Lovecraftian horror
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Lovecraftian horror is a sub-genre of horror fiction which emphasizes the psychological horror of the unknown (in some cases, unknowable) over gore or other elements of shock, which may still be present.[1]
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[edit] Origin
H. P. Lovecraft refined this style of story-telling into his own mythos that involved a set of supernatural, pre-human and extra-terrestrial elements.[2] His work was informed by and similar to that of previous authors such as Edgar Allan Poe[3] and Algernon Blackwood. The hallmark of Lovecraft's work was the sense that ordinary life was a thin shell over a reality which was so alien and abstract in comparison that merely contemplating it would damage the sanity of the ordinary person.
Lovecraft's work was also steeped in the insular feel of rural New England, and much of the genre continues to maintain this sense that "that which man was not meant to know" might be closer to the surface of ordinary life outside of the crowded cities of modern civilization. However, Lovecraftian horror is by no means restricted to the countryside; 'The Horror at Red Hook', for instance, is set in a crowded ethnic ghetto.
[edit] Themes of Lovecraftian horror
Several themes found in Lovecraft's writings are considered to be a component of a "Lovecraftian" work:
- Anti-anthropocentrism, misanthropy in general. Lovecraft's works tend not to focus on characterization of humans, in line with his view of humanity's insignificant place in the universe, and the general Modernist trend of literature at the time of his writings.
- Preoccupation with viscerate texture. The "horror" features of Lovecraft's stories tend to involve semi-gelatinous substances, such as slime, as opposed to standard horror tropes such as blood, bones, or corpses.
- Antiquarian writing style. Even when dealing with up-to-date technology, Lovecraft tended to use anachronisms as well as old-fashioned words when dealing with such things. For example, he used the term "men of science" rather than the modern word, "scientist" and often spelled "show" as "shew".
- Detachment. Lovecraftian heroes (both in original writings and in more modern adaptations) tend to be isolated individuals, usually with an academic or scholarly bent.
- Helplessness and hopelessness. Although Lovecraftian heroes may occasionally deal a "setback" to malignant forces, their victories are temporary, and they usually pay a price for it. Otherwise, subjects often find themselves completely unable to simply run away, instead driven by some other force to their desperate end.
- Unanswered questions. Characters in Lovecraft's stories rarely if ever fully understand what is happening to them, and often go insane if they try.
- Sanity's fragility and vulnerability when faced with the extraordinary truths witnessed, heard or felt by characters in many of Lovecraft's tales.
[edit] Collaborators and followers
Much of Lovecraft's influence is secondary, as he was a friend, inspiration, and correspondent to many authors who would gain fame through their creations. Many of these also worked with Lovecraft on jointly-written stories. His more famous friends and collaborators include Robert Bloch, author of Psycho; Robert E. Howard, creator of Conan the Barbarian; and August Derleth, who codified and added to the Cthulhu Mythos.
Subsequent horror writers also heavily drew on Lovecraft's work. While many made direct references to elements of Lovecraft's mythos, either to draw on its associations or to acknowledge his influence, many others drew on the feel and tone of his work without specifically referring to mythos elements. Some have said that Lovecraft, along with Edgar Allan Poe, is the most influential author on modern horror. Author Stephen King has said: "Now that time has given us some perspective on his work, I think it is beyond doubt that H. P. Lovecraft has yet to be surpassed as the Twentieth Century's greatest practitioner of the classic horror tale."[4]
By the late 20th century, Lovecraft had become something of a pop-culture icon, resulting in countless reinterpretations of and references to his work. Many of these fall outside the sphere of 'Lovecraftian horror' proper and are not discussed here; see instead Cthulhu Mythos in popular culture.
[edit] Literature and art
Lovecraft's work, mostly published in pulp magazines, has never had the same sort of influence on literature as his high-modernist literary contemporaries such as Ernest Hemingway and F. Scott Fitzgerald – some of the most influential authors in American history. However, his impact is still broadly and deeply felt in some of the most celebrated authors of contemporary fiction.[5] The fantasias of the Argentinian short story writer and essayist Jorge Luis Borges display a marked resemblance to some of Lovecraft's more dream influenced work,[6] and Borges dedicated his story, "There Are More Things" to Lovecraft. The controversial French novelist Michel Houellebecq has also cited Lovecraft as an influence and has written a lengthy essay on Lovecraft entitled H. P. Lovecraft: Against the World, Against Life in which he refers to the Cthulhu cycle as "the great texts."
Lovecraft's penchant for dreamscapes and for the biologically macabre has also profoundly influenced visual artists such as Jean "Moebius" Giraud and H.R. Giger. Giger's book of paintings which led directly to many of the designs for the film Alien was named Necronomicon, the name of a fictional book in several of Lovecraft's mythos stories. Dan O'Bannon, the original writer of the Alien screenplay, has also mentioned Lovecraft as a major influence on the film. With Ronald Shusset, he would later write Dead & Buried and Hemoglobin, both of which were admitted pastiches of Lovecraft.
