Category: Lovecraft

Categories
Interview Lovecraft

Piercing the Veil of Reality: Cosmic Horror Stories in Weird Tales #367

The early days of Weird Tales are renown as the premiere venue of authors of cosmic horror. Writers and poets such as H. P. Lovecraft, Clark Ashton Smith, E. Hoffman Price, Robert Bloch, and others have had some of their most influential work initially published in the magazine.

A century later, even after a few turbulent decades, Weird Tales is still regarded with prestige and as a premiere publisher of pulp stories, including the cosmic horror genre it pioneered. Issue 367, slated to be published in May 2023, is themed on cosmic horror, rounding up numerous authors and poets of the genre, both new and established. A few of these authors have graciously allowed me to conduct some short-form interviews with them about their works that will appear in the new issue. 

Angela Yuriko Smith

Story Title

“Lost Generations”

Story Synopsis

From Earth, a spaceship full of human seeds that have been programmed to procreate like mad when they are safely awakened at the end of their journey, thus ensuring offspring, and a future for humanity. Unfortunately, a black hole winds up being their unplanned destination.

Primary goal you wanted to accomplish with your story?

I enjoy the challenge of pairing contradictory ideas into a cohesive story. This was the result of pairing the joy of lovemaking and procreation with the opposite of that: death.

What cosmic horror authors/artists, both old school and contemporary, have had an influence on you and how?

Growing up I devoured all the Alfred Hitchcock anthologies I could find. I went through a period where I explored Lovecraft, but Edgar Allen Poe will remain my literary love until my own end, black hole or otherwise. I recently enjoyed Matt Huff’s Lovecraft Country and The Croning by Laird Barron.

Compared to other horror subgenres out there, what do you think are the appealing aspects and enduring qualities of cosmic horror?

For me, the appeal is the genre’s emphasis on our insignificance on this planet, in time and the universe in general. I think we make far too much of ourselves, in general, and that bloated sense of self-importance has been the catalyst for a lot of real horror in the world. The idea that a vast, overwhelming and omnipotent something might come and put us in our place is refreshing. In reality, I’m sure I’d be screaming with the rest of the fleeing mob, but I like to think I could appreciate a good, colossal doom for what it was before my own lights went out.

Your favourite Cthulhu Mythos deity or monster?

In the Cthulhu mythos, it would have to be Shub-Niggurath. Of monsters (cryptids) in general, I’m partial to Chupacabra. I’m positive if I ever cross paths with one, it will be instant mutual love at a glance.

Angela Yuriko Smith can be found at:

Samantha Underhill

Poem Title

“The Forest Gate”

Poem Synopsis

Using cosmic horror and existential dread poetic styles, this poem explores how people accept the rose-colored version of what they want to see as it presents itself on the surface in a new relationship only to learn that what they allowed themselves to fall so easily for might take them to dark, dangerous, and inescapable places.

Primary goal you wanted to accomplish with your poem?

I hoped to evoke elements of cosmic horror and gothic poets such as Borges, Lovecraft, and Poe while representing my personal experiences of the everyday horrors of life and relationships. I was wanting to convey a message about the nature of existence and the unknown beyond our world, particularly in how there may be more to life than what we can see and experience in our own world, but that there are dangers and uncertainties in exploring the unknown.

What cosmic horror authors/artists, both old school and contemporary, have had an influence on you and how?

Jorge Luis Borges is probably one of my largest influences. He was a renowned Argentine writer and poet, known for his surreal, metaphysical, and philosophical literary works. Although not traditionally considered a writer of cosmic horror, his writing often explored themes of existential dread, the limits of human knowledge, and the incomprehensible nature of the universe, which are all central themes in cosmic horror. He often constructed elaborate narratives that led to unexpected and unsettling conclusions. I draw heavily on his fascination with paradoxes and the interplay of reality and fiction. He had a unique approach to exploring the limits of human knowledge and understanding to create works that were both intellectually stimulating and deeply unsettling.

Compared to other horror subgenres out there, what do you think are the appealing aspects and enduring qualities of cosmic horror?

Cosmic horror appeals to horror lovers in an academic, philosophical way. It raises questions about the unknown, the nature of reality, the limits of our human understanding, and how humanity fits into a larger universe. This genre is thought-provoking and transcends the boundaries of specific cultures, time periods, and the like. Fear of the unknown is a universal fear that knows no limits. It evokes awe and wonder about our place in the larger piece of the puzzle of life. Essentially, cosmic horror hits on that very question we all inevitably come to now and then – why are we here?

Your favourite Cthulhu Mythos deity or monster?

