Posts Tagged ‘HP Lovecraft’

I’ve mentioned things like “Lovecraftian horror’ or “cosmic horror” before on this blog, but I’ve never really gone into what those terms mean. And given that someone on the Internet is probably wondering what those terms mean and I need a break from trying to figure out how to end a short story, I thought I’d take a moment to look over what it means when horror fans call something “cosmic horror.”

I actually summed up cosmic horror pretty well last month with a little joke that I shared on my social media. Here’s how it goes:

Knock knock!

Who’s there?

Yog-sothoth.

Yog-sothtoth who?

Your mind couldn’t handle the answer.

Now you’re probably confused by that joke. But in actuality, it summarizes what cosmic horror is pretty well. Namely, there are answers and truths to questions that the human mind can’t handle. And not just answers, but even beings, beings that don’t fit into any sort of recognizable mythology or concept of good and evil. In this sort of horror, humanity is the equivalent of ants in the grand scheme of things, and if they come across any of the things that they shouldn’t–beings of unimaginable size and power, truths that go against everything we’ve ever believed, abilities and technologies that seem blasphemous to human viewpoints–the very contact could kill us or drive us insane. And even if our minds survived in some recognizable state, we would be forever changed. And probably not for the better.

If you haven’t grasped why that’s so scary, let me use an analogy: imagine you’re a farmer living in England in 1066, and a man from the year 2166* comes by and tells you that the world isn’t flat, but round; that the Earth flies around the sun and not the other way around; and that space is a cold and mostly empty void rather than a sphere surrounded by God’s Heaven and angels. Well, you’d obviously think the man from 2166 was crazy. But then he takes you back to his time, and he lives on a ship orbiting the Earth. You see the round Earth below while you float weightless in space and see the dark void beyond Earth. And things like science, gravity, etc. mean absolutely nothing to you. And everything’s new and strange to you, lights too bright and shadows too dark, and the sounds you hear make no sense.

Can you start to see how this could tear at someone’s mind? That someone could be afraid of this?

A universe of incomprehensible beings and terrible secrets is the basis of cosmic horror.

And that’s why cosmic horror has been so popular since HP Lovecraft basically created it back in the early 20th century (which is why it’s also known as Lovecraftian horror). It basically takes the old Judeo-Christian concept of good vs. evil, God versus the Devil, etc, which is essentially a closed and somewhat understandable system, and throws it wide open to a universe where there are multiple forces, none of which are easy to grasp or empathize with, let alone categorize into good vs. evil.

But how do you write it? Well, it’s more than including big, powerful beings that drive people mad (though that is often a feature). They’re more a vehicle for the broader theme: a sense of helplessness, that the universe is big and dark and full of awful things, that humanity is inconsequential and our dealings with the big players never lead to anything good. That, and a sense of untapped mystery can’t hurt. Think the first two Alien films or a dark version of 2001: A Space Odyssey‘s aliens, and you might get the idea.

If you want a better grasp of cosmic horror, I’d suggest looking at some of Lovecraft’s stories.** I recommend The Temple, The Call of Cthulhu, and The Dunwich Horror. I also recommend checking out other writers who use cosmic horror, including Stephen King, Guillermo del Toro, and so many more. Heck, I’ve got a few stories that have some cosmic horror in them. If they ever get published, I’ll let you know.

Cosmic horror can be hard to wrap your mind around sometimes, but once you do, it can open you to all sorts of terrible worlds. And if you can stand what you find, perhaps you will delve deeper. Just be careful when you do. You might not be the same when you come up, after all.

Do you like cosmic horror? What cosmic horror works would you recommend to the unitiated?

*Assuming humanity lives that long, what with global warming and a rising population. You know it’s true!

**If you can stomach his racism. Yeah, I love his work and contribution to horror, but I hate what he believed. If he were around today, I’d either punch him, ignore him for being an asshole, or recommend he take some anti-anxiety medication, get some therapy and maybe some exposure to other communities.

