Carl T. Ford, who would found Call of Cthulhu's first fanzine, Dagon (1983-1990), was fascinated by "the weird and the mysterious" from a young age. He even owned a copy of A Pictorial History of Horror Movies (1958), but by the age of 10 still hadn't gotten to watch one! That's when he petitioned to watch The Revenge of Frankenstein (1958), which was showing on ITV. He was confused why the monster didn't look like the one in his book (which depicted Boris Karloff as the monster), but he nonetheless enjoyed the experience. Dracula Has Risen from the Grave (1968) followed a few months later, and with it came a love of Hammer films.
Horror movie magazines followed and then the works of H.P. Lovecraft, which arrived in two volumes: H.P. Lovecraft's The Case of Charles Dexter Ward (Panther edition, 1963) and August Derleth's The Mask of Cthulhu (Consul edition, 1961). Though Lovecraft's stories were often hard to find in the United States in the decades after his death, a larger set of paperbacks was available for a time in the United Kingdom.
Inevitably, Chaosium's Call of Cthulhu (1981) slithered into Ford's life as well. His first experience here was courtesy of Mark Buckley, who ran an adventure called "Brimstone at the Club of the Black Arts." Ford played a journalist investigating the disappearance of another writer, who'd been helping to research a book on cults. (Ultimately, the cults were a red herring, with the real monster being of a different sort entirely.)
In November 1983, Ford, then at college in Middlesex in the UK, decided to publish a "non-profit fan module" of his own. Call of Cthulhu at the time was still a young endeavor, having been published by Chaosium exactly two years' previous, on November 13, 1981. However, a handful of adventures had already appeared. Chaosium had published Shadows of Yog-Sothoth (1982) and The Asylum & Other Tales (1983), while Theatre of the Mind Enterprises (TOME) had produced three adventures that year, The Arkham Evil (1983), Death in Dunwich (1983), and Pursuit to Kadath (1983).
All five adventures were available through Games Workshop in the UK, but after being imported they cost £7 or £8: the equivalent of $30-$38 in modern US dollars. In addition, five adventures over the course of two years wasn't a lot (even when you added in a few more magazine adventures)! Ford decided that he wanted to "fill the gaps of boredom" between those official (and licensed) publications, and to simultaneously offer something cheaper, so he wrote, typed, photocopied, stapled and printed an A4 'zine (approximately letter sized) containing a 1930s-era adventure set in Lovecraft Country called "No Room at Innsmouth",with cover and interior art by Nick Basi. Because the work was all volunteer, Ford was able to offer it for the price of a mere £0.55—though he'd later comment that the cardstock covers alone cost £0.22, which would make it hard to maintain the price. (He would jump to £0.85 only a year and a half later, but would never ask for more than £1.50 for his single issues.) Still, Ford might have printed as few as ten copies for his initial print run, for friends and "a couple of the guys in the original Dalling Road branch of Games Workshop."
Though Ford's initial release consisted of a single adventure (and a short "editorial" explaining it), he published it as Dagon #1 (November 1983) and called it a "fanzine-come-module." The other shoe dropped with Dagon #2 (February 1984), which not only included the second part of Ford's adventure, "The Lighthouse," but also a comic adaptation of H.P. Lovecraft's "The Cats of Ulthar" and a review of Chaosium's Cthulhu Companion (1983). Then Dagon #3 (August 1984), which closed out "No Room at Innsmouth" with "Devil Reef," also included an adaptation of Lovecraft's "The Festival" alongside two articles by other people: a review of Lovecraft's "The Call of Cthulhu" (1928) by Ford's first Call of Cthulhu GM, Mark Buckley, and an article on gun laws in Britain by Karl Greenwood.
Dagon was becoming a true 'zine (and therefore the first Call of Cthulhu 'zine), not just a serially printed scenario. Ford had originally planned it as an eight-times-a-year publication, but the six-month gap between the second and third issues quickly proved that wasn't viable. In fact, Ford had folded the magazine between those issues because of an inability to distribute it: he'd lost money on the first two issues, and worse very few people had read his work. He only gave it another go in the summer of 1984 after he finished exams and had free time.
Fortunately, on his second go-around, Ford was able to offer quick answers to the distribution dilemma. That started at Games Day '84 in September. Ford not only sold a few issues there himself, but was also able to place 50 at the "fanzine stand." From there, he was headed ever upward. By Dagon #6 (March/April 1985), Ford was having troubles obtaining the cardstock covers in sufficient quantities due to the increased demand, which resulted in a change to A5 (digest-sized) with Dagon #7 (May/June 1985). Meanwhile, the back issues had all sold out, while Ford was also increasing his print run to 250. This growth was likely due to not just Ford's improved penetration into distribution, but also Games Workshop production of a locally printed copy of Call of Cthulhu Second Edition (1984), which dropped the game's price in the UK from £18.95 to £9.95 as of the ads in White Dwarf #54 (June 1984), and later their creation of an attractive single-volume hardcover Call of Cthulhu Third Edition (1985).
The first six issues of Dagon were focused on singular scenarios, notably including the adventure that got Ford started, Mark Buckley's "Brimstone at the Club of the Black Arts," which appeared in Dagon #4 (October 1984). There was additional content, but it was still just several pieces in each issue, and there wasn't even a table of contents to locate them! Dagon #7 marked an evolution of the magazine, not just in its move to A5, but also its publication of over a dozen articles, including new columns such as a 'zine news column called "Dr. Phibes Prescribes" and a letters column called "Black Mail," which quickly became as active as an APA.
There was also an ever-growing cast of game writers, the most notable of which was certainly Mark Morrison, not just because of his contributions of Keeper advice and adventures to the 'zine over the following years, but also because he became the official distributor of the magazine in Australia starting with Dagon #10 (November/December, 1985). By 1987, Dagon was also being imported into Canada by Soft Books and into the United States by Bob Weinberg.
One other sign revealed the growing success of Dagon: at Games Day '85 it won the award for "Best Amateur Games Magazine," a feat that it would repeat at Games Day 86—but Ford wouldn't be there to collect his second award, because he was instead at Fantasycon XI (1985): by that time, he was seeing other hobbies and Dagon was seeing other content.
When Dagon debuted, it was labeled as being "For FRPs of 'C. of C.'." Over time, that evolved to instead read "For players of CoC," a subtitle that it held through Dagon #11 (January 1986). With Dagon #12 (April 1986), however, the subtitle changed to "For Readers of the Cthulhu Mythos and players of 'Call of Cthulhu", which it used until Dagon #21 (March-May 1988), at which point it removed its subtitle entirely.
This represented a real change in the magazine, but one that was gradual in the issues leading up to Dagon #11. In fact, Dagon had played with Mythos fiction as far back as Dagon #4, which included a short piece that Ford himself had written called "The Statement." But things took a turn with Dagon #8 (July 1985) when Ford began publishing new work by a small-press Mythos fiction writer named Robert J. Curran, who had previously published Mythos fiction for a variety of fanzines, including ones that are largely unknown today such as Weird Window (1970-1971) and Balthus (1971-1972) as well as Gordon Linzner's Space and Time (1966-Present).
Two Curran stories were serialized over a total of five issues, through Dagon #12, and by that time changes were starting to accrue for the magazine. Ford announced this transforming landscape in Dagon #9 (September 1985). He said that he wanted to step back from more mechanical rules-based articles and instead push into discussions of the background of the Mythos—whether it be through RPG articles or more general articles about Lovecraft's writing. This led to a new column by Peter F. Jeffery called "The Red Brain's Trust," which answered questions about Lovecraft and his fiction based on Jeffrey's expert knowledge. It debuted in Dagon #10 (November/December 1985). Other Lovecraftian scholars appeared in later issues, starting with Robert M. Price in Dagon #11.