Definitely Nyarlathotep. Nyarlathotep is a complex, multifaceted figure who embodies the unpredictable and incomprehensible nature of Lovecraftian horror. He is truly different from the other deities in many ways. Unlike other Lovecraftian gods who are often depicted as indifferent and distant from humanity, he takes an active role in interacting with humans. He is described as the “Crawling Chaos,” a shape-shifting entity who can take on any form he desires and manipulate humans into doing his bidding. His motives are unclear, and his actions are unpredictable, which adds to his allure as a character.

Samantha Underhill can be found at:

Carol Gyzander

Story Title

“The Call of the Void—L’Appel du Vide”

Story Synopsis

Ellen feels compelled to visit Utah’s Arches National Park. Her mother recently passed from Alzheimer’s, and Ellen wants to understand why she was so drawn to the red rock formation called Medusa—and see if her own life has a purpose.

Primary goal you wanted to accomplish with your story?

Much of the story comes from my real life! I wanted to explore my experiences during a trip to Utah’s red rock country in another light.

What cosmic horror authors/artists, both old school and contemporary, have had an influence on you and how?

One of the earliest I read was H. P. Lovecraft, “The Colour Out of Space”—and I was so taken with the story that I wrote a cyberpunk adaptation of it. I got to explore R. W. Chambers’ work, “The Repairer of Reputations” for the Under Twin Suns anthology. And of course, Poe—for example, “MS. Found in a Bottle” was one of the early influences. 

From current authors, Mary SanGiovanni has fabulous work and gave an excellent lecture at one of the Writing in the Dark events from AllAccessCon and Raw Dog Screaming Press. I was delighted to discover from her talk that I seemed to be doing it right!

Compared to other horror subgenres out there, what do you think are the appealing aspects and enduring qualities of cosmic horror?

Cosmic horror can resonate with the reader in different ways, depending upon their background. I love that it realigns the focus away from humanity as the most important thing in the story—because the cosmic entity does not care about us in the least.

Your favourite Cthulhu Mythos deity or monster?

Azathoth is cool. Imagine being able to change reality by just rolling over in your sleep!

Carol Gyzander can be found at:

Thank you Angela, Samantha, and Carol for being a part of this mini-interview compilation to talk about their cosmic horror texts. If you’re interested in reading their work, make sure to pre-order issue #367 of Weird Tales. If you enjoyed these mini-interviews, make sure to check out the one for issue #366 which is on sword and sorcery. 

Categories
Lovecraft Peplum

Opening Pandora’s Box: Isidora #2 Unboxing

It’s no secret that I am a fan of G. A. Lungaro’s Isidora comic series (as my prior interviews with him on my website as well as on the H. P. Lovecast Podcast can attest). The series combines the neo-peplum genre with the Lovecraft Mythos with a badass female protagonist – so it checks off many of the boxes of media I am interested in.

Earlier this year Lungaro ran a Kickstarter campaign to fund production of issue two of Isidora and it was a great success. In October, backer rewards began to ship to pledgers and over the weekend I received my copy. What follows is a picture story of unboxing my pledge because it turned out to be some amazing stuff contained in the box. A confession: when I donate to a Kickstarter, I do not pay attention to the stretch goals as I like to be surprised with what I received. And I was certainly surprised with my loot!

To begin with, my backer award came in a handsome cardboard box, sporting some nice artwork (taken from the Jay Espin variant cover) that depictions a R’lyehthian-style city with a hint of Giger.

Upon opening the box I was greeted with a divider/cover with an envelope embedded in. 

The envelope contains a thank you card, packaged and presented in the same fashion as the Kickstarter for issue one (see below).

Under the cover that contained the thank you note was three art prints. From left to right they are by:

  • Samantha Branch – This is a print of one of the variant covers of issue one and I love the antiquity elements to it.
  • George P. Gatsis – This is my favourite of the three. I love the colours used in this one and the depiction of Isidora. She looks both pinupy and badass.
  • Deti – This is the artwork used on the edition that combines issue 1 and 2. This one has a very alluring Isidora with overt Lovecraftian imagery.

Under the art print was some stickers and trading cards. Because I love to keep things in mint condition, I did not open the booster pack of cards. Those will forever remain a mystery.

The envelope contained a cute little charm.

The last item in the box was the comic! In this case, I went for the special edition that combines Isidora one and two into one collected edition with a metallic cover! The presentation on this edition is extravagant. 

And in one picture, here is the contents of everything in the Isidora #2 box.

For reference, here was all the swag I got from the Kickstarter of issue one.

And here is everything from both Kickstarters together. What can I say, everything here is above and beyond and of high quality. As an extra bonus, everything fits perfectly into the Isidora #2 box!