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One of the YouTube channels I follow is Tale Foundry, a channel that breaks down how different genres and mechanics of storytelling work and then uses the lessons gleaned to write original short stories. They present themselves as robots in a foundry that works with fiction rather than metal (hence the name Tale Foundry). Their latest series of videos has been around worldbuilding in fiction, and their latest video, which I’ve embedded below, really got me thinking.

Now, if you didn’t watch the video for whatever reason, let me just quickly talk about one of the methods of worldbuilding they discussed: found design, which to put very simply is when you modify an aspect of the world in order to accommodate or address an issue (or “emergent concern,” as they call it in the video) that’s come up in the course of telling the story. An example would be if while writing your novel about a war between werewolves and humans who hunt them, your beta reader says that the conflict has been done before and that something needs to be added to make the story more interesting (other than a forbidden romance). The something required to spice up the story is the issue or emergent concern, and the integration of whatever you decide to add to the story (a threat to both armies, an original twist to lycanthropy, etc) is the act of found design worldbuilding.

Yeah, it’s a lot to absorb, but whoever said fiction writing was simple?

Anyway, this last method got me thinking, because that’s the method a lot of horror writers use while writing their own stories. As we all know, horror stories are more often than not set in our world, but with modifications to allow for the fantastical things that show up in it. Modifications to allow for something new to be added to the story and its world…sound familiar?

I call this the “build upon” worldbuilding method (if there’s an official name in academic circles, someone please let me know). You take an already-established world, one that many people would already be very familiar with, and add your own twists or details to it so you can tell the story you wish to tell. This is a method used by fanfic writers, anyone dealing with Arthurian lore, and of course, horror writers.

A good example of how this method works is with my own short story, “Car Chasers” (being released in late 2018/early 2019 in The Binge-Watching Cure II anthology from Claren Books). This story is set in a world similar to ours, except ghosts are capable of participating in illegal street races in this story. When I wanted to write that story, I had to not just modify the world so that it was capable of having ghosts (though if you ask me, our world has always had ghosts in it), but I had to add rules to these ghosts, how they interacted with the races/racers and under what conditions they participated in these races. Will all this be evident when the story is finally released? You’ll have to read it to find out, but whether or not it is evident, all that work in designing this world was necessary for it to be written, let alone accepted anywhere for publication.

So as you can see, it’s a handy method to build a world for your story. And if you’re into creating a shared universe across your stories, like Stephen King, HP Lovecraft, or I do, it’s pretty helpful in making that possible. All you need to do is make a slight tweak and you can find ways to connect your various stories together into a fantastic and varied world.

Of course, this isn’t the only method for building a world in horror. But this is the one that I use the most in my stories, and which I’m sure plenty of other horror authors use when they make their stories and their worlds. And it’s not hard to see why: it’s a wonderfully flexible tool for any storyteller, and helps in the act of storytelling every day.

Thanks to Tale Foundry for giving me the idea to write this post, and as always, I’m looking forward to your next video. And I encourage you folks to check out their stuff. From Lovecraft and Junji Ito to Celtic mythology and satire, you’ll find plenty of videos exploring the various aspects of storytelling and how they can be applied.

That’s all for now. I’m off to work a little bit on that novella again. In the meantime, what are your thoughts on worldbuilding in your genre? Any methods that you find helpful? Let’s discuss.

Until next time, pleasant nightmares!

The other day, I was talking with someone about what sort of tattoo I’d get if I were the type to get one.* This is a topic I’ve thought of a lot in my twenty-five years, and I think I’ve figured out what I would get. As I explained to my friend, it would be a representation of the horror genre, how the various causes of horror in fiction–like demonic entities, the prospect of death, and of course human beings, among others–have a detrimental effect on us. “It’s corruption of the innocent,” I explained. “The very essence of horror.”

