"Eldritch horror" redirects here. For the board game, see Eldritch Horror.
Lovecraftian horror, also called cosmic horror[2] or eldritch horror, is a subgenre of horror, fantasy fiction and weird fiction that emphasizes the horror of the unknowable and incomprehensible[3] more than gore or other elements of shock.[4] It is named after American author H. P. Lovecraft (1890–1937). His work emphasizes themes of cosmic dread, forbidden and dangerous knowledge, madness, non-human influences on humanity, religion and superstition, fate and inevitability, and the risks associated with scientific discoveries,[5] which are now associated with Lovecraftian horror as a subgenre.[6] The cosmic themes of Lovecraftian horror can also be found in other media, notably horror films, horror games, and comics.
The hallmark of Lovecraft's work is cosmicism, the sense that ordinary life is a thin shell over a reality that is so alien and abstract in comparison that merely contemplating it would damage the sanity of the ordinary person,[12] insignificance and powerlessness at the cosmic scale,[14] and uncompromising negativity.[15] Author China Miéville notes that "Lovecraft's horror is not one of intrusion but of realization. The world has always been implacably bleak; the horror lies in our acknowledging that fact."[16] Lovecraft's work is also steeped in the insular feel of rural New England,[17][18] 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.[citation needed]
Themes
The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown.
Attack the story like a radiant suicide, utter the great NO to life without weakness; then you will see a magnificent cathedral, and your senses, vectors of unutterable derangement, will map out an integral delirium that will be lost in the unnameable architecture of time.
The core themes and atmosphere of cosmic horror were laid out by Lovecraft himself in "Supernatural Horror in Literature", his essay on gothic, weird, and horror fiction. A number of characteristics have been identified as being associated with Lovecraftian horror:
The "fear and awe we feel when confronted by phenomena beyond our comprehension, whose scope extends beyond the narrow field of human affairs and boasts of cosmic significance".[21] Here horror derives from the realization that human interests, desires, laws and morality have no meaning or significance in the universe-at-large.[22] Consequently, it has been noted that the entities in Lovecraft's books were not evil. They were simply far beyond human conceptions of morality.[22]
A "contemplation of mankind's place in the vast, comfortless universe revealed by modern science" in which the horror springs from "the discovery of appalling truth".[23]
A naturalistic fusion of horror and science fiction in which presumptions about the nature of reality are "eroded".[24]
That "technological and social progress since Classical times has facilitated the repression of an awareness of the magnitude and malignity of the macrocosm in which the human microcosm is contained", or in other words, a calculated repression of the horrifying nature of the cosmos as a reaction to its "essential awfulness."[25]
Having protagonists who are helpless in the face of unfathomable and inescapable powers, which reduce humans from a privileged position to insignificance and incompetence.[26][27]
Preoccupation with visceral textures, protean semi-gelatinous substances and slime, as opposed to other horror elements such as blood, bones, or corpses.[28]
Collaborators and followers
Much of Lovecraft's influence is secondary, as he was a friend, inspiration, and correspondent to many authors who developed their own notable works. Many of these writers also worked with Lovecraft on jointly written stories. His more famous friends and collaborators include Robert Bloch,[29] author of Psycho; Robert E. Howard, creator of Conan the Barbarian; and August Derleth, who focused on extending the Cthulhu Mythos.[30]
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."[31]
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, but represent Cthulhu Mythos in popular culture.
Literature and art
Lovecraft's work, mostly published in pulp magazines, never had the same sort of influence on literature as his high-modernist literary contemporaries such as Ernest Hemingway and F. Scott Fitzgerald. However, his impact is still broadly and deeply felt in some of the most celebrated authors of contemporary fiction.[32] The fantasias of Jorge Luis Borges display a marked resemblance to some of Lovecraft's more dream-influenced work.[33] Borges also dedicated his story, "There Are More Things" to Lovecraft, though he also considered Lovecraft "an involuntary parodist of Poe."[34] The French novelist Michel Houellebecq has also cited Lovecraft as an influence in his essay H. P. Lovecraft: Against the World, Against Life in which he refers to the stories written in the last ten years of Lovecraft's life as "the great texts".[19]
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 Shusett, he would later write Dead & Buried and Hemoglobin, both of which were admitted pastiches of Lovecraft.
