ee a eacerwy eo pa UT TDP a0To Serer TEMES, dH AQ at JO he aLHR Giger, March 2010 In his famous tales of horror, Howard Phillips Lovecraft was the first who wrote about the Great Old Ones and their meaning in the cosmic cycle. He wrote about the Necronomicon, a legendary book written by the crazed alchemist and occultist, Abdul Alhazred. Itis said that the book reports about events from the past, present and future. It contains pictures of terrible creatures, lurking in the deepness of the earth and under the sea - extraterrestrial races, godlike beings, hidden in deep places and dark corners all around the world. Howard Phillips Lovecraft was born on 20 August 1890 in his native home at Angell Street in Providence, Rhode Island and was a precocious youth; he was reciting poetry at age two and his earliest enthusiasm was for the"Arabian Nights", which he read by the age of five. It was at this time that he adapted the pseudonym of Abdul Alhazred, Lovecraft has inspired many artists and his influence in books, graphic novels and movies is still very strong. One of the most acclaimed Lovecraft stories is"Call of Cthulhu", which is one of my very favourites and the idea to tell it as a comic book fascinated me. Michael Zigerlig's art has a closed atmosphere which is full of details. His technique reminds me of my own early work and fits the story about the great high priest Cthulhu in a very original way. His handling of the story is impressive, he shortened the story but kept it authentic by using Lovecraft's original text. an exceptional artist meets an expeptional writer, that is what you can expect in this epic graphic novelization. Michael Zigerlig's first contact with the “Cthulhu Mythos" (A description Lovecraft never used, he spoke about the Arkham Cycle) were my books, Necronomicon 1 and 2. He had not heard anything about Lovecraft or his stories before. Then, after reading Mike Mignola's Hellboy, he began to see connections and collected every little piece from Lovecraft's world he could catch. A special find was the 2005 silent movie, Call of Cthulhu, which is made in the style of a classic 1920's movie, or the Stuart Gordon/Brian Yuzna films such as Re-Animator or Dagon. This inspired him to start this project which shows his true fascination for the story. When Michael sent the first pages of his adaptation to me, | was very positively surprised and pleased by all ofit.. the drawings, the layout and how he handled one of Lovecraft’s most regarded tales. Two of three months later, he asked me to write a foreword for this publication, Regarding that my books were the first step to Lovecraft’s universe for him, its a pleasure for me to support this graphic novel which tells us about beings much older than mankind,Brian Yuzna, May 2016 Reading HP Lovecraft can be like entering into a dark spiral of images, rhythms and associations that leave one lost in a dreamlike vortex, unable to somehow grasp the slippery plot of the thing. And this is certainly true of his essential tale The Call of Cthulhu. Written in 1926, and considered by Lovecraft himself as not one of his best works, it was first rejected by Weird Tales magazine before it was finally published two years later. Today, however, the story is highly regarded by Lovecraft fans and gives title to the Cthulhu Mythos, the story world within which Lovecraft interwove his dark. fantasies of cosmic horror. Itis less a story than a discovery, a revealing glimpse of the unknown hisory of the world in which all of mankind's history, technology, philosophy, religion, art and science are but transitory inconsequential bubbles in the existence of the unfathomably great and horrific beings in whose universe we so fleetingly pass through. Lovecraft here goes fora detective story of piecing together seemingly unconnected clues, clues that in today's movies terms would be found footage’ newspaper articles, a terrible statue of unknown origins, letters and journals and dreams - clues that bring the reader inexorably to its terrifying coclusion. What has always struck me in my reading of Lovecraft is how I can be so engrossed in the story, and yet immediately upon finishing the story be hard pressed to relate just. exactly what were the events of it, the narrative plot. And plot is something | particularly value because of the years | have spent. making movies. In film there is an emphasis on the narrative, on the beginning, middle and end of a story. But somehow the powerful effect of reading Lovecraft doesn't help me in grasping the structure of the story after the experoence of t.In some ways one of Michael Zigerlig's achievements in this graphic novelization of The Call of Cthulhu is the clarification of the source story's narrative both in his judicious editing of the Lovecraft text as well as his visualization of it in his graphic depictions of it. The events of the story are in sharp relief without a loss of the weird mystery and dread of the relevation. My interest in Howard Phillips Lovecraft's began in the early 1980s when | began work on producing Stuart Gordon's film adatation of Herbert West: Reanimator. These many years later have seen me being part of quite a few films based on Lovecraft’s stories, including a couple of Re-Animator sequels as well as From Beyond, Dagon (actually an adaptation of Shadow Over Innsmouth) and the compilation film Necronomicon. And there were many projects that were developed but didn't get made. So | have read and re read many stories, immersing myself in the details in order to see a way to adapt them to the film media. It was really a labor of love since | became quite a fan of the stuff along the way and hold HPL in high esteem, He is one of the few really original visionairies in this weird genre. In this graphic novelization of the story Zigerlig employs a rather stylised technique, certainly not a traditional comic approach. Bordering on the decorative the images utilize realistic figure drawing infused with patterns that don't always conform to the shape of things. ‘ WA oe — eS, —_) — O [anv A — ZI think this untraditional approach works well for this tale for a couple of reasons, On the one hand it maintains a formalist kind of effect that doesn't fight the old fashioned style of Lovecraft's prose. More importantly to me there is a somewhat hypnotic quality to the weirder and more cosmic elements of the story. The images can often stand on their own, not as literal depictions of Rlyeh or Cthulhu, but as triggers to one's own imagination as to what they might feel like. | have been a fan of Michael Zigerlig’s work since he first began sharing it with me by email a dozen years ago. In his hallucinogenic interpretation of the Lovecraft ‘mythos’ Zigerlig has done some of his finest work. Mandella-like in their hypmotic attraction Zigerlig’s depictions of the un-depictable draw Us into a subconscious aesthetic of awe-ful delight and cosmic horror. This Call of Cthulhu stands out as an outstanding work of Lovecraftiana and a visual treat for lovers of art, horror and comics. In HR Giger’s Kitchen at his home in Zuerich, Switzerland, From left to right: HR Giger, Brian Yuzna, Carmen Giger-Scheiffele, Michael Zigerlig ‘A very interesting and attractive take on Lovecraft’ ‘Clive Barker ‘What Zigerlig has done is capture in two dimensions what lurks in the outer dimensions. Rich...and beatiful art...depicting dark and foul things. -Kelley JonesDe eee eee en tC gene ee a survival of a hugely remote period when . . . consciousness was manifested, perhaps, in shapes and forms long since withdrawn before eee Caer eee Reco u he c alone have caught a flying memory and called them gods, monsters, SO ee eh Loe See ea eee > w e oe aHE MOST MERCIFULMY KNOWLEDGE OF THE THING BEGAN IN PROFESSOR ANGELL WAS WIDELY KNOWN AS AN AUTHORITY ON ANCIENT INSCRIPTIONS, AND HAD FREQUENTLY BEEN RESORTED TO BY THE HEADS OF PROMINENT MUSEUMS; 50 THAT HIS PASSING AT THE AGE OF NINETY-TWO May BE RECALLED BY MANY. LOCALLY, INTEREST WAS INTENSIFIED BY AS WITNESSES SAID, APTER HAVING BEENBY THE BRISK ASCENT OF 60 STEEP A HILL BY 50 ELDERLY A many, WAS S REASON TO DISSENT FROM THIS DICTUM, gurcarrerty ram [i INCLINED TO WONDER PR AND MORE THAN WONDER. AS MY GRAND— UNCLE'S HEIR AND i & EXECUTOR, FOR HE DIED A CHILDLESS wioower, twas EXPECTED 10 6O Over His PAPERS WITH ice. Freee was ove cox Eten ocean | PUZZLING, AND WHICH FROM SHEWING TO [4 omer eves.FOR WHAT COULD BE THE MEANING OF THE queer CLAY BAS-RELIEF AND THE DEcOINTED JOTINGS, Fy RAMBLINGS, AND CUTTINGS WHICH = mrosTuREs? iN THE WRITING ACCOMPANYING THIS (OODITY was, ASIDE FROM A STACK OF PREEE CLITTINGS, IN PRINTED To AVOID THE ERRONEOUS READING Or A WORD SO CNHEARD-OF. IT APPEARS THAT ON MARCH 151, 1925, 0 THis, Dawx YOUNG EXCITED ASPECT HAD (CALLED UPON PROFESSOR ANGELLDREAN OF GREAT cycLopean cines or If Bl tirran a.ocKs AND AFTERWARD AID, FOR His SLOWNESS INCSSD SSSHE HAD CRIED OUT IN THE NIGHT, AROUSING SEVERAL OTHER ARTISTS IN THE BUILDING, AND HAD MANIFESTED GINCE THEN ONLY ALTERNATIONS OF UNCONSCIOUSNESS AND DELIRIUM. MONOTONOUBCY IN ENIGMATICAL SENSE-IMPACTE Cunscersagle save AS GIBBEREH. THE Two souNps mosT FREQUENTLY REPEATED ARE THOSE RENDERED BY THE LETTERS "CTHULHU AND "RLYEH". ON MARCH 2320, THE manusceirT CONTINUED, wiLcox FAILED TO APPEAR, AND INQUIRIES AT HIS QUARTERS REVEALED THAT HE HAD BEEN STRICKEN WITH AN OBSCURE SORT OF FEVER AND TAKEN TO THE HOME OF His FAMILY IN WATERMAN STREET. MY UNCLE AT ONCE TELEPHONED THE FAMILY, AND FROM THAT TIME FORWARD KEPT CLOSE WATCH OF| THE CAGE; CALLING GETEN AT THE THAYER STREET OFFICE OF De. TOBEY, WHOM HE LEARNED TO BE IN cHares.asrousnen To No i HIMBELE AT HOME AND auce tHe niet o- Lf af MARCH 2200. He was OF NO FURTHER ASSISTANCE. ALL TRACES OF STRANGE DREAMING HAD VANIGHED WITH His RECOVERY, AND THe Peees curmes, [K AS I HAVE INTIMATED, yeucnes on caseoie aif! toypeghay CT. _a thy 44S Hl i) aos LyPROFEESOR ANGELL, AS BEFITIED ONE OF His AUTHORITY AND SY ATrAINMENTS, HAD HAD A PROMINENT | PART IN ALL THE Wf ceuserations; ano THE CHIEF OF THESE OUTSIDERS, AND INA SHORT TIME THE FOCUS OF INTEREST FOR THE ENTIRE MEETING, WAS A COMMONPLACE— COOKING MIDDLE | Ace0 man woo Hao TRAVELLED ALC THE WAY FROM NEW ORLEANS FOR CERTAIN SPECIAL INFORMATION WITH Hi HE BORE THE SUBIECT OF HIS VISIT, A