So enthuses Tommaso Nuti, Game Director at Big Bad Wolf and creative mind behind the recently-released Cthulhu: The Cosmic Abyss, when asked why H.P. Lovecraft’s singular imaginings seem to be so much more popular in the gaming world than they are in other art forms. Indeed, while there’s a relative dearth of cosmic horror outings nowadays in cinema or on television, it sometimes feels like you can barely move for them on the Steam store. 

Within the past half-decade alone, we’ve had The Necromancer’s Tale, RailGods of Hysterra, Forgive Me Father (both 1 and 2), the Alone in the Dark remake, and Bloody Disgusting favourite DREDGE. All of which are either heavily inspired by, or directly situated within, Lovecraft’s iconic universe of shoggoths, dreamlands, and Old Ones. 

With such a crowded marketplace — let’s not forget that The Sinking City 2 is on the horizon — any developer hoping to make their own contribution to this genre will need to have a fresh take. Otherwise, they’ll just get lost in the shuffle. 

Fortunately, Nuti and co. are aware of this imperative and have come up with something quite distinctive in The Cosmic Abyss. Modernising the so-called Cthulhu mythos, they’ve left behind the stodgy 1920s period setting that we typically associate with this genre and have instead situated the action within the year 2053. 

Here, we are confronted with a bleak vision of tomorrow where corporations are avariciously depleting the planet’s natural resources, important work is being outsourced to artificial intelligence, and inexplicable, ominous events are occurring on the world stage that defy all logical explanation. So, you know, nothing at all like 2026! 

In this frightening dystopia, you play as an Interpol investigator named Noah, whose latest assignment has taken him to the very depths of the Pacific Ocean. Here— alongside his A.I. sidekick, KEY — he must get to the bottom of a mysterious tragedy that has befallen the workers of an underwater mining facility. 

What initially starts as a cut-and-dry missing persons case soon reveals itself to be something far beyond his comprehension. Eldritch gods, Atlantean cities, and mind-bending hallucinations: you know all that usual Cthulhu goodness. What makes this so unique, however, is that The Cosmic Abyss eschews traditional horror conventions like jump scares, combat, and stealth. Replacing them is a focus on clever detective mechanics and branching path storytelling. 

To find out more about this intriguing blend of futuristic sci-fi, classic noir, and literary horror, we caught up with Nuti for an exclusive interview.

Bloody Disgusting: Movies rarely dip their toes into the Cthulhu mythos, certainly not on a big scale anyway. Yet it’s conversely very well represented in the video game arena. As someone who has now put their own stamp on Lovecraft’s material, why do you think it’s got such a strong foothold in this particular medium?

The success of the Call of Cthulhu role-playing game [helps] explain why this universe is so popular in video games. RPG and tabletop players already form a receptive audience for this type of experience. 

[On] the cinematic side, translating a universe that is — by its very nature — meant to remain unimaginable presents a significant challenge […] That said, it is certainly possible. 

Perhaps today the license is not yet established enough among cinephiles to encourage major studios to invest heavily, even if some projects and names — such as James Wan or Guillermo del Toro — suggest a growing interest. Personally, I would not be surprised to see Cthulhu reach the big screen in a major way in the coming years.

BD: What is your own relationship with the work of Lovecraft? Have you always been a fan?

TN: I discovered Lovecraft’s work when I was quite young, and I also had the opportunity to play the tabletop role-playing game. To be honest, I never imagined I would one day adapt this universe myself […] The idea for this project emerged during discussions with our publisher, NACON, where many people are very familiar with the universe. 

After those conversations, I returned to the original short stories, as well as other books and films inspired by them. This allowed me to rediscover Lovecraft from a fresh perspective. For any horror fan, it is a unique opportunity and an incredible creative playground.

BD: Presumably, The Call of Cthulhu was one of the key texts you referred to here? Were there any other specific Lovecraft stories that were big inspirations for The Cosmic Abyss?

TN: We drew inspiration from many of Lovecraft’s short stories to adapt the mythos. Our focus was on using the broader lore to build continuity within this universe, rather than directly adapting a single story. 

Among these, The Call of Cthulhu is of course a key reference, along with The Shadow over Innsmouth and The Haunter of the Dark, as well as another cult short story that I would prefer not to reveal, in order to preserve the surprise.

BD: Looking outside of Lovecraft himself, what else influenced the direction of this title? Are there any other video games, movies or pieces of literature that were swimming in your mind while making it?

TN: On the video game side, we are always very curious to play, test, and analyze what [else] has been done [in] the genre we are exploring. For example, The Outer Wilds informed our approach to investigation design, as did The Forgotten City. Dishonored 2 was also interesting to study in the way it suggests alternative paths to the main objective without stating them explicitly.

For the first-person approach, which was a first for the studio, we looked at Cyberpunk 2077, Resident Evil 7, and Resident Evil Village as case studies.

BD: One of the ways you are putting a fresh spin on the Cthulhu mythos here is by translating the action from the 1920s to the near future of 2053. What motivated this decision, and how do you think it changes the experience?

TN: Horror and science fiction form a compelling combination, one that has already proven to be an effective mix across cinema and video games. The decision to set the game in 2053 came from several reflections on the themes we wanted to explore. We wanted to echo current issues, such as resource depletion, climate change, the influence of large private fortunes, and the rise of AI. Placing ancient creatures and relics within this futuristic world allowed us to create a strong contrast between our civilization and theirs.

A near-future setting also gives players more familiar reference points than the 1920s or 1930s, reinforcing the sense of rupture when they arrive in [the canonical prison city of Cthulhu] R’lyeh. They leave a known world to discover another that is radically different.

Finally, Lovecraft set his stories in a contemporary setting, bringing horror closer to a reality [that was] familiar to the reader. Very early in development, we felt that taking the game in a thriller, horror, and science fiction direction was a risk worth taking.

BD: Tying into that futuristic setting, we don’t have a human companion accompanying us on the investigation here. Rather, our partner is an in-universe artificial intelligence. Could you talk a little about the character of KEY? What role do they play in the game?

TN: KEY is a fundamental component of the experience. From a diegetic point of view, they explain Noah’s tools and [act] as his companion. If Noah is Sherlock, KEY is Doctor Watson. Except KEY evolves.

Including a character who is immune to sanity loss and brings a different perspective on discoveries allowed us to revisit the mythos in an original way, while adding a new dynamic to the duo. More human than mechanical, KEY accompanies Noah throughout the adventure but cannot intervene directly in dangerous situations. This leaves [Noah] alone to face what he encounters, preserving the feeling of solitude.

BD: Obviously, A.I. is a hot-button issue at the moment, and there are lots of concerns about the ethnicity with which it is used, the reliability of the information it gives, and the biases it can internalize. Without wanting to go into spoiler territory, have any of these real-world anxieties informed how you characterize Key in the game? 

TN: At the beginning of the game’s conception, generative AI technologies were just emerging, and we projected the kind of ambiguity this could introduce into our world. By choosing a near-future setting, we were moving into speculative fiction, and it was important for us to shape this character in a way that would remain relevant and coherent by the time of the game’s release.

We imagined what these types of virtual assistants could become if applied to the work of a detective. While KEY is designed to assist Noah, it is through its interface that he interacts with the world. The more he relies on it, the more it defines and refines itself.

The central question we explore is: Who is really the tool of whom, and what are the consequences?

We were careful not to take a purely negative view and instead approached the character with nuance. The game offers its own answer, but it is difficult to say more without revealing too much. What we can say is that the line between valuable assistance and manipulation is much thinner than it may first appear.

BD: This is largely pitched as a detective title, and the primary way we interact with its world is by solving puzzles and collecting evidence, rather than by dealing with eldritch monsters up front. Indeed, you seem to have deliberately avoided more conventional horror game mechanics like stealth and combat. What was your rationale for this?

TN: We want to put players in the shoes of an occult investigator exploring a universe that is completely beyond them. Which is why we ruled out combat from the start. That said, the absence of combat does not mean the absence of threats. Many elements can kill you in R’lyeh, whether it’s the ruins themselves or the creatures that inhabit them.

From a logical standpoint, no conventional weapon would be effective, and direct confrontation would lead to certain death. Only your tools and your reasoning allow you to progress through the adventure. This also reinforces the idea of humanity’s insignificance when faced with these ancient entities.

To bring the myth to life and allow players to truly conduct an investigation, we structured the experience around this constant sense of danger. To survive, players need to understand the rules that govern this world, either by accepting them or by learning how to work around them.

BD: Yeah, I think it’s actually quite on brand for a Lovecraft story! Typically, the protagonists in these things are trying to wrap their heads around incomprehensible truths or just digging into past events. They don’t tend to jump gung-ho into action. Still, it must be difficult to create an effective horror experience when the player isn’t in real peril most of the time. How do you ensure that there is still tension here and that people feel on edge?

TN: Beyond cutscenes and scripted events, tension also comes from the player’s own way of investigating. Imagine exploring an environment for twenty minutes and becoming familiar with a place. Then you discover a clue that unlocks a new frequency on your sonar, revealing traces left by a creature all around you.

In an instant, the place you thought you understood changes and becomes hostile again. This is just one possible scenario. Players might discover these elements in a different order or miss some entirely while following other leads. This is where one of the game’s strengths lies: letting tension and twists emerge naturally [in a way] that is unique to each player.

BD: On the subject of this being a detective game, it seems like there are a lot of variables that affect how this can play out. Based on the evidence you collect, how you interpret it, and what tools you use, the player could potentially arrive at different conclusions, solve certain mysteries early, or miss out on vital pieces of the story altogether. As a developer, how do you keep track of all these threads and make sure that the player has a satisfying experience?

TN: We built on everything we developed in our previous games, especially in terms of branching narrative. The main challenge was shifting the paradigm, moving from “an investigation in which you are an actor” to “you play an investigation, and the story emerges largely from your actions.” 

This may seem subtle, but it implies a very different development approach. 

BD: And how branching is that investigation? What kind of things can end up changing depending on our choices?

TN: In each chapter, players investigate very freely within open areas. The more curious they are, the more threads they can pull, allowing them to make informed decisions and protect themselves from Cthulhu’s corruption.

As a result, players can approach and resolve obstacles in different ways. During investigation phases, the game does not present explicit choices. It is up to players to follow leads and understand the possibilities available to them. This makes the way they progress essential, as [it determines] their level of corruption. And corruption has a determining impact on the game’s endings.

BD: Speaking of the “corruption” mechanic, could you talk a little about that and give us an idea of what kind of things we can expect from it? How far does it go?

TN: Throughout each chapter, players make decisions that grant access to specific actions, scenes, and chapter conclusions. Depending on these choices, corruption may increase or remain stable, and in the end, they will face the consequences.

It primarily influences the game’s endings and the character’s narrative arc, but it also affects gameplay. Some abilities can transform, improve, or break depending on the player’s corruption level. It acts as a sword of Damocles hanging over the player.

BD: When it comes to the puzzles, how do you balance making them challenging and worthwhile, without leaving the player completely flummoxed?

TN: We want players to experience that real “eureka” moment when they find a solution […] It is that familiar moment from detective films, when the investigator suddenly connects all the clues, and everything falls into place. That is exactly the feeling we want to deliver.

Achieving this relies primarily on iteration, balancing, and, whenever possible, playtesting […]  Sometimes it comes down to small adjustments, such as refining a clue, reconsidering its wording, moving a key object to make it slightly more visible or, on the contrary, more discreet if it feels too obvious. Or it could even just be a case of rephrasing an objective.

We have also included a “Story Mode” for players who prefer to focus on the narrative. They can request hints and receive help from KEY to progress more easily. 

