En Episches Abenteuer in den Welten H. P. Lovecrafts
Back cover copy of Yuggoth Rising #1
“An Epic Adventure in the world of H. P. Lovecraft,” is what is promised, and that is what writer/artist Sebastien Dietz sets out to deliver. Yuggoth Rising is a German-language black-and-white 9-issue independent comic series, originally produced by Undergroundcomix.de in 2012. While physical issues were limited in number and now quite scarce, the series is collected in both German and English through Comixology/Amazon Kindle in three acts, beginning with Yuggoth Rising: Erster Act (Deutsch) / Yuggoth Rising: First Act (English, translated by Craig Stanton).
The epic adventure gets off on a bit of a left foot. February 1930, the Great Depression is settling in as our protagonist, an unemployed but educated young woman, returns to New York City—and on the ship runs into Lionel P. Hatecraft, author of popular romances.
At first glance, this is a set-up for a farce; in light of what comes later, it may be more appropriate to think of it as an unsubtle hint that while this takes place in the world of Lovecraft’s Mythos, this is not the world we know, the one that Lovecraft inhabited. Like the future envisaged by Robert W. Chambers in “The Repairer of Reputations,” or the 1920s and 30s envisaged in the Call of Cthulhu Roleplaying Game, this is a subtly different setting.
Dietz’ art is detailed, and cityscapes, streets, buildings, and ships are especially well-executed; he has an eye for splashes of darkness that stand out against the page. If there’s a criticism of his work, it is his human figures, whose heads are often slightly oversized in proportion to their bodies—but that’s more in the nature of a stylistic convention than a flaw. When he does break out for splash pages, the effect is worth it.
It’s not a tale told exclusively in comic panels. The end of each issue is punctuated by letters, articles, pages from magazines and newspapers, a convention used in other works to give the series a lived-in feel, to expand on things happening in many places during the same time period. Some of which are connected, and some of which are not.
Dietz’ story takes a broadly familiar shape: different threads, interweaving; widely separated characters working their way together until they meet. A young woman down on her luck, a brilliant expert in Mayan script, a millionaire embroiled in an international conspiracy, a slightly seedy newspaper porter on the werewolf-and-alien beat…ancient mysteries, the hunt for Planet X, and the Unaussprechlichen Kulten. The story moves at its own pace, neither too slowly or too quickly in this first act, these first three issues…
…but it just the opening act, the preliminaries. What revelations are here are just the beginning; our characters haven’t all met yet, the epic adventure has just begun. Taken by itself, it is promising…but readers shouldn’t be expecting “At the Mountains of Madness” or “The Shadow Out of Time,” although it takes a few cues from those works. Dietz’ inspirations more likely lie in Call of Cthulhu the Roleplaying Game, or the slightly pulpier adventures of August Derleth’s Trail of Cthulhu. The story of Yuggoth Rising—if the name isn’t clue enough—is things moving into place, the stars becoming right, cults and investigators getting into position, to destroy the world or redeem it.
If that sounds familiar, it’s because “when the stars are right” is the natural end-game of the Mythos; the Ragnorok or End Times, the eschatological frontier that looms in the unspecified future. Alan Moore and Jacen Burrows worked with that idea at the end of Providence, Jonas Anderson & Daniel Thollin did the same in 1000 Ögon: Cthulhu, and there are dozens of literary examples, in Cthulhu’s Reign and elsewhere. As with every Mythos story, it is less the tropes that are important than how it is told, how the characters develop and toward what end.
None of which a reader can tell in Yuggoth Rising: Erster Act, not on a first reading. On subsequent readings, readers can pick out more details, foreshadowings, hints that maybe they overlooked. Dietz has done a very credible job in setting the stage…and it is fortunate that this is a case where readers of both English and German have the opportunity to read it to the end, even if only digitally.
Bobby Derie is the author of Weird Talers: Essays on Robert E. Howard and Others and Sex and the Cthulhu Mythos.
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