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Lovecraftian webzine by the

NUEVALOGIA DEL

TENTÁCULO

Special Issue- English Edition -

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La Estela de Luveh-Kerapt Special Issue English Edition. May 2007.Lovecraftian webzine by the Nueva Logia del Tentáculo (NLdT).Director: Henry Armitage (Eulogio Ga. Recalde). Collaborators: Sean Branney, Andrew Leman, Joseph Curwen (José María Prósper),Cyrus Llanfer (Miguel Àngel Morales), Miquel Rof, Àngel Svoboda, Tyndalos (Carlos Blanco) and Ebenezer Holt (Antonio Blázquez).Editor: Ebenezer Holt.

web: dreamers.com/logia - foro: gritos.com/logia - e-mail: nuevalogia_lovecraft@hotmail.com

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Cthulhu rupestreby Ebenezer Holt...................................................1

The Doom that Came to Sarnathby H. P. Lovecraft..................................................3

It’s Howard’s Worldby Sean Branney & Andrew Leman.......................7

Interview to S. Branney y A. Lemanby Joseph Curwen ................................................9

The Doom That Came To SarnathComic by Ebenezer Holt ......................................14

Lovecraft’s Portaitby Cyrus Llanfer .................................................20

Pin-Up IIby Miquel Rof......................................................21Lupo Valpurgisby Ángel Svoboda................................................22

Monsterby Tyndalos ........................................................23

Walking in Red Hookby Ebenezer Holt.................................................24

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The Doom That Came to SarnathH. P. Lovecraft

Written on December 3, 1919 Published June 1920 in The Scot

There is in the land of Mnar a vast still lake that is fed by

no stream, and out of which no stream flows. Ten thousand yearsago there stood by its shore the mighty city of Sarnath, but Sarnathstands there no more.

It is told that in the immemorial years when the world was young,before ever the men of Sarnath came to the land of Mnar, anothercity stood beside the lake; the gray stone city of Ib, which was old asthe lake itself, and peopled with beings not pleasing to behold. Veryodd and ugly were these beings, as indeed are most beings of a worldyet inchoate and rudely fashioned. It is written on the brick cylindersof Kadatheron that the beings of lb were in hue as green as the lakeand the mists that rise above it; that they had bulging eyes, pouting,flabby lips, and curious ears, and were without voice. It is also writ-ten that they descended one night from the moon in a mist; they andthe vast still lake and gray stone city lb. However this may be, it iscertain that they worshipped a sea-green stone idol chiseled in thelikeness of Bokrug, the great water-lizard; before which they dancedhorribly when the moon was gibbous. And it is written in the

papyrus of Ilarnek, that they one day discovered fire, and thereafterkindled flames on many ceremonial occasions. But not much is writ-ten of these beings, because they lived in very ancient times, andman is young, and knows but little of the very ancient living things.

After many eons men came to the land of Mnar, dark shepherdfolk with their fleecy flocks, who built Thraa, Ilarnek, andKadatheron on the winding river Ai. And certain tribes, more hardythan the rest, pushed on to the border of the lake and built Sarnath ata spot where precious metals were found in the earth.

Not far from the gray city of lb did the wandering tribes lay thefirst stones of Sarnath, and at the beings of lb they marveled greatly.But with their marveling was mixed hate, for they thought it notmeet that beings of such aspect should walk about the world of menat dusk. Nor did they like the strange sculptures upon the gray mono-liths of Ib, for why those sculptures lingered so late in the world,even until the coming men, none can tell; unless it was because theland of Mnar is very still, and remote from most other lands, both ofwaking and of dream.

As the men of Sarnath beheld more of the beings of lb their hate

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grew, and it was not less because they found the beings weak, andsoft as jelly to the touch of stones and arrows. So one day theyoung warriors, the slingers and the spearmen and the bowmen,marched against lb and slew all the inhabitants thereof, pushingthe queer bodies into the lake with long spears, because they didnot wish to touch them. And because they did not like the graysculptured monoliths of lb they cast these also into the lake; won-dering from the greatness of the labor how ever the stones werebrought from afar, as they must have been, since there is naughtlike them in the land of Mnar or in the lands adjacent.