[edit] Comics
Lovecraft has cast a long shadow across the comic world. This has included not only adaptations of his stories, like H. P. Lovecraft's Cthulhu: The Whisperer in Darkness, Graphic Classics: H.P. Lovecraft[7] and MAX's Haunt of Horror,[8] but also the incorporation of the Mythos into new stories.
Alan Moore has touched on Lovecraftian themes, most obviously in his The Courtyard and Yuggoth Cultures and Other Growths, but also in his Black Dossier. Gordon Rennie not only used various Lovecraft creations, like Tcho-Tcho, in his Necronauts, but he also included Lovecraft himself as a character, teaming up with an influence of his[9] Charles Fort, a combination that would occur again in Fort: Prophet of the Unexplained. Necronauts wasn't the first appearance of Lovecraftian horror in 2000 AD as Grant Morrison's Zenith involved the eponymous hero trying to stop the Lloigor.
Boom! Studios have also run a number of series based on Cthulhu and other characters from the mythos, including Cthulhu Tales[10] and Fall of Cthulhu[11]
The creator of Hellboy, Mike Mignola, has described the books as being influenced primarily by the works of Lovecraft, in addition to those of Robert E. Howard and the legend of Dracula.[12] This was adapted into the 2004 film Hellboy.
[edit] Movies and television
With the advent of film, Lovecraftian horror truly became a sub-genre, fueling not only direct adaptations of Poe and Lovecraft, but providing the foundation upon which many of the horror films of the 1950s and 1960s were constructed. One notable movie-maker to dip into the Lovecraftian well was 1960s B-movie maker, Roger Corman, though in 1965 Die, Monster, Die! (an adaptation of The Colour Out of Space so loose that it was nearly unrelated), caused movie makers to re-consider the value of Lovecraftian horror.
Rod Serling's 1969-73 series, Night Gallery, adapted at least two Lovecraft stories, "Pickman's Model" and "Cool Air". The episode "Professor Peabody's Last Lecture", concerning the fate of a man who read the Necronomicon, included a student named "Mr. Lovecraft". Another five minute short was called "Ms. Lovecraft Sent Me", about a babysitter and her strange client. Peabody is also a name used by Lovecraft in "At the Mountrains of Madness"
In the late 1970s a revival of the horror movie genre was based on the success of Stephen King and Brian de Palma's Carrie; John Carpenter's Halloween; and Dan O'Bannon and Ridley Scott's Alien. All three movies bore Lovecraftian influences to one degree or another, and their authors were deeply influenced by Lovecraft's works. As the 1980s and 1990s played out, Lovecraftian horror became a recognizable film staple in such varied films as the self-referential In the Mouth of Madness, the comedic Re-Animator, and Carpenter's Antarctic horror The Thing.
[edit] Games
Lovecraft's characters and settings have appeared in many video games and role-playing games. Some of these used Lovecraft's creations chiefly for 'name value' (again, see also Cthulhu Mythos in popular culture), but others have embraced Lovecraft's characteristic mood and themes.
[edit] Roleplaying
In the early 1970s, Dungeons and Dragons drew from many of the most popular fantasy settings including those of some of Lovecraft's contemporaries. However, Lovecraftian elements in the game would wait until Dragon magazine issue #12 in 1978 with Robert J. Kuntz's, "The Lovecraftian Mythos in Dungeons & Dragons."[13] In 1980 a hardcover collection of the various fantasy and historical pantheons available for the game was published under the title, Deities & Demigods. The first and second printings contained a version of the Cthulhu mythos, but that section was removed in the third and subsequent printings for copyright reasons.[14]
As the game has evolved, many of the creatures (e.g. the illithid) and even gods (e.g. Tharizdun) that were introduced were inspired by Lovecraft's works; and in October 2004, Dragon magazine published a lengthy article titled "The Shadow Over D&D: H. P. Lovecraft's Influence on Dungeons & Dragons" discussing these influences.[13]
Dungeons & Dragons was not the only roleplaying game to incorporate Lovecraftian horror, however. Perhaps the most overt example was published in 1980. Call of Cthulhu is directly based on the Cthulhu mythos. In keeping with its source material, and unlike most other role-playing games, characters who attempt to confront its monsters directly are likely to die or be driven insane rather than succeed. This is reinforced by the game's best-known feature, a mechanic by which knowledge about mythos entities can only be gained at a permanent cost to one's sanity.[15] Following this roleplaying game into a modern era with an emphasis on military hardware and espionage wetware is Delta Green in which characters fight with the Mythos and its conspiracies more directly.
Steve Jackson Games' GURPS, a genre-neutral game system, was first published in 1986 and brought diverse elements of fiction and non-fiction together across their lengthy list of published supplements which included Cthulhupunk, a licensed adaptation of Call of Cthulhu into a cyberpunk setting.
