The Resonator had to be shut down prematurely, else we might not have had enough crew to make it comfortably back to port. Over forty Russian tribesmen bravely gave their lives to science this day – a terrible tragedy as they will surely be expensive to replace.

Also lost was an entire crate of ether, carelessly dropped from the edge of a berg in the midst of today’s activities – a tragedy on so many levels.

Nevertheless, we saw many wondrous and splendid things this day: creatures and landscapes from the aether danced and swam about us through the air, and we saw the laws of our world temporarily suspended by those of the aether world.

It leaves me to wonder: How closely does the placement of their world correspond with ours? Are these same creatures to be found elsewhere on our planet, or would we perhaps find other inhabitants should the machine be tested in new locations?

What sorts of variants or unique beasts might we see in other locations such as Beijing, Hong Kong, Indonesia, London or perhaps even New York City?

Needless to say, I am beyond eager to see!”

- Professor Aden M. Kemy, Miskatonic Archivist

This giclee, commemorating the event is available while supplies last, in three limited editions of 50: A giclee on Canvas, an archival pigment ink print on heavy metallic stock, and a fine-art rag paper print. All of which 24 inches by 24 inches – the size of the original painting by Myke Amend.

First available, is this limited edition giclee on canvas, printed in archival pigment inks on 200-year archival canvas, coated in a UV-protective and scratch-resistant coating, stretched and mounted for framing.

It comes with a watermarked hahnemuhle certificate of authenticity printed on fine art rag paper, with a matching and serial-numbered hologram on both the back of the giclee print and the certificate. All giclees are hand-signed and numbered in paint (see the signature on the image) and also signed, dated, and numbered in archival ink on the back of the mounted print.

It can be found here: In the MykeAmend.Com Store

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Our goal here has always been to bring some of the best and most interesting literature, artwork and inventions that fit into our school’s advanced metaphysics curriculum, but we have not had a lot of submissions lately, and our exploration budget has been drastically cut for this fiscal year.

So, here is our reminder, that we do take submissions, and do rather enjoy them. There is only so much that can be found searching online, and many of the places we find things are many of the places people such as you, such as us already tend to frequent.

We would like to do more than to simply mirror content from our and your favorite sites, and since I am sure there are a lot of you who have not been featured in these places who would like to be featured, this is a friendly reminder that such is an option.

For image submissions we ask that you send us a link to your site, and a list of images by title that we are allowed to feature – the same would go for film clips and animations. For literature submissions, you can send such things through our form, or in the case of longer stories, you can simply contact us through the form and we will get back to you on the particulars. For any submissions, you retain all rights, and grant us the rights to reproduce it here on this site, for as long as you wish to share it here.

Thank you for reading, and we do hope to hear from you soon. If yoou are a first time visitor, or are confused as to what may apply, please read the keywords attached to this entry.

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If tasty human aprishiate all Dunwich bring to there Aether-net-bocks, Dunwich appreciate small gifts of lifestock or sheeps. Thank you. Do not spray Dunwich Horror with yellow stuff agin. Thank you.

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The Vineyard depicts a strange sort of harvest, or perhaps a strange means of conception, making for a very Lovecraftian strange-fiction themed image, brilliantly, vividly colored, yet oh so dark.

Printed in 200 years archival pigment ink, heavy metallic stock in order to best bring out the rich colors and contrast of this vibrant piece.

A UV-protective lustre finish also helps protect the print against moisture and scratches.

Print size (edge to edge) is 11 x 14 inches, and can be purchased at mykeamend.com, or at Beth and Myke’s Joint Etsy Account: Ettadiem

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“We shall see that at which dogs howl in the dark, and that at which cats prick up their ears after midnight. We shall see these things, and other things which no breathing creature has yet seen. We shall overleap time, space, and dimensions, and without bodily motion peer to the bottom of creation!”

Slow or dormant pineal gland? Unable to see Ultraviolet? Ever wonder what is out there in the ether swimming about your head, crawling on your dinner plate?

The Resonator is guaranteed to solve these and other problems!

… Unfortunately, due to a recent accident, the actual resonator itself is currently unavailable.

Quality metallic luster coated prints commemorating its first use, however, are available. These 5×7 prints have an archival rating of 200+ years, and are printed the same size as the original engraving by Myke Amend, on heavy metallic stock, in quality archival pigment inks, with a UV-resistant and scratch resistant coating!

Order yours now!… wait! Stand still for just a moment,I urge you! Okay, it has passed on to the other room. Okay, Order yours now, before it comes back!

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Abney Park

September 26th, 9:00pm at HEAVEN
172 S. Washington Street, Seattle, 98104
phone 206-622-1863 | 21 and over | Tickets $13

The Sepiachord Crew WILL BE THERE! At a TABLE! With FREE STUFF!!!

This Weekend:

Eric Adams, Timothy Lantz, and Joanna Estep will all be at the Baltimore Comicon – a wonderful collection of art noir and steampunk artists in one place. If you live in or around Baltimore you should not miss this event.

Timothy Lantz, aka “Archeon” will be there to sell and sign copies of his amazing artwork, as well as his Archeon Tarot.

Eric Adams will be signing and selling his newest issue in the Lackluster World Saga, as well as his collaborative project with Joanna Estep “Reflection”.