That same issue also featured a cover by Irish artist Dave Carson, marking a notable improvement in the 'zine's graphic design. (More popular arists followed, including Allen Koszowski and Gahan Wilson.) Dagon #13 (June-September 1986), which featured a photograph instead of an illustration, then moved to a glossy cover as another upgrade.
Meanwhile, the writers were coming, and they were some of the up-and-coming names of the horror community at the time, starting with a few notables from the UK. Brian Lumley debuted in Dagon #12 with "The House of the Temple", a story that had originally run in Weird Tales #3 (1981), the third issue of Lin Carter's paperback revival of the classic title. But Ford impressively got the first UK rights for the tale. Lumley remained a friend of the magazine for years afterward and even wrote an original comic, "Return to Arkham," for Dagon #15 (November/December 1986).
Many, many more fiction stories followed, often multiple in an issue, supplemented by scholarly analysis of the authors and their stories. Today, most readers probably remember Dagon best for the extensive fiction that ran through its last several years, especially the magazine's spotlight issues: Brian Lumley in Dagon #13, T.E.D Klein in Dagon double-issue #18-19 (July-October 1987), Thomas Ligotti in Dagon #22-23 (September-December 1988), and D.F. Lewis in Dagon #26 (October 1989). As that authorial list reveals, Dagon not only moved from gaming articles to fiction and analysis but also, over time, from the Cthulhu Mythos to more general "cosmic horror," often by authors who at the time were new and untested.
Those shifting interests are almost certainly why Ford ended up at FantasyCon XI instead of Games Day '85 on the last weekend of September 1985, and so didn't personally claim his second Best Amateur Games Magazine Award. But, as Dagon's tides turned, so did its recognition. In later years, Ford would win not Games Day awards, but instead British Fantasy Awards. He personally won the Icarus award for best newcomer in 1988 and also won the Best Small Press Award for Dagon from 1988 through 1990.
Ironically, just as the fiction content was ramping up, Call of Cthulhu publisher Chaosium took an interest in Dagon. This was courtesy of some issues of Dagon that Ford gave to Chaosium founder Greg Stafford when he attended Games Day '85. As a result, Call of Cthulhu designer Sandy Petersen wrote a column called "The Acolyte," which mixed Chaosium news with his own GMing advice, running intermittently from Dagon #11 through Dagon #20 (November-January 1987).
This demonstrated that roleplaying content wasn't entirely cut from Dagon in its later days; it was just taking a back seat to the fiction and literary analysis. What did remain resulted in interesting crossovers. That started with a few adventures by Mark Morrison that were inspired by authors other than H.P. Lovecraft: "Landscrapes," inspired by T.E.D. Klein, which appeared in Dagon #18/19 and "In a City of Bells and Towers," partially inspired by Thomas Ligotti, which was published in Dagon #22/23. Both adventures were also later reused in Chaosium campaigns, "Landscrapes" in At Your Door (1990) and "In a City of Bells and Towers" in Horror on the Orient Express (1991).
The crossovers in the "Black Mail" letters column were even more intriguing, because they revealed the worlds of the Call of Cthulhu RPG and traditional Mythos fiction writers and artists crashing together for the first time. In Dagon #10, Ramsey Campbell wrote that he couldn't "pretend any interest in gaming," but that he enjoyed the literary analysis that was already beginning to infiltrate the magazine. In the next issue, Brian Lumley admitted he was a bit more knowledgeable, saying: "I'm not really into gaming, but I do know of a lot of people who are." Then, Thomas Ligotti offered the strongest praise in Dagon #21, saying "I found the game scenario very entertaining and instructive in the essentials of horror. No doubt I'm not the first reader to appreciate a game scenario as a prose screenplay for a horror movie that one is allowed to flesh out in the imagination." It wasn't the only such complementary crossover at the time: over in Rod Serling's The Twilight Zone Magazine vol. 5 #3 (July/August 1985), artist Gahan Wilson wrote an extensive article detailing three different Call of Cthulhu adventures he played, including one with staff from Grenadier Models and another with none other than Robert M. Price; however, Twilight Zone Magazine editor T.E.D. Klein was less positive, saying, "Instead of a true sense of wonder, [RPGs] offer odds and numbers" (but within two years was happily supporting the work on "Landscrapes").
As Ford was turning Dagon from a roleplaying 'zine (with bits of fiction) into a fiction and literary analysis 'zine (with bits of RPG content), he was also working to make Mythos fiction more available in the UK. In late 1986, he therefore founded "Dagon Press," which initially focused on importing the small-press publications of Mark A. Michaud's Necronomicon Press, who produced fanzines and chapbooks related to the Cthulhu Mythos.
Later Ford also published two of his own books through Dagon Press. The first was Dave Carson's third portfolio, Haunters of the Dark and Other Lovecraftian Horrors (1987). The signed set of six black-and-white plates featured "The Whisperer in Darkness," "The Gable Window," "The Tomb Herd," "The Shambler from the Stars," "The Burrowers Beneath," and "The Hound." It was limited to 450 copies. Dagon Press's other publication was a story that Ford commissioned from Brian Lumley to mix the Mythos with roleplaying, called Synchronicity, or Something (1988). This signed-and-numbered edition was limited to 350 copies. It was long available only in the small press, until its collection two decades later in Hagoppian and Other Stories (2008), the second of two volumes prepared by Subterranean Press to highlight Lumley's "best" Cthulhu Mythos writing.
In the early days of Dagon, Ford was able to reprint copies when there was a need, but that practice fell off as the 'zine became more popular. And it definitely became popular: by the end of the run, Ford had a mailing list of 500 active subscribers, not counting copies that were being sent to distributors across the world. There were plans for Ford and Morrison to produce a "Beast of Dagon," reprinting some of the best articles from the 'zine, but it was eventually dropped because it was too difficult to find all the writers and clear rights with them.
As for the end of the run: that was Dagon #27 (June 1990), an unassuming "HPL Humor Special," the second in the 'zine's run. There, Ford announced that Dagon would be coming to an end with the 32nd issue. It would turn out to be final issue, however, with #28, a planned spotlight on Polish writer Stefan Grabinski, never appearing. Tragically, a planned book from Dagon Press called "Lovecraft: A Centennial Tribute," intended for August 1990, also never surfaced. It was supposed to be "a collection of twenty essays by twenty leading Lovecraftian scholars and authors" that Ford called "the finest item the press has put together".
The reason that Ford gave for Dagon's end was "a lack of time." Later he'd expand, noting his time and energy was being eaten up by "a string of illnesses" and "numerous nights on the London tiles and a short dalliance as vocalist for a forgettable two-chord punk band." He decided that life was too short "to sit behind a typewriter long into the early hours" and that he'd done his part for Lovecraft, which hadn't been very available in print when he got started and now was "big business." By giving up the 'zine, he was able to discover "girls, goth and clubland."
When Dagon first appeared in early 1983, most Call of Cthulhu content was appearing from a trio of publishers: Chaosium, who obviously published the game; Games Workshop, who imported it into the UK; and Theatre of the Mind Enterprises, who'd acquired the first third-party license. Of them, TOME's work was the only sign of a wider fandom supporting the game. Most magazine publications were similarly in Chaosium's Different Worlds (1979-1987) and Games Workshop's White Dwarf (1977-Present). Though there were scattered articles in various sources such as David Nalle's Abyss magazine (1979-1984) and Tim Kask's Adventure Gaming (1981-1982), they were infrequent.
When Dagon ended publication in mid-1990, not a lot had changed. Call of Cthulhu was appearing in more professional periodicals than ever before, including mainstays such as Dragon (1976-2007), but fandom seemed to have risen and fallen. The second Call of Cthulhu zine, Polaris, had lasted a single issue. Even White Dwarf's Call of Cthulhu column, "Crawling Chaos," had vanished into the void. TOME had come and gone as well.
The few signs of continuing fandom were much more localized.
One was the Cthulhu Conglomerate, a group of keepers formed by Mark Morrison and friends that ran tournaments at conventions in Australia from 1984 to 1994 (and produced and sold 50 copies of each of their scenarios with Chaosium's permission). Despite being a local organization, several of their adventures later appeared in Chaosium books: "Crack'd & Crook'd Manse" by Morrison in Mansions of Madness (1990), "Tatterdemallion" by Penelope Love and Richard Watts in Fatal Experiments (1990), and "The Old Damned House" by Love and Liam Routt in the second edition of Mansions of Madness (2007). Keepers from the group, including Love, Morrison, Watts, Phil Anderson, Marion Anderson, Bernard Caleo, Nick Hagger, and Russell Waters, were also on the writing team for Horror on the Orient Express.
Another was the H.P. Lovecraft Historical Society, who had adopted Call of Cthulhu into a live-action RPG called "Cthulhu Lives!" and then published their own 'zine, Strange Eons (1987-1990), to support that work. But neither was well known in the wider world of Call of Cthulhu gaming, despite their influence on it.
However, large-scale fandom was about to rebound. In August 1990, two months after Ford published the last issue of Dagon, one John Tynes attended Gen Con '90, where he met Jeff Carey, who talked about starting a new Call of Cthulhu 'zine. Carey didn't but Tynes did. His The Unspeakable Oath (1990-2001+) would carry the torch of Call of Cthulhu fandom in the '90s just as Dagon had in the '80s (before fandom truly exploded in the 21st century).
As for Ford: he had other hobbies after Dagon, including greyhound racing (with his own greyhound!). There was then some talk of him reviving Dagon around 2003, just after the first run of The Unspeakable Oath came to an end. It never happened, reportedly due to continued ill health. Nonetheless, Ford's original run of Dagon remained a crucial building block for early Call of Cthulhu fandom and a vital stepping stone for many young and upcoming horror authors of the era. Today it is legendary.
Carl T. Ford passed away in November 13, 2017.
Difficulty in obtaining rights means that Dagon will likely never be reprinted or made officially available online (though several issues have unofficially made their way onto archive.org). Issues are also hard to obtain on secondary markets. The first half-dozen or more seem largely non-existent. From Dagon #13, which was the first glossy cover, they turn up more often, but seem to average about $50 each (and overall run between $40 and $100 per issue on the current market).
The issues I used to create this index (and write this history) originated with Mark Morrison, the Australian distributor of Dagon. (Thanks!)
Call of Cthulhu remained largely the same from the first edition in 1981 through the sixth edition in 2004. Game articles in this index are therefore flagged as CoC 1-6e to designate that they were for an early edition of the game, prior to the larger-scale seventh edition revision in 2014.
The pages in early issues of Dagon were not numbered. This index assumes that the first page with text content was page 1 and counts from there.
This index is © Copyright 2026 by Shannon Appelcline. It is released under a cc-by-4.0 license, allowing reuse with attribution. Background Image by inksyndromeartwork on Freepik and is available under separate license there.
| Title | System | Era | Author | # | Pgs | ||
| Computer Programs | |||||||
| Computerising Cthulhu | CoC 1-6e | Marcus L. Rowland | 8 | 13-15 | |||
| Miniatures | |||||||
| CoC Miniatures | Marc Ghastcoigne | 7 | 26 | ||||
| Title | System | Era | Author | # | Pgs | ||
| Misc, Introductory | |||||||
| Fenland Fog | CoC 1e-6e | 1920s | Stephen H. Wand | 7 | 8-16 | ||
| Misc, One-on-One | |||||||
| The Body on the Beach | CoC 1e-6e | 1920s | Andy Bennison | 15 | 28-30 | ||
| The Last of the Clan McMere | CoC 1e-6e | 1920s | Andy Bennison | 16 | 12-22 | ||
| The Two Dimensional Horror | CoC 1e-6e | 1920s | Andy Bennison | 12 | 13-15 | ||
| You In Your Small Corner | CoC 1e-6e | 1920s | Andy Bennison | 20 | 18-21 | ||
| Inspirations, T.E.D. Klein | |||||||
| Landscrapes1 | CoC 1e-6e | Mark Morrison | 18/19 | 29-39 | |||
| Inspirations, T.E.D. Klein, Design Notes | |||||||
| Keeping à la Klein | Mark Morrison | 18/19 | 26-28 | ||||
| Inspirations, Thomas Ligotti | |||||||
| In a City of Bells and Towers2 | CoC 1e-6e | Mark Morrison | 22/23 | 46-52 | |||
| NPCs, Robert Pickman | |||||||
| The Two Dimensional Horror | CoC 1e-6e | 1920s | Andy Bennison | 12 | 13-15 | ||
| Organizations, KKK | |||||||
| The Enemy Within | CoC 1e-6e | 1920 | Paul Newman | 9 | 16-22 | ||
| School | |||||||
| The Lurker Beneath | CoC 1e-6e | 1920s | Andy Bennison | 10 | 4-13 | ||
| Title | System | Era | Author | # | Pgs | ||
| Europe, UK, Cornwall | |||||||
| The Body on the Beach | CoC 1e-6e | 1920s | Andy Bennison | 15 | 28-30 | ||
| Europe, UK, Devon | |||||||
| The Disappearance of Dr. Benwell | CoC 1e-6e | Late 1920s | Carl T. Ford | 5 | 2-14 | ||
