Monster Baiters #2 The Werewolf Gangbang

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The House of Fear Cline, Leonard. Lycanthia [enklns [UK], ! Richard S. Greene, Mrs. Campbell, Sir Gilbert Edward. Wolibane Is the only repellant agairtst the werewolf, and a silver bullet in the heart the only way to lay It to rest. Certainly, famous works of werewolf fiction predate the film's release, among them G. The proof Is In the pulps, where werewolf fiction was popular almost two decades before werewolf films, and yielded a fecundity of approaches and treatments seen with few other horror motifs.

Many pulp writers returned m the werewolf theme on more than one occasion, and a few are known primarily by their efforts in this vein.

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At the top of this list b the durable Greye La Spina, who wrote eighteen stories for Weird Tales between and Two of these are werewolf tales, and one is among the most popular stories to appear in the maga- zine during lb early years. At least that's how It was billed. In feet, La Spina's novel Is an occult romance as were most of her longer works with a were- wolf element.

The sub- way car she rides back from this experience crashes into another. She transfers to a taxi which crashes with a blowout,leavlng her with a broken arm. Efforts to get the manuscript published are equally disastrous: it Is saved from a lit matched dropped on It, a typist nearly throws crucial pages of it away, a duplicate Is destroyed by a fire In the publisher's printing room, and the plant that prints the book b dynamited. The answer Is: Plenty, If you accept that werewolves are just one of many manifestations of the black arts behind these events.

The story In the manu- script proves to be a somewhat sluggish tale of a Russian noble, Princess Tchernova, who moves her retinue Into a New York neighborhood and begins wooing the boyfriend of the local occult scholar every neighborhood should have one. Nearly all of this happens offstage, as does the climactic finale In which the boyfriend b transformed into a wolf during a strange ceremony that Involves ringing him with garlands of noxious-smelling orchids and making him drink specially prepared water, and his transformation back into a man thanks to an equally inscrutable ceremo- ny performed by the occultist.

Indeed, the Princess Tchemova is the classic femme fatale with a few features suggestive of more than earthly lusts thrown in There were the oval, tinted, highly-polished nails on the slender fingers, with the third finger so abnormally long. Even the princess' slinking, sinuous walk It's hard to know, for example, whether the following forgotten fact on the care and feeding of werewolves comes horn folk tale, or whether La Spina was making it up as she went along: "The werewolf.

Nor can it drink any sweet cor- dials. In this story, characters become were- wolves on a nightly basis after Immersed in a pool of tainted crys- talline water the hero is saved because his head never goes below the surface and eating human flesh.

Another bit of arcane were- wolf lore, that the werewolf in human form sees its reflection as a wolf in the minor, was the subject of beautiful cover by J. Allen St. John for that issue. Seabury Quinn was the most prolific writer for the weird fiction pulps, and so the simple law of averages dictated that he would turn out at least one werewolf sto- ry. In fact, seven of Quirm's contri- butions to Weird Tales were were- wolf novelettes, tyirtg him with H. Warner Muim as the writer of the greatest number of pulp werewolf yams.

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Like La Spina's tales, "The Phantom Farmhouse" promulgates werewolf lore somewhat different from that which most of us know. In this story, three evil people who waylay and murder trav- elers are themselves murdered by irate neighbors and buried in unconsecrated ground. They return as were- wolves who, in contrast to La Spina's, have an abnormal- ly long forefinger, rather than third finger , and are ulti- mately laid to rest when the hero reads the service for the dead over their graves.

Apropos the similarities between the Hollywood werewolf and the vampire, it is worth pointing out that in many folk tales, sulddes return as vampires. Although the cause and cure of lycanthropy varied in Quinn's stories, sympathies toward werewolves did not: Invariably, male werewolves were portrayed as evil beings who deserve to be killed, while female werewolves were portrayed as victims of circumstance deserving help. Quinn plays very fast and loose with traditional werewolf lore in this story, having his heroine become a shape-shifter after she dons a wolfrkin wrap lent her by one of the family, and a full- fledged werewolf only after she has been bitten by one of them.

