HP Lovecraft
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Description
They say that knowledge is power. What then of knowledge man was not meant to attain, of forces ancient and terrible which lie beyond the capacity of reason and sanity to comprehend? Such things are only whispered of in the Book of Eibon, Prinn's De Vermis Mysteriis and the blasphemous Unaussprechlichen Kulten of von Junzt, but it is the Necronomicon, written by the mad Arab Abdul Alhazred, in which is recorded the secrets of the Old Ones and the clearest revelation of the powerlessness of man against them. O, give us the blessing of ignorance!
Howard Phillips Lovecraft, author of eldritch horror, steps into the Brawl arena! His weapons? His stern lantern jaw and a library card from Miskatonic University's rare book collection. In his left hand he wields that dreaded text of dark, forbidden lore, the unabridged Necronomicon, reading from its unholy pages and casting arcane spells and rituals which shatter the divide between the planes and draw the Old Ones closer to their time. In his right hand, he holds his fountain pen, for mad, incoherent scribblings in the margins as well as for inscribing his opponents with his fevered prose.
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Stats
Size: 6/10
Lovecraft stood 5'10", thus making him of average height in Brawl.
Weight: 3/10
A sickly man, Lovecraft does not have much girth and is easily thrown.
Speed: 5/10
Neither physically fit nor particularly quick with his translations of the Necronomicon, Lovecraft's speed of movement and attack is average on the whole, though he does possess some speedy attacks.
Power: 7/10
What Lovecraft lacks in speed and physical ability, the Necronomicon and its many spells and curses make up for in efficacy. The power of the Old Ones resonates through him as he fights.
Traction: 4/10
Flat-soled Victorian shoes and lack of fitness combine to cause Lovecraft small difficulty in stopping.
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Notes
Lovecraft was not an inhabitant of the Victorian period, but his love for it was so great that his works made use of Victorian phrases which appeared archaic even in his day. For this reason, he appears in Brawl dressed as a Victorian gentleman in a black frock suit, black low cut vest, white shirt, and a black bow tie with pointed ends. His appearance, however, is somewhat disheveled because his perusal of the Necronomicon has driven him somewhat mad.
Also thanks to his madness, Lovecraft's movement and attack style is jerky, feverish and nearly manic. At all times he holds the Necronomicon in the crook of his elbow, open to a random page. The pages shuffle on their own accord as he reads aloud from it. The tome is attached to his clothing by means of a gold pocket watch chain linking its scarred leather binding to his coat pocket. If he is sent flying, he drops it, but the chain ensures that he is always prepared to read from it again upon his landing. The chain also makes a faint tinkling sound when Lovecraft lands from a jump.
The majority of Lovecraft's attacks are spells and rituals read from the loathsome book, and as such they generally are quite powerful. However, disjointed hitboxes and relatively long startup lag make his spells difficult to pull off at close range. Lovecraft is most effective as a mid-to-long range fighter. At close range his nimble pen can be used, but though they are quick these attacks have no power behind them, so at the soonest opportunity experienced Lovecraft players will gain distance to fight on their own terms.
Lovecraft holds items in his right hand, never using his left for anything but clutching the Necronomicon.
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A Attacks
A: Unfinished Work
"There came to that room wild streams of violet midnight glittering with dust of gold; vortices of dust and fire, swirling out ofthe ultimate spaces and heavy with perfumes from beyond the worlds..."
- H.P. Lovecraft, Azathoth
Lovecraft holds his arm out and etches a brief snatch of a story into an opponent. This is a very weak attack.
Combo A: Punctuation
Lovecraft leans forward and continues writing in intense concentration, poking, scratching and underlining. This is an infinite combo, but each hit is quite weak.
Dash A: Necronomicon Press
Lovecraft runs with the Necronomicon shut, holding it at the middle of its binding with his arms flung out behind him. When he performs his dash attack, he swings his right arm around as he slides to a halt, smashing those in front of him with the broad side of the heavy book. After the hit, he continues the follow-through, then swiftly brings his arm back into its standing position, with the Necronomicon fluttering open to a desired passage.
> Tilt A: The Unnameable
"No - it wasn't that way at all. It was everywhere - a gelatin - a slime - yet it had shapes, a thousand shapes of horror beyond all memory. There were eyes - and a blemish. It was the pit - the maelstrom - the ultimate abomination..."
- H.P. Lovecraft, The Unnameable
Lovecraft leans forward and scribbles a name to unnameable fears on his opponent as dark magic draws fleeting runes in the air around them. This attack has multiple weak hits, with the last having medium knockback.
^ Tilt A: Dark Young of Shub-Niggurath
"Something black in the road, something that wasn't a tree. Something big and black and ropy, just squatting there, waiting, with ropy arms squirming and reaching. . . It came crawling up the hillside. . . and it was the black thing of my dreams – that black, ropy, slime jelly tree-thing out of the woods. It crawled up and it flowed up on its hoofs and mouths and snaky arms."
- Robert Bloch, Notebook Found in a Deserted House
Lovecraft leans back and grasps each cover of the Necronomicon, holding it wide open. From its pages, a summoning circle draws itself in the air just above it, and from this unholy portal erupts the upper portion of a creature which could be mistaken for a tree if it were dark and the observer were quite mad. Its tentacles briefly lash at the air above it, and its many mouths gnash and shriek. Horrified at what he’s done, Lovecraft slams the book shut and the creature dissipates like a gas cloud. The top of the monster extends only as far as half of Lovecraft’s height beyond the pages of the Necronomicon while it is summoned, and it damages anything that touches any part of it.
V Tilt A: Reanimator
"There was no sound, but just then the electric lights went out and I saw outlined against some phosphorescence of the nether world a horde of silent toiling things which only insanity - or worse - could create..."
- H.P. Lovecraft, Herbert West - Reanimator
Lovecraft kneels and places one hand on the ground as he studies the Necronomicon. A short distance in front of him, a monstrous, decayed corpse erupts from the ground, lashing out at enemies above it before once again descending into the soil.
> Smash A: Pickman’s Model
"You know how ****ed lifelike Pickman's paintings were - how we all wondered where he got those faces..."
- H.P. Lovecraft, Pickman's Model
Lovecraft hunches forward and furiously studies a passage in the Necronomicon. A pentagram draws itself in the air in front of him, and from it emerges a painting from the private gallery of Richard Upton Pickman. Upon it is depicted some great horrible thing of the lower planes, gnawing on a human corpse as if it were a child with candy. Opponents in a medium range who are facing Lovecraft when this attack takes place take damage from the sight of it, and hurl themselves away from the canvas in horror and disgust. Opponents who are hit by the actual canvas take less damage and knockback since they are blissfully ignorant of the portrait’s subject, so gruesomely realistic that it appears to have been painted from life!
^ Smash A: Dreams in the Witch House
"He must meet the Black Man, and go with them all to the throne of Azathoth at the centre of ultimate Chaos.... He must sign in his own blood the book of Azathoth and take a new secret name.... What kept him from going with her...to the throne of Chaos where the thin flutes pipe mindlessly was the fact that he had seen the name 'Azathoth' in the Necronomicon, and knew it stood for a primal horror too horrible for description..."
- H.P. Lovecraft, Dreams in the Witch House
Lovecraft slams the Necronomicon shut, then leans back and holds the cursed book skyward, its upturned pages falling open to a passage of runes and angles that glow a fiery red. Opponents who touch the book fall into the lower plane of non-Euclidean half-shapes, of shimmering tetrahedrons and bubble congeries chittering as they travel to the Throne of Chaos. Terrible things happen to those caught in the vortex, things mercifully hidden from our view, but shortly afterward they return to this world through the pages of the Necronomicon, flying as though struck by some titan power from beyond!
V Smash A: The Colour Out of Space
Lovecraft traces across a page with one finger, muttering to himself. His eyes open wide, and he leaps backward! Where he stood now gently floats and weaves a small, glowing, multi-colored object. Its gaseous form is barely perceptible, like a heat shimmer above the ground, but woe to the first to touch it! It will enter that person’s body and drain their very life energy from them! The victim’s health will drop steadily for 5 seconds, during which time they also become slower and slower in movement speed. Lovecraft himself can be hit with this attack, which becomes deadly as soon as it leaps from the pages of the Necronomicon, so be careful in using it.
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Aerial Attacks
Neutral A: Nyarlathotep
"Into the lands of civilisation came Nyarlathotep, swarthy, slender and sinister, always buying strange instruments of glass and metal and combining them into instruments yet stranger. He spoke much of the sciences - of electricity and psychology - and gave exhibitions of power which sent his spectators away speechless, yet which swelled his fame to exceeding magnitude..."
- H.P. Lovecraft, Nyarlathotep
Lovecraft intones a spell that invokes the black pharaoh, the Messenger, the Crawling Chaos, Nyarlathotep! The powers of the malign entity briefly encase Lovecraft in a writhing shell of electricity, shocking all enemies close by.
> Tilt A: The Call of Cthulhu
Lovecraft’s eyes glow with a malign light as he monotonously shouts words not meant for the human tongue. “Cthulhu ftaghn!” As he chants, enemies up to a medium distance in front of him find themselves unable to do little more than remain still in a state of psychic shock. They can escape this state by furiously mashing their buttons.
< Tilt A: The Shadow Over Innsmouth
Lovecraft wheels around and strikes at opponents with his pen hand. He is shocked to discover that the hand is now like the webbed paw of some hideous aquatic creature! He shakes it once, and it reverts to its normal state. This attack causes Lovecraft to turn around in the air, and has much more power than his frail, human frame would suggest.
^ Tilt A: The Other Gods
"The other gods! The other gods! The gods of the outer hells that guard the feeble gods of earth! ...Look away....Go back....Do not see! Do not see! The vengeance of the infinite abysses....That cursed, that ****able pit....Merciful gods of the earth, I am falling into the sky!"
- H.P. Lovecraft, The Other Gods
Lovecraft stalls in the air, lifts one hand to the sky and summons the power of the Other Gods, opening a chaotic portal to the Outer Hells above himself. In a column the width of the vortex that extends down past Lovecraft's feet, gravity is reversed, and opponents caught in this region fall into the sky! If they don't touch the portal, nothing else happens, and since the portal is open but briefly there is a good chance this could happen. But if they do touch the portal they disappear, reappearing a short time later from the same spot damaged and flying in a random direction.
V Tilt A: The Hound
Lovecraft points downward with his pen, and to the sound of the baying of a massive hound, a winged ghoul, its bones caked with the blood of its victims, erupts from its tip and flies straight downward a short distance before again disappearing, striking enemies in its loathsome passage. Its wide, skeletal wings do no damage, just its ancient, gnarled body.
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B Attacks
Neutral B: The Nameless City
"...I heard the ghastly cursing and snarling of strange-tongued fiends. Turning, I saw outlined against the luminous aether of the abyss...a nightmare horde of rushing devils; hate-distorted, grotesquely panoplied, half-transparent devils of a race no man might mistake - the crawling reptiles of the nameless city..."
- H.P. Lovecraft, The Nameless City
Deep in the trackless desert lie the ruins of a city built before the coming of man, filled with the terrible spirits of its immortal constructors. Lovecraft points forward and reads from the Necronomicon, which glows with a sickly green luminescence. Enemies in front of him are pushed back by a roaring wind. The light of the Necronomicon shines against foul reptilian shapes, unsubstantial crawling, gnashing, gibbering things that rush past him and fly forward, their ghostly force pressing his opponents away from him. This attack can be charged, and the charge can be stored. The higher the charge, the fiercer and longer lasting the chill wind is against his enemies. It does no damage, however.
Side B: The DOOM That Came to Sarnath
The people of Sarnath believed themselves the victors when they cast down the ancient stone city of Ib, but truly it was a portent of the DOOM which awaited them! Lovecraft leans back and laughs as a wave of shadowy shapes crawl along the ground in front of him. If they strike an opponent…nothing seems to happen. But the next time that opponent strikes Lovecraft with any attack, the blow will rain down with equal and opposite force on them.
^ B: Night-Gaunt
"Carter could see only the blackness around him; but never did the winged steeds falter, bred as they were in earth's blackest crypts, and seeing not with any eyes, but with the whole dank surface of their slippery forms..."
- H.P. Lovecraft, The Dream Quest of Unknown Kadath
Lovecraft calls out wildly. Suddenly, without explanation, he rises diagonally forward into the air in a gentle arc. Above him slowly seeps into reality the form of a night-gaunt, flapping skyward and clutching him with its clammy hands. The creature will release him at the apex of its flight or when he tries to perform an attack, and when it does it dissolves back to from whence it came. If it is attacked while carrying Lovecraft, it will drop him and, shrieking, depart.
V B: The Thing on the Doorstep
The dread book flares as a spiral of black light erupts skyward from its pages and Lovecraft hollowly intones his spell. The first opponent to be caught in the energy is surprised to find that he is no longer master of his own body! For five seconds, control of the ensnared opponent is given to Lovecraft, and control of Lovecraft is given to the victim, with essentially the same effect as Manaphy’s Heart Swap. Damage taken by each adversary is transferred over along with the controls when the spell has run its course, and though KOs can be scored in this state, either opponent committing suicide does not result in a KO.
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Grabs and Throws
Grab: Summoning Ritual
A foul glow issues from the Necronomicon as a pentagram draws itself into the ground a short distance in front of Lovecraft. An array of foetid tentacles erupts through the rift, snaring hapless opponents standing above.
Running Grab: Summoning Ritual
Lovecraft summons an abomination from the planes beyond what the sane call reality to trap an opponent. This is much like his standing grab, but the summoning circle appears a further distance in front of him when he performs the attack running, then slides to a halt next to it, lowering his right hand to the ground for balance.
Grab Attack: Cosmic Vista
The cthonian horror holding Lovecraft’s opponent offers that person a glimpse of panoramas of infinite stars and galaxies wheeling through the cosmos, circled by planets weed-choked and covered with the decadent ruins of great races. One by one the stars wink out, snuffed by the forces of entropy and chaos, until only utter darkness remains. We the players don’t see any of this. What we do see is the trapped opponent struggling futilely against their bonds as they let out an inhuman, blood-curdling scream.
> Throw: The Yellow Sign
Lovecraft steps forward and inscribes his opponent with that terrible sigil, the Yellow Sign! The tentacles of the beast release their victim and withdraw back into the circle. Be warned, though this throw does not actually launch the opponent, the insidious Sign will increase the damage of the next attack aimed at that person by 30%.
< Throw: The Lurker at the Threshold
Lovecraft steps backwards as the terrible beast retracts back into the summoning circle, dragging its victim with it into the planes beyond. Shortly afterward, the opponent reappears and drops from the sky near the ko ceiling some distance behind Lovecraft, immobilized until they strike the ground or pass its level in their descent. This allows them to attempt to recover if the beast drops them over the edge.
^ Throw: Broken Link
Lovecraft slams the Necronomicon shut, abruptly breaking the link between the planes. The thing he has summoned stiffens its tentacles in surprise, hurling its captive straight upwards before swiftly retreating back beyond the fast-closing portal.
V Throw: Withdraw
The clutching feelers draw back into the dark world from which they came, dragging their captive to the ground and crushing them to it before finally releasing, whereon the opponent is bounced into the air from the relief of pressure.
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Final Smash
The Music of Erich Zann
Lovecraft glows with a purple aura from the Smash Ball. In his hands, the Necronomicon stretches and twists into a new shape, that of a viol. His pen has become a bow! He plays a few notes on this terrible instrument, and the sound of it forms a bubble of darkness around him. Take care not to enter this domain! If no-one is caught within this initial attack, the Final Smash is wasted. However, all who are enveloped by the darkness are transported to a new location.
The trapped find themselves in a dingy, candlelit sixth-floor garret room whose single gable window is draped with a heavy curtain. Lovecraft stands amid them, and with manic intensity he plays a curious fugue of repeating phrases, laced with notes beyond the capability of a mere viol to make. The curtains violently blow inward and tear from their moorings, revealing not a city, but black gulfs of illimitable darkness, unimagined space alive with motion and music, and having no semblance of anything on earth. The viol grows wilder and more unearthly as the candles gutter and are blown out, plunging the room into din and pandemonium. Within a moment, it is over, and gameplay returns to the stage.
The attack does no damage. It does, however, have enormous knockback akin to that of the Ultimate Chimera. It takes both great skill and great luck to survive an encounter with the Music, so perhaps it is better to avoid being hit at all?
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Entrance
A summoning circle draws itself on the ground in fiery runes, and Lovecraft floats upward out of it. He extends his legs and lands gently, then opens the Necronomicon and assumes his fighting stance.
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Taunts
Up Taunt:
Lovecraft hastily shuts the Necronomicon and holds it away from himself as he appears to wrestle with the thought of destroying it and expunging its cursed knowledge from this world forever. He comes to a decision. Greedily he pulls it back, and opens it once again.
Side Taunt:
Lovecraft rummages in his pocket and removes a small silver key of curious workmanship. He examines it as if trying to remember something long forgotten, then replaces it in his pocket.
Down Taunt:
The Necronomicon flutters to a particular passage, and above its pages floats a ghastly apparition with a corpulent humanoid body, a head like an octopus and long, narrow dragon-like wings behind. Its disembodied subterrene voice shouts monotonously in unintelligible sense impacts. Lovecraft hurriedly slams the book shut, and the vision dissipates.
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Victory Poses
Victory Pose 1:
Lovecraft is standing and muttering as he reads from the Necronomicon. His opponents are nowhere to be found, but at his feet rest labeled jars containing naught but pieces of lead suspended pendulum-like, which curiously vibrate in response to his voice.
Victory Pose 2:
Lovecraft is holding a bug sprayer filled with some arcane potion. He turns and sprays once at his opponents applauding behind him. The mist passes them and alights on an invisible thing behind, briefly flashing the sight of a vast tentacled monstrosity lurking there before its form is blissfully rendered unseen once again.
Victory Pose 3:
Lovecraft stands in the winner’s position, nervously looking around himself as if anticipating the attacks of unknown assailants. In his pen hand he grips a revolver, but he never raises it.
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Kirby Hat
Kirby gains Lovecraft’s hairdo. He also holds in his hand a miniature version of the Necronomicon.
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Snake Codec
Bzzt!
Snake: What's this guy doing in a fight, Otacon? He looks like he'd fall over if I breathed on him wrong.
Otacon: Be a little more cautious, Snake. That's HP Lovecraft. His strength isn't in his punches, but in that book he carries. It's the Necronomicon.
Snake: So what? He'll try to hit me with it?
Otacon: More likely he'll try to summon some horrible thing long-since banished from this world. Just be glad the stars aren't right yet, or his power would be a lot greater.
Snake: The stars? What the hell are you talking about, Otacon?
Otacon: Cthulhu ftaghn, Snake. That's all I can say for now.
Snake: Has the whole world gone crazy? Otacon? Otacon? OTACON!!
Bzzt.
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Icon
The series icon that was given to Cthulhu in the previous Make Your Move thread also belongs to Lovecraft himself. It depicts the Elder God’s loathsome squid-head with outstretched wings behind.
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Alternate Colors
Lovecraft’s frock coat and pants change color with most of his different palettes. No other article of clothing or accessory is affected.
Default Color: Black
Color Change 1: Dun (Yellow Team color)
Color Change 2: Dark Red
Color Change 3: Dark Blue
Color Change 4: Dark Green
Color Change 5: Sepia tones. This color scheme affects his entire body, making him look as if he was pulled from an aging photograph.
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Crowd Chant
When Lovecraft begins to gain a decisive lead, the crowd roars. "Ia! Ia! Shub-Niggurath, the Black Goat of the Woods with a Thousand Young!"
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Stage
At the Mountains of Madness
"...for this place could be no ordinary city. It must have formed the primary nucleus and center of some archaic and unbelieveable chapter of earth's history whose outward ramifications, recalled only dimly in the most obscure and distorted myths, had vanished utterly amidst the chaos of subterrene convulsions long before any human race we know of had shambled out of apedom. Here sprawled a Palaeogaean megalopolis compared with which the fabled Atlantis and Lemuria, Commoriom and Uzuldaroum, and Olathoe in the land of Lomar, are recent things of today - not even of yesterday; a megalopolis ranking with such prehuman blasphemies as Valusia, R'lyeh, Ib in the land of Mnar, and the Nameless city of Arabia Deserta..."
- H.P. Lovecraft, At the Mountains of Madness
Deep beneath the ice sheet of Antarctica lies a city built by the race of Elder Things which made war with Great Cthulhu when the world was young. They used their advanced technology to create life, and from this were born the Shoggoths, which Alhazred himself refused to believe were ever cultivated on Earth. Formless things which could mold their protoplasmic bodies into temporary limbs and organs, they were slaves to the Elder Things. Inevitably, they turned on their masters, and now the city beneath the ice lies in ruin and decay, slick with the slime of the Shoggoths.
Less like a fighting arena than an SSE stage, the Mountains of Madness pits fighters against each other in a long series of forced side-scrolling tunnels which wind up and down through the Antarctic rock, interspersed with three areas where the scrolling ceases. In the tunnels, the walls are chiseled with murals of the lives of the Elder Things as they fell from power into decadence. There is little time to ponder this, however, because a Shoggoth pursues the fighters, filling the entire tunnel on one side with its putrid oily-black form and sprouting luminescent eyes at random. Touch the Shoggoth and it will draw you into itself and try to suction your head off of your shoulders. Failing this, it will launch you back out with incredible power.
When the fighters reach an open area, the Shoggoth falls back and seems to give up the chase. After 30 seconds of unhindered combat, however, the blasphemous, formless thing will surge back into view and resume the chase down new passageways.
The first open area, which the match begins on, is the staging area for descent into the mountains. It consists of a wide, flat platform, on either side buttressed by high, impassable walls of rock. Abandoned dog sleds lie piled against the background, but no evidence of dog tracks is apparent. The tunnel entrances on either side offer a means to ko your opponents, but the only other direction a killing blow can occur is directly skyward. The wind howls across this area, constantly changing direction and pushing the players to one side or the other. The wind also occasionally picks up, and the otherwise slight snowfall increases to nearly blizzard-like levels during these times, partially obscuring the playing field.
The second open area is a cavern far beneath the mountains. The players fight on the slick rocks of a subterranean shore, while far in the distance rises from the water the outline of a vast and fantastic city, lost to the ravages of war and time immemorial. The ground is particularly slippery here, and the platform is no longer flat, but broken and uneven. In addition, a flock of huge albino penguins squawk and waddle in the background. They are mostly cosmetic, but will go into a panic and dive into the water when the Shoggoth is close to reappearing.
The final open area is at the pinnacle of one of the terrible mountains. The entry and exit tunnels for this area are both vertical shafts that act as bottomless pits when the stage is at rest, and beyond the dominating feature of the area, an array of ancient cube-like structures hewn from solid rock that occupy the center of the stage, the eye is inexorably drawn to the vast panorama of evil whiteness which lies beneath in all directions, save for where the other unnatural mountains rise from the icy plain below. This is the only area of the stage where there are no walk-out edges.
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Stage Music
At the Mountains of Madness (Video Game)
Theme from The Call of Cthulhu (Movie)
Theme from Call of Cthulhu: Dark Corners of the Earth (Video Game)
Theme from The Other Gods (Short Film)
Hellboy - Main Titles
Theme from The Dream Quest of Unknown Kadath