Joanna Estep will have copies of “Roadsong” on hand as well as oodles of her amazing artwork. She will likely also be doing custom drawings and signatures.

above: Reflection by Eric Adams and Joanna Estep

Out this Week:

Bethalynne Bajema’s “Sepia” a collection of beautiful poetry, reflection, and prose set atop a collection of wonderous artwork, is now available for presale. Copies to be shipped in mid-October.

Above: Thumbnails from “some Ghouls Wander by Mistake”

“Some Ghouls Wander by Mistake” by Myke Amend is now available for presale, shipping in mid-November. Included are pages of horrid gags, pranks and jokes, set atop a backdrop of horror and lovecraftian strange fiction story, bound together with strange art-noir comic stylings. If you have ever been offended by anything, you probably should not read a single page of it; Otherwise, please take some time to read the 20 page free preview available at SomeGhoulsWanderbyMistake.com

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First off imagine be sprayed with yellow mustard from giant bottle, being treeted like giant cosmic weiner, then to be called ‘ugly’ or ‘hideous’ by wrinkly old humans I not even know personally, waving their arms about at self all threatening like, screaming at Dunwich Horror when Dunwich Horror not doing anything bad – just happily crusching trees all like “Crunch! Crunch!” minding own business… maybe eat a few humans but it’s okay really.

Then imagine be dissolved from world by meddlesome old people what won’t lend ancient books out and then think you are stinky, and what think brother are stinky which is LIE!

Well, It took long time be conjured back here just to defend myself from terrible old wrinkly man’s malicous comments at Dunwich Horror smell.

I wants to start with saying “Untrue!” at hideous wrinkly human thing what LIE about Dunwich Horror and Dunwich Horror family, want to ruin good name of Dunwich Horror!

Me could explain things about destruction of Earth and sucking it into nother dimension, but not worth dignifying that right now because of more important thing, like, say old man LIE!

Note:

1) Odour was at Whately farm house at SAME TIME Old Man was, then again in library at same time OLD MAN was in library. It does not take a brain genius to figure out this not happenstance or coindicince that SMELL WAS WHERE OLD MAN WAS, both times!

Old man wants to be seen as hero, but in reality, old man make hideous smell – not Dunwich Horror – then wrinkly old man blames hideous smell on Dunwich Horror, and then finds only spell to make Dunwich Horror leave before Dunich Horror tell about him lie to others.

Old Man not hero. Not hero at all! Not banish Dunwich Horror anymore!

Banish Old Man! Banish Old Stinky Man!

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I have examined maps of the city with the greatest care, yet have never again found the Rue d’Auseil. These maps have not been modern maps alone, for I know that names change. I have, on the contrary, delved deeply into all the antiquities of the place, and have personally explored every region, of whatever name, which could possibly answer to the street I knew as the Rue d’Auseil. But despite all I have done, it remains an humiliating fact that I cannot find the house, the street, or even the locality, where, during the last months of my impoverished life as a student of metaphysics at the university, I heard the music of Erich Zann.

That my memory is broken, I do not wonder; for my health, physical and mental, was gravely disturbed throughout the period of my residence in the Rue d’Auseil, and I recall that I took none of my few acquaintances there. But that I cannot find the place again is both singular and perplexing; for it was within a half-hour’s walk of the university and was distinguished by peculiarities which could hardly be forgotten by any one who had been there. I have never met a person who has seen the Rue d’Auseil.

The Rue d’Auseil lay across a dark river bordered by precipitous brick blear-windowed warehouses and spanned by a ponderous bridge of dark stone. It was always shadowy along that river, as if the smoke of neighboring factories shut out the sun perpetually. The river was also odorous with evil stenches which I have never smelled elsewhere, and which may some day help me to find it, since I should recognize them at once. Beyond the bridge were narrow cobbled streets with rails; and then came the ascent, at first gradual, but incredibly steep as the Rue d’Auseil was reached.

I have never seen another street as narrow and steep as the Rue d’Auseil. It was almost a cliff, closed to all vehicles, consisting in several places of flights of steps, and ending at the top in a lofty ivied wall. Its paving was irregular, sometimes stone slabs, sometimes cobblestones, and sometimes bare earth with struggling greenish-grey vegetation. The houses were tall, peaked-roofed, incredibly old, and crazily leaning backward, forward, and sidewise. Occasionally an opposite pair, both leaning forward, almost met across the street like an arch; and certainly they kept most of the light from the ground below. There were a few overhead bridges from house to house across the street.

The inhabitants of that street impressed me peculiarly; At first I thought it was because they were all silent and reticent; but later decided it was because they were all very old. I do not know how I came to live on such a street, but I was not myself when I moved there. I had been living in many poor places, always evicted for want of money; until at last I came upon that tottering house in the Rue d’Auseil kept by the paralytic Blandot. It was the third house from the top of the street, and by far the tallest of them all.

My room was on the fifth story; the only inhabited room there, since the house was almost empty. On the night I arrived I heard strang music from the peaked garret overhead, and the next day asked old Blandot about it. He told me it was an old German viol-player, a strange dumb man who signed his name as Erich Zann, and who played eve nings in a cheap theater orchestra; adding that Zann’s desire to play in the night after his return from the theater was the reason he had chosen this lofty and isolated garret room, whose single gable window was the only point on the street from which one could look over the terminating wall at the declivity and panorama beyond.

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