Comics
Lovecraft has cast a long shadow across the comic world. This has included not only adaptations of his stories, such as H.P. Lovecraft's Worlds, H. P. Lovecraft's Cthulhu: The Whisperer in Darkness, Graphic Classics: H. P. Lovecraft,[35] and MAX's Haunt of Horror,[36] but also the incorporation of the Mythos into new stories.
As well as appearing with Fort[clarification needed] in two comics stories, Lovecraft has appeared as a character in a number of Lovecraftian comics. He appears in Mac Carter and Tony Salmons's limited series The Strange Adventures of H. P. Lovecraft from Image[40] and in the Arcana children's graphic novel Howard and the Frozen Kingdom from Bruce Brown.[41] A webcomic, Lovecraft is Missing, debuted in 2008 and takes place in 1926, before the publication of "The Call of Cthulhu", and weaves in elements of Lovecraft's earlier stories.[42][43]
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.[46] This was adapted into the 2004 film Hellboy. His Elseworlds mini-series The Doom That Came to Gotham reimagines Batman in a confrontation with Lovecraftian monsters.[47]
The manga artist Junji Ito is heavily influenced by Lovecraft.[48]Gou Tanabe has adapted some of Lovecraft's tales into manga.[49]
Issue #32 of The Brave and the Bold was heavily influenced by the works and style of Lovecraft. In addition to using pastiches of Cthulhu, the Deep Ones, and R'lyeh, writer J. Michael Straczynski also wrote the story in a distinctly Lovecraftian style. Written entirely from the perspective of a traumatized sailor, the story makes use of several of Lovecraft's trademarks, including the ultimate feeling of insignificance in the face of the supernatural.[citation needed]
Film and television
From the 1950s onwards, in the era following Lovecraft's death, Lovecraftian horror truly became a subgenre, not only fueling direct cinematic adaptations of Poe and Lovecraft, but providing the foundation upon which many of the horror films of the 1950s and 1960s were constructed.
Though not direct adaptations, the episodes of the well-known series The Outer Limits often had Lovecraftian themes, such as human futility and insignificance and the limits of sanity and understanding.
The 1970s produced a number of films that have been classified as Lovecraftian horror. This includes the themes of human fragility, impotence in the face of the unknowable, and lack of answers in Picnic at Hanging Rock,[50][51] and The Dunwich Horror, with its source in Lovecraft's work and emphasis on "forces beyond the protagonist's control."[52] The 1979 film Alien has been described as Lovecraftian due to its theme of "cosmic indifference", the "monumental bleakness" of its setting, and leaving most questions unanswered.[53]
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", along with other students sharing names of authors in the Lovecraft Circle.
1980s
In 1981, The Evil Dead comedy horror film franchise was created by Sam Raimi after studying H. P. Lovecraft. It consists of the films The Evil Dead (1981), Evil Dead II (1987), and Army of Darkness (1992). The Necronomicon Ex-Mortis, or simply The Book of the Dead, is depicted in each of the three films.
The 1991 HBO film Cast a Deadly Spell starred Fred Ward as Harry Phillip Lovecraft, a noir detective investigating the theft of the Necronomicon in an alternate universe 1948 Los Angeles where magic was commonplace. The sequel Witch Hunt had Dennis Hopper as H. Phillip Lovecraft in a story set two years later.
The self-referential Necronomicon (1993), featured Lovecraft himself as a character, played by Jeffrey Combs. The three stories in Necronomicon are based on two H. P. Lovecraft short stories and one Lovecraft novella: "The Drowned" is based on "The Rats in the Walls", "The Cold" is based on "Cool Air", and "Whispers" is based on The Whisperer in Darkness.
1994's The Lurking Fear is an adaptation of Lovecraft's story "The Lurking Fear". It has some elements faithful to Lovecraft's story, while being hijacked by a crime caper subplot.
This period saw a few films using lovecraftian horror themes. 2007's The Mist, Frank Darabont's movie adaptation of Stephen King's 1985 novella by the same name, featuring otherworldly Lovecraftian monsters emerging from a thick blanket of mist to terrify a small New England town,[54] and 2005's The Call of Cthulhu, made by the H. P. Lovecraft Historical Society, a black and white adaptation using silent film techniques to mimic the feel of a film that might have been made in the 1920s, at the time that Lovecraft's story was written.
2001's Dagon is a Spanish-made horror film directed by Stuart Gordon. Though titled after Lovecraft's story "Dagon", the film is actually an effective adaptation of his story The Shadow over Innsmouth.
