpin and one to Kleiner. Lovecraft saw this old area just in time, as on a later visit in summer 1927 he was disappointed to find that large areas of the old town had been torn down and levelled.

A few years later Lovecraft would have Pickman paint a ghoulish scene here, in “Pickman’s Model”…

Gad, how that man could paint! There was a study called “Subway Accident”, in which a flock of the vile things were clambering up from some unknown catacomb through a crack in the floor of the Boylston Street subway and attacking a crowd of people on the platform. Another shewed a dance on Copp’s Hill among the tombs with the background of today. Then there were any number of cellar views, with monsters creeping in through holes and rifts in the masonry and grinning as they squatted behind barrels or furnaces and waited for their first victim to descend the stairs.


Above we see the side of the Copp’s Hill Burying Ground on the left of the pictures, with the street much as Lovecraft would have encountered it, perhaps photographed in the late 1910s and early 1920s. Even on a winter’s day Lovecraft encountered a small crowd of such urchins outside the Burying Ground, perhaps alerted by others who had seen him climbing through the squalid Italian quarter and up the hill — their juvenile trade was to spout some memorised historical doggerel to many visiting antiquarians and historians, and then demand coins for their ‘services’…

a horde of ragged little ciceroni who surrounded me & blocked my feet whilst spouting history in lifeless, mechanical voices. It was worth a handful of farthings to be rid of these small highwaymen, whose desire to instruct the traveller is not unmixt with a craving after sweetmeats.

It sounds like some of them may have been satisfied with candy from a bag Lovecraft had brought with him. He also always carried a small bag of cat-attracting catnip on such trips.

Exhibition: A major Beardsley show in London

27 Thursday Jun 2019

Posted by asdjfdlkf in Odd scratchings

≈ Leave a comment

A large Aubrey Beardsley exhibition will open in London on 4th March 2020, at the Tate. Over 200 original works, plus a selection of key inspirations for Beardsley, including works by Edward Burne-Jones and Gustave Moreau. Likely to be hugely popular, and very early booking is advisable.

Released: The Sinking City

26 Wednesday Jun 2019

Posted by asdjfdlkf in Lovecraftian arts

≈ 1 Comment

You’re probably utterly fed up of hearing about The Sinking City, after what seems to have been years of interminable marketing overkill for a product that kept getting delayed. I’ve basically ignored it up until now. But finally, this new game has actually been released today on consoles, in stores (a DVD with what appears to be a Steam-lock), and a digital download for Windows PCs (the latter via the Epic Games Store only, so don’t go looking for it on Amazon or Steam).

There are now some genuine reviews available, from those who’ve completed it.

Why might the game be important? Partly because it follows the recent Lovecraft-faithful Call of Cthulhu (Cyanide Studios, 2018) and the general critical success of that game among fair-minded reviewers. Despite its imperfections, the initial sales success did wonders for Chaosium’s cash-flow, the company on whose famous RGP game it was closely based. Having two solid Lovecraftian games in a row, games that get a lot of things right in terms of aligning Lovecraft’s original vision with gaming fun, would be good. If might also lead to further glimmerings of understanding, among the masses, about who H.P. Lovecraft was.

But mainly The Sinking City promised to be important because the Ukrainian makers have a good track record, making detective-mystery-horror adventure games with Sherlock Holmes (apart from one, 2016’s Devil’s Daughter — which had a very weak storyline and crippling launch-day bugs). The Sinking City is the maker’s first Lovecraft game. From the E3 previews and trailers one can see that it’s big, polished, and from a team that really knows what they’re doing. Will it, therefore, be as enjoyable and accessible as nearly all of their Sherlockian outings?

Picture: early concept art.

The setting is a 1920s coastal town of Oakmont (croak-monsters, geddit…) in New England, realised as a big ‘open world’ town… and if you’re a regular reader of this blog then I guess you kind of know the rest. It’s a good start that the makers have chosen such a historical setting. There’s also a Dark Corners-like ‘sanity meter’ in the game, another promising sign.

One difference from Lovecraft’s stories, though, is that your hero is physically Sherlockian and vulpine. He’s a cynical noir-detective type in post-war shell-shock, rather than a wilting antiquarian poet. As such you apparently get a Thomas F. Malone-like insight into ‘the world of hidden things’, you sport a nice Indiana Jones style hat, and (despite the “doesn’t like violence” on the character sheet) get to use guns and grenades.

Anyway, that’s the basics. It was released 48 hours early, to those who pre-ordered it, to try to forestall the usual haters. Here’s what some of the initial reviews say today…


A “decent detective game … As you explore a crime scene you collect clues that, while useless on their own, can be connected in the Mind Palace to open up new lines of investigation. And you have to make these connections yourself, without any hand-holding or hints, which makes a successful deduction especially satisfying. [yet] the solutions to many of the cases lacked a satisfying “Aha!’ moment. … combat is basic and uninspiring … [overall] it doesn’t quite stack up with the best of Frogwares’ Sherlock series” — PC Gamer, UK edition.

“Repetitive detective work … The most captivating cases are the more supernatural ones, where what one discovers is so unpleasant that it becomes worthwhile and one seeks out more such investigations. I wish the game had dared to slip away more often from the hard-boiled detective stance and let its atmosphere drift toward the approaching insanity that has Oakmont in its slimy grip.” — PC Gamer, Swedish edition (translation).

What’s not even mentioned in PC Gamer and other reviews is that there are adjustable levels of difficulty…

“… the perk of the easier game modes is they will give you hints as to what you should do next. While playing on master sleuth difficulty, you really are left to your own devices to figure things out.” — GameSpace.com

… while the Daily Dot also points out that 6-hour rush-reviewers may not have played it correctly…

“Where The Sinking City shines is in the elimination of any simple solutions. No matter how big or small the investigation, you must do it yourself. … The Sinking City demands astute observation—in everything from vague suspect descriptions to the intersection of street corners. Players must commit the very geography of Oakmont’s intricacies to memory.” — The Daily Dot.

“One of the real highlights of The Sinking City is how much freedom of movement there is and how much there is to explore. … the graphics in The Sinking City are gorgeous … When I was walking around many of the city squares, I was often reminded of Red Dead Redemption 2 both in the detail of creating the feel of a city in the grips of disaster and also just how beautiful everything looks. Top notch job on selling the setting and making it believable. It’s exciting and enthralling from the first moments right up to the very end. My biggest complaint is the archives [city and newspaper archives] are more frustrating to use than they should be, but that’s not a huge deal overall.” — GameSpace.com

“The city of Oakmont has quite a lot of character … boating through the town is genuinely enjoyable, even if you can get stuck on a reef and have no ability to just, like, nudge your boat back into the water. … The shooting feels terrible, encouraging you to mostly avoid it. Sometimes it’s better to run… Detective Charles Reed is a healthy mix of witty and dreary. And while Oakmont itself is samey within its own city limits, it’s a memorable setting nonetheless. … manually placing markers on the map (lots of markers) in order to track down quest and side-quest locations is great. I love it. Far more than if waypoints just automatically populated the map, like in pretty much any other open-world video game.” — gamingnexus.com

“Sinking City does a fantastic job of keeping you on edge. The visions are genuinely unnerving, even if you’ve seen most of them with an hour or so of playing. The ambient noise of the city always sounds a little like something sneaking up behind you … an incredible atmosphere that really grips the darkest parts of your mind. Oakmont feels hostile, unwelcoming and full of secrets … While it stumbles with its characters and combat, The Sinking City is a great first step [for those new to such gaming] into the supernatural detective game.” — The Daily Star, UK tabloid newspaper.

“While the combat fails to prove engaging [and needs the inevitable post-launch patch]… The Sinking City delivers when it needs to. There’s a section early on where Reed dives underwater that truly contains one of the most bone-chilling, terrifying sequences I’ve ever seen.” — The Daily Dot.

