![]() “Told by Hespire, Lemurian space-voyager, to his grandchildren. “An ectoplasmic arm (put forth by a medium) which comes in through a farm-house window and strangles a man who has eloped with the medium's… ” After many aeons, the last of the colonists, who have preserved the original human… ” “A planet in a far system has been colonized from Earth. “A survior from the lost continents of Mu or Atlantis, appearing on our modern streets, would have seemed no stranger, no more different from others,… ” “A man invents a mechanism, utilizing a force which can project him laterally in universal time, thus achieving instantaneous space-transit. If you've never read some of Lovecraft's stories, you should take a look at The Colour Out of Space or At the Mountains of Madness to get a feel for what kind of themes this concept is used for.“The sand of the desert of Yondo is not as the sand of other deserts for Yondo lies nearest of all to the world's rim … ” So really, what an eldritch abomination is, is whatever is most likely to make somebody acutely aware of just how much there is out there that they do not understand. The abomination itself however is secondary to the theme that drives the cosmic horror genre, which is that man's place in the universe is so utterly insignificant next to the beings and forces that exist outside of the relative safety of planet Earth. ![]() Exactly what about your abomination is so alien as to confound the viewer on a fundamental level is entirely up to the story you want to tell. It is generally regarded as something that is so far outside of normal human experience as to be incomprehensible, whether it's because the thing follows motivations and desires that no human has ever pondered, or it takes a shape that have never existed either in nature or the mortal mind, or it simply exists on a scale so mindbogglingly vast that the mind cannot cope with the scale of it. The concept of the eldritch abomination by its nature is impossible to pin down. You have to find it within yourself to bring forth the worst fears you can imagine, and fear the unknown. (Fine art is not smut…it's acceptable as a featured image on Wikipedia, right? But under spoiler tag just in case.) Invertebrates might have been creepy to New England fisherman, and he likes to use cool words like squamous, but today finding a live Architeuthis is really cool, not horrifying. Ridley ScottĪs for Lovecraft’s squid, not everyone finds them scary or creepy. The most important thing in a film of this type is not what you see, but the effect of what you think you saw. I've never liked horror films before, because in the end it's always been a man in a rubber suit. Once it became known in diagrams and cultural references, it culminated in the Far Side cartoon of “Alien family dinners” and was definitely not scary anymore. Likewise, the first Alien movie was much scarier before the alien was seen in detail, and the fragments that showed were, well, alien, so you didn't know how it fit together from seeing the parts. (Bold mine) That is, the nature of the monster is not at all important here, is never shown and not yet present, and the fear (in the story as well as in the viewing) comes from the inner fears of the protagonist. He’s not the first to do so, of course, and Palmer frequently uses Alfred Hitchcock’s work to contextualize Spielberg’s innovations in suspense. So what makes the scene so good? In the first episode of new video essay series “The Discarded Image,” Julian Palmer suggests the answer is Spielberg’s knack for putting the audience in the place of the actor: The director uses color choice, camera placement, and foreshadowing to go “beyond the proscenium arch” and engage viewers directly. Remember the scene with the roast and the dock? Or Brody on the beach just waiting for the monster to appear? Showing only the protagonist, that was scary. Jaws (movie version) turned out much better because they couldn’t get the robot shark to work and Stephen directed it instead to not show it. The reader/viewer/player has inherent fear of the unknown or brings up fears from his own imagination that works specifically for him. Use of the Eldritch Abomination in storytelling requires that no details be given. So the answer to your question is 无 (not to be confused with µ if trying to find a link!) - the question itself must be “unasked” no answer can exist in the terms provided. Alien beyond comprehension, their sole existence is an affront to all reason. There are no words that can encompass such disgusting foulness, not in English or any other human tongue. The main idea of being called Eldritch Abomination is
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