Thus of the very ancient city of lb was nothing spared, save thesea-green stone idol chiseled in the likeness of Bokrug, the water-lizard. This the young warriors took back with them as a symbol ofconquest over the old gods and beings of Th, and as a sign of lead-ership in Mnar. But on the night after it was set up in the temple, aterrible thing must have happened, for weird lights were seen overthe lake, and in the morning the people found the idol gone and thehigh-priest Taran-Ish lying dead, as from some fear unspeakable.And before he died, Taran-Ish had scrawled upon the altar of chryso-lite with coarse shaky strokes the sign of DOOM.

After Taran-Ish there were many high-priests in Sarnath but neverwas the sea-green stone idol found. And many centuries came andwent, wherein Sarnath prospered exceedingly, so that only priestsand old women remembered what Taran-Ish had scrawled upon thealtar of chrysolite. Betwixt Sarnath and the city of Ilarnek arose acaravan route, and the precious metals from the earth wereexchanged for other metals and rare cloths and jewels and books andtools for artificers and all things of luxury that are known to the peo-ple who dwell along the winding river Ai and beyond. So Sarnathwaxed mighty and learned and beautiful, and sent forth conqueringarmies to subdue the neighboring cities; and in time there sate upona throne in Sarnath the kings of all the land of Mnar and of manylands adjacent.

The wonder of the world and the pride of all mankind was Sarnaththe magnificent. Of polished desert-quarried marble were its walls,

in height three hundred cubits and in breadth seventy-five, so thatchariots might pass each other as men drove them along the top. Forfull five hundred stadia did they run, being open only on the sidetoward the lake where a green stone sea-wall kept back the wavesthat rose oddly once a year at the festival of the destroying of Ib. InSarnath were fifty streets from the lake to the gates of the caravans,and fifty more intersecting them. With onyx were they paved, savethose whereon the horses and camels and elephants trod, which werepaved with granite. And the gates of Sarnath were as many as thelandward ends of the streets, each of bronze, and flanked by the fig-ures of lions and elephants carven from some stone no longer knownamong men. The houses of Sarnath were of glazed brick and chal-cedony, each having its walled garden and crystal lakelet. Withstrange art were they builded, for no other city had houses like them;and travelers from Thraa and Ilarnek and Kadatheron marveled atthe shining domes wherewith they were surmounted.

But more marvelous still were the palaces and the temples, andthe gardens made by Zokkar the olden king. There were manypalaces, the last of which were mightier than any in Thraa orIlarnek or Kadatheron. So high were they that one within mightsometimes fancy himself beneath only the sky; yet when lightedwith torches dipt in the oil of Dother their walls showed vast paint-ings of kings and armies, of a splendor at once inspiring and stupe-fying to the beholder. Many were the pillars of the palaces, all oftinted marble, and carven into designs of surpassing beauty. And inmost of the palaces the floors were mosaics of beryl and lapislazuli and sardonyx and carbuncle and other choice materials, sodisposed that the beholder might fancy himself walking over bedsof the rarest flowers. And there were likewise fountains, which castscented waters about in pleasing jets arranged with cunning art.Outshining all others was the palace of the kings of Mnar and ofthe lands adjacent. On a pair of golden crouching lions rested thethrone, many steps above the gleaming floor. And it was wroughtof one piece of ivory, though no man lives who knows whence sovast a piece could have come. In that palace there were also manygalleries, and many amphitheaters where lions and men and ele-

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phants battled at the pleasure of the kings. Sometimes theamphitheaters were flooded with water conveyed from the lake inmighty aqueducts, and then were enacted stirring sea-fights, orcombats betwixt swimmers and deadly marine things.

Lofty and amazing were the seventeen tower-like temples ofSarnath, fashioned of a bright multi-colored stone not known else-where. A full thousand cubits high stood the greatest among them,wherein the high-priests dwelt with a magnificence scarce less thanthat of the kings. On the ground were halls as vast and splendid asthose of the palaces; where gathered throngs in worship of Zo-Kalarand Tamash and Lobon, the chief gods of Sarnath, whose incense-enveloped shrines were as the thrones of monarchs. Not like theeikons of other gods were those of Zo-Kalar and Tamash andLobon. For so close to life were they that one might swear thegraceful bearded gods themselves sate on the ivory thrones. And upunending steps of zircon was the tower-chamber, wherefrom thehigh-priests looked out over the city and the plains and the lake byday; and at the cryptic moon and significant stars and planets, andtheir reflections in the lake, at night. Here was done the very secretand ancient rite in detestation of Bokrug, the water-lizard, and hererested the altar of chrysolite which bore the Doom-scrawl of Taran-Ish.