BD: While there are some details given in his stories, Lovecraft would often leave things up to the imagination of the reader when it came to thinking about what his various creatures, eldritch gods, and sunken cities look like. There’s a lot of “indescribable” and “formless” horrors in his works. Obviously, you don’t have that luxury in a visual medium and have to commit to showing these things properly on screen. How did you approach that? Did you try to piece together what you could from Lovecraft’s vague descriptions, look at some illustrated interpretations, or go in your own direction?

TN: Bringing this universe to life was a major challenge, led by Thomas Veauclin, our Art and Creative Director, along with the entire graphics team. Among our inspirations were artists such as François Baranger, Zdzisław Beksiński, H.R. Giger, and Gou Tanabe.

To take a concrete example, Cthulhu himself is an entity that has been represented in many different ways, and whose design has become relatively codified over time. This served as a starting point for our [depiction]. In the game, he retains the defining elements that make him recognizable, while being reinterpreted through a more personal vision.

This adaptation work was essential. We needed to find the right approach to translate this universe, while giving it our own identity. On that note, I would also encourage you to explore the game’s artbook, which goes into more detail on these choices and shows how the artistic direction was developed.

Cthulhu: The Cosmic Abyss is available now on PlayStation 5, Xbox Series X|S, and PC via Steam. 

The post Big Bad Wolf Talks Lovecraft And More as Inspiration for ‘Cthulhu: The Cosmic Abyss’ [Interview] appeared first on Bloody Disgusting!.

Speaking with ScreenRant, Wan confirmed the film is still in development and is one “I’ve been wanting to do for a while.”

The master of horror noted that the project is facing a major hurdle: Lovecraftian films “are not cheap movies” and are “very hard to try and get them off the ground.”

Nevertheless, Wan concluded by assuring, “I’m just going to keep chipping away at it.”

First published in the February 1928 issue of Weird Tales, The Call of Cthulhu is a harrowing tale of the weakness of the human mind when confronted by powers and intelligences from beyond our world.

Consisting of three interconnected parts, the story is presented as notes belonging to Francis Thurston, a Boston resident investigating the ancient deity Cthulhu.

This isn’t the first time budgetary concerns have prevented a hotly anticipated Lovecraft passion project, as Guillermo del Toro was unable to get his long-gestating At the Mountains of Madness adaptation off the ground.

The post James Wan’s ‘The Call of Cthulhu’ Adaptation Faces Budgetary Hurdle: “I’m Just Going to Keep Chipping Away at It” appeared first on Bloody Disgusting!.

For two-thirds of Underwater’s runtime, Eubank delivers a nonstop ticking time bomb of extreme survival horror as everything attempts to prevent the survivors from reaching their destination. That includes the increasingly pesky monster problem. Eubank shows these creatures piecemeal, borrowing a page from Alien by giving glimpses of its smaller form first, then quick flashes of its mature state in the pitch-black darkness of the deep ocean. 

The third act arrives just as Norah reaches the Roebuck, but not before she must trudge through a dense tunnel of sleeping humanoids. Eubank treats this like a full monster reveal, with Stewart’s Norah facing an intense gauntlet of hungry creatures. She’s even partially swallowed and forced to channel her inner Ellen Ripley to make it through and inside to safety.

Yet, it’s not the true monster reveal here. It’s only once the potential for safety is finally in sight that Eubank pulls the curtain back to reveal the cause behind the entire nightmare: the winged Behemoth, Cthulhu. Suddenly, the tunnel of humanoid creatures moves away, revealing itself to be an appendage for a gargantuan creature. Norah sends a flare into the distance, briefly lighting the tentacled face of an ancient entity.

It’s not just the overwhelming vision of this massive, Lovecraftian entity that makes its reveal so memorable, but the retroactive story implications it creates. Cthulhu’s emerging presence, awakened by the relentless drilling at the deepest depths of the ocean, was behind the initial destruction that destroyed Kepler 822. More importantly, Eubank confirmed that the Behemoth is indeed Cthulhu, which means that the humanoid creatures stalking the survivors are Deep Ones. What makes this even more fascinating is that the choice to give the Big Bad Behemoth a Lovecraftian identity wasn’t part of the script. Eubank revealed in an older interview with Bloody Disgusting how the creature quietly evolved into Cthulhu.

The Death Toll

Just how deadly is Cthulhu? Well, that depends. Most of the on-screen deaths in Underwater are environmental, with implosions and water pressure taking out most of the characters we meet. The Deep Ones are first discovered munching on the corpse of an unidentified crew member, and soon after, kill and eat Paul in a gruesome fashion. Lucien gets dragged out into the open depths by a Deep One in a group attack but sacrifices himself via his pressurized suit to save his team from getting devoured.

The on-screen kill count at the hands of this movie monster and its minions is pretty minimal, but the news article clippings shown over the end credits do hint toward the larger impact. Two large deepsea stations were eviscerated by the emergence of Cthulhu, causing an undisclosed countless number of deaths right at the start of the film.

Norah gives her life to stop Cthulhu and save her remaining crewmates, but the Great Old One isn’t so easily vanquished. While the Behemoth may not have slaughtered many on screen here, his off-screen kill count through sheer destruction is likely impressive.

But the takeaway here is that Underwater ends in such a way that the Lovecraftian deity may only be at the start of a new reign of terror now that he’s awake.

The Impact

Neither Underwater or Cthulhu overstay their welcome here. Eubank shows just enough of his Behemoth to leave a lasting impression, without showing too much to ruin the mystery. The nonstop sense of urgency and survival complications only further the fast-paced thrills.

The result is a movie monster we’d love to see more from, and for horror fans, there’s no greater compliment than that.

Where to Watch

Underwater is currently available to stream on Tubi and FX Now.

It’s also available on Blu-ray, DVD, and Digital.

In television, “Monster of the Week” refers to the one-off monster antagonists featured in a single episode of a genre series. The popular trope was originally coined by the writers of 1963’s The Outer Limits and is commonly employed in The X-Files, Buffy the Vampire Slayer, and so much more. Pitting a series’ protagonists against featured creatures offered endless creative potential, even if it didn’t move the serialized storytelling forward in huge ways. Considering the vast sea of inventive monsters, ghouls, and creatures in horror film and TV, we’re borrowing the term to spotlight horror’s best on a weekly basis.

The post The Lovecraftian Behemoth in ‘Underwater’ Remains One of the Coolest Modern Monster Reveals appeared first on Bloody Disgusting!.

Originally a physical manifestation of the fear of the atomic bomb, with the first film being produced a mere 7 years after the nuclear destruction of Hiroshima and Nagasaki, Godzilla would end up spawning a multimedia franchise as the radioactive dinosaur accidentally became a national icon. Over time, toys, games and countless toned-down sequels ended up diluting the character’s original purpose: to terrify audiences as a giant monster inspired by real-world horrors.

While several of these sequels would attempt to return Godzilla to his previous glory as a horrific antagonist, such as Godzilla Against Mechagodzilla (where the original monster’s bones are used to construct an undead cyborg with PTSD) or GMK: Monsters All-Out Attack (where he’s literally possessed by victims of the Japanese Imperial Army), none of these films managed to escape the merchandise-friendly tropes of a traditional kaiju film. That’s not necessarily a bad thing, as Godzilla is versatile enough to be an interesting character whether he represents natural balance or atomic energy gone wrong, but it was a shame that Toho mostly refused to fully embrace the scary side of their iconic property.

That is, until the company partnered with Shinji Higuchi (director of the highly successful Attack on Titan adaptations) and Hideaki Anno (creator of the iconic anime Neon Genesis Evangelion) to produce a genuinely frightening throwback to the monster movie that started it all. Titled Shin Godzilla, with the prefix “Shin” meaning “new”, “true” and “God”, this 2016 remake was a colossal success, going so far as to win the Japanese Academy Award for Best Picture as well as several international prizes.

Since its release, there have been plenty of think-pieces about how the movie touches on serious themes like the inherent evils of bureaucracy and the real-world mishandling of the 2011 Fukushima disaster, and while these are all notable parts of what makes this such a compelling cinematic experience, what I love the most about the film is how it’s probably the closest we’ll ever get to seeing a Lovecraftian Kaiju flick – and I think that’s worth discussing.

Stop me if you’ve heard this one before: a God-like entity rises out of the sea and proceeds to show humanity just how tiny we are in the cosmic scheme of things, with our protagonists woefully unprepared to deal with the existence of a creature that defies everything we think we know about the world. From The Beast From 20 000 Fathoms (which actually inspired the 1952 Godzilla) to numerous post-Godzilla creature features, this could be the synopsis to any number of giant monster movies, but it’s also a brief summary of H.P. Lovecraft’s first entry in the Cthulhu Mythos, 1919’s Dagon.

Lovecraft obviously doesn’t hold a monopoly on sea-dwelling abominations, and it’s more likely that these monster movies were simply inspired by the same legends that informed his imagination, but the American writer did pioneer the idea of scary stories where primitive beasts actually represent the fear of an uncaring universe. In these stories, the real terror comes from the existential implications of realizing that the antagonists exist in the first place – not from a simple fear of death or destruction. And when you get down to it, I don’t think any monster movie encapsulates this better than Shin Godzilla.

The titular monster is much more than just a radioactive dinosaur in this incarnation, with the creature taking on the added dimension of an otherworldly force meant to punish the world (and more specifically Japan) for its sins. His coming is even foretold by the prophetic scientist Goro Maki, an enigmatic character that sets off the main mystery of the movie but never actually appears onscreen other than a photograph which is actually of the legendary director Kihachi Okamoto.

While a traditional Kaiju flick would have made Goro a central character meant to provide sci-fi exposition rationalizing the monster, Anno’s decision to have the character commit suicide at the beginning of the flick rather than face what was about to happen gives this story yet another similarity with Lovecraft’s dreary yarns and their ill-fated protagonists. And without a source of ancient knowledge to demystify our monster, the film becomes free to explore the fear of the unknown.

Hell, even the soundtrack hints at the idea that this version of Godzilla is not just a simple mutated animal, with the melancholy Who Will Know track featuring chorus lines spoken from the monster’s point of view. The ominous chanting here seems to describe Godzilla’s internal struggle with his own freakish existence, with lyrics suggesting that the beast is in fact a conscious being in an incredible amount of pain.

The soundtrack also features plenty of repurposed music, both from Evangelion as well as the original Godzilla. While the 1952 tracks serve to showcase how Shin is meant to be a return to form for the franchise, the references to Evangelion seem to reflect the common themes between the film and anime. Appropriately enough, Evangelion was an existential deconstruction of the Mecha genre which used giant monster battles as an excuse to dive into the psychological struggles of its main characters while appropriating religious iconography to explore metaphysical concepts. That’s why it makes sense that a film about a newborn God wreaking havoc upon humanity would share some common ground with the iconic anime (which even referred to its monsters as “Angels”).

While these preternatural elements of the movie are fascinating, the truly terrifying moments of Shin Godzilla are the ones closest to reality. Revisiting the film after a global pandemic reframes the entire experience, as watching bumbling government officials tragically mishandle a deadly crisis as deaths continue to mount makes for a decidedly uncomfortable viewing experience after Covid-19. While this clearly wasn’t Anno or Higuchi’s intention, it’s hard not to remember the race for vaccines when characters are forced to negotiate raw materials with factories in order to produce an absurd amount of coagulant to stop Godzilla in his tracks, much like real-world governments had to negotiate with companies to produce and distribute vaccines on an unprecedented scale.

These real-world horrors contribute to the movie’s scare-factor, as unlike a typical monster movie where protagonists are often finding themselves into ridiculous situations in order to justify them being near the main attraction, you’re never afraid for a single character here – you’re afraid for the world. Our heroes never even get close to the radioactive monster, and the final battle is truly won by committees and blue-collar workers, not giant robots or gun-toting action heroes. But even then, the movie makes it clear that it’s only a matter of time before Godzilla may rise again.

In all fairness, for Shin Godzilla to be truly a Lovecraftian piece of fiction, the mere sight of the monster should have been enough to drive the residents of Tokyo to madness and destabilize the entire world (though his cancerous redesign comes close to doing that to viewers). However, while Lovecraftian creations like the tentacled Cthulhu were never meant to be seen as physical beings, with that entire story hinging on how the Old One’s true form and intentions couldn’t be grasped by the human mind, film is a visual medium, and Shin Godzilla is likely as close as we’ll ever get to a big-screen representation of that particular kind of cataclysmic story.

There’s no way of knowing if these Lovecraftian elements were intentional, but there’s no doubt in my mind that Shin Godzilla remains an excellent example of cinematic Cosmic Horror done right. If you need further proof, I’d suggest taking another look at that hauntingly beautiful final shot of the creature’s mutated tail. It works as a horrific visual in and of itself, but the existential implications of that image are what make the ending truly horrifying, and that specific kind of apocalyptic dread is why Shin Godzilla remains my absolute favorite Kaiju flick.

Editor’s Note: This article was originally published on October 24, 2022.

The post ‘Shin Godzilla’ – The Lovecraftian Horrors of the Cosmic Monster Movie appeared first on Bloody Disgusting!.

At the time of writing this article, 625 backers have pledged a whopping $63,800 to the Cthulhu Dreamt Kickstarter campaign, shattering the original goal of just $10,000.

In other words, it’s DEFINITELY happening. So what is Cthulhu Dreamt, you ask?

The team explains the unique project, “Cthulhu Dreamt is a sci-fi horror Tabletop RPG and Original Soundtrack where you and your team of Survivors will explore a near-future Earth that is suffering under the influence of Cthulhu and his cosmic denizens. Using your talents, special tech from the secret government agency Salien-Welf, and even the tools of the old ones, you must rescue one of the few scientists who can help.”

“Horror, Science Fiction, and Cthulhu lovers will delight at the semi-futuristic approach to the mythos, and modern take towards the gameplay-focused storytelling,” they continue.

What makes Cthulhu Dreamt particularly unique is its accompanying soundtrack, which features over 3 hours of original music that will escort you through the entire campaign.

“Immersion is taken to new depths when the original soundtrack is brought into the mix, with cinematic tracks, metal music, and ambient soundscapes made specifically to score the campaign.”

Set on a near-future Earth, this project offers a fresh take on Cthulhu by imagining the horror occurring in our world with the technology of the year 2034. Players will journey across the world, attempting a rescue mission unlike any other, trying to circumvent the abominations in their way, as the reality of their world unravels before their eyes.

Based on an original D12 ruleset (designed by Adam Baffoni, creator of the Tether RPG) with an emphasis on travel and survival, characters (and players) will have to work together to survive against not only the horrifying otherworldly creatures, but also the harsh environments of the Earth… and beyond.

The game features a custom soundtrack, with songs composed specifically for scenes in the main campaign of the book. Facilitators will be able to scan QR codes present in the book to play original songs composed specifically to highlight cinematic moments from the campaign.

Head over to Kickstarter to learn more and secure your copy of Cthulhu Dreamt.

The post ‘Cthulhu Dreamt’ – Survival Horror Tabletop Role Playing Game Delves into Lovecraft’s Cthulhu Mythos appeared first on Bloody Disgusting!.

When asked if he has any dream project that he hopes to someday bring to life, James Wan brought up The Call of Cthulhu, an adaptation of H.P. Lovecraft’s classic short story.

Of particular note, it sounds like Wan has already been low-key toying with a potential adaptation of Lovecraft’s tale, which was first published in Weird Tales in February 1928.

Wan teases during the Reddit AMA chat, “My dream project, that I have been secretly cooking away on the down low for the last 5 years, is The Call of Cthulhu.”

Lovecraft’s The Call of Cthulhu “consists of three interconnected parts, and is presented as notes belonging to Francis Thurston, a Boston resident investigating the ancient deity Cthulhu.”

Interesting to note, Black Manta quotes the text in Aquaman, directed by James Wan!

Wan was also has asked about his “dream comic book adaptation” during the chat, and his response was Dylan Dog. The Italian horror comic series has been adapted a couple times now, first with 1994’s Cemetery Man and later with 2011’s Dylan Dog: Dead of Night.

The post ‘The Call of Cthulhu’ – James Wan Reveals His Ultimate Dream Project in Reddit AMA Chat appeared first on Bloody Disgusting!.

Here are the coolest horror collectibles unveiled this week!

Cthulhu Plush Toys from Quantum Mechanix

Quantum Mechanix is summoning a pair of Cthulhu plush dolls in July. The one pictured on the left is part of Qreatures line. It sits 10” tall and costs $29.99. The other is part of the Zippermouth line. It’s 9.5” tall and costs $34.99. Unzip its mouth to reveal the elder god’s forked tongue devouring an ocean liner.

It Follows Print from Trevor Henderson

Friend of the site Trevor Henderson’s It Follows artwork brilliantly evokes the film’s eerie atmosphere. Giclee prints can be purchased in 8×12 for $15 and 12×18 for $20. Canvas prints, acrylic prints, metal prints, and cards are also available.

Deadstream Shirt from Fright-Rags

Deadstream was one of my favorite horror movies of last year, so I’m pleased that Fright-Rags has entered Death Manor for a line of official shirts. Since the film is an Evil Dead-inspired take on found footage, Zachary Jackson Brown’s artwork parodying Evil Dead’s classic poster is perfect. You can demonetize this bitch for $30.

Haunt Vinyl Soundtrack from Enjoy the Ride Records

Enjoy the Ride Records has pressed Haunt’s original motion picture soundtrack on 180-gram “Mask” swirl colored vinyl, limited to 250. It’s housed in a gatefold jacket featuring artwork by Ryan Richardson Pratt.

Priced at $36, the score is composed by tomandandy (The Strangers, The Hills Have Eyes). The 2xLP album also includes Lissie’s somber cover of Rob Zombie’s “Dragula.”

Jennifer’s Body Shirt from Poltergeist and Paramours

Like Halloween III for a new generation, it’s been nice to see the unfairly maligned Jennifer’s Body get reappraised and appreciated by horror fans. Poltergeist and Paramours is here to remind you that Hell is a teenage girl with a design by Pink Fang. It’s available on T-shirts for $25, tie-dye tees for $27-32, and zip-up hoodies for $42.

For more merch madness, peruse the Killer Collectibles archives. You can also visit Broke Horror Fan.

The post 5 of This Week’s Coolest Horror Collectibles Including a ‘Jennifer’s Body’ Clothing Collection appeared first on Bloody Disgusting!.

They say no human can gaze at Cthulhu without going mad. The only form suitable to avoid insanity is by planting and growing your very own Cthulhu Chia Pet!

Now available from Amazon, the handmade pottery planter comes with 1 packet of Chia® seeds good for 3 plantings, convenient plastic drip tray and planting & care instructions. In just 1-2 weeks your Cthulhu Chia Pet will achieve maximum growth as it takes over your puny existence. Chia Planters can be washed and replanted indefinitely.

Grab your own Cthulhu Chia Pet for $22.99 on Amazon now.

Cthulhu is a cosmic entity created by H.P. Lovecraft. The Great Old One has appeared in several horror movies over the years. Most recently, Kristen Stewart battled Cthulhu in Underwater.

The post Grow Your Own Eldritch God With the Brand New Cthulhu Chia Pet! appeared first on Bloody Disgusting!.

The Call of Cthulhu Mystery Program is Omniverse’s occult radio play of unknowable horror and black comedy. Each season is a standalone tale, boldly exploring Lovecraftian lore in queer and uncanny ways: sapphic cat-worshipers, a hobo king with a mysterious past, the last female Bureau agent, and many other unwitting souls who’ll risk their sanity to keep the world spinning.

It’s an award-winning audio drama podcast… and it’s also a roleplaying game! Mystery Program’s unique aural experience is an unholy hybrid of historical fiction storytelling, live tabletop roleplaying, cinematic sound design, original score, and scripted audio fiction; melding into a sensational sonic sojourn like you’ve never heard before.

In the new series, said to be the show’s “darkest season yet”…

“It’s 1920… the last days of summer… Five kids dare to spend the night in a haunted estate. Will they survive to see the sunrise, or will they succumb to the hunger of Howling House?”

The team teases, “Mystery Program’s award-winning sound design levels up in “Howling House” from cinematic to truly spatial sound; so you’ll feel like you’re inside Howling House as it’s explored and its visceral horrors are uncovered.”

Launching in tandem is a crowdfunding campaign for the next series: “The Case of the Penumbral Gate”.

In this original story, two down-on-their-luck Bureau of Investigation Agents (Girl in Space’s Sarah Rhea Werner and RPG From Scratch’s Liam Malone) cross paths with fan-favorite characters from Mystery Program’s “The Terrible Secret of Lot X”: Estelle Thorpe (Cat Blackard) and Anjana Ramakrishnan (Melody Perera). The Agents’ latest case takes them to Arkham, and once you start snooping around in that town… you don’t get the dirt – the dirt gets you.

In addition to funding the post-production of this new series, this campaign will create Chaosium-licensed adaptations of The Call of Cthulhu Mystery Program’s original roleplaying scenarios, and stretch goals include original songs by Walter Sickert and the Army of Broken Toys, production of future seasons, and backstory-expanding specials. Perks for supporters include exclusives like Call of Cthulhu games run by Mystery Program’s Luke Stram, wooden Red Herring coins, and custom rituals conducted by Showrunner, Cat Blackard.  

The post “Night at Howling House”: The Call of Cthulhu Mystery Program Returns with Darkest Season Yet appeared first on Bloody Disgusting!.

As previously mentioned, due to the ongoing conflict in Ukraine, Frogwares has decided to go the route of crowdfunding to help with funding the project. There are several tiers for those who donate, with many of the top levels having already been claimed. In fact, the Kickstarter for Sherlock Holmes: The Awakened has already reached over €94,000 in funds.

As for the trailer, we’re introduced to Holmes and his sidekick John Watson exploring a swamp by rowboat when they meet up with unexpected company.

A meeting of Lovecraft and Sir Arthur Conan Doyle, The Awakened puts you up against the legendary Cthulhu Mythos. Holmes must investigate a series of mysterious disappearances that are apparently linked to a dark cult that worships an Ancient God. The pursuit of the truth pushes Sherlock to the verge of madness, and it’s the only story that Watson will never publish.

Sherlock Holmes: The Awakened is due out for PlayStation 5, PlayStation 4, Xbox Series, Xbox One, Nintendo Switch, and PC via Steam in 2023.

The post Frogwares Launches Kickstarter for Remake of ‘Sherlock Holmes: The Awakened’ With New Trailer [Video] appeared first on Bloody Disgusting!.

Variety reports that Jonathan Majors, fresh off playing Atticus Freeman in Misha Green’s HBO series, is currently in talks to star in Gordon Hemingway & the Realm of Cthulhu.

If he signs on, Majors will be playing the title character. Gordon Hemingway, that is.

Gordon Hemingway & the Realm of Cthulhu is “set in East Africa in 1928 and centers on Gordon Hemingway, a roguish Black American gunslinger, who teams up with the elite warrior Princess Zenebe of Ethiopia to rescue the country’s kidnapped regent from an ancient evil.”

Hank Woon wrote the original screenplay.

In addition to Spike Lee, Lloyd Levin and Beatriz Levin are also producing.