Lungaro hope to get started on issue three very soon, so I am excited for that. If you are interested in Isidora, I suggest you follow Lungaro on his social medial channels to see what happens next with his projects.

Categories
Interview Lovecraft Peplum

Break the Chains: G. A. Lungaro on his Peplum/Lovecraft Comic Isidora

G. A Lungaro is YouTuber and a fantasy author, best known for his Covenant of Souls series. He is also the writer and creator of Isidora and the Immortal Chains, a comic series that combines elements of neo-peplum and the Lovecraft mythos. The first issue of the series was successfully Kickstarted in 2020 and tells the story of Isidora, a super-powered lady from ancient Pompeii, existing in a modern day metropolis, acting as the herald of the King in Yellow. Lungaro has graciously allowed me to interview him about his newest endeavor. 

Isidora Logo, used with permission from G. A. Lungaro

How did you get into writing?

I have always had a fascination with writing and creating worlds. My first attempt was a terrible fanfiction of the Nintendo game Metroid back in 1988 when I was 14. I even made a cover, cut it to paperback size, and bound it with glue. 

During those teenage years, I also picked up and read my first full length (I should say complete trilogy) fantasy novel, Dragonlance’s Legends trilogy by Margaret Weis and Tracy Hickman. Those books opened my eyes to a fantastical world and compelled me to want to create my own world. Concurrently I was also a big comic book collector, my mainstay being DC comics.

The love of the fantasy genre prompted me to read Tolkein and GRR Martin’s works that ignited the passion for writing that began with that Metroid fanfiction. My first serious attempt began around 2004 when my wife (at the time) and I were playing an online browser-based RP game, which planted the first seeds for my fantasy novel Souls of Magic’s Dawn. After many re-writes, start overs and hair pulling, I finished it in 2010. It wasn’t until 2018 that I began the publishing process in earnest and hired an editor. Shortly after, I ran a successful Kickstarter campaign.

What was the genesis of Isidora?

With comics and fantasy being two of my biggest passions, I successfully entered the world of fantasy writing. I had still not tried my hand at comic writing, mostly because I had no idea how to get an artist and write in that format in which most, if not all, the exposition is visual. 

The indie comics movement and my position as a YouTuber put me in place to start networking and talking to people who are involved with comics. I went on a writer’s stream with Preston Poulter, learned some of the comic writing format basics, and learned online tools to write in that format correctly.

With that, the fun part began. I am a child of Italian immigrants, a first-generation American; this prompted a love and appreciation for Greco-Roman history, art, and mythology. I wanted this character to originate from that time. Fun fact, the name Isidora is a Roman name that is also the lead character’s name in my fantasy novel.

Samantha Branch cover for Isidora #1. Imaged used with permission from G. A. Lungaro.

How did you go about designing the character of Isidora? She is quite progressive for both genres: the peplum genre confines women to bellydancers and damsels unless you’re Xena, Red Sonja, or Kassandra from Assassin’s Creed: Odyssey, and in Lovecraft’s work, women are practically absent. 

Yes! This was of extreme importance to me when creating and writing this character. Being a man, there are experiences, motives, and perspectives of a woman’s life that I will never understand. I have seen those tropes many times. While they can be entertaining on some level, eventually, they become cliché and not very appealing to many readers, especially women. My partner Marie and my daughter Alexandra played a significant role in helping me create this character. My editor is also a woman, and she helped tremendously with the final touches.

Being from ancient Rome, I will show some of the reality women faced in those times. Realities that did indeed make them very strong in their own right. There will also be some devastating truths and events that happen to her because she lives in a very male-dominated world. All of this plays a critical role in her development and the powerful woman she has become as an agent of the Old Ones

Any plans for flashback sequences for Isidora to explore her sword and sandal roots in subsequent issues?

Yes, most definitely. It will be mostly relegated to Isidora’s character development and provided a glimpse of her past that has molded her to what she is today 2000 years later. There are some essential elements in that very short mortal life that she lived that play a significant role in her outlook on the world and her place in it.

How did you get into the writings of H. P. Lovecraft?

I did not discover Lovecraft until my mid-30s. I knew of things like Cthulhu but never really read any of the stories and lore that grew from that world and mythos. I began reading works like The Dunwich Horror, which fostered a curious appreciation for those worlds. It wasn’t until the TV show True Detective mentioned the King in Yellow that my curiosity reached new heights. 

I was fascinated with this mystery that popped up on a contemporary TV show. I researched it and discovered more of the Lovecraft mythos and its history going back to Robert W. Chambers’ plays. It was a sandbox I knew I wanted to play in one day but didn’t quite know how until I began dabbling in comic writing.