Wonderful likewise were the gardens made by Zokkar the oldenking. In the center of Sarnath they lay, covering a great space andencircled by a high wall. And they were surmounted by a mightydome of glass, through which shone the sun and moon and planetswhen it was clear, and from which were hung fulgent images of thesun and moon and stars and planets when it was not clear. In sum-mer the gardens were cooled with fresh odorous breezes skilfullywafted by fans, and in winter they were heated with concealed fires,so that in those gardens it was always spring. There ran little streamsover bright pebbles, dividing meads of green and gardens of manyhues, and spanned by a multitude of bridges. Many were the water-falls in their courses, and many were the hued lakelets into whichthey expanded. Over the streams and lakelets rode white swans,

whilst the music of rare birds chimed in with the melody of thewaters. In ordered terraces rose the green banks, adorned here andthere with bowers of vines and sweet blossoms, and seats and bench-es of marble and porphyry. And there were many small shrines andtemples where one might rest or pray to small gods.

Each year there was celebrated in Sarnath the feast of the destroy-ing of lb, at which time wine, song, dancing, and merriment of everykind abounded. Great honors were then paid to the shades of thosewho had annihilated the odd ancient beings, and the memory ofthose beings and of their elder gods was derided by dancers andlutanists crowned with roses from the gardens of Zokkar. And thekings would look out over the lake and curse the bones of the deadthat lay beneath it.

At first the high-priests liked not these festivals, for there haddescended amongst them queer tales of how the sea-green eikon hadvanished, and how Taran-Ish had died from fear and left a warning.And they said that from their high tower they sometimes saw lightsbeneath the waters of the lake. But as many years passed withoutcalamity even the priests laughed and cursed and joined in the orgiesof the feasters. Indeed, had they not themselves, in their high tower,often performed the very ancient and secret rite in detestation ofBokrug, the water-lizard? And a thousand years of riches and delightpassed over Sarnath, wonder of the world.

Gorgeous beyond thought was the feast of the thousandth year ofthe destroying of lb. For a decade had it been talked of in the land ofMnar, and as it drew nigh there came to Sarnath on horses andcamels and elephants men from Thraa, Ilarnek, and Kadetheron, andall the cities of Mnar and the lands beyond. Before the marble wallson the appointed night were pitched the pavilions of princes and thetents of travelers. Within his banquet-hall reclined Nargis-Hei, theking, drunken with ancient wine from the vaults of conquered Pnoth,and surrounded by feasting nobles and hurrying slaves. There wereeaten many strange delicacies at that feast; peacocks from the distanthills of Linplan, heels of camels from the Bnazic desert, nuts andspices from Sydathrian groves, and pearls from wave-washed Mtal

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dissolved in the vinegar of Thraa. Of sauces there were an untoldnumber, prepared by the subtlest cooks in all Mnar, and suited to thepalate of every feaster. But most prized of all the viands were thegreat fishes from the lake, each of vast size, and served upon goldenplatters set with rubies and diamonds.

Whilst the king and his nobles feasted within the palace, andviewed the crowning dish as it awaited them on golden platters, oth-ers feasted elsewhere. In the tower of the great temple the priestsheld revels, and in pavilions without the walls the princes of neigh-boring lands made merry. And it was the high-priest Gnai-Kah whofirst saw the shadows that descended from the gibbous moon into thelake, and the damnable green mists that arose from the lake to meetthe moon and to shroud in a sinister haze the towers and the domesof fated Sarnath. Thereafter those in the towers and without the wallsbeheld strange lights on the water, and saw that the gray rockAkurion, which was wont to rear high above it near the shore, wasalmost submerged. And fear grew vaguely yet swiftly, so that theprinces of Ilarnek and of far Rokol took down and folded their tentsand pavilions and departed, though they scarce knew the reason fortheir departing.