And then I realized something: corruption of the innocence is an essential part, if not the essence, of horror. And it can be found in every horror story, if you think about it. I knew it was part of Gothic horror, as I mentioned it in my post about what makes Gothic horror. But beyond that subgenre? Hadn’t even considered it.

I could have hit myself for not realizing that sooner. It was staring me right in the face, goddammit!

As I said above, I mentioned how corruption of the innocent is an element of Gothic fiction, and we see this in Gothic stories like The Shining. Danny sees the world go from a mostly-nice place where bad luck sometimes causes disaster for good people to a dark place where entities like The Overlook exist and kill people or drive them mad. Said entity also tries to corrupt Danny’s shine, to make that beautiful psychic power part of its own dark self.

Innocence corrupted.

However, this concept is found in other horror stories. HP Lovecraft incorporated it into his work quite often. In The Call of Cthulhu, his most famous work, the narrator starts out as being very sure that the world is a concrete place of science and rationality. However, after going through his late uncle’s effects, he realizes that there’s something awful in this world, a worldwide cult devoted to the bloody worship of an awful god that will one day rise to retake the Earth. And not only did this cult kill the narrator’s uncle, its agents will likely kill the narrator, driven close to madness with fear, before long.

Innocence corrupted.

This story is a great example of corruption of the innocent at work without being part of the Gothic genre.

And sometimes the innocence being ruined here isn’t your traditional childlike innocence. Sometimes it’s as simple as just having your worldview changed. Two early Stephen King stories, “The Mangler” and “Battleground,” revolve around hardened men discovering the world can involve the supernatural or just plain weird (in this case, a possessed dry-cleaning machine and toy soldiers that come to life to kill you). As I said, nothing dramatic. Just a shift in viewpoint.

Innocence corrupted.

Even when it’s so ubiquitous though, I don’t think corruption of the innocent is the essence of horror, as I characterized above. Or at least, the only essence of horror. After all, we can’t forget about fear, which is what horror plays on and seeks to create. Without that fear, you just don’t have a good horror story. Perhaps then, like fear or a powerful antagonist, corruption of the innocent is something necessary to writing horror. Without it, the genre would be missing something that cannot be done without.

So while not exactly the full essence of horror, corruption of the innocent is important to the genre. You could even say it’s wrapped up in the essence of horror. And I’m glad I finally realized after such a long time that it was.

Hopefully it makes writing decent horror stories easier.

What do you think of corruption of the innocent as part of horror? Do you think I’m onto something?

Do you think I should get a tattoo? Would you like to see this design of mine realized? Do you know how any artists who could help me create it?

*For the record, I’m tempted, but my religious beliefs aren’t fond of me getting one. And I’m not sure I want something so permanent on my body, anyway. Especially if I have to pay a ton of money for what I’m looking for. Still fun to think about, though.

Also, I want it on my back. Best place to get it, in my personal opinion.

It’s a question every creator wrestles with from time to time. Writers are no exception. We wonder if anything we write is worth reading by anyone other than our family and close friends (who, most likely, will tell you they loved it because that’s what family and close friends do). We wonder if we’re just wasting our time sitting at the computer or in front of our typewriters or in our notebooks, trying to tell stories that range from the mundane to the fantastical and mundane.

In short, we ask ourselves, “Do my ideas suck?”

This may surprise you (I am Mr. Smiles and Jokes and Weird References to Demons and Monsters, after all), but I ask myself this question a lot. I often wonder if I’ll write anything that more than a few people will read in my lifetime, let alone afterwards. It’s a question I’ve been asking myself a lot more lately as I’m in the midst of rewriting a lot of Rose. Although I tell myself that I came up with these changes myself, and that both I and my publisher think they’ll do a lot to help the story and make it a better read, in the back of my head I’ve got this little voice whispering dissent and telling me that what I’m writing won’t amount to much.