Since you have your feet in two different genres and fandoms (Lovecraft and pepla), what are your thoughts on the current state of media coming from both camps?

I have to say I have not seen much recently concerning peplum. I loved shows like Spartacus, Rome, and of course movies like Gladiator. I heard about Ridley Scott making a sequel to Gladiator, but I feel that may not live up to the original. Cleopatra coming up with Gal Gadot looks intriguing; however, I wish there was more as it seems to have fallen from popularity recently. As for Lovecraft, it seems to be on a pretty significant upswing. Unlike peplum, Lovecraftian Mythos can be adapted for any time period, locale, and setting and make a story from it, much like the recent Lovecraft Country, which I thought was spectacular.

There are lots of (indie) Lovecraft comics out there. What aspect of Isidora do you think sets this comic out from the rest?

Starting with Isidora and the Immortal Chains #1, I planned to make something as unique as possible and add a new paradigm to the Lovecraft Mythos. I feel this stands out in the Mythos because it is a mashup of multiple elements all put together in a genre I call “The Lovecraftian Dark Heroverse.” I am taking features of the broader horrific Lovecraft Mythos and bringing in elements of classic cosmic and mystical hero comics. Think Lovecraft meets Constantine meets Silver Surfer. She [Isidora] is a herald to the King in Yellow, much like Silver Surfer to Galactus, and weaving in characteristics exhibited by characters like John Constantine, all set in a Lovecraftian world. 

The neo-peplum element comes from a few places—my Italian heritage for one and a literary perspective. One of my favorite authors outside the fantasy genre is Anne Rice and her Vampire Chronicles. The ancient vampire Marius, who was born during the Roman Empire, always intrigued me. The idea of an immortal beginning their life in Greco-Roman times like Marius and living through history to end up in the modern day was an interesting perspective I wanted to explore in the pages of this comic.

What was your soundtrack while creating Isidora? Conversely, what is the suggested soundtrack to readers while reading the comic?

I never get asked this question; thank you so much for asking it. I know for many writers, a musical accompaniment helps drive the writing process. Certain verses, tones, and beats can set me on overdrive in the writing process. I am also going to say my soundtrack and the suggested soundtrack are going to be the same.

Anything Evanescence and Within Temptation, specifically “And We Run” by Within Temptation, “Away from Me” by Evanescence, and also “Undeniable” by Seckond Chaynce.

What is the main thing you want to accomplish with Isidora?

In the Lovecraft Mythos, the spotlight and focus are typically on a very human element, madness, and at the end, a hopeless and powerless feeling of powers we cannot understand or comprehend. My goal is to tell a story from the viewpoint of an agent of the Old Ones, who once was human at one time, finding that there can be hope and a way to overcome these powers. I want to display this in a very gritty and real light that does not hold back in a visceral nature and inspires the sense that there can be hope in a world where, even if it is only one person, can stand up to be a hero.

What were the some of the major obstacles you encountered while creating the comic?

Right at the start, the biggest challenge was finding artists that can both share the vision I have and also present it beautifully and accurately. It took a lot of searching and researching, but eventually, I ran across Alper Gecgel, a young artist from Turkey. When I viewed his portfolio I was floored by the haunting beauty of his work. It has a gritty simpleness to it but conveys the feel I want the reader to get while reading it. 

The challenge didn’t end there. English is not Alper’s first language, and all of our communication was over Facebook messenger. There were many times I had to make awful sketches to convey what I wanted to see on the pages. The fact he understood and brought those ideas to life is a testament to his dedication and skill.

Aside from those challenges, just attempting to create a crowdfunded, indie project is a daunting task from the start. It was an uphill battle to find that core audience to build a fandom around to get the grassroots effort started. I can’t thank some of my Youtube friends enough for promoting it and extraordinarily loyal and generous subscribers to my channel that supported this project.

Nicholas Diak’s Isidora #1 Kickstarter Loot. Photo by Michele Brittany.

Since its release, what has been the reception of Isidora?

The dreaded feedback all writers fear but also crave as much as life itself. I am always terrified something I create will not be received well by people outside of close friends and family. I suffer from Imposter Syndrome as much as any up-and-coming creative person.

I will say that the reception has been overwhelmingly positive so far from my backers’ word of mouth. I also just ran a survey questionnaire, and currently, it is at about a 4 out 5 average as an overall rating. This is better than I could have ever.

What are your next big plans you’d like to share/promote? 