Then, close to the hour of midnight, all the bronze gates ofSarnath burst open and emptied forth a frenzied throng that black-ened the plain, so that all the visiting princes and travelers fled awayin fright. For on the faces of this throng was writ a madness born ofhorror unendurable, and on their tongues were words so terrible thatno hearer paused for proof. Men whose eyes were wild with fearshrieked aloud of the sight within the king’s banquet-hall, wherethrough the windows were seen no longer the forms of Nargis-Hei

and his nobles and slaves, but a horde of indescribable green voice-less things with bulging eyes, pouting, flabby lips, and curious ears;things which danced horribly, bearing in their paws golden plattersset with rubies and diamonds and containing uncouth flames. Andthe princes and travelers, as they fled from the doomed city ofSarnath on horses and camels and elephants, looked again upon themist-begetting lake and saw the gray rock Akurion was quite sub-merged. Through all the land of Mnar and the land adjacent spreadthe tales of those who had fled from Sarnath, and caravans soughtthat accursed city and its precious metals no more. It was long ereany travelers went thither, and even then only the brave and adven-turous young men of yellow hair and blue eyes, who are no kin tothe men of Mnar. These men indeed went to the lake to viewSarnath; but though they found the vast still lake itself, and the grayrock Akurion which rears high above it near the shore, they beheldnot the wonder of the world and pride of all mankind. Where oncehad risen walls of three hundred cubits and towers yet higher, nowstretched only the marshy shore, and where once had dwelt fifty mil-lion of men now crawled the detestable water-lizard. Not even themines of precious metal remained. DOOM had come to Sarnath.

But half buried in the rushes was spied a curious green idol; anexceedingly ancient idol chiseled in the likeness of Bokrug, thegreat water-lizard. That idol, enshrined in the high temple atIlarnek, was subsequently worshipped beneath the gibbous moonthroughout the land of Mnar.

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We’ve been Cthulhuguys for a long time.Since we first started pla-ying Chaosium’s The Callof Cthulhu back in theearly ‘80s, the Lovecraf-tian universe has beensomething we’ve sharedwith our friends. As we’vegrown older and the HPLovecraft Historical Societyhas grown larger, we’vecome to understand whatan international phenome-non the Cthulhu Mythos is.

BySean Branney & Andrew Lemanof the HP Lovecraft Historical Society

Henry,

We’re glad youapprove of our Callof Cthulhu. I’ve beensitting here todayworking on the scre-enplay for our pro-duction of TheWhisperer in theDarkness that we’llbe shooting laterthis year. Weshould be able towrite a small piecefor you guys.Likewise, if youwant to do aninterview andsend us questions,either Leman or I

It’s Howard’s WorldThe HP Lovecraft Historical Society “forging alternate universes since 1984”]

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When we were planning the DVD of our film, The Call ofCthulhu, we wanted to share it with as wide an audience aswe could. We had friends that would help us with translationsinto the most common western languages. We started gettingoffers for less common languages and thought it would be funto see how many languages we could get for our DVD. In theend, we had the movie translated into 23 languages besidesEnglish, and, with great regret, we turned down offers forRussian, Hebrew, Greek, Japanese, Arabic, Korean andMandarin, as we didn’t feel ready to produce titlecards in languages with non-roman alphabets. Butdeep down, we were amazed to see that therewere Lovecraft fans throughout much of theworld.

Once we released the movie we startedhearing from people everywhere whowere delighted to be able to see a new(old?) movie and enjoy it in their nati-ve language. In some places, such asScandinavia, we found audiencespreferred to watch the film inEnglish, but in many others the filmfound a multilingual audience ofLovecraft fans.

It’s a curious phenomenon, asLovecraft’s atmosphere and writingstyle are so anchored to his beloved

New England. His writing is dense and (as many translatorshave let us know) often not easily rendered into other tongues.But what makes the Cthulhu Mythos powerful and what cap-tures our collective imagination is the cosmic scale of hisworks. It’s a mythology vaster than any culture, region, spe-cies, or even the earth itself.

Perhaps it is the camaraderie that comesfrom our shared sense of despair at

the futility of humanity that drawsLovecraft fans together. We’ve

seen gatherings of HPL fansfrom Stockholm to Buenos

Aires, and regardless ofwhere they are, they aregenerally a crowd ofintelligent, creative,thoughtful andfriendly people.We’re delighted tocontinue reachingout to our new-found friends astogether we swirlthrough a darkuniverse.

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NLdT: I would like to start this interview asking how and when yourinterest in the American writer H.P. Lovecraft began.