Cthulhu is a 2000 Australian low budget horror film directed, produced, and written by Damian Heffernan. It is mostly based on two Lovecraft stories, "The Thing on the Doorstep" and The Shadow Over Innsmouth.
2007's Cthulhu, directed by Dan Gildark, is loosely based on the novella The Shadow over Innsmouth (1936). The film is notable among works adapted from Lovecraft's work for having a gay protagonist.
2010s
Since 2010, a number of popular films have used elements of cosmic horror, notably Alex Garland's Annihilation[55][56] (based on the 2014 novel of the same name by Jeff VanderMeer) with its strong themes of incomprehensibility and outside influence on Earth. Robert Eggers' 2019 movie The Lighthouse has been compared to Lovecraft's works due to the dreary atmosphere, deep sea horror imagery and the otherworldly and maddening power of the titular lighthouse that drives the protagonists to insanity.[57][58]Ridley Scott's 2012 science-fiction horror epic Prometheus[53][59][60] and Gore Verbinski's 2016 film A Cure for Wellness[61][62] have been noted for their Lovecraftian elements. HBO's 2019 miniseries Chernobyl has been described as "the new face of cosmic horror", with radiation filling the role of an incomprehensible, untamable, indifferent terror.[63]
Elements of Lovecraftian horror have appeared in numerous video games and role-playing games. These themes have been recognized as becoming more common,[79] although difficulties in portraying Lovecraftian horror in a video games beyond a visual aesthetic are recognized.[80][81][82]
Tabletop
Lovecraft was an influence on Dungeons & Dragons starting in the early 1970s,[83] and initial printings of AD&DDeities & Demigods included characters from Lovecraft's novels.[84]Dungeons & Dragons influenced later role-playing games, including Call of Cthulhu (1980) which influenced later board games such as the adventure board game Arkham Horror (1987) and Arkham Horror: The Card Game (2016), and recruited new fans for the Cthulhu mythos.[85]Magic: The Gathering expansions such as Battle for Zendikar (2015), Eldritch Moon (2016), and Shadows over Innistrad (2016) contain Lovecraftian components.[86]
The tabletop co-op game Cthulhu: Death May Die is also based on Lovecraft's works as it is set in the world of the Cthulhu Mythos and has the players taking the role of a group of investigators trying to interrupt the awakening of the titular deity by a group of cultists in order to make him vulnerable and slay the eldritch god once and for all by shooting him in the face[87].
Video games
1980s and 1990s
Video games, like films, have a rich history of Lovecraftian elements and adaptations.[88] In 1987, The Lurking Horror was the first to bring the Lovecraftian horror subgenre to computer platforms. This was a text-based adventure game, released by Infocom, who are best known for the Zork series.
Shadow of the Comet, a game which takes place in the 19th century, is strongly inspired by the myth of Cthulhu.
The 1998 text adventure game Anchorhead is heavily inspired by Lovecraftian Horror and features many elements of the Cthulhu mythos, as well as quotes from Lovecraft.
The 2005 Russian game Pathologic features many themes common in Lovecraftian works: The three main characters are all in some way outsiders to the city. The game centers around an unstoppable plague which leaves gelatinous bloody slime in contaminated areas; the player character is completely helpless in stopping the plague.
Eternal Darkness: Sanity's Requiem for the GameCube utilizes heavy themes of cosmic horror throughout the game, in particular with the player characters' sanity being affected through their interactions with the supernatural.
In 2020, Call of the Sea, an adventure-puzzle game heavily inspired by the works of Lovecraft, was released.
Horror-adventure game No One Lives Under the Lighthouse draws significant inspiration from Lovecraft's work. Signalis, a 2022 horror game, is inspired by and features a quotation from Lovecraft's short story The Festival. The Baby in Yellow is a 2023 Lovecraftian indie horror game created by Swedish designers about a babysitter and a demon possessed baby.[104]
Dredge is a 2023 indie fishing video game, which follows a fisherman who encounters increasingly Lovecraftian creatures as he ventures out further into an open world archipelago.
^Miéville, China (2005). "Introduction."At the Mountains of Madness: The Definitive Edition. New York: Penguin Random House. p. i–xxv. ISBN9780812974416.
^Indick, Ben P. (2007). "King and the Literary Tradition of Horror and the Supernatural". In Bloom, Harold (ed.). Bloom's Modern Critical Views: Stephen King. Chelsea House. pp. 5–16.
