Stealing Cthulhu is an RPG guide by Graham Walmsley with notes from Kenneth Hite, Jason Morningstar and Gareth Hanrahan. So, at the very least, it has a lot of experienced names behind it.
The idea behind the book is how to run a Mythos game that feels specifically like one of Lovecraft’s actual works. Which, to be fair, isn’t as clear cut or as obvious as it sounds.
Pretty much from the beginning, the Mythos has been bigger than Lovecraft himself and Lovecraft himself is the one responsible for that. He encouraged other authors like Robert E. Howard, Clark Ashton Smith and Robert Bloch and quite a few others to use the Mythos in their work. Mostly, from what I can tell, because it would be fun. And, since then, the number of creators who have used and redefined the Mythos has exploded.
So, game scenarios that are built around being a Lovecraft purist is actually an unusual idea. And I will note that Walmsley actively admits that the book is talking about how to do that, not that this is how you should run a Mythos game.
In many ways, he explores using Lovecraft’s work as a set of LEGOs, how to break apart various elements and rebuild them into something new or at least will catch players off guard. Which might sound like an obvious thing to do but spelling it out so deliberately helps turn the concept into an actual toolbox.
I will admit one of my initial takeaways from the book is that, if you want a scenario to actually feel like a Lovecraft work, you have to limit the players’ agency. In fact, as the game goes on, increasingly restrict it. Which goes against my core RPG philosophy but is pretty essential to a Lovecraft work and is a core concept of horror in general.
One criticism that has been leveled at the book by reviewers, the annotators and by Walmsley himself is that he focuses on a very narrow range of stories. (For instance, Pickman’s Model and ghouls in general are left out) However, his argument was that he had to limit it to make the book manageable. More than that, the book isn’t an analysis of Lovecraft stories. The selections are just examples.
What I find more interesting is what non-Lovecraft stories he mentions. The King in Yellow by Chambers and The Wendigo by Blackwood influenced Lovecraft and go without saying. The Return of of Lloigor, the Burrowers Beneath and The Insects from Shaggai are more interesting but strong choices. (I do appreciate his argument that the Shan are the best Mythos creature Lovecraft never wrote)
(I have read and enjoyed all of those works except Return of the Lloigor. Which is a work I can’t seem to find even vaguely in print. Walmsley does love him some Lloigor)
My initial thought about Stealing Lovecraft was that it might work better as a guide to writing homages to Lovecraft that don’t suck. Which I do think it would work well as. However, one reviewer noted you can use the technique on other genres.
Years ago, I looked at Lasers and Feelings, a minimalist but solid Star Trek RPG homage. I felt one of its strengths was that it didn’t need a setting guide since everyone already knows Star Trek. Combining Lasers and feelings with the techniques of Stealing Lovecraft could result in some really awesome games.
Walmsley also incudes the base rules for his own rules lite Mythos game, Cthulhu Dark, which is so light that only takes a few pages. It’s perfect for a pure Lovecraft game and I was impressed by the quick start rules I read years ago. Stealing Lovecraft makes me want to revisit the catacomb that is Cthulhu Dark.
Stealing Lovecraft is definitely not the final word on its subject. It is, however, a good start to the conversation.