And you know what? Sometimes I’m tempted to believe that voice. I mean, thousands upon thousands of novels are published every year, but very few of them gain the attention we wish them to have. Quite a few even get critically panned. It often seems like the field is too big and too difficult to really make a difference in. So why should we try?

But then there are a couple of things I keep in my mind that can, if not shut up that voice, then at least turn the volume down on it. Both of them, not surprisingly, involve Stephen King. The first has to do with his debut novel, Carrie. Did you know when King first started writing Carrie, he actually threw the first few pages into the trash because he was convinced it was trash and would come to nothing. He only kept at it because his wife fished the pages out of the trash, read over them, and said they were good and that he should keep at it. The novel was later published and as we all know, became a huge hit, inspiring two excellent movies (though I prefer the 2013 version), a meh TV movie, and a musical that I wish would get a proper revival and a North American tour. All from a story that King was ready to throw in the trash.

The second story is another King work, Thinner, which he wrote under his Richard Bachman pen name. If you were to give the story an elevator pitch (see my article on elevator pitches for more on that subject) it would probably be something along the lines of “A man is cursed to become thinner and thinner.” And just from hearing that, you might laugh. That sounds like a comedy involving some prissy housewife who thinks if she doesn’t stay a certain weight, her husband will cheat on her and then she starts magically losing weight. It doesn’t sound like a scary novel.

Thinner by Richard Bachman (aka Stephen King); silly sounding concept, great payoff.

But from what I hear (I haven’t read any of the Richard Bachman books yet, though I know I should), it’s a pretty creepy story, one that inspired a movie (quality of the movie is debatable). All from a very simple idea of what happens when weight loss goes really, really bad. It sounds stupid, but it turns into an effective horror story.

And I could come up with tons of examples of this (did you know HP Lovecraft thought The Call of Cthulhu was only so-so? And now it’s one of his most famous works). But they all boil down to one thing: our ideas don’t always suck. In fact, they may only suck in our minds. To others, they may be great, mind-blowing, or even influential. And sure, not all of our stories will turn out to be great, but the vast majority of them, with enough work and a little bit of luck, can become awesome.

And I’m reminded of that every time someone expresses interest in reading Rose. People hear what it’s about, and they want to know more, or for me to tell them as soon as the book is out. If these people really do end up reading Rose, liking it and even letting people know they like it, then who knows? I might be able to shut up that little voice once in my head, at least for a little while.

So if you’re worried that you’re only writing crap, don’t pay your little voice any attention. Just keep writing and polishing and seeing where your story goes. Who knows? You may end up putting out something really amazing, and you’ll be glad you stuck with it for so long.

My copy of “The Creepypasta Collection,” as edited by MrCreepyPasta

A couple of years ago while I was in Germany, I became acquainted with a growing genre of horror known as creepypasta. Creepypasta, for those of you who are unfamiliar, are horror stories, images, videos, music and games that originate on the Internet and are meant to be spread around as memes. Sort of like viral Internet-born campfire ghost stories (see my original post from 2015 if you’d like a more in-depth explanation).

While I had to end my acquaintance with the genre rather abruptly (job searching and then landing a busy full-time job, as well as trying to write my own stories, doesn’t leave that much time for perusing the Internet for horror stories), I never forgot about this strange world of creators making and sharing these scary stories, sharing characters and creating entire mythologies out of some of them (Slender Man, anyone?). So when I found out there was actually a couple of anthologies of creepypasta available in book format, which meant I could read them on my lunch break, I decided to get a copy and dive in to see back in.

What did I find?

Well, like every anthology I’ve ever read, there were some stories that spoke to me more than others. A few I didn’t find that scary at all, but others definitely filled me with that feeling I get from good horror, and even set my imagination alight at times. There are writers in that anthology who would and have done well writing commercial fiction (in fact, some of the contributors listed in the back of the book have published or self-published stories). My favorites in the collection were “When Dusk Falls on Hadley Township” by TW Grim, which reminded me of a Stephen King short story; “Smile.Montana” by Aaron Shotwell, featuring the infamous creepypasta character Smile Dog; “Bedtime” by Michael Whitehouse, a classic of creepypasta fiction that really got my imagination going; and my top favorite, “She Beneath the Tree” by Michael Marks, a Lovecraftian tale that I loved from start to finish.