[edit] Video games
Video games, like films have a rich history of Lovecraftian elements and adaptations.[16] In 1987, The Lurking Horror was the first to bring the Lovecraftian horror sub-genre to the multiple computer platforms. This was a text based adventure game, released by Infocom, who are best known for the Zork series.
As 3-D computer graphics games developed, so too did the Lovecraftian influences. In 1992, Alone in the Dark was published by Infogrames for the PC, claiming to be inspired by the works of Lovecraft on its retail box.
The same company also published the cult classic graphic adventures "Shadow of the Comet" and "Prisoner of Ice".
In the seminal 3D first person shooter, Quake in 1996, environments, creatures (including names such as Shub-Niggurath), and the atmosphere of the game emphasized many traditionally Lovecraftian features, with the architecture of the otherworldly dimension resembling many of Lovecraft's descriptions of ancient ruins and alien worlds. The three sequels, as of 2005, contain no Lovecraftian elements, however, and have opted for a more typical science fiction and mainstream horror approach, whose monsters now include only differing types of androids (mechanised alien species).
Eternal Darkness, a 2002 GameCube game by Silicon Knights, was extremely Lovecraftian. The game focused on the actions of a number of humans, who throughout history had learned of the 'unknowable reality' present in Lovecraft's works, and had fought back against the manipulations of the 'Ancients,' deities very much like Lovecraft's. Monsters drained the sanity of the protagonists, and until the very end of the game, each character ended his or her chapter in seeming failure, providing only minor or temporary setbacks for the Ancients.
The Silent Hill series has been influenced by Lovecraft and shares many similar themes.
The Call of Cthulhu: Dark Corners of the Earth game for the Xbox and PC in 2005 is directly set in the world of Lovecraft, largely based around the short story "The Shadow Over Innsmouth". The game contains many settings of "Lovecraft Country", as well as alien worlds and planes of existence. "Shadow over Innsmouth" was also referenced in the Xbox 360 and PC game, The Elder Scrolls IV: Oblivion, which had a miscellaneous quest entitled "Shadow over Hackdirt" where the player had to rescue a girl from cultists in that town, directly featuring (but never actually showing) creatures called the "Deep Ones", whom the cultists worshiped..
The Shadow Hearts series draws heavily from Lovecraftian lore. The designs of the monsters, as well as the dark and frightful sceneries. H.P. even appears as a character in Shadow Hearts: From the New World.
An independently made interactive fiction text adventure called Anchorhead (game) was based largely on the Cthulhu mythos.
[edit] Notes
- ^ Harms, Daniel (2006). The Encyclopedia Cthulhiana: A Guide to Lovecraftian Horror. Chaosium.
- ^ Lovecraft, H. P. (1992). Crawling Chaos: Selected works 1920-1935 H. P. Lovecraft, introduction by Colin Wilson, Creation Press.
- ^ Bloch, Robert (August 1973). "Poe & Lovecraft". Ambrosia (No. 2).
- ^ Wohleber, Curt (December 1995). "THE MAN WHO CAN SCARE STEPHEN KING" (volume 46, issue 8).
- ^ Stentz, Zack (1997). "Return of the Weird" (January 2-8, 1997 issue).
- ^ Lord, Bruce. Some Lovecraftian Thoughts On Borges’ “There Are More Things”.
- ^ Graphic Classics: H.P. Lovecraft
- ^ Corben and Lovecraft at Marvel in June, Newsarama, march 20, 2008
- ^ Charles Fort and Astounding Science Fiction
- ^ We Are But Ants: Mark Waid & Steve Niles Talk Lovecraft, Comics Bulletin, February 1, 2008
- ^ Fall of Cthulhu at the Comic Book DB
- ^ Fassbender, Tom. Interviews: Mike Mignola. Dark Horse.
- ^ a b Jacobs, James (October 2004). "The Shadow Over D&D: H. P. Lovecraft's Influence on Dungeons & Dragons". Dragon (#324).
- ^ The Acaeum page on Deities & Demigods. Retrieved on 2007-02-21. shows contents of different printings.
- ^ MacLaurin, Wayne and Neil Walsh (1997). Call of Cthulhu: A Look at Chaosium's Horrifying Journey into the Worlds of H. P. Lovecraft, Part I.
- ^ Zenke, Michael. Dreading the Shadows on the Wall. The Escapist.
[edit] References
- Bloch, Robert (August 1973). "Poe & Lovecraft". Ambrosia (No. 2).
- Fassbender, Tom. Interviews: Mike Mignola. Dark Horse.
- Harms, Daniel (2006). The Encyclopedia Cthulhiana: A Guide to Lovecraftian Horror. Chaosium.
- Jacobs, James (October 2004). "The Shadow Over D&D: H. P. Lovecraft's Influence on Dungeons & Dragons". Dragon (#324).
- Lovecraft, H. P. (1992). Crawling Chaos: Selected works 1920-1935 H. P. Lovecraft, introduction by Colin Wilson, Creation Press.
- Zenke, Michael. Dreading the Shadows on the Wall. The Escapist.
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