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The police found the victims' "oddly marred" bodies being used in a ritual that centered on the statuette, about which roughly men — all of a "very low, mixed-blooded, and mentally aberrant type" — were "braying, bellowing, and writhing", repeatedly chanting the phrase, " Ph'nglui mglw'nafh Cthulhu R'lyeh wgah'nagl fhtagn. After killing five of the participants and arresting 47 others, Legrasse interrogated the prisoners and learned "the central idea of their loathsome faith":.
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The prisoners identified the statuette as "great Cthulhu", and translated the chanted phrase as "In his house at R'lyeh dead Cthulhu waits dreaming. One of the academics queried by Legrasse, William Channing Webb , a professor of anthropology at Princeton University, points out that he had encountered, "high up on the West Greenland coast," a similar phenomenon on an expedition: "a singular tribe or cult of degenerate Esquimaux whose religion, a curious form of devil-worship, chilled him with its deliberate bloodthirstiness and repulsiveness.
Thurston, the narrator, notes that at this point in his investigation, "My attitude was still one of absolute materialism, as I wish it still were. In the third part of the story, "The Madness from the Sea", Thurston extends the inquiry into the "Cthulhu Cult" beyond what Professor Angell had discovered. He discovers by chance an article from the Sydney Bulletin , an Australian newspaper, for April 18, , that reported the discovery of a derelict ship in the Pacific Ocean with only one survivor — Norwegian sailor Gustaf Johansen , second mate on the schooner Emma out of Auckland, New Zealand, which on March 22 encountered a heavily armed yacht, the Alert , crewed by "a queer and evil-looking crew of Kanakas and half-castes" from Dunedin, New Zealand.
Most of the remaining crew died on the island, but Johansen is said to be "queerly reticent" about what happened to them. Thurston realizes from the article that the crew of the Alert was connected to the Cthulhu Cult, and travels, first to New Zealand, then to Australia where he sees a statue retrieved from the Alert with a "cuttlefish head, dragon body, scaly wings, and hieroglyphed pedestal"  and finally to Oslo, where he learns that Johansen died suddenly after an encounter with "two Lascar sailors".
When Johansen's widow gives Thurston a manuscript written in English that her husband left behind, the narrator learns of the crew's discovery of the uncharted island which is described as "a coastline of mingled mud, ooze, and weedy Cyclopean masonry which can be nothing less the tangible substance of earth's supreme terror — the nightmare corpse-city of R'lyeh.
Thurston or Johansen writes that "The Thing cannot be described," though the story does call it "the green, sticky spawn of the stars," and refers to its "flabby claws" and "awful squid-head with writhing feelers. Johansen manages to get back to the yacht; when Cthulhu, hesitantly, enters the water to pursue the ship, Johansen turns the Alert around and rams the creature's head, which bursts with "a slushy nastiness as of a cloven sunfish" — only to immediately begin reforming as Johansen and William Briden insane, and soon dead make their escape.
After reading this manuscript, Thurston ends his own narrative on a pessimistic note: "Loathsomeness waits and dreams in the deep, and decay spreads over the tottering cities of men.
Cthulhu Mythos scholar Robert M. Price points to the parallels with Lovecraft's creature: a huge, octopoid sea monster, sleeping for ages at the bottom of the ocean either "dreaming" or "dreamless" , and destined to emerge from his slumber in an apocalyptic age. Price also considers the work of Lord Dunsany to be a major source for Lovecraft's dreaming god. Lovecraft himself noted that he read some Dunsany, an author he greatly admired, on the day that he conceived the plot of "Call of Cthulhu"; Price points in particular to "A Shop in Go-by Street", which talks of "the heaven of the gods who sleep", and notes that "unhappy are they that hear some old god speak while he sleeps being still deep in slumber".
Another Dunsany work cited by Price is The Gods of Pegana , which depicts a god who is constantly lulled to sleep, because if he should awaken "there will be worlds or gods no more. Joshi and David E.
The Call of Cthulhu by H.P. Lovecraft
Schultz point to a different set of literary inspirations: Guy de Maupassant's "The Horla", which Lovecraft described in "Supernatural Horror in Literature" as concerning "an invisible being who [ Based to some extent on the Call of Cthulhu tabletop game, this video game adaptation takes cues directly from its analog counterpart. You play as Edward Pierce, a detective sent to Darkwater to investigate the death or disappearance of Sarah Hawkins, a painter known for her terrifying portraits of otherworldly monsters.
Aside from one late-game sequence there is zero combat to be found here. Like most great Lovecraft adaptations, Call of Cthulhu operates under the idea that the mythos is unknowable, unbeatable. The best you can do as a mortal is try to stay out of its way. Pierce alights in Darkwater and starts looking for answers in the local bar, among the fishermen and the smugglers and the overworked police. He then manages to gain access to the Hawkins mansion, a part of which burned down recently, there to find even more clues. And hey, the Hawkins mansion has a secret tunnel that leads into a network of caves—surprise!
The approach is a bit heavy-handed, and the atmosphere laid on thicker than it needs to be. You have to keep looking though, picking up documents and listening to recordings on old wax cylinders, trying to find Sarah Hawkins. Most of the early game is spent quietly wandering through various rooms, hunting for items to interact with. Pierce is a fine detective, too.
The Call of Cthulhu
His skill tree is lifted from tabletop, albeit simplified. The first five of these are player-governed, and you can sink points into them as you head through the story. The other two, Medicine and Occult, are only improved by finding items in the game. Not for a video game, anyway.
It works fine in tabletop, when the person running the game the DM or dungeon master can re-route the story around players missing a clue. In Call of Cthulhu though, it feels arbitrary. You might have an 80 percent in Investigation and Pierce breaks the lock trying to pick it. Those issues get worse over time, too. Madness was always an obsession of Lovecraft both his parents were committed to mental institutions and like many games inspired by his work your character is not only in constant danger of being driven mad but you, and he, can frequently not trust anything you see.
What drags the game down, far more than the simplistic visuals, is how basic the gameplay is. But you soon begin to realise that which you choose is merely window-dressing and makes no real difference to the unfolding plot. The dialogue is also uniformly unconvincing, betraying the fact that French developer Cyanide were not working in their native language. That said, the charm does begin to fade the longer it goes on, and the more contrived the plot gets.
Pros: Impressively creepy ambience with some real scares. Effective use of the Lovecraftian mythos, with plenty of references for fans. Cons: Very simplistic gameplay and role-playing elements, with tedious stealth and pointless detective sequences. Low tech graphics and poor dialogue ruin character interaction.