The post Jonathan Majors in Talks to Star in Spike Lee-Produced ‘The Realm of Cthulhu’ for Netflix appeared first on Bloody Disgusting!.

Variety reports that Stefon Bristol (See You Yesterday) is on board to direct the feature.

Gordon Hemingway & the Realm of Cthulhu is “set in East Africa in 1928 and centers on Gordon Hemingway, a roguish Black American gunslinger, who teams up with the elite warrior Princess Zenebe of Ethiopia to rescue the country’s kidnapped regent from an ancient evil.”

Hank Woon wrote the original screenplay.

In addition to Spike Lee, Lloyd Levin and Beatriz Levin are also producing.

The post Spike Lee Summons The Great Old One for Upcoming Netflix Movie ‘The Realm of Cthulhu’! appeared first on Bloody Disgusting!.

Said to be “inspired by the myth of Cthulhu,” the upcoming film “tells a fantasy horror adventure story triggered by a mysterious quantum mechanics experiment. Its brain-opening science fiction stories, exotic monsters in the strange world, and realistic visual effects will lead the audience into the unknown world where the “mysterious ruler” is located.”

Zheng Xitong, Wang Yiqi, Xu Shaoxiong, Luo Yingjun and Lou Xuexian star.

We don’t know all that much about the film or when you’ll be able to watch it here in the States, but you can check out two trailers and a handful of killer posters down below. It looks like there are all sorts of monstrous Lovecraftian threats in this one, with the big bad indeed looking a whole lot like Cthulhu. We’ll keep you posted if we hear anything about a US release!

Thanks to Avery Guerra for the heads up on this one.

The post ‘Alien Awakening’: Upcoming Chinese Monster Movie Awakens a Tentacled Old God Inspired by Cthulhu! appeared first on Bloody Disgusting!.

However, with the terrifying adventures of Atticus Freeman and company having drawn to a close, we decided to compile a list of movies and TV shows that might help fans of Lovecraft Country fill that cosmic void. We’ll be leaving out obvious suggestions like Candyman, Re-Animator and Jordan Peele’s filmography, but be sure to inform us of your own favorites in the comments below.

Now, onto the list…

From Beyond (1986)

While other directors have successfully tackled Lovecraft on film, few have done it as skillfully as the late great Stuart Gordon. He may be best known for Re-Animator, but Gordon actually sank his teeth into several other Lovecraftian tales, with From Beyond becoming one of the best. Following a scientist hell-bent on developing a machine that allows the human pineal gland to perceive other worlds, the story soon mutates into a gory psycho-sexual thriller with memorable characters (thanks to the ever-lovable Jeffrey Combs and Barbara Crampton) and horrific interdimensional abominations.

Not only is From Beyond a shining example of Cosmic-Horror done right, with a quite literal interpretation of Nietzsche’s insight about the consequences of gazing into the abyss, but it also embraces body-horror and sexuality in a way very similar to Lovecraft Country. The original tale that the film is based on also likely served as the inspiration for a lot of the interdimensional shenanigans within the show, making it a must-watch for fans.

Tales From the Hood (1995)

Tales From the Hood is certainly a rare gem among horror anthologies, combining blaxploitation sensibilities with a gritty 90s aesthetic while still depicting real-world social issues. Executive-Produced by the legendary Spike Lee and directed by Rusty Cundieff, this wonderful little horror film turns a schlocky premise into a clever framework for telling uniquely Black stories, tackling everything from police brutality to child abuse.

The movie is presented as a series of cautionary tales related to our young protagonists by Mr. Simms, an oddball mortician with a sinister side-business (played by The Mod Squad‘s Clarence Williams III in yet another iconic role). While some have argued that the film bites off more than it can chew as it tries to balance serious racial issues with b-movie fun, it’s still one hell of an entertaining anthology and more than a little influential in Lovecraft Country‘s deconstruction of pulp horror.

The Resurrected (1991)

One of the more obscure Lovecraft adaptations, Dan O’Bannon’s The Resurrected (also known as Shatterbrain) is a criminally underrated retelling of The Case of Charles Dexter Ward. While the film takes some liberties with the source material, it maintains the original tale’s sense of impending doom, with detective John Marsh being hired to look into a wealthy chemical engineer’s unorthodox hobbies. It may take a while to get going, but this underrated thriller weaves a frightful tale of neo-noir investigation and cursed family histories while also benefiting from a memorable performance by genre veteran Chris Sarandon.

If you can stomach the wonky pacing, this an easy recommendation for horror fans everywhere, but Lovecraft Country aficionados will especially appreciate the similarities between the antagonist’s obsession with immortality and the show’s mysterious Braithwhites.

The titular resurrection sequences are also incredible, making clever use of some excruciating practical gore effects that are still jaw-dropping three decades later.

Masters of Horror (2005)

Created by Mick Garris with the intention of reviving old-school anthological horror on television for a more mature audience, Masters of Horror truly lived up to its name with episodes by John Carpenter, Dario Argento, Tobe Hooper and even the aforementioned Stuart Gordon (among many others).

The show may have had its fair share of stinkers, which is pretty much unavoidable with the anthology format, but it also gifted us with some of the best work in these directors’ careers. Taking a closer look, you’ll actually find that a lot of these televised classics benefited from a healthy dose of Cosmic-Horror. From H.P. Lovecraft’s Dreams in the Witch-House (another Stuart Gordon venture) to John Carpenter’s disturbing Cigarette Burns, there’s no shortage of existential dread and cosmic creeps to keep you up at night.

There are no recurring story elements to tie these tales together into a comprehensive mythos, but these episodic frights from a diverse array of creators might be enough to tide you over now that Lovecraft Country is off the air. If you do end up watching, keep an eye out for Imprint, which remains one of Takashi Miike’s greatest storytelling achievements and was even banned from television at the time for being too horrific.

Cthulhu (2007)

Another Lovecraft adaptation (this time tackling the classic The Shadow Over Innsmouth), Daniel Gildark’s Cthulhu is a much more dramatic take on this pulpy story, appropriating Cosmic-Horror as a way of processing down-to-earth issues much like Lovecraft Country. Following a gay history professor who returns to his childhood home after a death in the family, this low-budget film deals with themes of repressed sexuality and rejection while also unraveling a genuinely unnerving apocalyptic conspiracy.

While the film would have benefited greatly from a larger effects budget, it’s still a compelling take on seaside cults and dysfunctional families, with Gildark choosing to explore small-town horrors and queer fears in a flawed but memorable experience that turns a lot of Lovecraftian tropes on their head.

The post 5 Movies and Shows to Watch After Finishing “Lovecraft Country” appeared first on Bloody Disgusting!.

Now available on Digital and Blu-ray, director William Eubank’s Underwater has come home this week with over an hour of special bonus features, including three 20-minute featurettes, 15-minutes of deleted/extended scenes, an alternate ending (with optional commentary; both exclusive to the film’s Digital release) and a feature film commentary track.

It’s a robust package that dives relatively deep into the production, highlighting just how much work (and money) 20th Century Fox and the filmmakers put into bringing the aquatic horror tale to the big screen earlier this year. And at a time when home video bonus features are being scaled back, it’s damn sure nice to see a little bit of effort put into the release.

Here are just 10 fascinating things I learned from the commentary and various featurettes…

1) Kristen Stewart Insisted on Her Character Dying

Underwater‘s final act sees Kristen Stewart’s Norah sacrificing herself to blow up the film’s big monster, though she mostly has little say in the matter due to the only remaining escape pod being damaged. In the alternate ending, however, Norah is able to get that last pod working and escape before it’s too late. In the optional commentary track for the alternate ending, Eubank notes that though Stewart was game for filming a version of the ending wherein her character survives, she ultimately felt that Norah needed to give her life to the cause.

2) The Suits Worn By the Actors Weighed 100 Pounds

The “Production” featurette included with Underwater‘s home video release spends some time highlighting the incredibly impressive underwater suits worn by the characters, which weighed a whopping 100-pounds each. As you might imagine, this made it hard for the actors to move around; as Jessica Henwick notes, the suits weighed almost as much as she does. “I directed part of the day in one of them, and I just had sweat dripping down my face,” Eubank recalls. “This is the hardest shoot I will ever do in my life,” Henwick says during an on-set interview.

The suits, described in one of the featurettes as being “wearable submarines,” were such a crucial part of the film that Eubank viewed them as cast members in and of themselves.

3) The Underwater Scenes Were Filmed With No Water At All 

The plus side to those bulky, cumbersome suits? They slowed down the actors and helped to sell the illusion that the characters were moving through water, when oftentimes they were not. For the portions of the film where the characters are walking along the ocean floor, they were actually walking on a sand-covered set. All of the surrounding water was then added into the mix in post-production. The stunt coordinator was tasked with further slowing down the movements of the actors to replicate the look and feel of their characters moving underwater.

Stewart explains, “What they did was put us on wires, in the suits, so we could kind of walk with an implied buoyancy. We had this suspended walk. With a particular frame-rate, they were able to make it look like we were genuinely submerged.” The combination of the suits, wires and frame-rate adjustments allowed for smooth, slowed down movements.

4) Green Screen? More Like Black Screen

You might be surprised by how much of Underwater was executed practically on set. “Unlike doing a lot of green screen work, we did a lot of this kind of black screen,” star John Gallagher Jr. notes in the “Production” featurette. “The set was kind of plunged into darkness, with specific lighting. For the most part you’re just out there on a dark stage. And I actually kind of enjoyed those days, because you don’t really know what you’re looking at and what’s happening and instead of staring down a big bright green screen, you’re just looking out into darkness.”

Rather than creating a deep sea world in post-production, it was largely created live on set. With the exception, of course, of the water, which was digitally inserted into the film.

5) There’s an Alternate Version of the Movie With a Real Bunny

A 3-minute bonus feature titled “Real Bunny Montage” is presented with zero explanation, and it reveals that the stuffed bunny T.J. Miller’s character is carrying throughout the movie was sometimes replaced by a very real bunny instead. I asked Eubank about this, and he explained to me that he did it on purpose, “so T.J. would think we were going to use the real bunny, and he treated the stuffed bunny like he thought it was the real bunny.” He added, “We would only do like a take with the real bunny. And then have the stuffed bunny the rest of the time.”

In other words, the movie was shot with a real bunny and a stuffed stand-in, and the only footage that was actually used was the footage with the fake bunny. But if you look closely towards the end of the film, as Smith is being closed into his escape pod, you can see that the stuffed bunny he’s handed by Norah becomes, just for a moment, a living, breathing bunny!

6) Underwater is a Monster Movie Homage to Alice in Wonderland

Why is there even a bunny at all in the movie, you ask? Well, there’s actually a reason for that. As William Eubank explains in the commentary track, he envisioned Norah’s story as a sort of monster movie take on Alice in Wonderland, with Norah/Alice traveling deeper and deeper down the rabbit hole. There are several nods to this allusion throughout the film, the first of which is a Queen of Hearts card that appears on the “Lavatory” sign in the opening scene.

“There’s a lot of cool nods to Alice in Wonderland,” Eubank explains. Another nod can be found on Paul’s (T.J. Miller) chest; he’s sporting a rather large tattoo of the iconic Cheshire Cat.

7) The Film’s Monsters Are Called “Clingers” and the “Behemoth”

None of the characters actually give names to the monsters in the film, but the bonus features let us know that the filmmakers named them “Clingers” and “Behemoth.” The “Clingers” are the tall, lanky, humanoid creatures that the characters are dealing with throughout much of the film, and it’s in the final act that we meet the Kaiju-sized “Behemoth.”