So yeah, if you’re curious, you should give the collection a read. 4.5 out of 5. As the cover promises, these are stories you can’t unread. And I’m not sure you’d want to.

But I found more than just stories in this collection. I also noticed some things about the genre, especially the pieces in the anthology, that showed me just how different they were from more “mainstream” horror stories. For one thing, the narration in the stories struck me as being more…realist in nature. Not like Realist fiction, which is set entirely around stories that happen in the real world, but like they really believed that the things they depicted in their stories could actually happen. In a lot of horror fiction, even by the greatest writers out there, you get the sense that, except for maybe stories involving serial killers, the authors don’t really believe that what they’re writing about could happen. But creepypasta writers seem to feel the opposite. I got the sense, even with some of the more supernatural or strange stories, that the authors really believed that what was happening in their stories could happen in the real world, and treated it as such. And this shown through especially with the first-person narrators.

When something like Smile Dog can be treated as if it’s real, you know you’re reading something different.

This is something I really admire in creepypasta, because it just gives these stories another layer and gives them the power to really make you wonder if some of what happens in these creepypastas could happen. Some of my own stories are based on my own beliefs of what could be out there, and I like to think that gives them this quality of strange realism to them. Seeing that quality brought out so well with these stories is a great guide for me personally as a writer, so I’m glad I exposed myself to them.

Another thing about this anthology is that it made me realize something: the creators of creepypasta are not too different from self-published and hybrid authors. The latter try to recreate the quality and success of books published by traditional presses without having to go through all the hoops that come with the traditional method and presses. They’re trying a new way to achieve an old goal. And a major component of this is through the Internet to reach readers and advertise. Basically, to spread the word.

Similarly, creepypasta creators are trying to recreate something as well. When I called creepypasta viral Internet-born campfire ghost stories, that was a really apt description. They’re recreating the feeling of telling scary stories around a campfire, and spread it farther than any campfire could. And their chosen medium, the Internet, is perfect for that. Spoken word can be used on the Internet, but so can the written word, images, video, music and so much more. They use the Internet to advertise terror as well as any self-published/hybrid author can to advertise their books. Is it any wonder that one can so transition easily into the other?

Overall, I’m glad I took this dive back into the world of creepypasta. It opened my eyes to things that I’d never realized before, gave me ideas for stories, and caused my respect for creepypasta creators to grow immensely. And while I may never write true creepypasta, I can see creepypasta-esque stories or ideas infiltrating my future work. Just like creepypasta, you never know until it happens. And by then, it’s likely too late.

That’s all for now, my Followers of Fear. I’d love to talk a bit more on the subject, but a hole in the fabric of reality has appeared in the fabric of my carpet, so that either means something really pleasant, or something really bad. I’m going to go find out.

Until next time, pleasant nightmares!

I talk a lot about my writing career. Not just on this blog, but everywhere else: when I was at school, at social events, at wherever I happen to be worshiping (usually it’s at a synagogue, but occasionally I’m at other places), when I’m hanging out, and of course, at work. I’ve mentioned to more than a few people at work that not only am I a writer, but I’ve told them that Rose is getting published by a publishing company. The vast majority of people I’ve talked to about it have been very excited to read it, even if horror is not their normal genre (though I think Rose would be more classified as a supernatural thriller at this point). It really boosts my mood when people say that, and makes me want to be an even better writer.

Today, a coworker from another office and I passed in the hallway at work. She asked me about updates on Rose, and I told her that my publisher was hopefully going to get back to me this week about some revision suggestions I’d made. She got that “how cool!” look on her face and told me to keep her informed. She then dropped this on me: she’d been telling her kids about me, as I was proof of success for “following your dreams.”