Sean: For me, my weirdest friend in high school gave me a book and said,“There’s the is really weird story by this really weird writer”. I read it, and he wasright: it was really weird. I went and bought a collection and read more HPL sto-ries.

Andrew: I was introduced to the works of HPL through Sean Branney, when heinvited me to join him and some other friends in playing the Chaosium role-playinggame Call of Cthulhu. I don’t recall ever having heard of Lovecraft before that, butI thought the game was so much fun that I began reading his stories to improve myability to play.

ByJoseph Curwenfrom the Nueva Logiadel Tentáculo (NLdT)

Andrew Leman&Sean Branney

I n t e rv i ew to

GREAT SCHOLARS OF H.P. LOVECRAFT AND HIS WORKS, DEFINITIVE MAKERS OF THE AVANT-GARDE LOVECRAFTIAN CINEMA

Sean Branney (1966; Englewood –Colorado- USA) and Andrew Leman (1966; Denver –Colorado-, USA) are great scholars ofH.P. Lovecraft and his Works. They, who are definitive makers of the avant-garde lovecraftian cinema, speak in an exclusive inter-view for the Nueva Logia del Tentáculo (New Lodge of Tentacles). They both are always present in the best-known Film-Festivalsdevoted to H.P. Lovecraft and they have awarded prizes in the most important Festivals.

Sean Branney Andrew Leman

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NLdT: How did you come up with theidea of founding the H.P. LovecraftHistorical Society?

Sean: We were playing a lot of our liverole playing game, Cthulhu Lives, andfound that many people were interested inwhat we were doing. The HPLHS hasbrought the Lovecraft community: the gameof Cthulhu Lives, A Shoggoth on the Roof,lots of fun Lovecraftian Solstice carols, thefilm of The Call of Cthulhu and a bunch ofstrange and fun Lovecraftian products.Hopefully we’ve brought some fun andenjoyment too.

Andrew: We developed our own style oflive-action role playing game based onLovecraft’s works when we were in college.The group of people who played naturallyformed into a sort of an organization.Calling it the H. P. Lovecraft HistoricalSociety was a title that college officials andlocal police could understand and not bealarmed by, and made it easier for us toplay our games on campus. It also allowedus to broaden our scope beyond just role-playing games by beginning to publish amonthly newsletter and find new membersall over the world.

NLdT: What is its contribution to theLovecraftian World?

Andrew: We published a monthly news-letter for over two years, which brought arti-cles of interest to readers all over the world.We have created over 60 original live-actiongames based on or inspired by Lovecraft’swork. We now maintain an extremely large

website documenting over 20 years ofLovecraftian activity, with vast amounts ofcontent of all kinds. We’ve produced musi-cal, motion-picture, and radio drama adap-tations of HPL’s stories which have broughthis tales to new and wider audiences.

NLdT: Your Society represents abroad range of activities: films, theatre,radio, games of role, merchandising,etc. How can you cover so many things?

Sean: We never sleep.Andrew: By working all the time.

NLdT: Among all these things couldyou choose something in which you aremost vitally interested?

Sean: We like to tell stories. Whether it’stold through a live game, or a play,

or a movie or a radio drama or even asong, for me it’s about telling

stories.Andrew: I find it difficult to choose just

one thing. In general.

NLdT: What is the most importantthing in your own lives?

Sean: My wife and son and friends.Andrew: My relationships with my

family, friends and collaborators.

NLdT: Do you actually think thatpeople are so much interested in somany matters more or less related to

the American writer?Sean: The clearly seem to be. Lovecraft

is more popular now than he has ever beenand his fame and popularity seem to beincreasing. Many people are now aware ofCthulhu through popular culture withoutever having heard of or read HP Lovecraft’sworks.

Andrew: Judging by the reaction we getfrom our various projects and products, itseems there are. Lovecraft’s fame continuesto grow and spread, and more and more peo-ple are coming to appreciate him all the time.

NLdT: Why do you think Lovecraft,who is a writer from the beginning ofthe 20th century and considered a con-servative man, somewhat obscure, isnowadays so prominent?

Sean: I think that in spite of his compli-cated writing style, what he’s writing aboutrings true to people: a dark, cold universe inwhich mankind is an irrelevant newcomeramong forces far greater and more dange-rous than we can comprehend. Mankind ishumbled in a Lovecraftian universe.

Andrew: Perhaps the world in general isslowly catching up to Lovecraft’s cosmicand pessimistic world-view.