^Carlin, Gerry; Allen, Nicola (2013). "Slime and Western Man: H. P. Lovecraft in the Time of Modernism". In Simmons, David (ed.). New Critical Essays on H.P. Lovecraft. Palgrave Macmillan. pp. 73–90.
^Tate, Ray. "Batman: The Doom That Came to Gotham #1 Review". Comics Bulletin. Archived from the original on 2021-02-24. Retrieved 2010-08-03. Only a half-wit can mess up a concept like Batman if written by H. P. Lovecraft. Mike Mignola's mind has been enslaved by the Great Ones. He easily evokes the atmosphere of the grandmaster of horror.
^Puccio, John (5 July 2012). "THE WHISPERER IN DARKNESS – Blu-ray review". moviemet.com. Retrieved 21 March 2021. "The filmmakers at the HPLHS have tried to be as true to Lovecraft as they could in their films, attempting to replicate the tone and feeling as well as the dialogue, costumes, and settings of the original stories. Judging by "The Whisperer in Darkness," I'd say they came closer to succeeding than most anyone else"
^Goodman, Breanna (6 March 2014). "Looking for a Lovecraftian Horror-Adventure? Enter The Last Door". gamingtrend.com. Retrieved 22 March 2021. "Since most of us are hardcore readers and we all love the tense horror atmosphere of fantastic and gothic novels, our intention was to create something like that," Garcia explains. "Those uneasy feelings [are] especially present in the work of literary authors such as Edgar Allan Poe and H.P Lovecraft. So our game, somehow, had to achieve that atmosphere too."
^Smith, Adam (21 October 2014). "Ready, Steady, Poe: The Last Door". rockpapershotgun.com. Retrieved 22 March 2021. The Last Door is a neat point and click horror game that flirts with Lovecraftian cosmic horror but is in a long-term relationship with the weird fiction of Edgar Allan Poe.
^Litobarski, Joe (3 February 2015). "Interview with one of the creators of "The Last Door," a Lovecraftian video game". lovecraftzine.com. Retrieved 22 March 2021. The Last Door is a pixelated horror adventure game inspired by the works of H.P Lovecraft, Edgar Allan Poe, and a tremblesome assortment of other authors of Gothic horror and weird fiction.
Black, Andy (1996). "Crawling Celluloid Chaos: H. P. Lovecraft in Cinema". In Black, Andy (ed.). Necronomicon: The Journal of Horror and Erotic Cinema, Book One. Creation Books. pp. 109–122.
Harms, Daniel (2006). The Encyclopedia Cthulhiana: A Guide to Lovecraftian Horror. Chaosium. ISBN1-56882-169-7.
Jacobs, James (October 2004). "The Shadow Over D&D: H. P. Lovecraft's Influence on Dungeons & Dragons". Dragon (#324).
Joshi, S.T. (2007). "The Cthulhu Mythos". In Joshi, S.T. (ed.). Icons of Horror and the Supernatural: An Encyclopedia of Our Worst Nightmares, Volumes 1 & 2. Greenwood Press. pp. 97–128. ISBN978-0-313-33780-2.
King, Stephen (2019). "Introduction 'Lovecraft's Pillow'". In Houellebecq, Michel (ed.). H. P. Lovecraft: Against the World, Against Life. Cernunnos. ISBN978-1-932416-18-3.
Lovecraft, H.P. (1992). Crawling Chaos: Selected works 1920-1935 H. P. Lovecraft. introduction by Colin Wilson. Creation Press. ISBN1-871592-72-0.
Migliore, Andrew; Strysik, John (February 1, 2006). Lurker in the Lobby: A Guide to the Cinema of H. P. Lovecraft. Night Shade Books. ISBN978-1892389350.
Mitchell, Charles P. (2001). The Complete H. P. Lovecraft Filmography. Greenwood Press.
Schweitzer, Darrell (1975). Lovecraft in the Cinema. TK Graphics.
Smith, Don G. (2006). H. P. Lovecraft in Popular Culture: The Works and Their Adaptations in Film, Television, Comics, Music, and Games. McFarland. p. 173. ISBN0-7864-2091-X.
Stableford, Brian (2007). "The Cosmic Horror". In Joshi, S.T. (ed.). Icons of Horror and the Supernatural: An Encyclopedia of Our Worst Nightmares, Volumes 1 & 2. Greenwood Press. pp. 65–96. ISBN978-0-313-33780-2.
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