And speaking of those underwater terrors…

8) The Creatures Were Originally Much Different Looking 

There’s a bunch of early creature concept art that’s shown off in the bonus features for Underwater, revealing that the “Clingers” originally looked like giant squid and the “Behemoth” was an almost crab-like Kaiju (above). But the decision was ultimately made to redesign the creatures and make them more humanoid. As for the “Behemoth,” well, he became Cthulhu.

The change from earthbound, squid-like creatures to otherworldly, Lovecraftian monsters also forced the one practical creature to be changed in post-production. The first monster we get a good glimpse of in Underwater is essentially a baby version of one of the Clingers, and a practical monster was created for this scene by KNB EFX. But that the practical baby ultimately had to be changed with digital modifications when the larger Clingers were redesigned. The end product is a mix of KNB’s monster and the digital version created by Image Engine.

One of the deleted scenes presents that footage with the original practical creature. And one of the original squid creatures was actually left in the final film. Keep your eyes peeled!

9) The Movie Was Filmed Inside an Abandoned Lowe’s

“We needed to find a location that could support multiple stages, and we ended up down in New Orleans,” Eubank explains in the “Design” featurette. More specifically, Underwater was primarily filmed in Chalmette, inside an abandoned Lowe’s that had been converted into a sound stage. Yes, much of what you see in Underwater was filmed inside Lowe’s!

Eubank explains that the store had been destroyed by Hurricane Katrina several years prior, “so it was totally empty and just this massive, massive space.” The various rooms in the underwater station were constructed within that abandoned building, as were the various water tanks that were needed whenever the actors were truly walking around in water.

10) Cthulhu’s Arrival Was Teased With Easter Egg Mythology-Building

Eagle-eyed viewers may have noticed an Easter egg appearance from Cthulhu before he actually appeared in the final act, mentioned by Eubank in the commentary track.

When Norah is looking through Lucien’s locker after his death, she finds drawings that reveal a bit of the film’s unexplored mythology. One of those drawings, quite clearly, is Cthulhu.

“Some major nods there, to people who want to get into that. A whole nother mythos revealed right there,” Eubank teases in the commentary track at the 1:05:50 mark.

The post Alice in Wonderland Meets H.P. Lovecraft: 10 Fun Things We Learned from the ‘Underwater’ Bonus Features appeared first on Bloody Disgusting!.

As named in the home video release’s special features, there are primarily two types of monsters in William Eubank‘s creature feature Underwater: the “Clingers” and the massive “Behemoth.” The latter monster, as his name suggests, is the true “Big Bad” of the movie, and his unexpected presence paves way for one hell of a final act we can’t say we ever saw coming.

If you thought the “Behemoth” looked quite a bit like one of the most iconic monsters in pop culture, well, you’d be hitting the nail right on the head. As he revealed during an interview earlier this year, William Eubank indeed drew inspiration from the tales of H.P. Lovecraft for Underwater. Namely, his film’s final act monster is, for all intents and purposes, Cthulhu.

Lovecraft’s most iconic creation is actually in the public domain, allowing for Eubank and his visual effects team to bring the monster to the screen in their own movie – which, aside from the appearance of Cthulhu at the end, certainly doesn’t outright adapt any of Lovecraft’s stories. Speaking with YouTube’s Mr. H in January, Eubank spilled the beans.

“Yeah, spoiler alert, this is a secret Lovecraft love story, where you get to see Cthulhu briefly at the end,” he revealed.

Yes, Kristen Stewart battles Cthulhu in a movie that ultimately ended up being released by Disney. If that doesn’t make Underwater one of the year’s coolest movies so far, well, I’m not sure what would. But how exactly did Eubank manage to slip him in there without any of us knowing? And how did Disney feel about releasing a straight up Cthulhu horror movie?

Well, for starters, Underwater was very much not originally conceived as being one.

“It wasn’t written to be a Cthulhu movie,” Eubank explained in a conversation with Bloody Disgusting this week. “Brian Duffield wrote this terrific, scary film, but it wasn’t Cthulhu. It was just called a Behemoth. And I was in post for two years, basically. And during that time, when [we] actually started designing and creating what this Behemoth was gonna look like, I just knew at that point the movie was more mystical; in the way we shot it, in the way there were so many unanswered questions.”

“I knew that the best way to service that was to head towards Lovecraft.”

Backtracking a little bit, the creatures in Underwater changed a good deal during the course of that two years of post-production, and it was when the design of the “Clingers” – parasite-like beings that hang off the Kaiju-sized Behemoth – changed that Eubank realized he had the perfect opportunity to bring the ultimate scary monster into his aquatic horror film.

“[IT director] Andy Muschietti had come down and seen some of my early monster stuff, which was a little more squid-like. And he was like, ‘I don’t think that’s scary enough.’ And Chernin [Entertainment] was telling me [the same thing]. And so then I was like, alright, well… I’ll make him something that’s pretty scary,” Eubank recalls, laughing. “We didn’t have much money to do big redesigns or anything like that, but fortunately since it was early in the process we were able to tweak the design that we were doing. And obviously you see the Clingers a lot more. And fortunately because we were working on the movie in order, we were able to shift the designs towards a darker, more Lovecraftian thing. When I started submitting designs for the Behemoth at the end, I was basically just telling the artists, ‘Alright, let’s make the Old One. Let’s get the boss of all bosses.’ It all worked. It’s so perfect.”

Eubank continued, “Disney then bought Fox, and we went into hibernation – I didn’t really know what was happening with the film. And we get to the first marketing meeting and one of the first marketing points was, ‘We think Lovecraft fans are going to love this movie.'”

“Right away Disney was getting it. They understood what we had done.”

Ultimately, Disney released Underwater without ever tipping their hand to Lovecraft fans, and Eubank is thankful that the marketing preserved the secret at the bottom of the ocean.

“In order to make a proper Cthulhu movie, in my opinion, you can’t say it’s a Cthulhu movie,” he told us. “Because then the experience of the unknown and the cosmic horror really isn’t there. But by going in totally silent about it, and allowing people to be like ‘Wait, what is this. This isn’t making sense.’ And then for it to make sense in the end. That’s the best way to experience it. I was pretty stoked that they kept it under wraps.”

“You got to do this stuff in the ’80s, ya know.”

Made on a reported budget of around $50 million, Underwater is indeed the very definition of the sort of movie that “doesn’t usually get made” these days, and though the risk may not have entirely paid off at the box office, the fact that an original, big-budget Hollywood creature feature was even released in the year 2020 is something of a gift. Especially to fans of Lovecraft, whose ticket purchase gave them the coolest representation of Cthulhu that has ever graced the big screen. That it was a surprise, well, that was just the icing on the cake.

You can see more creature concept art, including those early squid-like designs Eubank touched upon in our chat, by picking up Underwater on Digital HD and Blu-ray today.

The post ‘Underwater’ Director Shares Creature Concept Art and Talks About How He Got THAT Monster in the Movie [Exclusive] appeared first on Bloody Disgusting!.

The latest trailer for the game, titled ‘Rotten Reality’, looks deep into the decay and rot that is decimating Oakmont, Massachusetts. The player, as private investigator Charles W. Reed, must overcome the increasing mental trauma the city is causing him to unravel the mystery of why the city, he, and the citizens are being dragged into this madness.

Frogwares is a dab hand at investigative games, having created several solid Sherlock Holmes titles over the years, so The Sinking City has promise in that department. It’ll be interesting to see how it blends that with cosmic horror.

The Sinking City is coming June 27 on PS4, Xbox One, and PC.

The post New ‘The Sinking City’ Trailer Looks Closer at the City’s Rotten Reality appeared first on Bloody Disgusting!.

To some, that name will sound familiar. Of course, plenty of you will have heard of H.P. Lovecraft and his iconic eldritch horrors. However, there will also be those aware of Achtung! Cthulhu and its tabletop/roleplaying games created by Modiphius Entertainment. These are the basis for Cthulhu Tactics, an upcoming adaptation that is a living part of this universe.

We recently caught up with Auroch Digital Producer, Nina Adams, and Production Assistant, Peter Willington, to talk Lovecraft, turn-based strategy, and how the genre is actually a perfect fit for horror.

Although it has a discernible point of origin, Cthulhu is unlike most media properties we see today, as Adams explains:

“Cthulhu is technically out of license which is why people are now using it. Lovecraft’s books are so old that they aren’t protected by copyright so anyone can do anything with them, really. It’s definitely turned into this full world of people adapting it in loads of different ways.”

Cthulhu is therefore referred to as a “mythos” and one that’s completely open for others to borrow, expand, and use in their own works. It takes only a cursory glance at many works of fantasy and science fiction to link them back to some of his original creations. It’s basically a buffet for horror writers.

If the name itself wasn’t already a dead giveaway, Achtung! adapts Lovecraft’s lore within a World War II setting, albeit one with a clear pulp influence. Part of what makes Cthulhu Tactics so ambitious is how it’s being integrated into the existing Achtung! universe. Instead of being a standalone video game, Auroch’s adaptation is, in fact, part of a living campaign known as The Forest Of Fear.

It’s all canon with this story informing the roleplaying game and vice versa though either can be enjoyed exclusively without the other. With that comes a challenge for Auroch, staying true to the fiction while making sure Modiphius and its own fans are on-side.

“There is definitely a Lovecraft fandom and there are definitely people who go black and blue on how to pronounce certain names,” Adams told us.

“But there’s a bit more creative interpretation with it – especially something so old. If you are a Star Wars fan then there’s an absolute certain way that things should look. If you did an interpretation of one of the starships and it wasn’t right, you’re going to get into trouble.

Because Lovecraft’s books and drawings were done so long ago, there’s a lot more creative freedom there. What we do have is Modiphius’s fanbase who are a strong fanbase so we are keeping them in mind – we need to keep them happy.”

One way Auroch has done this is by capturing the look of the Achtung! universe, especially the tabletop miniatures. In fact, Modiphius shared the CAD files for its Cthulhu models to make their video game counterparts look as authentic as possible. Of course, given the static nature of the miniatures, Auroch had to make some adjustments so these characters and creatures could animate properly on-screen.

Some of these characters were shown to us in a preview build demonstration, dropping players directly into the Ardenne, in an area colloquially known as the Forest of Fear.

“At this point in the story, D-Day has just kicked off,” Willington explains. “The Nazis are retreating and really need something to turn the tide in their favor – so they go digging for artifacts. In the real world, the Nazis were genuinely interested in the occult. Or at least certain, high-ranking members were.”

It’s true. During World War II, Hitler had an order known as the Black Sun: agents dispatched to Egypt, Morocco, and other places steeped in ancient history in search of relics. They were basically living out Raiders of the Lost Ark, as Adams pointed out.

The way Cthulhu Tactics is set up will be familiar to anyone who’s had a brush with the turn-based strategy genre. Much of the action is focused around battle encounters in which players are encouraged to think tactically, surveying the battlefield, positioning their heroes, and carefully considering each action.

The word “heroes” is particularly key here. Instead of customizing a team of generic grunts, Achtung! features fully crafted characters – a band of Nazi-hunting misfits, each with their own backgrounds, personalities, and combat proficiencies. Although there’s no permadeath, comrades that fall in battle will be captured by the enemy, forcing you to conduct a rescue mission before continuing the campaign.

The game’s momentum mechanic also helps emphasize its pulp influences, as Willington explains:

“In pulp, the heroes are big, strong, and are doing all these crazy things. They don’t just sit there and do nothing so we encourage players with “momentum”. We say hey if you’re doing cool things, we’ll give you points for doing those cool things and then you can spend that momentum in different and interesting ways. For example, overwatch attacks, using secondary weapons and special abilities.”

Furthermore, these characters can be customized as you progress through the campaign. Aside from new weapons, attachments, and upgrades, you will be spending points to unlock a diverse spread of powers, Achtung!’s branching skill trees allowing multiple playstyles for each hero.

