Más Vulthoom Yandere AU 😍

a certain....simp....has sent Vulthoom a death threat, and I'm now scared, shall we all sleep with one eye open.

ANYWAY RIP Vulthoom, I WON'T be at his funeral

@d-apperc-adaver lemme know if u notice anything 😉

love the uniquely internet experience of reading a weird fiction story from 1935, looking it up, and seeing a defunct mons game app drew it as a sexy lady

You mentioned Clark Ashton Smith. Which of his stories would you recommend? So far I've been underwhelmed.

Context for anyone who doesn't know: Clark Ashton Smith was one of the "Big Three" of Weird Tales (the other two being Lovecraft and Robert E. Howard) and is certainly the least famous. Even if you don't know who Lovecraft or Howard are, you've probably heard of Cthulu and Conan the Barbarian. Smith is also certainly the weirdest of them all by a good margin and the most inconsistent in his writing. You pick up a Lovecraft story and 90% of the time it's going to be at least competently written and you know the broad strokes of what the content will be (unnameable cosmic horrors, nervous breakdowns, and often very explicit racism). A Smith story is just as likely to feel like it was written by an accomplished poet as it is to feel like a teenager's drivel. And it could be about wizards at the end of time, or spacewrecked astronauts, or medieval French bishops. The only consistent thing about his work is that you'll need a dictionary by your side while you read it. Get ready for words like "mephitic," "hippocephalic," and "cyclopean" to be abused in ways that even Lovecraft probably found egregious. (Emperor of Dreams? More like Emperor of Purple Prose! Haha, good joke Logan.) The bizzarity and unevenness of his output are probably the qualities that I find so engaging about it and also the things that have kept him from being as beloved as his peers into the present day.

Anyway, I haven't done a deep-dive on Smith since I read his complete works all the way through. Some of his stories are pretty fresh in my mind, but most of them I haven't read in 5-6 years. Keep all that in mind and I'll put my recommendations below the break:

"The Vaults of Yoh-Vombis": Definitely my personal favorite Smith story and probably one of his best. If you don't like this one, it's unlikely you'll be a fan. On its own a very good "ancient cosmic horror" story, what really makes it stand out is it's setting: a near-future (relative to the 1932 publication date) Mars that has been colonized (in a very 19th century sense of the word) by humans. The Martian city of Ignarh is apparently a hub for interplanetary commerce and the subaltern Martian indigenous population provide local guides for human archaeologists to study (and no doubt exploit) the ruins of ancient civilizations that abound on the planet. Smith wrote two other stories in the same setting, "The Dweller in the Gulf" and "Vulthoom" that re-tread the same plot beats but lend a little more color to the Martians themselves. A writer capable of viewing the Martians as sympathetic peoples rather than as "native savages" could've spun this setting into something truly great. Richard Corben also does a fantastic comic adaptation.

"The Abominations of Yondo": Didn't like the first recommendation? I'll take one more shot at making you a fan. "Abominations" is a very short read that manages to contain all the hallmarks of a classic Smith story. Nobody else does it like him and if you don't like it then you just don't like it.

"City of the Singing Flame": A story of inter-dimensional exploration that manages to weave together Smith's obvious love for his home state of California with his penchant for imaginary places beyond time and space. It has a sequel that I thought was okay but most people dislike. If you like this story, it's probably better to treat it as a standalone.

"A Night in Malnéant": A somber, dreary horror tale that I don't think gets enough love or at least isn't anthologized particularly often. Tones down the weirdness a bit, but in a good way.

"Isle of the Torturers": Far-future horror-fantasy that really sticks the ending. Also does the same thing as "Yoh-Vombis" where it has a setting that's only briefly introduced but could easily be spun into a full-on novel. Great Halloween read.

Off the top of my head, those are some of my personal favorites. "Return of the Sorcerer" gets anthologized a lot. It's not weird enough for me but I think it's considered one of his better stories. Similarly I'm not a big fan of his Averoigne cycle of stories (set in medieval France), but if you want some dark ages sword and sorcery, "Mother of Toads" and "The Colossus of Ylourgne" are the ones I liked best.