NLdT: Sean, were you the scriptwriterof the excellent Lovecraftian produc-tion [The Call of Cthulhu]?

Sean: Yes.

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NLdT: Was it hard to summarize in 45minutes the so-called Lovecraft’sWorld?

Sean: I did not try to summarizeLovecraft’s world. My goal was to tell thestory that Lovecraft wrote in a manner thatwould be visually and dramatically exciting.

NLdT: What did you emphasize in thisscript?

Sean: To me the scary part of the story ishow we fail to piece together the horrorsthat surround us. If I emphasized anythingit was the process of putting the pieces ofthe story together for the main character.

NLdT: Andrew, how was the experien-ce as a director of this film by using thecinema format – a mute, black andwhite film - that the very American wri-ter can see in his time?

Andrew: It was enormously challengingand extremely rewarding. Using the silent,black and white format limited us in manyways, but it also opened up creative possi-bilities that we would otherwise never haveconsidered. It made us focus on telling thestory primarily with images.

NLdT: Do you think the film describesthe philosophy of The Master ofProvidence in a convincing way for theaudience?

Sean: I think the story of The Call ofCthulhu is an excellent example ofLovecraft’s philosophy. Whether or not the

script is convincing, well, that’s up to you.

NLdT: Do you both consider thatcinema has suitably adapted the worksof H.P. Lovecraft? In your opinion,which is the best of all the adaptations(leaving your own film aside, of course)?Which film has been able to recreate theLovecraftian atmosphere, his so-calledHPL Universe (your film aside, please!)?Do you think your cinema works can beconsidered as a commercial product?Or else is your intention to make filmsthat you and the fans of the writer ofProvidence are interested in?

Sean: I can’t speak for Andrew, but Ithink most filmmakers would agree thatLovecraft is tricky source material. Manyfilms are either so true to the source thatthey seem very dull, or they abandon thesource to create a story that is onlyLovecraftian in its title. We made The Call ofCthulhu mostly for ourselves. We had noidea so many people would be interested init, so yes, I guess it has become a commer-cial product. We just try to tell

these stories on film as best we can andhope other people enjoy them.

NLdT: Imagine that we could flashback to the time when Lovecraft lived,how would the opinion of Lovecraft beabout [The Call of Cthulhu] ?

Andrew: I can only hope that he wouldhave found it satisfactory.

NLdT: Are you going to produce a newLovecraftian film, this time acinemaadaptation of “The Whisperer in theDarkness”?

Sean: Yes, we are. Whisperer has notyet been adapted to film and it’s an exce-llent story.

NLdT: Why have you chosen thistale?

Sean: We’re using Lovecraft’s story asthe basis for the film but then we’re conti-nuing with what happens after HPL’s storyends.

Andrew: We chose this tale because itinterests us, and because it hasn’t beendone on film before. In many ways it ismuch smaller in scope than “The Call ofCthulhu,” and yet making it into a movieoffers many great challenges.

NLdT: Will it be directed by Andrewand the script by Sean?

Sean: Andrew and I are writing it toge-ther and I will direct.

Andrew: This time Sean will direct, andAndrew and Sean will write the screenplaytogether.

NLdT: Will you have the same techni-cal and artistic crew?

Sean: Several members of the Call ofCthulhu team have expressed an interest inworking on Whisperer.

Andrew: We certainly hope to bring back

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the same talented team that worked sohard on “The Call of Cthulhu,” as well asadding some new people to the group.

NLdT: When and where will the pre-mier take place? Will it have the sametechnical means that the excellent film[The Call of Cthulhu]? Could you offerus some scoop about the film for theNueva Logia del Tentáculo (New Lodgeof Tentacles)?

Sean: We do not yet know when it willpremiere, but we hope to be shooting thissummer. Our Director of Photography,David Robertson, has expressed an interestin shooting on an HD DV camera. We arehoping to shoot some of the film on locationin Vermont, in the region (and the actualhouse) where Lovecraft stayed when he gotthe idea for the story.

Andrew: That has yet to be determined,but I would say that the H. P. Lovecraft FilmFestival in Portland, Oregon is an excellentcandidate.

NLdT: Will it have the same technicalmeans that the excellent film [The Callof Cthulhu]?