Well, this really got my thinking. I mean, I’m flattered and all, but do I really deserve to be called an example of following your dreams? To my coworker, I probably am. After all, to non-writers, getting the book accepted by a publisher counts as living the dream. But to me, I haven’t accomplished my dreams yet.

That’s not modesty on my part, I’m just not sure I can say I’ve reached my dreams. At least not at this point. My dream has changed over the years, from being the next JK Rowling to the next Stephen King to just being able to make a living off of writing and maybe writing full-time, which is where my dream is that today. And I’m not there yet by any means. I still work a 40-hours a week job to pay my bills (sometimes longer if I have to stay late to finish up certain projects). And while Castrum Press wanting to publish Rose is a big step in the right direction, the book still has to come out.

I guess what I’m saying is that I’m still following those dreams. I’m still working to make it so that I’m in bookstores, to get lots of people to actually want and look forward to reading my books. And I say “books,” because it’s probably going to take several books, if I’m very lucky, to be able to write full-time. It’s rare for authors to be able to write-full time, and even rarer just after the first book. If I somehow manage to make that happen, then hooray. But at the moment, that’s still several years in the future.

I guess I’m still chasing my dreams. Right now, I’m on the right track, and I’m an example of how hard work, lots of revision and rejection, a bit of backbone, and a Plan B if you don’t happen to be one of those overnight success stories (aka employment) can pay off a little. But of successfully chasing your dreams? Well, we’ll see where I end up in the next few years. Fingers crossed it’s a better place than where I am now, even if I’m still not writing full-time.

On an unrelated note, you remember how in my last post, I talked about getting a statue of Cthulhu? Well, my boss took a look at it this morning and okayed me to keep it in the office. To which I say, “Yay! Now I can really start turning my workspace into a den of horrors!” But seriously, it’s nice to really be able to personalize my workspace in such a way. Before now, it really didn’t have that much to say, “Oh, this is totally Rami’s desk. You can just tell by looking at it.” There’s a lot of rules to how one can decorate their workspace at my job, so being able to just have Cthulhu there is a big deal for me. Perhaps in the future, I can also put some other cool stuff around my desk to really help me feel at home while I work.

Until then, I’m cool with just Cthulhu. Besides, he looks so cool there, doesn’t he? I think he does, anyway.

That’s all for now, my Followers of Fear. Thanks for letting me ramble on about this stuff. Until next time, pleasant nightmares!

Back in December, I posted about how I was collecting dolls, figurines, and statuettes. Since then, I’ve collected quite a few more for my collection, so I thought I’d write another post about the collection and show off my new acquisitions (as well as have another go at giving my parents more grey hairs and making them wonder where they got such an unusual son. What can I say? I am a nasty little devil).

First, let’s talk about those Nightmare Before Christmas pixies. Remember when I said there were about four of them? Well, turns out there’s a lot more than four:

So apparently the line comes with its own little Halloweentown display. I got that not too long after the last doll/figurine-related post.

After that, they sent me Oogie Boogie’s character.

And then Zero the ghost dog.

And I thought that was it, but then they sent me Lock, the kid in the devil costume.

And then they sent me Shock, the witch girl.

And that’s where we are so far. I’m assuming Barrel, who I think is some sort of skeleton kid, is on the way at some point. I’m not really sure how many characters are in this collection, but I’m happy to keep paying for them and seat them in a circle in my apartment.

Also, I recently bought another, very special figurine from The Hamilton Collection, the company that makes those little statues. This is the Guardian of the Underworld.

Yeah, pretty scary. And I’m pretty sure that’s an old Rolls Royce hearse she’s sitting on. I wanted to bring that into work, but my supervisor put the kibosh on that one. Too bad, it would’ve been such a great talking point for anyone who came to visit my office. Then again, given what we do in my office, it might put people off and give them the wrong idea.