| The Shadow over Sidmouth | CoC 1e-6e | Late 1920s | R.A. Davey & Steve Hatherley | 14 | 19-22 | ||
| Europe, UK, Lincolnshire | |||||||
| Fenland Fog | CoC 1e-6e | 1920s | Stephen H. Wand | 7 | 8-16 | ||
| Europe, UK, London | |||||||
| Two of Our Bodies Are Missing | CoC 1e-6e | 1923 | J.G. Cadera | 11 | 5-9 | ||
| Europe, UK, Scotland | |||||||
| The Last of the Clan McMere | CoC 1e-6e | 1920s | Andy Bennison | 16 | 12-22 | ||
| North America, USA, Louisiana | |||||||
| The Legacy of Arthur Nye | CoC 1e-6e | 1920s | Andy Bennison | 8 | 4-12 | ||
| North America, USA, Massachusetts | |||||||
| The Enemy Within | CoC 1e-6e | 1920 | Paul Newman | 9 | 16-22 | ||
| North America, USA, New England | |||||||
| Wild Beasts | CoC 1e-6e | 1880s | Penelope Love | 24 | 30-40 | ||
| Title | System | Era | Author | # | Pgs | ||
| Arkham | |||||||
| Abduction in Arkham | CoC 1e-6e | 1940 | Carl T. Ford | 6 | 2-10 | ||
| Brimstone at the Club of the Black Arts | CoC 1e-6e | 1920s | Mark Buckley | 4 | 2-10 | ||
| Innsmouth | |||||||
| No Room at Innsmouth Part 1: Gilman House | CoC 1e-6e | 1934 | Carl T. Ford | 1 | 2-11 | ||
| No Room at Innsmouth Part 2: The Lighthouse | CoC 1e-6e | 1934 | Carl T. Ford | 2 | 2-11 | ||
| No Room at Innsmouth Part 3: The Lighthouse | CoC 1e-6e | 1934 | Carl T. Ford | 3 | 2-12 | ||
| Kingsport | |||||||
| Brimstone at the Club of the Black Arts | CoC 1e-6e | 1920s | Mark Buckley | 4 | 2-10 | ||
| Title | System | Era | Author | # | Pgs | ||
| 1880s | |||||||
| Wild Beasts | CoC 1e-6e | 1880s | Penelope Love | 24 | 30-40 | ||
| Classic Era (1920s) | |||||||
| The Body on the Beach | CoC 1e-6e | 1920s | Andy Bennison | 15 | 28-30 | ||
| Brimstone at the Club of the Black Arts | CoC 1e-6e | 1920s | Carl T. Ford | 4 | 2-10 | ||
| The Disappearance of Dr. Benwell | CoC 1e-6e | Late 1920s | Carl T. Ford | 5 | 2-14 | ||
| The Enemy Within | CoC 1e-6e | 1920 | Paul Newman | 9 | 16-22 | ||
| Fenland Fog | CoC 1e-6e | 1920s | Stephen H. Wand | 7/td> | 8-16 | ||
| The Last of the Clan McMere | CoC 1e-6e | 1920s | Andy Bennison | 16 | 12-22 | ||
| The Legacy of Arthur Nye | CoC 1e-6e | 1920s | Andy Bennison | 8 | 4-12 | ||
| The Lurker Beneath | CoC 1e-6e | 1920s | Andy Bennison | 10 | 4-13 | ||
| The Shadow over Sidmouth | CoC 1e-6e | Late 1920s | R.A. Davey & Steve Hatherley | 14 | 19-22 | ||
| The Two Dimensional Horror | CoC 1e-6e | 1920s | Andy Bennison | 12 | 13-15 | ||
| Two of Our Bodies Are Missing | CoC 1e-6e | 1923 | J.G. Cadera | 11/td> | 5-9 | ||
| You In Your Small Corner | CoC 1e-6e | 1920s | Andy Bennison | 20 | 18-21 | ||
| Classic Era (1930s) | |||||||
| No Room at Innsmouth Part 1: Gilman House | CoC 1e-6e | 1934 | Carl T. Ford | 1 | 2-11 | ||
| No Room at Innsmouth Part 2: The Lighthouse | CoC 1e-6e | 1934 | Carl T. Ford | 2 | 2-11 | ||
| No Room at Innsmouth Part 3: The Lighthouse | CoC 1e-6e | 1934 | Carl T. Ford | 3 | 2-12 | ||
| 1940s | |||||||
| Abduction in Arkham | CoC 1e-6e | 1940 | Carl T. Ford | 6 | 2-10 | ||
| Title | System | Era | Author | # | Pgs | ||
| Authors | |||||||
| Lessons from Lovecraft for Writers | Robert M. Price | 14 | 23-24 | ||||
| Game Masters | |||||||
| The Acolyte [Starting a Scenario] | Sandy Petersen | 20 | 24-25 | Nearly Human | Mark Morrison | 10 | 14-15 |
| Game Masters, Dreams | |||||||
| Plagued by Dreams | CoC 1e-6e | Mark Morrison | 14 | 30-32 | |||
| Game Masters, ESP | |||||||
| Sense #6 or: Shine on You Crazy Dagon | CoC 1e-6e | Mark Morrison | 12 | 26-28 | |||
| Game Masters, Inspirations | |||||||
| The Acolyte [Inspirations from Movies] | Sandy Petersen | 12 | 29-30 | ||||
| Game Masters, Sanity | Fear and Its Uses | Andrew Whittaker | 14 | 33-34 | Fun with Phobias | CoC 1e-6e | Lloyd Brady | 21 | 37-42 |
| Game Masters, Tourneys | |||||||
| Judging the Insane | Mark Morrison | 25 | 37-43 | ||||
| Game Masters, Weapons | |||||||
| The Acolyte [Guns] | Sandy Petersen | 15 | 16-17 | ||||
| Shoggoths Don't Kill People, Guns Do! | Mark Morrison | 11 | 28-29 | [Replies] Shoggoths Don't Kill People, Guns Do! | Various | 13 | 13-14 |
| Title | System | Era | Author | # | Pgs | ||
| Inspirations, August Derleth | |||||||
| Howl of Hastur | CoC 1e-6e | Stacy Clark | 27 | 26-30 | |||
| Inspirations, T.E.D. Klein | |||||||
| Keeping à la Klein | Mark Morrison | 18/19 | 26-28 | ||||
| Legal | |||||||
| British Gun Laws, Late 19th c. to the Present | Karl Greenwood | 3 | 17-19 | ||||
| Medical, Mental Health | |||||||
| Psychopathy | Alan Jeffrey | 8 | 20 | ||||
| Title | System | Era | Author | # | Pgs | ||
| North America, USA | |||||||
| Street Talk | CoC 1e-6e | Carl T. Ford | 7 | 24-26 | |||
| Africa, Zimbabwe | |||||||
| Great Archaeological Sites, The Truths: Great Zimbabwe | Prof. Simon Davreau | 14 | 8+ | ||||
| Africa, Zimbabwe | |||||||
| Great Archaeological Sites, The Truths: Great Zimbabwe | Prof. Simon Davreau | 14 | 8+ | ||||
| Africa, Zimbabwe | |||||||
| Great Archaeological Sites, The Truths: Great Zimbabwe | Prof. Simon Davreau | 14 | 8+ | ||||
| Middle East, Lebanon | |||||||
| Great Archaeological Sites, The Truths: Ba'albek | Prof. Simon Davreau | 17 | 42-43 | ||||
| South America, Bolivia | |||||||
| Great Archaeological Sites, The Truths: Tiahuanaco | Richard Watts | 12 | 15 | ||||
| Title | System | Era | Author | # | Pgs | ||
| Law | |||||||
| Crime and Punishment | 1920s | Kimball Bailey | 10 | 16-17 | |||
| Title | System | Era | Author | # | Pgs | ||
| Misc, Introduction | |||||||
| The Mythos Hierarchy | Carl T. Ford | 13-16 | |||||
| Automotans | Nearly Human | Mark Morrison | 10 | 14-15 | |||