Andrew: This film will also be black andwhite, shot in Mythoscope, but it will havedialogue. We are aiming to give it the feel ofthe classic Universal monster movies of theearly 1930s (Dracula, Frankenstein, TheMummy).

NLdT: Are you satisfied about the

impact worldwide obtained by the filmin the difficult world of the 7th Art?

Andrew: We’ve been absolutely deligh-ted, even astonished, by the warm recep-tion the film has received all over the world.It has vastly outpaced our most optimistichopes and expectations.

NLdT: Which actors would you liketo have for this new production? Areyou going to take part as actors in thenew film just like it ocurred in [The Callof Cthulhu]? Vincent Price, JeffreyCombs or Ezra Godden?

Sean: Because we are a couple of guysworking out of a warehouse, we cannotafford to pay the salaries of famous celebri-ties. But we know many excellent actorshere in Los Angeles and I’m sure we canassemble a great cast. Perhaps Andrewand I will appear in small roles; you’ll haveto wait and see.

Andrew: We’re too early in the develop-ment phase to have any specific ideasabout casting, but I can very confidentlypredict that Vincent Price will not be appea-ring in the film.

NLdT: What is your opinion aboutthat erotic touch in some Lovecraftianfilms?

Sean: It doesn’t offend me or anything,but it’s not a theme that is present inLovecraft’s writing. If it makes a story bet-ter, that’s fine, but if it’s just there to showthe audience a pair of boobs, then I don’t

see the point.Andrew: So far it has seemed very out of

place.

NLdT: If you could travel in time asin the story “The Time Machine” byH.G. Well and you could meet H.P.Lovecraft in person, what would youlike to ask him about his private life?What about his work as a writer? Do youthink you could change his mind abouthis negative vision concerning the pos-sible adaptations of his works?

Sean: I would like ask him to tell me ajoke. His writing is often dry, but many ofhis correspondents describe him as affableand humorous. I think his private life canstay his private life. I would love to tell himhow famous he has become and how manypeople still enjoy his works today. I thinkhe’d be very pleasantly surprised. It wouldbe fun to show him some of the adaptationsof his works and see what his reactionwould be.

Andrew: What a cool question. I wouldlike to observe HPL’s private life to learn ifhe really felt as strongly antisemitic, xeno-phobic, homophobic, etc. as his letters leadus to believe. I don’t know that it’s some-thing I could learn by asking him directly,but by hanging out with him it would pro-bably become pretty clear. As a writer, Iwould like to discuss with him the merits ofadding human relationships and drama tohis stories. That might lead to a discussionof adaptations, since dramatic adaptationsof his work need to include much more of

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the human element than his originals do.NLdT: Finally I would like to ask your

opinion about La Nueva Logia delTentáculo (New Lodge of Tentacles) as aLovecraftian Society, devoted to studyH.P. Lovecraft, the man without mythsand our interest for the study andanalysis of his works, influences onCulture in a wide sense: cinema,comics, music and so on.

Sean: I think it is great to see an interna-tional congregation of Spanish-languageLovecraft fans. I regret that yo escribo y leoen español como un mono borracho. But wehave made many friends in the Lovecraftcommunity from Argentina to Spain and welook forward to sharing our creations withthem and seeing what great things LaNueva Logia del Tentáculo will create next.

Andrew: I’ve been quite favorably

impressed by La Nueva Logia delTentáculo, and I look forward to following itin the future. I regret my command ofSpanish is very very small, and I can’tenjoy it as much as I’m sure I would other-wise. I have occasionally been a little frus-trated by the frequent use of Mythos pen-names for your authors. It would be good tohave a better idea of the real people behindLa Nueva Logia. ***

Now it’s time to thank you for your help and contribution in this 2nd issue of the webzine “La Estelade Luveh-Kerapt”. It is a real honour to have your collaboration by means of this interview and your self-evident interest in our International Lovecraftian Society, La Nueva Logia del Tentáculo (New Lodge ofTentacles)

From everybody and each one of us we want to thank to you both for this interview you have granted.Likewise, we want to send our warmest greetings and best wishes for you and for your H.P. LovecraftHistorical Society and for all those excellent projects of yours and especially for your new production[The Whisperer in the Darkness] in which you are working this time.

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Electronic webzine by the NLdT

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dreamers.com/logiagritos.com/logia

nuevalogia_lovecraft@hotmail.com

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