I asked all our contributors to choose a god from Lovecraft’s pantheon and tell a story about them. It could be a horror story, sure. But it could also be sci-fi, fantasy, action, comedy or anything in between, as long as it focused on the gods of Lovecraft…or in some instances a new Lovecraftian god they created.
—Russel Nohelty, Cthulhu Is Hard To Spell
There is no wrong age to discover Lovecraft.
Anecdotally, a lot of fans discover Lovecraft when relatively young; twelve or thirteen is a common age given. Old enough for a childhood love of monsters to graduate toward some of the more literary horrors, where happy endings need no longer be expected as default. Everyone has their first exposure somehow: a comic book, a tatty paperback, the helpful librarian, a passing reference in a cartoon that leads to clicking through a link on a wiki article and then…
In a lot of ways, Lovecraft’s body of work is almost all-ages. There’s no explicit sex, and not much violence and gore. There is the very occasional N-word, but the same could be said of Mark Twain and Huckleberry Finn. The four-letter word scale of expletives tops out at “damn” and “hell.” Lovecraft didn’t need to say “fuck” to communicate his horrors. You don’t need to be nasty or profane to be Lovecraftian; though some authors have found it effective.
You can see this generally in the number of Mythos works which are produced for all different ages. There are hardcore adult pornographic Mythos works and there is C is for Cthulhu. While they share an inspiration, the age range of the audiences they’re going for are completely different. Other products are more ambiguous. They try to hit the sweet spot of being for both young adults and older adults; scary stories that can be read in the dark and enjoyed by anyone.
Which is the basic mentality behind the comics anthology Cthulhu Is Hard To Spell (2019), and its first entry “Nora” by Angela Oddling. Hitting that sweet spot between growing up and grown up. The book contains works suitable for…not all ages, but most ages. No nudity or nipples, no gore and not much blood, but not shying away from the suggestion of sex, violence, or blood. Art and storytelling that varies between the comedic to the serious and back again. It’s a good mix.
“Nora” by Angela Oddling is a story that might strike readers initially as aimed at the teenager or adolescent end of the spectrum. The art is polished, but “cartoony” rather than realistic; the character has big eyes and big fangs and only four digits on each hand—the same coding for the characters on The Simpsons or Mickey Mouse. It’s easy to mistake that kind of visual rhetoric as code that something is “for kids” rather than “for adults”—but as Matt Groening’s Life in Hell and Family Guy should show, that kind of coding can be deceiving. Disney’s Mickey is an anthropomorphic mouse, but so are the Jewish characters in Art Spiegelman’s Maus. It’s what the creator does with those characters that tells you what audience they’re aiming for…
Oddling hits the “sweet spot” for both young adults and older adults. Her story has overtones of Lovecraft’s “The Outsider” to it, and it works for much the same reason. Human beings are social animals. Conscious of their need to belong. To find their tribe. It’s not a deep or complex story, but at 8 pages long it is just as long as it needs to be to make its point, without feeling rushed or stretched out. There’s a Sarah’s Scribbles-esque quality in how it addresses an anxiety that is at once shared by someone growing up, and someone that is already considered a grown up in society.
In this sense, the “simplified” art works well to not limit or define the audience; we all can see ourselves as monsters, and see ourselves in monsters. Oddling’s palette is deliberately restrained: the white and blue and black make the pale yellow “pop” with emphasis on the page, and highlight the transitions from cold/alone to warm/together…and finally the very last panel, with its balance of colors, to show the strange acceptance. Not a complicated visual language, but again, it doesn’t have to be: a simple idea well-executed can be tremendously effective in communicating ideas visually, to complement the text of the story.
“Nora” was created by Angela Oddling and published in Cthulhu Is Hard to Spell (2019, Wannabee Press), edited by Russell Nohelty. The book was originally launched on Kickstarter, though you can still buy hardcopies on etsy and digital editions are available on Kindle/Comixology.