| Independent Race, Lesser | |||||||
| The Degenerates | CoC 1e-6e | 1920s | Andy Bennison | 8 | 8 | ||
| Mythos, Dreamlands | |||||||
| Zoogs | CoC 1e-6e | Carl T. Ford | 6 | 19 | |||
| Mythos, Outer God | |||||||
| Bugg-Shash, the Terrible | CoC 1e-6e | Andy Bennison | 9 | 29 | |||
| Bugg-Shash, the Terrible | CoC 1e-6e | Andy Bennison | 10 | 27 | |||
| Rlim Shaikorth, The White Worm | CoC 1e-6e | Carl T. Ford | 5 | 20 | |||
| Ubbo-Sathla, The Source and the End | CoC 1e-6e | Carl T. Ford | 4 | 18 | |||
| Werewolves | |||||||
| 'Ware the Moon [Werewolves] | Paul Newman | 8 | 16-19 | ||||
| Title | System | Era | Author | # | Pgs | ||
| Misc | |||||||
| Gifts of the Gods | CoC 1e-6e | Simon Nicholson & Carl T. Ford | 6 | 18 | |||
| Gems | |||||||
| Lithomancy in Call of Cthulhu | CoC 1e-6e | Barry Hill | 9 | 32-34 | |||
| Title | System | Era | Author | # | Pgs | ||
| Misc, Collections | |||||||
| The Books of the Cthulhu Mythos | CoC 1e-6e | Stacy Clark with Peter F. Jeffrey | 21 | 15-24 | |||
| Mythos Books | |||||||
| The 'Book of Eibon' | CoC 1e-6e | Carl T. Ford | 4 | 12-13 | |||
| Cthaat Aquadingen: A Guide to Further Research | Carl T. Ford | 12 | 3-6 | ||||
| De Vermiss Mysteriis | Andy Bennison | 7 | 6-7 | ||||
| De Vermis Mysteriis — An Update | Garrie Hall | 12 | 12 | ||||
| Dr. John Dee's 'Necronomicon' | Rik Shepherd | 9 | 4-6 | ||||
| [Eltdown Shards] Some Notes on the Eltdown Shards | Robert M. Price | 11 | 3-4 | ||||
| Mad Berkley's Book | CoC 1e-6e | Andy Bennison | 10 | 27 | |||
| Nameless Cults | CoC 1e-6e | Carl T. Ford | 5 | 15 | |||
| Title | System | Era | Author | # | Pgs | ||
| Interviews, Authors | |||||||
| Campbell, Ramsey | Carl T. Ford | 15 | 8-15 | ||||
| Klein, T.E.D. | Carl T. Ford | 18/19 | 42-48 | ||||
| Lumley, Brian | Carl T. Ford | 13 | 7-12 | ||||
| Wagner, Karl Edward | Carl T. Ford | 25 | 26-33 | ||||
| Interviews, Editors | |||||||
| Joshi, S.T. | Will Murray | 24 | 24-29 | ||||
| Memorials | |||||||
| Smith, Clark Ashton | Carl T. Ford | 3 | 19 | ||||
| Title | System | Era | Author | # | Pgs | ||
| Spells, Listing, Misc | |||||||
| Formula of Dho-Hna | Rik Shepherd | 9 | 4-6 | ||||
| Incense of Zkauba | Rik Shepherd | 9 | 4-6 | ||||
| Unction of Khephes Ye Egyptian | Rik Shepherd | 9 | 4-6 | ||||
| Spells, Listing, Call/Contact/Summon | |||||||
| Conjure Globes of Yog-Sothoth | Rik Shepherd | 9 | 4-6 | ||||
| Spells, Listing, Enchant Item | |||||||
| Enchant Scimitar | Rik Shepherd | 9 | 4-6 | ||||
| Title | System | Era | Author | # | Pgs | ||
| Mythos, Misc | |||||||
| The Crossword Puzzle | N. Mark Gordon | 20 | 29-33 | ||||
| Return to Arkham1 | Brian Lumley & Martin McKenna | 15 | 19-26 | ||||
| Mythos, Adaptations, H.P. Lovecraft | |||||||
| The Cats of Ulthar | H.P. Lovecraft, Nick Basi & Carl T. Ford | 2 | 12-13 | ||||
| The Festival | H.P. Lovecraft, Nick Basi & Carl T. Ford | 3 | 13-15 | ||||
| The Thing in the Moonlight | H.P. Lovecraft & David Carson | 24 | 8 | ||||
| Mythos, Adaptations, Clark Ashton Smith | |||||||
| The Nameless Offspring | Clark Ashton Smith, Nick Basi & Carl T. Ford | 7 | 18-21 | ||||
| The Return of the Sorcerer | Clark Ashton Smith, Nick Basi & Carl T. Ford | 4 | 14-17 | ||||
| Title | System | Era | Author | # | Pgs | ||
| Misc, Poetry | |||||||
| City Out of Time | Brian Lumley | 12 | 28 | ||||
| Excerpts from The Book of Jade | David Park Barnitz | 25 | 12-14 | ||||
| Shadow Man | Brian Lumley | 17 | 45-46 | ||||
| A Tribute to H.P. Lovecraft | t. Winter-Damon | 25 | 25 | ||||
| Whistler | Brian Lumley | 13 | 1 | ||||
| Genres, Horror | |||||||
| The Apothecarium of Yabool-Syn | Gary Lovisi | 20 | 7-15 | ||||
| The Ceremonies (First printing of a deleted chapter) | T.E.D. Klein | 18/19 | 24-25 | ||||
| Jinx | Simon Nicholson | 7 | 27-28 | ||||
| The Mysteries of the Abyss | Mark F. Samuels | 25 | 19-24 | ||||
| Well-Connected | T.E.D. Klein | 18/19 | 52-61 | ||||
| Genres, Horror, by D.F. Lewis | |||||||
| The Beach Hut | D.F. Lewis | 26 | 27-28 | ||||
| Beyond the Bookcase | D.F. Lewis | 26 | 29-37 | ||||
| Daughters | D.F. Lewis | 26 | 24-25 | ||||
| Digory Smalls | D.F. Lewis | 24 | 42-47 | ||||
| Etepsed Egnis | D.F. Lewis | 26 | 11-13 | ||||
| Foxflesh | D.F. Lewis | 17 | 36-37 | ||||
| Mort au Monde | D.F. Lewis | 26 | 18-22 | ||||
| Sponge and China Tea | D.F. Lewis | 26 | 40-42 | ||||
| The Stories of Murkales: Parts I to V | D.F. Lewis | 20 | 35-40 | ||||
| The Stories of Murkales: Parts VI to XII | D.F. Lewis | 21 | 7-13 | ||||
| Wall Pack | D.F. Lewis | 26 | 43-44 | ||||
| Wiles | D.F. Lewis | 26 | 45-46 | ||||
| Genres, Horror, by Thomas Ligotti | |||||||
| Autumn Horror | Thomas Ligotti | 22/23 | 28-35 | ||||
| In the Shadow of Another World | Thomas Ligotti | 21 | 27-35 | ||||
| The Journal of J.P. Drapeau | Thomas Ligotti | 20 | 41-44 | ||||
| The Library of Byzantium | Thomas Ligotti | 22/23 | 36-45 | ||||
| Oneiric Horror | Thomas Ligotti | 22/23 | 55-56 | ||||
| Genres, Horror, Mythos | |||||||
| The Horror at Witches Hollow, Part 1 | Robert J. Curran | 10 | 18-22 | ||||
| The Horror at Witches Hollow, Part 2 | Robert J. Curran | 11 | 10-19 | ||||
| The Horror at Witches Hollow, Part 3 | Robert J. Curran | 12 | 34-42 | ||||
| The House of the Temple, Part 1 | Brian Lumley | 12 | 3-11 | ||||
| The House of the Temple, Part 2 | Brian Lumley | 13 | 30-38 | ||||
| Justin Geoffrey (1905-26) | Carl T. Ford | 5 | 19 | ||||
| The Plain of Sound | Ramsey Campbell | 14 | 12-18 | ||||
| The Statement | Carl T. Ford | 4 | 19-21 | ||||
| The Voice from the Well, Part 1 | Robert J. Curran | 8 | 21-25 | ||||