While horror can be used as a backdrop for just about any video game genre, weaving it into how we actually play them is something else entirely. As such, in a strategy title where you manage multiple characters from a top-down view, there’s little scope for jump scares or terrifying chase scenes. However, when you look deeper, horror and strategy can be spliced together surprisingly well, and in a way that perfectly encapsulates Lovecraft.

“Here’s the thing,” Willington told us. “Mechanically it’s difficult to convey horror in strategy games but when you think about it, Lovecraft was all about the unknown. There are whole stories about what you don’t know that lives beneath the ground that is the biggest existential threat facing humanity.”

“I’ve read the entirety of his fiction and there’s a lot. And, you know what, they’re not actually scary. When you read them, they’re not. What’s actually terrifying about them is that you close the book then go “Oh, what if that was actually real?”. There’s this existential dread that goes through the whole thing – you feel uncomfortable the whole time.”

In Cthulhu Tactics that sense of dread – of treading into the unknown – is represented by what Auroch calls “the shroud”. Strategy fans will be familiar with the fog of war concept, though here it is being used to adapt gameplay beyond obscuring a player’s view of the battlefield. Hidden enemies will be more powerful and there’s also the chance that, when engulfed, one of your party members will succumb to madness. The shroud does much more than display what your characters can see – it’s a visual representation of good versus evil.

Cthulhu Tactics also creates horror and a feeling of unpredictability through the emergent scenarios players inevitably find themselves in.

“Things that are scary for a player are when you don’t have perfect information,” Willington clarifies. “Things like when your character get stressed out when player pieces are no longer in your control. So you can set up this big strategy with four characters that is working out like clockwork and then one of them absolutely loses it. Well suddenly that strategy is way less effective and that’s quite worrying as a strategy player: the unknown, the things that are out of your control.”

Of course, these kinds of situations aren’t exclusive to Achtung! and if there’s one thing we’ve learned in the past several months it’s that 2018 is packed with top-tier strategy games of all shapes and sizes. Then there are the aforementioned giants such as XCOM and Civ, whose players continue to rack up countless hours of playtime long after their initial release.

Auroch is definitely aware of this.

“You aren’t ever going to beat Firaxis,” Willington puts it rather bluntly, and there’s nothing wrong with having that perspective. Simply trying to copy XCOM or reskin it to suit the team’s Lovecraft setting wouldn’t work, especially with only ten to twelve people working on

Tactics. Of course, there is some inescapable overlapping though Auroch continues to experiment with the format as we’ve seen with the shroud and momentum mechanics as well as having a story-driven, character-focused experience. Cthulhu fans will be able to see how well the upcoming strategy game comes together when it launches on PC October 4 and on PS4, Xbox One, and Nintendo Switch at a later date.

The post [Interview] ‘Achtung! Cthulhu Tactics’: Can Strategy Games Successfully Convey Horror? appeared first on Bloody Disgusting!.

The storytellers at Bethesda created an open-world experience in Fallout 4, and sure, the main story is about finding your kidnapped son, but the more terrifying stories are told in the background, in hidden snippets that require you to dig deep and uncover the secret lore of the game. This was one of them.

The Apocalypse and Lovecraft

As I ventured into the caverns beneath the Dunwich Borers quarry, flashbacks shook the screen. Flashes of times before the Great War showed men hard at work carving out the tunnels, only to snap back to the present era where I found only ghouls—humans that had been exposed to too much radiation, their base natures twisted and warped beyond recognition.

The horror should come as no surprise. H.P. Lovecraft’s Cthulhu Mythos has long influenced the Fallout series. One of the core stories of this Mythos is known as The Dunwich Horror, a tale set in the fictional town of Dunwich, Massachusetts, the same state where Fallout 4 is set. Fallout 3 included a location called The Dunwich Building in which people worshiped Ug-Qualtoth, an unknown being with god-like powers.

The naming convention of this creature is similar to Lovecraft’s Yog-Sothoth and Yuggoth. Coincidence? Not hardly. The Dunwich Horror features a deformed main character named Wilbur Whateley that is barely recognizable as human, much like a ghoul. The story revolves around mysterious events 0n his family’s farm. Wilbur purchases a lot of cattle, but his herd never grows—and the animals that remain in his heard begin to have hideous open wounds.

I won’t say more. If you haven’t read Lovecraft before, check him out. The man is a master of atmospheric horror. He can scare even the most hardened horror fan. Lovecraft’s words creep into your brain like a fog and leave you unsettled.

It was this same atmospheric effect that made the Dunwich Borers so terrifying. The meaning of the flashbacks is never explained. Their cause is never explained. But their effect is immediately apparent.

Deeper into the Caverns

The ghouls came from every nook and cranny. Bodies I had dismissed as corpses stood and attacked. I began to fire a single round into the skull of every corpse, just to make sure. More than once, the corpses stood and attacked. With each step I took, the lights flickered erratically.

The path descended deeper into the cavern. Bodies and ghouls littered the lower levels more heavily than in the better-lit areas above. The flashbacks seemed tied to power sources within the mine. The moment I flipped one, another flashback would dominate my screen. Moments after it ended, ghouls flooded the hallway.

I fought through tunnel after tunnel until I reached the lowest level. A dimly-lit pathway opened into a larger cave. Construction equipped dotted the room, and a makeshift bedroom had been erected to one side. I dispatched the single ghoul that greeted me and looted the room. I thought I had reached the end; after all, I found a Sneak Bobblehead that permanently upgraded my abilities. Items like that aren’t left about haphazardly.

Then I saw another exit. Tucked away in the darkened corner of the room, a tunnel led deeper into the cavern. I stepped inside. I didn’t expect a flashback. I had grown used to their appearance after flipping a power switch, but I had not found one in the previous room.

When light filled my screen, I watched the eeriest flashback yet. A crowd of people knelt in front of an altar, their hands bound behind them. A man named Tim Shoots addressed the crowd. Just as suddenly as it appeared, the flashback faded—and a named ghoul attacked. I gasped at the name Tim Shoots over the creature’s head. Two more ghouls, Bradley Ramone, and John Hatfield, also joined the fray.

I had just watched a holotape with the three men, but I had not understood their intent.

I killed all three. My last round dropped Bradley Ramone feet from where I stood, and the momentum of his charge carried his now-dead body past me. I walked into the room with the altar, ready to fight more undead, but nothing remained of the flashback. A massive hole filled with radioactive water occupied the space where the altar had been.

At the bottom of the hole, I found Kremvh’s Tooth. This weapon looks like a machete forged from the jagged fang of some otherworldly beast. Upon further investigation, the weapon can be given a unique mod called “Sacrificial Blade.” This causes the target to bleed and deals a tremendous amount of damage.

A simple mission to kill a few raiders had led me to the remnants of a cult that worshiped a Lovecraftian god. Despite the hours I sank into Fallout 4, no other mission created the same level of unease and apprehension that descending through those flashback-filled tunnels did. The storytellers at Bethesda managed to pull me into the long-forgotten lore of a half-destroyed world and used my curiosity as the vehicle.

The post How ‘Fallout 4’ Turned a Normal Mission Into a Nightmare appeared first on Bloody Disgusting!.

Is it just me, or has the quality gone up when compared to the previous trailers? In addition, seeing as it’s Gamescom, the team have put together a playthrough of the game to give us a sense of what to expect.

The Sinking City is also due out for PlayStation 4 and Xbox One.

The post Another Trailer For ‘The Sinking City’ to Mess With Your Head appeared first on Bloody Disgusting!.

Funko just launched a brand new line of cereals, with Freddy Krueger and Jason Voorhees being two of the first pop culture characters to get their own. Both cereals are now up for grabs exclusively through FYE, both in store and through FYE’s website.

Next month’s Wave 2, as we learned last week, will include Pennywise and Beetlejuice cereals, and now we know that green Cthulhu cereal is also being released in August. Cthulhu’s cereal will be exclusive to Books-a-Million, and it includes a mini POP! toy as a prize!

Funko recently detailed the cereal line…

“Funko, purveyors of pop culture and all things awesome, is committed to helping you start the day off right by putting the fun back in breakfast with FunkO’s. And as we all know from Saturday morning commercials; every breakfast starts with a bowl of brightly colored cereal that comes out of a box with a really cool mascot on the front and a prize inside!

Funko is kicking off this summer with six new FunkO’s cereals, each guaranteed to turn your milk a different amazing color. Funko has no shortage of beloved mascots that already feature largely in the Funkoverse as Pop! vinyl figures and other collectibles. Now these pop culture icons will join you for breakfast!

In July, Mega Man FunkO’s will be available at GameStop, Cuphead & Mugman FunkO’s will be available at Hot Topic, Freddy FunkO’s will be available through Funko,Nightmare On Elm Street’s Freddy Krueger FunkO’s and Friday the 13^th’s Jason FunkO’s will be available at FYE, and The Lord of the Rings FunkO’s featuring Gollum will be available at BoxLunch. Additional cereals will continue to be added throughout the year for your snacking pleasure.

And of course, to put the fun back in breakfast, each box contains a collectible prize, making the boxes as much fun to collect as they are to eat! You’ll find a collectible figure inside every box of FunkO’s, so you’re going to want two boxes – one to taste, and one to display on your shelf with your Pop! collection.”

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As expected, the underwater Cthulhu theme is present in the teaser, along with a Cthulhu-esque monster. There’s also some mind-messing going on. What more could you ask for? Well, apart from a concrete release date. But hopefully that will be revealed once the game is shown at E3.

The post ‘The Sinking City’ Preps for E3 with a New Trailer appeared first on Bloody Disgusting!.

Via press release today, after months of sold-out performances in Ashland, Portland, and Seattle, Puppeteers for Fears, Oregon’s only dedicated puppet musical horror troupe, will bring its original show, Cthulhu: the Musical!, to Los Angeles for performances June 21-23 at The Hobgoblin Playhouse for the Hollywood Fringe Festival.

Far from the lo-fi puppet show stereotype, the production features a full cast of five actors with elaborate custom-made puppets, a full-rock band, and projected multimedia backgrounds.

The play is adapted from the 1929 short story, “The Call of Cthulhu,” by horror icon, H.P. Lovecraft, and tells the story of his most famous creation: Cthulhu, a giant, malevolent, octopus-faced elder god who hibernates beneath the ocean, communicating to humans through their dreams, slowly driving them mad. Though Lovecraft is not as much of a household name as writers like Stephen King or Edgar Allen Poe, he is widely considered to be the creator of the genre of gothic horror, and the creatures and themes he created are highly influential on modern literature of all genres. The story PFF chose to adapt is dark, disturbing, and totally unfit for musical comedy—all qualities that make it a perfect fit for their irreverent style.

“We are always looking to turn classic themes on their head instead of rehashing tired storylines,” says PFF Artistic Director Josh Gross. “So when thinking about what our next piece might be, I sometimes add the words, ‘the musical,’ to different phrases in conversation to see how people react, if it has that magic combination of familiar hook, and new twist. When I said, ‘Cthulhu: the Musical,’ for the first time, a bunch of heads immediately turned in my direction, and strangers started asking where they could see it. So I knew we had to do that as a show, even though the challenge of turning something so dark into musical comedy was pretty daunting. It was definitely worth it though. There was a lot of comedy to be found and this show is so much fun to perform.”

Cthulhu: the Musical! will be directed by Beth Boulay, and with a script and original songs from playwright Josh Gross.  Performances will feature live puppetry, a full rock band, and multimedia backgrounds courtesy of visual artist and Production Designer, Aubry Hollingshead. It stars Rachel Routh, Beth Boulay, Alyssa Mathews, and Forest Gilpin.