What's more, she find she can control her transformation at will, regardless of whether there is a full moon I scratched off a warning, The Horror Pulpit then lay back on my bed and let the wolf4orce flow through me — ust made my mind a blank and kept repeating to myself, 'You are a wolf, not a woman — Michele Mikhailovitch, you are no woman, but a wolf.

Take you natural shape, Michele Mikhailovitch. Quinn's psychic detective, Jules de Grandin, battled a num- ber of nemeses more than once in the course of his ninety-three adventures, among them the were- wolf. Quinn based "The Wolf of St. In this story, a seance accidentally summons the spirit of Gilles Gamier, a sixteenth- century lycanthrope who was burned at the stake, but whose evil spirit remains earthbound.

Attracted to "unholy thoughts" in the collective subconscious of the seance participants, Gamier acquires material substance from their "psychoplasm" and manipulates the weakest of the bunch, a pregnant woman, to help him in his nightly prowls. The reader is also informed that a person can become a werewolf by drinking from certain tainted springs, and even by sleeping on unhal- lowed ground in certain geographic locales.

More inter- esting than Quinn's variations on the origins of the were- wolf in these stories is his flagrant disregard for traditional means of disposing of it: in "The Wolf of St. ParUeu, had the good St. George possessed a military rifle of today, he might have slain the dragon without approaching nearer than a milel When I tfd shoot that wolfman, my friend, I had something nsore powerful than superstition In my hand.

Morbleu, but I did shoot a hole in him large errough for him to have walked through.

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Monster Baiters #2 The Werewolf Gangbang - Kindle edition by Sugar Spendlove . Download it once and read it on your Kindle device, PC, phones or tablets. After a disastrous first mission, Lucy receives some hot punishment from her succubus boss before being sent on her next task: a gang of werewolves making .

Warner Munn's "The Werewolf of Ponkert" , and to some extent he was on target. Like stories by Quinn and La Spina, Muim's tale took liberties with conventional werewolf lore, and differed from other pulp werewolf yams largely in Munn's superior command of prose. However, '"The Werewolf of Ponkert" was a unique werewolf tale in at least one regard: it was the flrst told from the point of view of the werewolf an idea Munn had gotten from H.

Loveaaft, who threw it out In an early Weird Tales letter column.

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Brenryk discovers these are no ordinary wolves when he kills one, and is told by the pack leader, an entity known to the others as "the Master," that he must either join the wolf pack or die. From this point on, the story becomes a chronicle of werewolf life as Brenryk runs nightly with the pack, describing the agony of transformation, the ecstasy of the hunt, the pangs of conscience he feels whenever the pack runs down a human being, and his horror when he is disciplined by the master for rebellious thoughts and made to kill his wife and child or at least, so he thinks while in wolf form.

Ultimately, Brenryk helps human beings track down and destroy the rest of the wolf-pack although the Master escapes , even though he knows he will himself be flayed alive and his story written upon his skin to be passed down generation to 17 The Horror Pulpit generation.

Either that, or the God or Gods that rule us are indifferent to human fates. This was variant enough on the were- wolf theme to distinguish the story as an original, but Murm was not content to simply explain the supernatural in terms of the extraterrestrial. He portrays the Master as so enraged by his inescapable predicament that he deter- mines to sow misery and discord among human beings for the duration of his immortal existence. It's hard to tell if Munn had in mind from the start the trajectory that his werewolf series wound up taking, but in any event "The Werewolf's Daughter" deviates markedly from the path taken by the first two stories in the series.

Although Munn had shown more of an interest in the human drama of his stories, the supernatural ele- ments his werewolf saga recede almost completely into the back- ground. When a villager is found dead from a wolf-mauling presumably the work of the Master , she is forced to flee a lynch mob in the compa- ny of a passing gypsy also por- trayed as an outcast and escapes their wrath otUy by entering into a bargain with the Master that at least one person In each successive generation of her family will serve him.