| The Voice from the Well, Part 2 | Robert J. Curran | 9 | 10-15 | ||||
| Wings in the Night | Edward P. Berglund | 15 | 31-36 | ||||
| Genres, Humor | |||||||
| Poetic Justice | Cathy Buburuz | 27 | 43-44 | ||||
| Genres, Humor, Parody, Mythos | |||||||
| The Dweller in the Pot | Robert M. Price | 27 | 10-11 | ||||
| H.P. Hell | Mark Morrison | 27 | 39-41 | ||||
| H.P. Lovecraft's Loathly Eldritch Band | Allen Ashley | 27 | 36 | ||||
| I Cthulhu | Neil Gaiman | 16 | 7-11 | ||||
| Mildew from Shaggai | Robert M. Price | 16 | 5-6 | ||||
| The Moon Bog | Allen Ashley | 27 | 47 | ||||
| Scream for Jeeves | Peter Cannon | 27 | 10-11 | ||||
| The Sinister Secret of Shoggoth Street | H.P. Luddite | 16 | 3-4 | ||||
| Title | System | Era | Author | # | Pgs | ||
| Authors, Park Barnitz, Stories, The Book of Jade | |||||||
| The Book of Jade | Mark Valentine | 25 | 7-11 | ||||
| Authors, Robert Bloch, Stories, "The Shadow from the Steeple" | |||||||
| Humour in the "Haunter" Trilogy | Carl T. Ford | 16 | 23-27 | ||||
| Authors, Robert Bloch, Stories, "The Shambler from the Stars" | |||||||
| Humour in the "Haunter" Trilogy | Carl T. Ford | 16 | 23-27 | ||||
| Authors, T.E.D. Klein, Misc, Bibliography | |||||||
| T.E.D. Klein - A Bibliography | T.E.D. Klein | 18/19 | 67-70 | ||||
| Authors, T.E.D. Klein, Misc, Biography | |||||||
| A Developing Series of Generic Forms | Ramsey Campbell | 18/19 | 6-7 | ||||
| T.E.D. Klein: Biographical Notes | T.E.D. Klein | 18/19 | 8-9 | ||||
| Authors, T.E.D. Klein, Inspirations | |||||||
| The Ceremonies and Themes from Arthur Machen | Mark Valentine | 18/19 | 19-22 | ||||
| Lovecraft's Influence on T.E.D. Klein | Robert M. Price | 18/19 | 13-14 | ||||
| Authors, T.E.D. Klein, Occultism | |||||||
| T.E.D. Klein's Images of Terror | Steve J. Mariconda | 18/19 | 15-18 | ||||
| Authors, T.E.D. Klein, Stories, The Ceremonies | |||||||
| The Ceremonies and Themes from Arthur Machen | Mark Valentine | 18/19 | 19-22 | ||||
| Authors, T.E.D. Klein, Stories, "Nadelman's God" | |||||||
| Klein's God | Peter Cannon | 18/19 | 63-65 | ||||
| Authors, T.E.D. Klein, Stories, "The Events at Poroth Farm" | |||||||
| "The Events at Poroth Farm" and the Literature of Horror | S.T. Joshi | 18/19 | 10-12 | ||||
| Authors, D.F. Lewis, Misc, Bibliography | |||||||
| A D.F. Lews Bibliography | D.F. Lewis | 26 | 47-48 | ||||
| Authors, D.F. Lewis, Misc, Biography | |||||||
| Brewing Up with Des Lewis | Mark F. Samuels | 26 | 14-17 | ||||
| Etepsed | Peter F. Jeffery | 26 | 6-9 | ||||
| Authors, Thomas Ligotti, Misc | |||||||
| Beyond Dualism | Christine Morris | 22/23 | 10-12 | ||||
| The Mystagogue, the Gnostic Quest, the Secret Book | Robert M. Price | 22/23 | 13-16 | ||||
| "Nothing Is What It Seems to Be" | Stefan R. Dziemianowicz | 22/23 | 17-26 | ||||
| Authors, Thomas Ligotti, Misc, Bibliography | |||||||
| A Thomas Ligotti Bibliography | Thomas Ligotti | 22/23 | 70-71 | ||||
| Authors, Thomas Ligotti, Misc, Survey | |||||||
| The Knave of Darkness | Mike Ashley | 22/23 | 7-9 | ||||
| Authors, Thomas Ligotti, Stories, "The Lost Art of Twilight" | |||||||
| Two Aspects of the Vampire | Simon MacCulloch | 22/23 | 57-69 | ||||
| Authors, H.P. Lovecraft, Misc, Bibliography | |||||||
The Horror in the Bibliography|
|
| Peter F. Jeffery |
9 |
7-9 |
| ||
| The Horror Expert Sort PHL from HPL | Peter F. Jeffery | 18/19 | 50-51 | ||||
| Lovecraft in the Comic Books | Randy M. Wadkins | 24 | 9-16 | ||||
| Authors, H.P. Lovecraft, Misc, Bibliography, Listing | |||||||
| A Checklist of H.P. Lovecraft's Fiction, Part 1 | Peter F. Jeffrey | 10 | 23-26 | ||||
| The H.P. Lovecraft Checklist of Fiction Errata List | Peter F. Jeffrey | 11 | 19 | ||||
| A Checklist of H.P. Lovecraft's Fiction, Part 2 | Peter F. Jeffrey | 11 | 22-25 | ||||
| A Checklist of H.P. Lovecraft's Fiction, Part 2 Errata | Peter F. Jeffrey | 13 | 38-39 | ||||
| Authors, H.P. Lovecraft, Misc, Q&A | |||||||
| The Red Brain's Trust | Peter F. Jeffery | 10 | 28 | ||||
| The Red Brain's Trust | Peter F. Jeffery | 11 | 25-26 | ||||
| The Red Brain's Trust | Peter F. Jeffery | 12 | 16-17 | ||||
| The Red Brain's Trust | Peter F. Jeffery | 13 | 27-29 | ||||
| The Red Brain's Trust | Peter F. Jeffery | 14 | 9-11 | ||||
| The Red Brain's Trust | Peter F. Jeffery | 15 | 39-40 | ||||
| The Red Brain's Trust | Peter F. Jeffery | 16 | 33-37 | ||||
| The Red Brain's Trust | Peter F. Jeffery | 17 | 38-41 | ||||
| The Red Brain's Trust | Peter F. Jeffery | 20 | 26-28 | ||||
| The Red Brain's Trust | Peter F. Jeffery | 22/23 | 72-73 | ||||
| The Red Brain's Trust | Peter F. Jeffery | 24 | 18-22 | ||||
| The Red Brain's Trust | Peter F. Jeffery | 25 | 17-18 | ||||
| The Red Brain's Trust | Peter F. Jeffery | 27 | 45-47 | ||||
| Authors, H.P. Lovecraft, Genres, Humor | |||||||
| Lovecraft: A Literary Anomaly | Peter F. Jeffery | 7 | 4-5 | ||||
| Authors, H.P. Lovecraft, Inspirations | |||||||
| The Prophets of Pandemonium: Arthur Machen and H.P. Lovecraft | Mark Valentine | 17 | 19-23 | ||||
| Authors, H.P. Lovecraft, Occultism | |||||||
| H.P. Lovecraft as "Occultist": An Exploration | Leigh Blackmore | 17 | 6-18 | ||||
| Lovecraft, the Golden Dawn and Enochian Chess | Steve Nichols | 17 | 34-35 | ||||
| Lovecraft's Use of Theosophy | Robert M. Price | 17 | 27-32 | ||||
| Authors, H.P. Lovecraft, Revisions | |||||||
| Self Parody in Lovecraft's Revisions | Will Murray | 27 | 33-35 | ||||
| Authors, H.P. Lovecraft, Stories, "The Dreams in the Witch-House" | |||||||
| Was There a Real Brown Jenkins | Will Murray | 17 | 24-26 | ||||