“The Sinking City is well worth playing for the initial rhythm of its casework and the freshness of its setting, but its mechanics, like its mystery, end up flooded [by elements that ‘pad-out’ the gameplay].” — videogamer.com

“Despite some technical shortcomings and constraints, The Sinking City does have a lot going for it. Fans of Lovecraft’s work will find plenty of references to dig into here. … I was impressed at how the Lovecraftian lore was intertwined into this spiralling tale. … More than other video games I can remember playing, I really felt I was investigating and solving a case here. I ended up being much more invested in building conclusions than I had anticipated.” — PlaystationLifestyle.

“More than any game I’ve played before, The Sinking City understands what it means to be Lovecraftian. Oakmont is contaminated with hatred and sickly, chilling environmental detail. Citizens spew vitriol at the player and at one another. The streets are often raked with rain and a harsh wind. Frogwares’ detailed ambiance goes a long way in making this game stand out among a crowded field.” — The Daily Dot.

Investigations can be… “repetitive, to say the least, but I enjoyed these investigations far longer than I thought I would. [Despite some lacklustre “bring me three X’s and I’ll tell you what I know” side-quests] I was still compelled to see the main story through to its conclusion. There are enough intrigues and unique characters I wanted to talk to, to just abandon it, despite it eventually culminating in an ending that falls flat despite its grand build-up. Yet while I enjoyed and frequently appreciated the side characters and the often fantastic voice acting given to them, I think The Sinking City’s other large problem is [the wooden detective] Charles Reed himself.” — MS Power User.

“It’s janky, a little unpolished and ugly but I couldn’t stop playing it.” — PowerUp!

“PC players need not worry too much about major problems such as crashes. I haven’t experienced any. Stuttering and slowdowns were also non-existent.” —PC Invasion technical review.

“[After finishing it] I realized that it’s a game which I would consider a treat for fans of H. P. Lovecraft’s works, the Cthulhu Mythos, and various stories of cosmic horrors and nightmares from the depths. Its presentation and atmospheric tones, at times disturbing and oftentimes portraying abject misery, perfectly depict the worlds crafted by masters of ungodly visions and terrors. The Sanity Effects and investigation processes are also decent and surprising at points. They’re even psychologically jarring on a couple of occasions. But as a survival horror or open-world adventure game, however, The Sinking City only wades in knee-deep waters instead of diving in to create something truly special.” — PC Invasion full review.


So it sounds like its the usual story for a first-day game release. Wait for a year, until the first three bug-fixing and AI-fixing patches are out, and there are two or three expansion packs to fill up the empty spaces the makers have deliberately left in their large open-world. If you’re a three-games-a-week player then you’ll probably hate it because you’ve ‘seen it all before’ and combat is poor and the weapons puny, but three-games-a-year players new to detective-mystery games will probably get a lot out of it. Seems to work best on a Windows gaming PC, at present.

Overshadowing

26 Wednesday Jun 2019

Posted by asdjfdlkf in Podcasts etc.

≈ Leave a comment

[youtube https://www.youtube.com/watch?v=_3fEU-Bo6Sw&w=560&h=315]

New and Lovecraftian on DeviantArt

25 Tuesday Jun 2019

Posted by asdjfdlkf in Lovecraftian arts

≈ Leave a comment

BrainBot 2019 by StMan of Finland.

Abominations bookmarks by GwilymG of France. Currently open for cat commissions.

Prisoner Of The Moonbeasts by TikiFreaky of the USA. A scene from “Dream Quest”. 2018, but new to me.

The Statement of Randolph Carter by Nightserpent of Boston, USA. Nightserpent also has a wealth of other Lovecraft art.

Nyarlathotep by Winfred-S.

Kittee Tuesday: Aliens in Space

25 Tuesday Jun 2019

Posted by asdjfdlkf in Lovecraftian arts

≈ Leave a comment

Celebrating H.P. Lovecraft’s interest in our fascinating felines.

The cover of the hardback art-timeline book Aliens in Space, 1979, Stewart Cowley under the pen-name of ‘Steven Caldwell’. Cover painting by Bob Layzell. The Galactic Encounters books were a post-Star Wars series spun off from the Terran Trade Authority (TTA) books of the 1970s. The series took the reprint rights on art for space sci-fi paperback covers and used the covers to illustrate a timeline of an imagined spacefaring future.

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