Of course, not all my new additions have been from The Hamilton Collection or look like pixies from Hell. Remember in my last post I mentioned that my very first figurine was one I made of the character of Zero from the anime Code Geass? Well, I finally got a real Code Geass Zero figurine!

This was one of my most anticipated acquisitions when I bought it. And it’s so cool! You can change heads and arms depending on whom you want to wear the costume (spoiler alert: different characters in the anime wear that costume at different points), and take on and off the sword around his waist. But I’m telling you, lining the real figurine next to the one I made all those years ago was a big moment for me. It felt like I was showing myself how far I’ve come in life that I can actually collect these things for myself, and I don’t just have to make them.

I’ve also made a few acquisitions that coincide with another love of mine, ballet. The first acquisition of this type is a figure of Asuka Langley Soryu from the anime Neon Genesis Evangelion (I already have two figurines of her, as she’s my favorite character, but this one is probably my favorite), dressed up as a ballerina. I absolutely adore this figurine. It looks like she’s about to break out into dance, which would be very cool if it could happen.

I also got two figurines based on Odette and Odile from Swan Lake. I was really psyched to get these, especially since I saw that ballet last November.

These figurines comes with their own individual stands, as well as a shared one for a pas de deux (not something that ever happened in the actual ballet, but whatever). They look so graceful and their eyes are so expressive, I just love it. They’re so wonderful, they gave me an idea for a novella a while back that I’d like to write at some point. They also came with a lithograph of an illustration that I believe inspired these figurines (I think that’s what the figurines are based on), which I hung up not too long ago after finding a picture frame that was the right size, right by where I keep the actual figurines.

My third ballet-related acquisition is a proper doll, a Liccca-chan doll. Licca-chan is like the Japanese equivalent of Barbie, and this one was so up my alley, that I couldn’t help but order it. The arms aren’t as movable as I thought they’d be (so no fifth position posing), but I still like it and I’m glad I bought it.

Of course, not all of my collection is so pretty. You guys know I’m a Lovecraft fan, right? Well, I recently acquired a Cthulhu statue from Chile. I’ve been wanting a statue of Cthulhu for quite some time now, so to finally get one was pretty awesome. I’m actually not really sure what this statue’s made of, to be honest: I bought it off Etsy, and it’s supposed to be made of some sort of clay, but at times it feels like wood, and other times like stone. Which, considering this is a statue of a powerful god in the Cthulhu Mythos, does not surprise me in the slightest. My supervisor may let me keep this one in the office, which I would find cool, but others might freak over. Of course, that’s the intended effect, so let’s hope he says yes.

Also, the store I bought it from included a free Cthulhu keychain because he’d been on a hike when I made the order and didn’t get it until when he came back a week later. I told him that wasn’t necessary, but he included it anyway. Such a nice guy, and I love the craftsmanship. Also, I’m not sure what this is made of either. Fuh-reaky!

And finally, we get to my last and possibly my favorite acquisition, as well as the one most likely to be haunted. This is a Pullip doll, which is a brand of South Korean fashion dolls known their big heads and equally big eyes.  This particular one is from the Alice du Jardin series, so I call her Alice, and she is the “Mint” version. Sometimes I feel like she’s really watching me while I’m writing or watching movies on the couch, and that she’s trying to influence me. If she is, I think she’s trying to influence me in positive ways though. Easing my stress and that sort of thing.

So that’s the latest on my collection. What did you think? (Yes, I’m aware that some people find my collection very weird, but since when have I ever been interested in being “normal?”). I’m personally very proud of it, and hope to add to it over time. I’d especially enjoy getting the entire main cast of Sailor Moon in figurine form, though that’ll have to wait until I get some new cabinets (someone’s letting me have his when he moves out of town). In the meantime, I love what I got, and I don’t ever want to part with them.

Do you collect dolls and figurines? What are your thoughts/suggestions on collecting them?