| Authors, H.P. Lovecraft, Stories, "The Haunter of the Dark" | |||||||
| Humour in the "Haunter" Trilogy | Carl T. Ford | 16 | 23-27 | ||||
| Cthulhu Mythos, Misc, Introduction | |||||||
| Mythos Names and How to Say Them | Robert M. Price | 15 | 3-7 | ||||
| What is the Cthulhu Mythos? | Robert M. Price | 14 | 3-5 | ||||
| Cthulhu Mythos, Misc, Bibliography | |||||||
| Cthulhoid Tales of Terror | Carl T. Ford | 8 | 29-30 | ||||
| Cthulhoid Tales of Terror | Carl T. Ford | 9 | 30-31 | ||||
| Cthulhoid Tales of Terror | Carl T. Ford | 11 | 30, 39 | ||||
| Cthulhoid Tales of Terror | Andy Bennison | 13 | 25-26 | ||||
| Cthulhu Mythos, Books | |||||||
| Cthaat Aquadingen: A Guide to Further Research | Carl T. Ford | 12 | 3-6 | ||||
| Some Notes on the Eltdown Shards | Robert M. Price | 11 | 3-4 | ||||
| Title | System | Era | Author | # | Pgs | ||
| Conventions | |||||||
| FantasyCon XII: My Appointment with Fear | Carl T. Ford | 20 | 22-23 | ||||
| GamesFair '85 | Carl T. Ford | 7 | 29-30 | ||||
| Judging the Insane | Mark Morrison | 25 | 37-43 | ||||
| Editorial | |||||||
| Editorial | Carl T. Ford | 1 | 1 | ||||
| Editorial | Carl T. Ford | 2 | 1 | ||||
| Editorial | Carl T. Ford | 3 | 1 | ||||
| Editorial | Carl T. Ford | 4 | 1 | ||||
| Editorial | Carl T. Ford | 5 | 1 | ||||
| Editorial | Carl T. Ford | 6 | 1 | ||||
| Editorial | Carl T. Ford | 7 | 1 | ||||
| Editorial | Carl T. Ford | 8 | 3 | ||||
| Editorial | Carl T. Ford | 9 | 3 | ||||
| Editorial | Carl T. Ford | 10 | 3 | ||||
| Editorial | Carl T. Ford | 11 | 2 | ||||
| Editorial | Carl T. Ford | 12 | 2 | ||||
| Editorial | Carl T. Ford | 13 | 2 | ||||
| In the Vault | Carl T. Ford | 14 | 1 | ||||
| In the Vault | Carl T. Ford | 15 | 1 | ||||
| In the Vault | Doctor Anton Phibes | 16 | 1 | ||||
| Editorial | Carl T. Ford | 18/19 | 4 | ||||
| Editorial | Carl T. Ford | 20 | 4 | ||||
| Editorial: Under Starter's Order | Carl T. Ford | 21 | 4 | ||||
| Editorial | Carl T. Ford | 22/23 | 4 | ||||
| Editorial | Carl T. Ford | 24 | 4 | ||||
| Editorial | Carl T. Ford | 25 | 4 | ||||
| Editorial | Carl T. Ford | 26 | 4 | ||||
| Editorial: The Last Leg | Carl T. Ford | 27 | 4 | ||||
| History, Memorial | |||||||
| A Tribute to Clark Ashton Smith | Carl T. Ford | 3 | 19 | ||||
| Letters | |||||||
| Black Mail | Various | 7 | 22-23 | ||||
| Black Mail | Various | 8 | 26-28 | ||||
| Black Mail | Various | 9 | 23-28 | ||||
| Black Mail | Various | 10 | 29-33 | ||||
| Black Mail | Various | 11 | 31-35 | ||||
| Black Mail | Various | 12 | 31-33 | ||||
| Black Mail | Various | 13 | 17-20 | ||||
| Black Mail | Various | 14 | 35-38 | ||||
| Black Mail | Various | 15 | 40-44 | ||||
| Black Mail | Various | 16 | 38-43 | ||||
| Black Mail | Various | 17 | 47-50 | ||||
| Black Mail | Various | 18/19 | 73-77 | ||||
| Black Mail | Various | 20 | 52-57 | ||||
| Black Mail | Various | 21 | 44-50 | ||||
| Black Mail | Various | 22/23 | 78-82 | ||||
| Black Mail | Various | 24 | 53-57 | ||||
| Black Mail | Various | 25 | 53-58 | ||||
| Black Mail | Various | 26 | 55-58 | ||||
| Black Mail | Various | 27 | 55-58 | ||||
| News, Company, Chaosium | |||||||
| The Acolyte | Sandy Petersen | 11 | 19-20 | ||||
| The Acolyte | Sandy Petersen | 12 | 29-30 | ||||
| The Acolyte | Sandy Petersen | 14 | 6-7+ | ||||
| The Acolyte | Sandy Petersen | 20 | 24-25 | ||||
| News, Company, Chaosium, Satire | |||||||
| The Acolyte | Sandy Petersen & Greg Stafford | 16 | 30-31 | ||||
| News, Releases, Mythos | |||||||
| CoC Miniatures | Carl T. Ford | 7 | 26 | ||||
| R'lyeh Releases | Marc Ghastcoigne | 7 | 16 | ||||
| Crawling at You | 15 | 2 | |||||
| Crawling at You | 16 | 2 | |||||
| Crawling at You | 17 | 5+ | |||||
| Crawling at You | 18/19 | 5+ | |||||
| Crawling at You | 20 | 5+ | |||||
| Crawling at You | 21 | 5-6 | |||||
| Crawling at You | 22/23 | 5-6 | |||||
| Crawling at You | 24 | 5-7 | |||||
| Crawling at You | 25 | 5-6 | |||||
| Crawling at You | 26 | 5 | |||||
| Crawling at You | 27 | 5-8 | |||||
| News, Zines | |||||||
| Dr. Phibes Prescribes | Carl T. Ford | 6 | 20 | ||||
| Dr. Phibes Prescribes | Carl T. Ford | 7 | 7 | ||||
| Dr. Phibes Prescribes | Carl T. Ford | 8 | 19 | ||||
| Dr. Phibes Prescribes | Carl T. Ford | 9 | 31 | ||||
| Dr. Phibes Prescribes | Carl T. Ford | 10 | 34 | ||||
| Dr. Phibes Rises Again | Carl T. Ford | 13 | 15 | ||||
| Opinion | |||||||
| Hero of Dreams | Carl Ford | 14 | 2 | ||||
| Title | System | Era | Author | # | Pgs | ||
| Misc | |||||||
| Tramps & Beggars | CoC 1e-6e | 1920s | Nicholas Cook | 6 | 11-12 | ||
| Title | System | Era | Author | # | Pgs | ||
| Misc, Unofficial Errata | |||||||
| Alone Against the Dark: Unauthorised Alterations | CoC 1e-6e | Steve Hatherley | 13 | 23-24 | |||
| Dreaming | |||||||
| Plagued by Dreams | CoC 1e-6e | Mark Morrison | 14 | 30-32 | |||
| Sleep, Purchance to Dream? | CoC 1e-6e | Richard Watts | 13 | 26 | |||
| Occupations | |||||||
| The Medium | CoC 1e-6e | Carl T. Ford | 4 | 11 | |||
| ESP | |||||||
| Sense #6 or: Shine on You Crazy Dagon | CoC 1e-6e | Mark Morrison | 12 | 26-28 | |||
| Sanity, Curing | |||||||
| You'll Soon Be Better ... | CoC 1e-6e | Marcus L. Rowland | 5 | 16-18 | |||
| Skills | |||||||
| Street Talk | CoC 1e-6e | Carl T. Ford | 7 | 24-26 | |||
| Variants | |||||||
| Cthulhoid Ramblings | CoC 1e-6e | Alan Jeffrey | 7 | 30-31 | |||
| Cthulhoid Ramblings | CoC 1e-6e | Dave Perry | 8 | 30-31 | |||
| Title | System | Era | Author | # | Pgs | ||
| Misc, Services | |||||||
| The Codpiece Figure Painting Service | 21 | 56 | |||||