I'd also like to mention "The Great God Awto" which is a truly bad short story but notable for being one of the earliest pieces of anti-car fiction of which I'm aware. Predates Bradbury's "The Pedestrian" by more than a decade.

Also if you can't find any of Smith's work at your local library, check out eldritchdark.org. I believe all his fiction is available for free here as well as his visual art and other resources.

So who’s Vulthoom? I don’t recall hearing as much about them compared to other Eldritch gods

Vulthoom is the eldritch being that created by Lovecraft's friend who is like a brother to him Mr. Clark Aston Smith.

The best idea would be for Vincent Van Gogh (True) to also be a Foreigner because Foreigners beat other Foreigners (Trust no one, not even yourself) but also because Groth-Golka is just like “hey fuck you” to Vulthoom

It’s never really been quite expanded on how the Outer Gods interact with each vessel, but it mostly goes like this:

Because Vulthoom claims it was the cause of Vincent’s madness and death, it would only make sense for it to use the Heroic Spirit Vincent Van Gogh as a vessel for manifestation. However, Vulthoom chose to, instead, rip out a part of the man and shoved it into Clytie.

Vincent is left, and is still a prime vessel for another Outer God now that the one who once championed for him has abandoned him. Groth-Golka takes this opportunity. But it should be known that Groth-Golka has given full control to Vincent, and allows the man to do as he wishes. Where Vulthoom and the other gods will run themselves to the ground causing trouble and looking for ways to take over, Groth-Golka will bide its time waiting and watching.

I refuse to consume more fate content, what's the deal with van gogh

basically the outer gods wanted vincent van gogh but he was like not today! and resisted it his whole life (the outer god is implied to be Vulthoom) so upon his death the outer god took his saint graph and stuffed it with Clytie the insane oceanaid from greek myth with a black box consisting of imaginary numbers (which is nasuverse stuff).

Vulthoom stuck clytie in there so they could have van gogh's reality defining NP while being able to control them, the result is that her personality is mostly clytie and shes super duper unstable

漫画用に小さくしたヴルトゥーム(Vulthoom)です。

The amount of parallel narrative points in this one episode would make your head spin by the end of it which you'll see later

Which is probably intentional

But whats the purpose at the end of the day, like does it all tie back to Vulthoom? Since like that seems to be the end game narrative beyond the Eternity Core

What do you think about Fate's Foreigner Class? Basically, it's a class made up of historical figures that made contact with a Lovecraft God which are trying to invade in-universe reality. Part of the fun comes from which god they made contact with, for example Van Gogh is bound to either The Colors from Outer Space or Vulthoom. Ironically EUCLID is a Foreigner too and she may be bound to Hastur. A lot of them even chant their Noble Phantasms in R'lyeian.

So it's a whole class of characters in Fate that have these Lovecraftian ties?

Because, honestly, I've had people tell me stuff about Fate all the time but it usually goes in one ear and out the other for me because of how convoluted it all seems upon first glance.

“Weird Tales”   September 1935   cover by Margaret Brundage

The Blue Woman by John Scott Douglas

The Carnival of Death [Part 1 of 4] by Arlton Eadie

The Man Who Chained the Lightning by Paul Ernst

Satan in Exile [Part 4 of 4] by Arthur William Bernal

Vulthoom by Clark Ashton Smith

The Shambler from the Stars by Robert Bloch

The Monster-God of Mamurth by Edmond Hamilton

The Toad Idol by Kirk Mashburn

Setting Idea:

Various different versions of Mars from alternate timelines end up “mashed together” ala Gamma World 4th edition.

And all the inhabitants are freaking out. 

Maps being redrawn. 

Species dying from change in climate and atmosphere.

Vulthoom is ready to act as either tutorial introductor or supervillain as they plot their plans.

The HG Wells martians are not handling this as well as they should: they seem almost frantic and worried about running out of food now that the infrastructure for an invasion of Earth is just gone.

Various eldritch horrors from different timelines lie beneath the earth.

Beast of the Monster Underworld

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what is your favorite Eldritch god?

Nyarlathotep

Yog Sothoth

Vulthoom

Hastur/King in Yellow

And more...