GROTESGUE, REPULSIVE, AND APPARENTLY VERY ANCIENT STONE D| statuette wHose ORIGIN HE Was AT A LOSS 10 DETERMINEa FANCIED THAT INSPECTOR Bf cewssse Hao tHe Least INTEREST IN FAMILIARITY INTHE “| MONSTROUS SHAPE THis care wienPROFESSOR WEEE HAD BEEN ENGAGED, FORTY-EIGHT YEARS GREENLAND AND ICELAND IN SEARCH (OF come RUNIC INGCRIPTIONS WHICH He FAILED TO UNEARTH. = ___ & PS ere mene | fee Ae ace aera ea ree ecae ecomaenneee ecetara coccce eons oN ei Stozus, i eeceeres wre DevigeRate BEFORE, IN A TOUR OF IBESIDES NAMELESS }\ 276s ano Human SACRIFICES THERE Wizaeo-PRIEST, EXPRESSING THE SOUNDS IN ROMAN LETTERS AS BEST HE cancer wen eB AURORA LEAPED HIGHr aN wr\ aS ge TAX" QBN ivi JV SN PIeN ein: y { eS ee wa KAUR SSNU AE Sn) cc rT —EXAMINING ONE DAY THE RESERVE SPECIMENS ROUGHLY BET ON THE STORAGE SHELVES IN A REAR ROOM OF THE MUSEUM, my EVE WAS CALIGHT BY AN (O00 PICTURE IN ONE WIDE AFFILIATIONS I ALL CONCEWABLE FOREIGN PARTE; AND THE PICTURE WAS A HALE-TONE CLIT OF A HIDEOUS STONE fs IMAGE ALMOST IDENTICAL WITH THAT WHICH LEGRASEE HAD FOUND IN THE Ewan. EAGERLY CLEARING THE SHEET OF ITS PRECIOUS CONTENTS, I SCANNED THE ITEM IN DeTalL; AND WAS DISAPPOWNTED TO FIND IT OF ONLY MODERATE LENGTH.THAT EVENING, AFTER A DAY OF HURRIED fi CABLING AND First Class tthe { ay ARRANGING, I BADE end ofthe train A My HOST ADIEU AND " IY toon 4 rea FoR IN LESS THAN A MONTH TWAS IN DUNEDIN, WHERE, THAT LITTLE WAS KNOWN OF THE STRANGE CucT-memsees WHO HAD LINGERED IN THE OLD SEA-TAVERNE. IN AUCKLAND LeaRnen THAT SOHANSEN HAD RETURNED with YELLOW HAIR TURNED WHiTe ArTER A PERFUNCTORY AND INCONCLUSIVE QUESTIONING AT SYONEY, AND HAD THEREAFTER GOLD His COTTAGE IN WEST STREET AND SAILED WITH His WIFE TO HIS OLD Home IN 0810. OF His STIRRING EXPERIENCE HE WOULD TELL HIS IBN excuse no more THAN HE HAD TOLD THE ADMIRALTY OFFICIALS, AND ALL THEY COULD 00 was TO GIVE ME HIS OSLO THE CROUCHING mace WITH ITS CUTTLEFISH HEAD, DeaGOn BODY, SCALY WINS, AND HIEROGLYPHED PEDESTAL, WAS PRESERVED IN THE MUSEUM AT HYDE Paw; AND I STUDIED TT LONG AND WELL, FINDING IT A THING OF BALEFLLLY EXQUISTTE WORKMANSHIP, AND MYSTERY, TERRIELE ANTIQUITY, AND UNeneTHcy STRANGENESS OF MATERIAL WHICH I Hap NOTED IN LesRasse's SMALLERSHAKEN WITH SUCH A (| menrac eevocuTion \) 45 2 Hap Never BEFORE KNOWN, Z HE Hap NoT SURVIVED Hig RETURN, SAID His WIFE, FOR THE DOINGS AT SEA IN 1925 HAD BROKEN HIM. HE HAD TOLD HER NO MORE THAN HE HAD TOLD AND BEGAN TO READ IT ON THE LONDON OAT. IT was A SIMPLE, RAMBLING Z| THine—a waive BAILORS EFFORT AT A AND STROVE TO RECALL DAY BY DAY THAT LAST AWEUL vovase. £ CANNOT ATTEMPT TO TRANSCRIBE IT VERBATIM IN ALL ITS CLOUDINESS AND REDUNDANCE, BUTE WiLL TELL M16 GIST ENOUGH TO SHEW WHY THE SOUND OF Sey THe water acanner By tHe vesser's sires BECAME 60 UNENDURABLE TO ME THAT I STOPPED MY GARE WITH COTTON.=e, »UNIVERSE. THEY WERE DONOVAN, GUERRERA, AND ANGSTROM. parker suipren as Di q 2x. WHICH BHOULON'T Have BEEN THERE, AN be et FLOUNDERING AT THE EDGE OF THE WATER.THERE WAS A BURSTING AS OF AN EXPLODING BLADDER, A SLUBHY NASTINGES 25 OF A CLOVEN ‘SUNFISH, A STENCH FOR AN INSTANT THE SHIP WAS BEFOLLED BY AN ACRID AND BLINDING GREEN CLOUD, AND THEN THERE WAS ONLY A EVERY SECOND AS THE ALERT GAINED IMPETUS FROM ITSESO ee i © aaI HAVE LOOKED UPON ALL THAT THE UNIVERSE HAS TO HOLD OF HORROR,AVERY INEHESTING a aaa oe ays Tecan 3s DONE IS CAPTUNE IN —{ TWO Dimensions io, MUU nanel B ena cm CU Daa FOUL THINGS. ~ Kelley jones