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351 pages, Kindle Edition
First published August 18, 2012














There are many people who believe that the secret to make a good horror story is to include several fifty-five gallon drums full of blood. There are people who think that writing good Lovecraftian fiction means spouting 'Cthulhu' every five words and sprinkling a few vowel-deficient names every few pages. Finally there are a few people who think that writing good role-playing tie-in fiction means to include monster names and descriptions from the game's supplements. This volume avoids all three foibles very well and gives a rip-roaring adventure in the bargain.
Real horror isn't about blood or gore, per se. It is the sense that things are wrong to such a degree that a "normal" person would not be able to process the aversion. Sometimes this results in a psychotic break, which most people think of when people say that people go crazy. It can also result in what is called Post Traumatic Stress Disorder, or in the context of the story, i.e. the 1920's, shell-shock. We see a few instances of the cast members treating this condition. The First World War has recently ended in 1918, and it introduced many new technologies for war that changed the face of human conflict. War should never be glamorized, but World War I began the dehumanization of battle. Machine gun placements, mortars, mustard gas, tanks and bombs dropped from planes separated soldiers of different armies from one another and distanced them from the actual violence that they inflicted and from the enemies that inflicted monstrous damage on them and added a new element of terror in that the war was seen as been conducted in a more mechanical nature. It didn't help that the British were not using the most effective strategies. This all added up to a more gruesome experience and that forms the backdrop of these novels. The world is changing, moving from the past into the future, and there is an uncertainty and fear just by that token, but the war added to that sort fear of the future. Is this what we've become? Is this what progress has made of humanity? This atmosphere is wonderfully woven into the story. Not as forefront but as a subtle tones and underpinnings of the story and gives a taste of futility to the overall tone of the series.
Lovecraftian authors fall into two distinct groups, cosmic name-droppers and atmospheric artists. I suppose it's unfair to use such obviously polarizing terms to describe these characters but the descriptions are apt. Fortunately, the Mythos elements are presented with frightening style and sense of menace instead of encyclopedic entries in some sourcebook. The devolution of Charles Warren's character is an interesting example of the use of story-telling versus name-dropping. There are a lot of examples of this type of "showing vs telling" which helps to maintain the atmosphere and keeps the book from seeming like a table-top RPG supplement. There are some things that I can't even identify from their descriptions, which for an HPL nerd like myself, is a pleasantly surprising shock.
Reading other fantasy fiction, I constantly see "keywords" in the text as if the author was paid per mention. Though there were a few mentions of Mythos concepts and beings, I don't think anything was out of order or unnecessary. In fact, I thought there were a few opportunities to drop a few names but they weren't exploited, and really that made the difference. I have to admit I just realized a bit of foreshadowing that occurs and that I didn't realize was important at the time. Little touches like that add layers like flavors in a meal.