| Chaosium | |||||||
| Call of Cthulhu 3e | Coc 3e | John Halleck | 14 | 28 | |||
| Cthulhu Companion | Coc 2e | Carl T. Ford | 2 | 14 | |||
| S. Petersen's Field Guide to Cthulhu Monsters | Glenn Rahman | 22/23 | 75-77 | ||||
| Chaosium, 1890s | |||||||
| Cthulhu by Gaslight | CoC 2e | 1980s | Phil Anderson | 13 | 22+ | ||
| Chaosium, 1920s, Adventures | |||||||
| The Great Old Ones | CoC 3e | 1920s | Carl T. Ford | 26 | 49-51 | ||
| Terror from the Stars | CoC 2e | 1920s | Mark Morrison | 13 | 21-22 | ||
| Trail of Tsathoggua | Coc 2e | 1920s | Bruce Humphreys | 6 | 17 | ||
| Chaosium, 1920s, Adventures, Solo | |||||||
| Alone Against the Dark | CoC 2e | 1920s | Steve Hatherley | 13 | 21 | ||
| Alone Against the Wendigo | CoC 2e | 1920s | Andrew Whittaker | 11 | 37-38 | ||
| Chaosium, 1920s, Campaigns | |||||||
| Mask of Nyarlathotep | CoC 2e | 1920s | Mark Morrison | 9 | 34-35 | ||
| Chaosium, Dreamlands | |||||||
| H.P. Lovecraft's Dreamlands | CoC 2e | Dreamlands | Carl T. Ford | 15 | 27 | ||
| S. Petersen's Field Guide to Creatures of the Dreamlands | Dreamlands | Carl T. Ford | 26 | 51 | |||
| Games Workshop, 1920s | |||||||
| Green and Pleasant Land | Coc 2e | 1920s | Carl T. Ford | 17 | 44 | ||
| Games Workshop, 1920s, Adventures | |||||||
| Nightmare in Norway | Coc 2e | 1925 | Carl T. Ford | 11 | 36-37 | ||
| The Statue of the Sorcerer & The Vanishing Conjurer | CoC 3e | 1920s | Carl T. Ford | 14 | 25-26 | ||
| Games Workshop, Now, Adventures | |||||||
| Trail of the Loathsome Slime | Coc 2e | Now | Andy Bennison | 11 | 36 | ||
| West End Games | |||||||
| Ghostbusters | Ghostbusters 1e | Marcus L. Rowland | 14 | 26-27 | |||
| Title | System | Era | Author | # | Pgs | ||
| Misc, Anthologies | |||||||
| Science Fiction, Fantasy & Horror: 1986 | Carl T. Ford | 21 | 57-58 | ||||
| Science Fiction & Fantasy Book Review 1988 | 25 | 48-49 | |||||
| Misc, Biographies, Starmount | |||||||
| Robert Bloch [#37] | Eddy C. Bertin | 20 | 47 | ||||
| Robert E. Howard [#35] | Eddy C. Bertin | 20 | 47-48 | ||||
| Misc, Poetry | |||||||
| The Hashish Eater, by Clark Ashton Smith | Carl T. Ford | 27 | 54 | ||||
| Misc, Zines | |||||||
| Aklo | Carl T. Ford | 22/23 | 77 | ||||
| Lovecraft Studies #13 | Carl T. Ford | 16 | 28 | ||||
| Lovecraft Studies #18 | Carl T. Ford | 25 | 50-51 | ||||
| Nocturne, Secundus | Carl T. Ford | 27 | 53-54 | ||||
| Tales After Dark #2 | Carl T. Ford | 16 | 28-29 | ||||
| Genre, Horror | |||||||
| Cold Hand in Mine, by Robert Aickman | 24 | 50-51 | |||||
| Weaveworld, by Clive Barker | Carl T. Ford | 20 | 49-50 | ||||
| Ancient Images, by Ramsey Campbell | Carl T. Ford | 25 | 44-46 | ||||
| Dark Feasts, by Ramsey Campbell | Carl T. Ford | 20 | 48 | ||||
| The Hungry Moon, by Ramsey Campbell | 11 | 29 | |||||
| The Influence, by Ramsey Campbell | Carl T. Ford | 22/23 | 74 | ||||
| Scared Stiff, by Ramsey Campbell | Carl T. Ford | 20 | 45 | ||||
| Deep Things Out of Darkness, by Roger Johnson | Carl T. Ford | 20 | 50 | ||||
| The Grabinski Reader, by Stefan Grabinski | Carl T. Ford | 27 | 52-53 | ||||
| Nolstalgia of the Unknown, by Clark Ashton Smith | Carl T. Ford | 24 | 52 | ||||
| 14 Bellchamber Tower, by Mark Valentine | Carl T. Ford | 21 | 54-55 | ||||
| Genre, Horror, Misc, Anthologies | |||||||
| The Best Horror from Fantasy Tales | Carl T. Ford | 24 | 51-52 | ||||
| Night Visions | Carl T. Ford | 20 | 45-47 | ||||
| The Stygian Dreamhouse | Carl T. Ford | 25 | 49-50 | ||||
| Genre, Horror, Misc, Poetry | The Haunting, by Alan Catlin | Cathy Buburuz | 27 | 49-50 | |||
| Genre, Horror, Mythos, Misc, Anthologies | |||||||
| Tales of the Cthulhu Mythos | Carl T. Ford | 27 | 48-49 | ||||
| Genre, Horror, Mythos, by Ramsey Campbell | |||||||
| Cold Print | Carl T. Ford | 11 | 38 | ||||
| Genre, Horror, Mythos, by H.P. Lovecraft | |||||||
| Fungi from Yuggoth | Carl T. Ford | 22/23 | 75 | ||||
| The Horror in the Museum and Other Revisions | Carl T. Ford | 25 | 46-48 | ||||
| Genre, Horror, Mythos, by Brian Lumley | |||||||
| The Burrowers Beneath | Carl T. Ford | 21 | 55 | ||||
| Genre, Horror, Vampire | |||||||
| Necroscope | John Halleck | 14 | 27-28 | ||||
| Genre, Science Fiction | |||||||
| Colossus, by Donald Wandrei | Carl T. Ford | 27 | 50-51 | ||||
| Title | System | Era | Author | # | Pgs | ||
| Movies, Horror | |||||||
| Dolls | Carl T. Ford | 21 | 56-57 | ||||
| A Nightmare on Elm Street, Part 3: Dream Warriors | Carl T. Ford | 20 | 48-49 | ||||
| Movies, Horror, Mythos | |||||||
| Celluloid Mythos | Paul Newman | 12 | 18-22 | ||||
| Celluloid Mythos | Paul Newman | 13 | 16 | ||||
| Dagon & The Haunter of the Dark [Granada] | Carl T. Ford | 7 | 17 | ||||
| Die, Monster, Die! | Kim Newman | 26 | 52-54 | ||||
| From Beyond | 18/19 | 71-72 | |||||
| The Haunted Palace | Kim Newman | 25 | 51-52 | ||||
| The Mythos in Italian Spatter Movies | Carl T. Ford | 12 | 22-25 | ||||
| Re-Animator | Carl T. Ford | 11 | 21 | ||||
| The Unnamable | Kim Newman | 24 | 49-50 | ||||
| Title | System | Era | Author | # | Pgs | ||
| Misc, Calendars | |||||||
| The H.P. Lovecraft Centennial Calendar 1990 | Carl T. Ford | 26 | 54+ | ||||
| Authors, Advice | |||||||
| How to Write Horror and Get It Published | Carl T. Ford | 27 | 51-52 | ||||
| Authors, Biographies | |||||||
| Arthur Machen, Artist and Mystic | Carl T. Ford | 15 | 27 | ||||
| The Death of a Gentleman: The Last Days of HPL | Carl T. Ford | 21 | 53 | ||||
H.P. Lovecraft, by Peter Cannon|
|
|
| 26 |
51-52 |
| ||
| Geography | |||||||
| Off the Ancient Track | Carl T. Ford | 21 | 53-54 | ||||