The post ‘Cthulhu: The Musical’ is Headed to Hollywood! appeared first on Bloody Disgusting!.

But here we are.

Funko has just unveiled Cthulhu’s arrival in their “SuperCute” line of plush dolls, with four different versions of Lovecraft’s cosmic entity being offered up.

The standard Dark Green version is available now, with 3 exclusives coming in January:

• Light Green – Books-A-Million
• Pink – Toys R Us
• Turquoise – Hot Topic

They’re all 12″ tall and super soft for optimum cuddling.

The post Cthulhu Joins Funko’s “SuperCute” Plush Line With Four Different Versions appeared first on Bloody Disgusting!.

As before, the trailer features that Victorian mansion filled with what you’d expect from an intimate get-together like this. Like sex machines and an erotic dancer. This is on top of the Lovecraftian and surrealist Zdzisław Beksiński-inspired imagery. The game’s already hit its goal on Kickstarter, with over 33 days left. If you donate, you’ll get early access to the alpha demo (similar to how Agony worked, which is also being published by PlayWay). To get your money in there, click here. The game’s Steam Page lists it being released to Early Access October 16.

Just don’t let your parents/younger sibling/significant other catch you watching this trailer.

This story was originally posted on Plenty Dreadful. Head there for more horror video game goodness!

The post ‘Lust For Darkness’ Launches Kickstarter Page, New Trailer appeared first on Bloody Disgusting!.

Inspired by the works of H.P. Lovecraft, Lust For Darkness also draws from the paintings of surrealist Polish artist Zdzisław Beksiński (have fun!), and throws in some good ol’ eroticism and occult themes for good measure. The story concerns a man named Jonathan Moon, who receives a letter from his wife who has been missing for a year. The message directs him to a secluded mansion where a mysterious ceremony takes place that opens a gateway to the perverse and profane land of Lusst’ghaa.

Throughout the game, players will move between our world and Lusst’ghaa, uncovering more of the mystery to Moon’s wife’s whereabouts, while also delving into the history of Lusst’ghaa and its inhabitants. Speaking of the inhabitants, expect tentacles and some heavy erotic undertones. The concept art (found on the game’s Facebook page) is a combo of Cthulhu and Eyes Wide Shut, which I guess someone will find “interesting”.

No word on when the game will be released.

This story was originally posted on Plenty Dreadful. Head there for more horror video game goodness!

The post Experience Lovecraftian Pleasures in ‘Lust for Darkness’ appeared first on Bloody Disgusting!.

We had some fun recreating some horror icons with it.  Take a look below and see if you can guess which characters we tried to make using a mouse and little to no artistry.

The post Fotogenerator Web App Fleshes Out Digital Nightmares! appeared first on Bloody Disgusting!.

Now, I realize that “Game of Thrones” doesn’t belong on Bloody-Disgusting (with exception, of course) so instead of showing you that video, I looked back at carver Valeriano Fatica‘s past and found two examples that are PERFECT for your next potluck BBQ!

Head on down to see the master carver at work.

The post Guy Carves Watermelons Like Pumpkins and They’re Awesome! appeared first on Bloody Disgusting!.

But in all seriousness, this is a really cool tribute piece. Over at Entertainment Earth you can pre-order a Cthulhu-themed edition of Monopoly. Personally, I’d pick up a copy of this just for the tokens, which look eerily adorable!

Set foot for Miskatonic University, and battle it out with other Cthulhu occultists to find out who truly is the Great Old One among you. This Cthulhu Collector’s Edition Monopoly Game features fun Cthulhu and H.P. Lovecraftian style imagery, plus game tokens straight from the Cthulhu mythos! The winner of Cthulhu Monopoly shall be deemed most like the Great Old One and the most fit to inherit his mantle. Whether you win or not, you lose and become one of Cthulhu’s mindless zombies. Hooray! For ages 8 and up. 2 to 6 players.

The post Do Not Pass Go, Do Not Collect $200, Go Straight To R’lyeh with ‘Cthulhu Monopoly’ [Halloween Treat] appeared first on Bloody Disgusting!.

To celebrate the 30th anniversary of the album and that specific track, Metallica has teamed up with artist Richey Beckett to release a new print honoring the Old God himself, Cthulhu. The print, which is a limited edition of 200, goes on sale tomorrow at 1pm PST and is simply stunning. Even if I weren’t a Metallica fan, this is something I’d hang on my wall.

You can order your print tomorrow via Richey Beckett’s website.

The post Metallica Revisits Ktulu With This Stunning Print appeared first on Bloody Disgusting!.

For many, the creatures that he came up with are nigh well unpronounceable. That’s why the below video is perfect for incoming Lovecraft fans! It’s the alphabet and each letter is assigned to something relating to him or his works. It was created by The Lone Animator and it’s well worth it for any fan of Lovecraft and his works!

The post H.P. Lovecraft’s 125th Birthday Remembered With…The Alphabet? appeared first on Bloody Disgusting!.

I first noticed Jason over on Long Live The Horror. After having a chuckle at the pissed hockey player, I went on an upload spree! 

Did I miss any characters or franchises?  Let me know in the comments below!

The post #StraightOutta Horror appeared first on Bloody Disgusting!.

This past week, Yahtzee released a teaser trailer for his Lovecraftian procedural horror game The Consuming Shadow. In it, players must search for clues and spells that can be used to defeat shadowy minions of a Cthulhu-ian creature before time runs out. Failure means immolation on a molecular level, courtesy of the Elder God that’s always watching.

According to Yahtzee’s blog, The Consuming Shadow is a point-and-click adventure game that features permadeath, four playable characters with branching stories and 20 different monsters. The sanity system made popular in games like Eternal Darkness and Amnesia returns with the same punishment, so a psychotic break means game over.

The footage is on the rough side and it doesn’t reveal much other than to let us know we’ll be dying a lot. The game looks to have an almost board game aesthetic, with its widescreen presentation and larger-than-usual interface.

No release date, but The Consuming Shadow will be coming to PC.

The post ‘The Consuming Shadow’ Trailer Hunts for an Ancient God appeared first on Bloody Disgusting!.

For more of Borja’s work, check out his gallery.

The post Start the Week Off Right With Some Lovecraftian Horror Art appeared first on Bloody Disgusting!.

If you’ve been following Templesmith’s career, you know he loves to draw tentacles in all shapes and sizes. This book is the one where he goes all out for some Cthulhu style horror and everything we’ve seen thus far looks stellar. Check out the two covers for “The Squidder” #1 below.

WRITTEN BY: Ben Templesmith
ART BY: Ben Templesmith
PUBLISHER: 44FLOOD/IDW
PRICE: $3.99
RELEASE: TBA

This all-new four-issue series finds an old soldier from a forgotten war in a post-apocalyptic world that has left him behind. He was one of the last of the legendary Squidder Legions. Can a discarded relic with a death wish and a rebellious Squid priestess overthrow humanity’s tentacled alien overlords? Ben Templesmith returns to his roots to finally do the tentacle/Cthulhu-orientated book he’s always promised! The Squidder mixes action, horror, science fiction, and fantasy elements with a touch of Squidly destruction.

The post Ben Templesmith Sends The Tentacles In “The Squidder” appeared first on Bloody Disgusting!.

I’m guessing Cthulhudad — totally not a real game, though it really should be — would take a similar approach, only with more ritual sacrifices, death, pain, and aguish — you know, all the things Cthulhu likely requires for nourishment.

The post ‘Cthulhudad’ Takes Us To The Mountains Of Dadness appeared first on Bloody Disgusting!.

One developer has decided it’s a smart idea to lure Cthulhu out of whatever distant Hell realm he usually resides in so they could drop him ever so gently into the realm of MMORPGs. The result is a horror MMO powered by CryEngine 2 called Monria. It’s both free-to-play and gives you the opportunity to turn your in-game earnings into real money, if you’re into that. Get familiar with it after the jump.

If teaming up with some friends to take down Cthulhu sounds like a good time, you can play it here. Monria is currently seeking distribution on Steam, you can help it out by gifting it with a vote on Steam Greenlight.

The post Waiter, There’s Some Cthulhu In My Horror MMORPG appeared first on Bloody Disgusting!.

In conjunction with the release of the novel, there will be a chat with Scott on Booktalk Nation this upcoming Thursday at 7pmEST. Readers can sign up now and join in on the chat live. Participants in the chat can order a signed copy of “Pandemic”, which will be provided through Scott’s local indie, Borderlands in San Francisco.

And lastly, There is a great social media contest that Scott is hosting for his fans with some giveaways and a grand prize of a three night’s hotel stay in Vegas for SiglerFest 2014. Full info on the contest can be found here.

Synopsis:

Scott Sigler’s INFECTED shocked readers with a visceral, up-close account of physical metamorphosis and one man’s desperate fight for sanity and survival, as “Scary” Perry Dawsey suffered the impact of an alien pathogen’s early attempts at mass extinction. In the sequel CONTAGIOUS, Sigler pulled back the camera and let the reader experience the frantic national response to this growing cataclysm.
And now in PANDEMIC, the entire human race balances on the razor’s edge of annihilation, beset by an enemy that turns our own bodies against us, that changes normal people into psychopaths or transforms them into nightmares.

Part Cthulhu epic, part zombie apocalypse and part blockbuster alien-invasion tale, PANDEMIC completes the INFECTED trilogy and sets a new highwater mark in the world of horror fiction.

The post [Exclusive] Excerpt: Scott Sigler’s ‘Pandemic’ appeared first on Bloody Disgusting!.

Watch our brave adventurers flee from shoggoths, Deep Ones, fish folk, ghouls, Formless Spawn, Mi-Go, Elder Things, nightgaunts, Old Ones, Outer Gods and foreigners (i.e. non-Anglo-Saxons) as they face many an existential crisis regarding their insignificance on a cosmic scale!

Find out in The Weird Adventures of Tintin, by H. P. Lovecraft!

The post [Random Cool] Tintin Done H.P. Lovecraft Style appeared first on Bloody Disgusting!.

With slightly less than a month left in “The Squidder” campaign, lord knows what possibilities lie in wait for the talented men of 44Flood, especially the head of this project, the dashing Ben Templesmith.

“The Squidder” is a 108-page original hardcover graphic novel written and illustrated by Templesmith, his first creator-owned comic in five years. The story follows an old soldier in a post-apocalyptic world that has left him behind. Templesmith promises the graphic novel will be loaded with Lovecraftian elements, gore, and, of course, some black humor.

Weeks ago when Templesmith mentioned he’d be rolling out a new Kickstarter, he explained it to me as Mad Max meets Cthulhu, which has now become a sort of unofficial logline for the project. For those subsequent weeks I had squids, and luscious, terrifying tentacles dancing in my head. Naturally, being the nerd that I am, I chose to grill Templesmith on the Lovecraftian aspect of the project, and what I got in return was a philosophical dialogue on humanity, social issues, natural forces, creative empowerment, and the power to control your purpose.

BD: How similar in appearance and biological make up would you say your squid race is to Lovecraft’s Cthulhu?

Ben Templesmith: Not much, honestly. I’m not about grafting the actual visual of Cthulhu into THE SQUIDDER, more the general monstrosities and horror of the Lovecraftian way, plenty of twisted, tentacled monstrosities. There are beings in this thing that play with biological matter like play-dough. In many ways they find it to be a strange curiosity.

In a letter to his editor, Lovecraft said, “To achieve the essence of real externality… one must forget that such things as organic life, good and evil, love and hate, and all such local attributes of a negligible and temporary race called mankind, have any existence at all… when we cross the line to the boundless and hideous unknown… we must remember to leave our humanity and terrestrialism at the threshold.” With your creation of a human (your soldier) in a world of a “boundless and hideous unknown” (your alien squid race), would you say that this prominent Lovecraftian philosophy has had an effect on the premise of THE SQUIDDER and the universal truths within? Especially when dealing with aspects such as good and evil, love and hate?