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Invariably, the Brenryks are victims, not perpetrators, of the misery caused by catastrophic histori- cal events, and the Master delights in promising them deliverance if they will serve him, only to show that events would have turned out as they do even had they not acquiesced to his temptations. Essentially a depiction of history as the tragic sum of human ignorance, intolerance and superstition, Munn's werewolf saga is a rare example of the profundity some writers achieved in pulp weird fiction.

As a whole, the series shows that Murm grasped very early In his career the undentanding that the werewolf, like other supernatural beings, was most interesting when used as a mirror for reflecting on the human condition. It's conceivable that Jack Williamson, who began writing for Weird Tales in , was familiar with Munn's werewolf saga when he wrote "Wolves of Darkness" for the January, issue of Strange Tales. Although fiequently catego- rized as a werewolf tale, this oft- reprinted novelette is a weird scien- tific tale about an experiment in extradimensionai exploration that goes awry, admitting beings from a "black dimension" into our own who commandeer the bodies of organic life forms at a remote west Texas ranch— primarily wolves but also human beings, both dead and living — to coerce a hostage scientist into repairing the machine that will let more of their kind into our dimension.

But it would be wrong to give the impression that Williamson is in any way a derivative writer. The proof is in his novel Darker Than You Think, not only the most original werewolf novel to appear in the weird fiction pulps, but arguably the single most ingenious werewolf tale ever writ- ten.

studio.bluetangent.org/jecac-conocer-gente-mexicali.php Campbell, deliberately tried to distance its contents hom what was being published in Weird Tales. Probably the most impor- tant distinction between the two magazines' editorial policies Is that Campbell, who also edited the trend-setting magazine of sci- ence fiction's Golden Age, Astounding Science Fiction, asked Unknon writers to develop the premises of their fantasies along the same logical lines as science Action, i.

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Williamson let the disciplines of anthropology and psychology shape his tale's logical guidelines. Its members have brought back with them a sealed box whose contents will purportedly have an earthshaking impact on the way we think of the origins of human life. But before expedition members can divulge irtiormation about their discovery, they are killed off one by one in apparently freak encounters with wild animals: one Is killed by wolves, another by a saber-tooth tiger, and another by a huge snake.

The novel's point-of-view char- acter is Will Barbee, a semi-alcoholic newspaper reporter who was forced by circumstances to give up the training that would have made him eligible to go on the expedi- tion. Throughout the novel, Barbee grapples with "dreams" in which he teams up with April Bell, a femme fatale he meets while waiting to greet the returning expe- dition, and hunts down expedition members in a variety of animal guises. Eventually, it is revealed that the box contains the remains of Homo lycanthropus, a species of shape-shifting human that eventually lost the evolutionary high-ground to Homo sapiens, but have skillfully aossbred themselves with mankind over the centuries to the point where they are on the verge of returning to power.

Purer-bred lycan- thropes have always walked among men, and the less cau- tious have been persecuted as witches and warlocks. Others have held power positions in which they secretly manipulated the course of history to benefit the species. The ingenuity of Williamson's handling of Barbee's psychoanalysis sessions informed to some extent by insights Williamson gained during his own psychoanalysis at the Meninger Clinic is that the psy- chiatrist's interpretation of Will's dreams Is psychologically sound, at least from a Freudian perspec- tive: they do stem from subcon- scious impulses and urges that demand to be satisfied.

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Only later does Barbee realize what his psy- chiatrist has been hiding from him, and what possibly all psychi- atrists since Freud have been hid- ing from their patients: that their primitive subconscious impulses are the result of Homo lycanthropus blood flow- ing through their veins. Not every writer who wrote more than one werewolf tale for the pulps reached the heights scaled by Williamson and Munn, or achieved the same notoriety through them enjoyed by La Spina and Quirm.

However, they put the creature to interesting uses and further expanded the fictional werewolf's legacy.