I don’t have anything currently to promote other than my nerdy YouYube channel, The Grey Council. The channel plays an integral part in my social interaction, promoting any new projects I am working on and building a geeky sweaty nerds community who loves things from Star Wars to comics to fantasy. My fantasy novel that I published in February 2020, Souls of Magic’s Dawn, is also available on Amazon.

However, I am currently working on [Isidora] issue #2, which I am about halfway through writing, and hope to launch a crowdfund campaign by this summer.

Links for G. A Lungaro:

Categories
Lovecraft

High Octane Octopi and Tentacle Treads: Maximum Performance in Jason Parent’s Eight Cylinders

Eight Cylinders is the newest novella by Jason Parent and published by Crystal Lake in November 2020. The story focuses on Seb, a mid-range Las Vegas criminal who is gravely injured during a shootout with a mobster after a deal gone bad. Seb flees Vegas in his Charger, and after consulting the magic 8-ball he plucked from the mobster’s eye, drives through the night and through the desert mountains. He awakens to find himself in a small desert camp with his wounds treated. The camp is full of other criminals and ne’er-do-wells (Earl, Malcom, Mary, Red, Sly, Helen, Skeeter, Malcolm, and Angelique) who all seem to come from different times and places. Seb and his companions are all trapped in the camp because giant tentacles shoot out from the mountains that encircle the area that whisk away unlucky persons who wander too far away. After Mary falls mysteriously ill and unresponsive, the motley crew band together to use their arsenal of vehicles and weaponry to escape the gigantic mollusk monster of the mountain and back to civilization.

Covert art for Eight Cylinders

If the above synopsis sounds fast-paced and cinematic, that is because Eight Cylinders is. Be it consciously, unconsciously, or coincidentally on Parent’s part, Eight Cylinders leverages elements from a variety of film (and video game) sources and blends them into a new narrative that gives the novella a cinematic quality. Examples of influences or apt comparisons include Fallout: New Vegas (both the game and novella begin similarly with the main protagonist being shot by a Las Vegas mobster and then being resurrected outside the city), Cube (all the characters are criminals trapped in a location they are trying to escape), Tremors (general tone of being trapped in a podunk desert locale with hidden monsters about), The Mist (characters who leave the safety of the area are quickly killed), Evil Dead 2 (similar fates for the main character at the story’s end), and Mad Max: Fury Road (climatic driving sequences through a desert) along with fast pace, car action sequences found in the likes of The Transporter and The Fast and the Furious series of films.

Though the tone is first and foremost an action centric, Lovecraftian elements seep into the story brining shades of horror and the grotesque. Overtly, the giant tentacles hidden in the mountains leverage distinctive Cthulu-ian imagery, but Eight Cylinders takes a self-aware approach to using Lovecraft elements. The antagonist character of Sly verbally references Lovecraft by equating the hidden tentacles to that of Cthulhu and referring the mountains that surround the camp as “The Mountains of Madness.” Unlike zombie films that are afraid to use the zed-word, Eight Cylinders embraces its few instances of being a metatext and uses it to full and realistic affect without relying on winking or easter egg-ing.

If there is an element in Eight Cylinders that seems out of place, it is that of the hero, Seb. In Crystal Lake’s promotional material for the novella, they quote author James Chambers who equates the story to a redemption tale, which Eight Cylinders certainly is. The issue is that Seb does not seem like a character who needs redemption. Though his character is a criminal, his portrayal in the story is extremely noble and he often thinks of others and their wellbeing. The few instances of selfish moments are quickly pushed aside to showcase his more positive leadership qualities as he puts others before him. If Parent was trying to write a criminal, anti-hero like that of Vin Diesel’s Riddick character, then it did not quite come across. Seb is still a fantastic character, easy to identify with, to follow along and root for, but he does not come across as a character who has done a tremendous amount of egregious activities in his past to merit his punishment in the desert mountains with the other characters.  

Regardless of Seb’s portrayal, his predicament is extremely relatable to readers, especially in the current period. Though probably written in the “before times,” Eight Cylinders manages to tap into the fears and emotions many are feeling during the COVID-19 pandemic: trapped and wanting to escape, but unable to leave their homes (desert camp) due to a deadly virus rampaging around (mountain tentacles). The purgatory nature of the book echoes the never-ending nature of the pandemic that currently does not seem to have an end in sight.

Clocking in at 102 pages, Eight Cylinders moves as fast as the cars within. The novella combines aspects of the pursuit genre with Lovecraftian monsters to create a gripping (be it armrests or steering wheels) tale that is fully loaded.

Links

Eight Cylinders can be purchased at the Crystal Lake store or at your bookseller of preference.

Jason Parent can be reached at the following platforms: