Digital-Only Nightmares of Providence Bonus Terrors Kickstarter Is Out

Nightmares of Providence digital-only Bonus Terrors cover – art by Daniel Gete

As part of the Avatar Press Providence Compendium Kickstarter, some backers received the Nightmares of Providence “Bonus Terrors” digital-only add-on.

The 18-page black and white Terrors features artwork by Jacen Burrows, Sebastian Fiumara, Daniel Gete, Matt Martin, Juan Jose Ryp, Ivan Rodriguez, and Dheeraj Verma. It contains little directly connected to Moore and Burrows – mostly consisting of HP Lovecraft-inspired monsters (many extensively tentacled), mostly in full-page format.

Facts Providence will do annotations for Bonus Terrors, though there does not appear to be all that specific references. Check the Annotations Index and/or the Nightmares of Providence page for Bonus Terrors annotations – coming soon.

Providence #11 Annotations Posted

The penultimate issue of Providence came out yesterday, and it is a reference-packed tour de force taking the narrative from Black’s 1919 to the present day. Eagle-eyed readers can spot “The Dunwich Horror,” “The Horror at Red Hook,” “The Shadow Over Innsmouth,” “The Thing at the Doorstep”, Robert E. Howard, William Burroughs, Clark Ashton Smith and much, much more. There are also plenty of ties to Moore and Burrows’ The Courtyard and Neonomicon.

Detail from Providence 11 Dreamscape variant cover – art by Jacen Burrows

The Facts Providence team has first-run-through Providence #11 annotations up. Site authors and readers will continue to review, update and add details. Look them over and let us know if there are things we got wrong or missed.

Guest Post: Is Providence Moore’s Riposte To True Detective?

By Edward Saul

Providence #11 Portrait variant, art by Jacen Burrows

Excitement abounds for we enthusiasts of Alan Moore, HP Lovecraft and Weird Fiction, as the crashing denouement to Providence looms overhead. Considering that the exact release date for Providence #11, let alone #12, is aptly unknowable, now is the prime time for speculation. Such speculation should not, of course, be limited merely to theorizing on what happens next, but could also stretch to the overall motives and meanings behind the series, and how that might predict what happens next.

This can be logical and precise, based on the evidence presented; those of us eagle-eyed readers, for instance, had by the release issue #3 or #4 realized that Prof. Alvarez’s comparison of Robert Black with that other Herald reporter who found Dr. Livingstone was subtly foreshadowing Black’s inevitable encounter with Howard Phillips Lovecraft. Equally, it is also possible that such theories become outlandish, echoing the excesses of 9/11 truthers in their drawing together of thick black lines between distant, disparate dots. Or, rarely, there might be a happy medium between the two.

I put it to you, fellow readers: Providence isn’t just about Lovecraft, his fiction, its meanings and its impact. It’s also a riposte to True Detective Season 1.

Stay with me here.

Providence Character Names, Copyright, and Obscenity

Hillman confusing Robert Black’s name – from Providence #3, art by Jacen Burrows

Some have asked why Alan Moore is changing some of the names from H. P. Lovecraft’s stories, questioning whether it has to do with copyright.

The short answer is that it has nothing to do with copyright. The copyright situation with Lovecraft’s works is complicated, as explained by Chris J. Karr over at Black Seas of Copyright, but the bottom line of it is that the original pulp versions of Lovecraft’s fiction that appeared in Weird Tales and Astounding Stories – including classics like “The Call of Cthulhu,” “The Shadow over Innsmouth,” “The Shadow Out of Time,” and At the Mountains of Madness – are all considered to be in the public domain in the United States, Australia, Canada, the United Kingdom, and many other countries.

Moore is free to use and refer to Lovecraft’s creations—but he is being careful about doing so in Providence for literary reasons.