Well, in many ways the book will be about a man wrapped up in his own bubble, his own problems, while ignoring the gigantic world and really, universe changing things going on around him. There’ll be a LOT of unknowns in the book. Fighting an enemy you can at least understand the motives of, or even acknowledge as the enemy in the first place…humanity has a lot to learn about expanding its horizons and its view of the universe at large. And religion, within the book sure won’t be the answer.

BD: What is your own personal philosophy and/or motives behind THE SQUIDDER?

BT: I wanted to tell a story and explore being tired, not wanting to go on, of letting the world pass you by and everyone forgetting the important things. Propaganda is alive and well and we’re all being morphed, pushed, subtly, into what “they” want us to do, be it gambling retirement savings on a stock market, convincing us actual money is harder to use than letting a middle man take 3% each time we spend our own money, or, of course, the controlling factors of religion and what “normal” morality is. The world changes and mostly, we all accept the new norms. But not everyone forgets how things used to be.

Personally, my motives? I just wanted to write again and tell a story in an organic way, which only one person can do when they both write AND draw. It’s been years since I have and apart from several huge career things, it’s the real reason I ever wanted to do comics. Working with some writers is fantastic. Working purely for a paycheck is also fantastic. But money and networking isn’t worth anything if you’re unfulfilled and you know you’re better off forging your own path, provided you’re not on the street in a cardboard box at the end of the day. It’s choosing me. It’s not conscious really.
Would you relate THE SQUIDDER’s soldier more to a hero, villain, or antihero? What qualities does he possess to justify your answer? And perhaps even more important, would you relate your squid race more to a hero, villain, or antihero? And again, what characteristics do the squids possess to justify your answer?

He’s a relic. His principles are dead. His entire purpose has entirely disappeared and he’s a man out of time, really. He’s an antihero for sure. The Squid things? Well, a force of nature as much as anything. I couldn’t really ascribe human attributes to their motives. They just are. They’d like to exist. It’s not their fault they come from where they come from. They’ll bind everything else together.

BT: Heh, a fair dose of Harry Harrison’s West of Eden trilogy perhaps, actually. Roman history, oddly enough… all sorts of things. A love of Conan the Barbarian and Mad Max as well as the overall Lovecraftian ways of certain pop culture these days. Learning of the horrible way veterans are treated in America, yet culturally held up as figures to be deified at the same time. I’m not really sure where this thing is coming from. So many little things that I took from. I do worship a Giant Holy Space Squid, so it’s probably his Tentacle of Power that ultimately guides me.

BD: How long have you been working on this concept? What is your biggest fascination with this new alien squid race?

BT: I slowly wrote the congealing ideas behind it down over the course of several years, and not while I was doing any drugs. Promise.

I’ve had bits of things floating around for a while. The Squid Queen, a bit of a character visual I’ve drawn for prints a few times over the years, was a constant… everything just slowly came together. Plus, I just want to draw tentacles and Squid things.

BD: With 44FLOOD’s new partnership with IDW Publishing, what made you decide to crowd-fund this project via Kickstarter?

BT: The partnership with IDW doesn’t mean they’re going to fund us or anything. They don’t own us and we won’t be doing anything but feeding them projects that they agree to put out in their markets/audience base. We still have to try and eat and pay rent as we put out our own fancy versions of our books. Basically, we get to use some [of the] fantastic infrastructure they have, and distribution, they’ll make money off the books, and so will we, but ultimate ownership of IP and control of what a creator wants to do with their book, will remain with the creator. The creator can do as they wish. (Which isn’t really the general rule when dealing with getting a book published by anyone except Image [Comics], historically)

A book is a book and speaking for myself, I like making books with people in the business of making books. Anything else? Well, that’s separate and nice, but not books. Amazingly, IDW are excited and happy to be in the book business too. I can’t wait. It’s going to be very interesting and fun because I’m definitely done with the old dynamic of a creator individually dealing with a publisher. It’s the age of ideas now and who should ultimately control them? I’ll have a place I can put my ideas out to the world at large, with luck.

Where Kickstarter has come in, is enabling creative people to finance their projects themselves and change that old dynamic of *needing* a publisher to front costs on something that may or may not succeed. That’s the traditional risk of a publisher so they get to be very picky with what they put out. And fair enough! They have to be choosy since they could lose big time. Going direct to the people via Kickstarter, proves demand, if it’s there… it covers the costs to empower a creative to either do it all themselves or at least cut a better deal with the middle man between them and their audience eventually. Kickstarter is a fantastic system, liberating and emboldening so many people now. It’s fantastic to see both established people with audiences and new people with clear quality people just love coming through.

44FLOOD is still just a few guys in a studio trying to keep the lights on while getting some art out there and Kickstarter gives those with [an] entrepreneurial spirit the chance to sink or swim in their marketplace. I don’t think Kickstarter has even gone mainstream yet either. It’s still building to something way bigger.

BD: Should we expect more of THE SQUIDDER after this first OGN? Will this be a part of a series? Perhaps a franchise?

BT: I hope so. When I said this thing came together over the years, I mean the world at large did. With THE SQUIDDER I just found that one story I could tell within it. Part of my problem is that really, I have so much I want to put in it but logistically can’t fit it in. Yet. If it goes over at all well [editor note: it did!], it’ll be my new home for quite a few things. And best of all none of it would be “just because the first one made money.” I’m rather sick of endless sequels purely for commercial reasons, trust me.

BD: Curiosity looms over your departure from Ten Grand and what it means for the future of your career. Will you do monthlies? There have been rumors of future projects between you and Straczynski, do you foresee this happening?

I never did monthlies. Not really. Nor, as it turns out, am I cut out for that. Apart from personal issues that kept me doing anything BUT comics for a time (yes, some things are still more important and it’s hard to feel creative with other big things going on) I’ve been on a quest for motivation, to figure out what makes me tick, why I should do what I do… and money and fame or whatever bullshit people on the outside looking in may come up with matter not one bit. I don’t know. Communicating ideas with an audience… that seems to be the thing that matters most. I’m finally living in one place for the first time in years, a place that feels like home and gathered an amazing group of people that seem to want to put up with me. I’m rather enjoying just being creative, taking my time and not being pushed or pulled into being things I’m not. I can’t speak for the future, beyond getting a new thing finished and maybe finishing some older things I promised I would.

BD: What do you feel is the most positive aspect of the 44FLOOD/IDW partnership for you and your work personally?

BT: Ultimately it’s going to be a fantastic chance for new and fine artists to be able to expose their work to a whole new audience IDW are trying to reach, or already reach. Their distribution is basically amazing and they seem hungry to try new things. Creative empowerment almost always gives the best results and I think Ted Adams really understands that. IDW was always the place that fit most. It’s totally mutually beneficial and I can’t wait to start getting back and into doing comics and art for the reasons I started out doing it in the first place.

Check out “The Squidder” Kickstarter and check out the amazing (and some exclusive) perks. Also check it out in order to pre-order your copy of this limited edition graphic novel.

HAIL SQUID!

Interview by – Bree Ogden

The post 10 Questions With Ben Templesmith About ‘The Squidder’ appeared first on Bloody Disgusting!.

A synopsis on the game explains its mad world, “In the near future, 2048, a handful of young and brilliant citizens have been chosen by Gruckezber Corporation to join the Magtech training program for space exploration. Equipped with a special glove using Gruckezber’s technology, the candidates have to solve their way through a huge maze of challenge rooms, by magnetically charging objects that will attract or repel each other. But what seemed to be the chance of a lifetime for the candidates will soon turn into a nightmare, as they will have to survive a high-tech world gone mad.” Trailer after the jump.

Magrunner: Dark Pulse is available now on Steam for $19.99. If you’re patient enough you can wait for its arrival on XBLA and PSN this September.

Have a question? Feel free to ever-so-gently toss Adam an email, or follow him on Twitter and Bloody Disgusting.

The post ‘Magrunner’ Resembles The Offspring Of ‘Portal’ And Cthulhu appeared first on Bloody Disgusting!.

Dark Horse Comics takes on a Lovecraft theme this month with their 48-page Creepy anthology issue #10 to help you get in the Lovecraftian spirit. Yep, that’s right, every story in the issue is either an adaptation of, or inspired by, the works of H.P. Lovecraft. The issue features work from John Arcudi, Richard Corbem, Darick Roberston, Doug Moench, and many others.

WRITTEN BY: H.P. Lovecraft, Doug Moench, Matt Weinhold, John Arcudi, Jim & Ruth Keegan, Dan Braun, Bob Jenney
ART BY: Darick Robertson, Jim & Ruth Keegan, Bob Jenney, Kelley Jones, Richard Corben, Peter Bagge
PUBLISHER: Dark Horse
PRICE: $4.99
RELEASE: October 3rd, 2012

In honor of the greatest horror writer of them all, Uncle Creepy presents an all-Lovecraft special. We’re not worthy! We’re not worthy! Leading off with the twist-filled conclusion to Doug Moench and Kelley Jones’s mind-blowing “The Lurking Fate That Came to Lovecraft,” this issue also includes takes on the master from the teams of John Arcudi/Richard Corben and Matt Weinhold/Darick Robertson, a classic reprint of “The Rats in the Walls,” and a variety of other Lovecraft-inspired features! For once even Uncle Creepy is scared!

The post Preview: ‘Creepy’ #10 The Lovecraftian Edition appeared first on Bloody Disgusting!.

WRITTEN BY: Dirk Manning
ILLUSTRATIONS BY: various
COVERS BY: Kristen Perry

“Thirteen new tales of terror peer into the lives of those affected by Lucifer’s diabolical scheme to kick-start the Armageddon! Stories feature characters as diverse as a conniving rock star wannabe, an abused teenager, a pair of star-crossed Mafioso lovers and the world’s last ultra-hero, the last of whom must choose between staying with the love of his life while the world goes to Hell (literally) and fighting the Great Cthulhu in a desperate (and most likely futile) attempt to save the world.”

“NIGHTMARE WORLD VOL 2” Drops This Wednesday! (MSRP-$14.99)

The post WTF Of The Day: Cthulhu, Killer Monkeys, And Bert & Ernie Collide For ‘Nightmare World’ VOL 2! appeared first on Bloody Disgusting!.

WRITTEN BY: Ron Marz
ILLUSTRATIONS BY: Stjepan Sejic

“Raise the Dead.’ Guest-starring The Necromancer! Sara Pezzini can gain an important ally in Abby van Alstine, the Necromancer, but only if Sara can keep her alive! Abby’s visit to New York City is interrupted by a demonic attack, and her only chance for survival is entering the world of the Witchblade.”

“WITCHBLADE” Issue #137 Is Available NOW From Top Cow Comics! (MSRP-$2.99)

The post Who Put Cthulhu In My 5 Page ‘Witchblade’ Preview?! appeared first on Bloody Disgusting!.

This Is The Flier That Mysteriously Surfaced Today…

The phrase roughly translates to “CTHULHU WAITS” or “CTHULHU WAITS DREAMING”. Other than that we don’t know what the heck is going on. Lately there has been a huge fascination within the comic book world with Lovecraft’s monster, but as of yet no one has taken the initiative to go and make a full blown apocalypse tale using the beast. Maybe that someone will be BOOM! Studios? Only time will tell. (Or maybe C2E2) What say you?

Credit to Bleeding Cool News for the scoop.

The post Is BOOM! Studios Planning A Cthulhu Comic Book? appeared first on Bloody Disgusting!.