IoM Artist Showcase: Scott Blair, Day 2

Continuing our conversation with this week’s IoM Artist Showcase illustrator Scott Blair… Today, we focus on the artist/client experience.

cover_bwidow1Ideology of Madness: From my own experience, I get the best work from artists when I can get them excited about the project. When someone is seeking commission work from you, how best can a client engage you to get you jazzed?

Scott Blair: When a client follows my work, usually they can tell what I like to draw. It’s easy to tell on the initial interaction if I’m going to be jazzed about the project or not. I’m fortunate now at this point where I can pick and choose what to take and what not to, I don’t take projects I don’t get excited about anymore. The end result just doesn’t turn out as good.

IoM: If you’re drawing just for you, what’s the subject?

Scott Blair: I love to draw sexy femme fatales with monsters, maybe it’s from growing up watching old Universal horror movies.

… Come back tomorrow through Friday for more of our conversation with Scott Blair and his artwork.

Dread

There are a couple of core facts that are common to almost every role-playing game.  Even for newcomers to role-playing games, people not like me who have been doing it for decades; one of the most basic items of every game, one that seems intrinsic to role-playing is dice.  Unless you are playing a pure storytelling game which is just storytelling and not really a game at all, you need some sort of random result generator.  For most of role-playing history this random result generator has been some form and number of polygon or polygons with different symbols painted on the sides.  Usually, those symbols have been numbers but words, symbols and even advertisements have been used.  For some games, they have branched out to other randomly generated results like cards.  These options add a bit more strategy to the game and even a little skill but are still based (literally) on the luck of the draw.  And of course, there have been combinations of the of different random result generators.

Dread stands the idea that dice or cards to randomly generate result are needed to play a game on its head.  Instead of dice, the game uses a stacked block tower (hereafter referred to as a “Jenga” tower because, no one calls them “cotton swabs,” either.)  There may be some debate about how much influence the player’s dexterity and skills have over the effects of the game as opposed to the inherent abilities of the character, but there is more than a little brilliance in the simplicity of this device. Read more

Funnybooks with Aron and Paulie: He Saved Everyone One of Us!

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Flash…Aaaaaaahhhhh! He saved every one of us! Yes folks, we have a new Flash Gordon book and, spoiler warning, it’s freakin’ fantastic! We’ve also got new #1′s from Marvel and Zenescope, Invicible has a really bad day, and we give our full thoughts about Captain America: The Winter Soldier!

  • Kings Watch #5/Flash Gordon #1
  • Iron Fist: The Living Weapon #1
  • Helsing #1
  • Invincible #110
  • Captain America: The Winter Soldier
  • Wayne went to St. Louis Wizard World
  • DC relaunching Suicide Squad and Teen Titans
  • Superman/Wonder Woman #7
  • All-New X-Men #25
  • Magnus: Robot Fighter #2

Also, don’t forget to check out our first quarter episode of Superman with Aron and Paulie featuring an interview with comics writer Ron Marz!

And give us a call at 972-763-5903972-763-5903 and leave us your thoughts. If we use your voicemail, you’ll win an Ideology of Madness SurPrize!

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IoM Artist Showcase: Scott Blair, Day 1

Hello and welcome to the opening of the Ideology of Madness Artist Showcase!

We love comics here at IoM.  We especially love comic artists.  Within the gallery of the IoM Artist Showcase we will feature a different artist each week, showcasing artist’s self-selected pieces in a week-long series.  Our effort here is to introduce you to both the artist’s work as well as the artist himself.  Our illustrator for this week is a talent I was initially exposed to on social media.

Click for hi-res imageScott Blair is a brilliant pinup artist, designing amazing 40′s style masterpieces.  He’s always drawing and always sharing.  Follow this guy on Instagram and you’ll enjoy daily updates of original art both in modern Big 2 comic-style as well as many works in the tradition of the pulps.

Ideology of Madness: Scott Blair, welcome to the Showcase… You’re a graduate from Middle Tennessee University’s graphic’s design program. How well do you feel your university experience prepared you for a career in art?

Scott Blair: Yep, I graduated from MTSU with a Bachelor’s Degree in Graphic Design. I learned that there weren’t many fun graphic design jobs available in Nashville, if you were lucky you could get an internship designing country music cds. So I moved back home and spent the next two years paying off my student loans and kept developing my illustration skills. If I had to do it over again, I would have saved the money spent and maybe taken some specialized art classes instead of spending all that time in classes teaching things I’ve never used to this day.

IoM: I gather you’re a full time freelancer. Have you been freelancing since school? What was your first gig after graduation? Related to that, how has your schedule as a freelancer changed since over the years?

Scott: It took me a while to become a full time freelancer. I worked full time with my family’s business, CAPTAIN BIJOU, selling movies, comic books and vintage movie memorabilia. At night, I would draw and paint art to sell on ebay or for custom clients. It took me about 5 years until I was making enough to go full time creating art. A typical day for me now, is waking up at 7, drawing custom sketches until noon. I’ll take a lunch break, then go back to drawing until 6. Stop for dinner, then work for a couple more hours – around 10pm I run out of gas.

… Come back tomorrow through Friday for more of our conversation with Scott Blair and his artwork.

Divergent

Divergent-posterTwo things before I begin.

Spoiler warnings on! Yes, I know it has been out for a few weeks but there still could be people that haven’t seen it and I don’t want to ruin it for them.

No, I have not read the books. Yes, I know that makes me a horrible human being. I will, when I have time, read them. I just have a large list of books to read that I do not know when I will get to it.

With that housekeeping out of the way, on to the review!

Divergent is the Story of Tris’ coming of age. She lives in a society that has survived a cataclysmic war. To Survive, they have divided the population into factions based around virtues in th hopes of preventing another war. When a member of the society reaches a certain point they are given a test to help determine which faction they belong to but are given the choice of where they want to be.

Tris is a member of Abnegation which values selflessness. This factions job is to run the government. Tris is the voice that introduces us to the varying factions and we get to see how she doesn’t fit in. When given the test, she discovers that she fits in to several different factions which makes her divergent. The person who administered the test explains that this makes her dangerous to the system and that she must hide.

On the day of choosing, We watch as she agonizes over her choice and let out a sigh of relief when she chooses Dauntless. What follows is her journey of discovering both who she is and the grans conspiracy that threatens the world in which she lives.

When I heard about this movie I was intrigued. The idea of breaking down a post apocalyptic world into factions is not new but the manner in which Divergent does it pretty neat. It sets you up to believe that things are organized with the best interests of the citizenry. The flaw is easily seen as well because anything that purposely sets up a class of selfless people will end up either taking advantage of them or victimizing them. In this case, Abnegation cares for factionless and the Divergent which makes them an easy target for the head of Erudite that sees this as giving in to weakness and misusing resources.

The conspiracy provides a nice backdrop to main thrust of the story. Tris journey of discovery about who she is and where she belongs is the true heart of this movie. It is a simple story that is told well with solid imagery throughout. We get the introduction to abnegation where more than a minute looking in a mirror is seen as almost a sin and serving others is to be second nature. This is not who Tris is and her discomfort is palpable on the screen. When the test is inconclusive, the fear of not knowing where she belongs and having to make the decision on her own is powerful. It captures the essence of that fear which we all go through as we transition from child to adult. What will I do? how will I make it?

There are points in the movie where these types of feelings are just portrayed within a scene that are highly effective. The whole Dauntless Jumping idea is just one of these. Once Tris has joined Dauntless, She has to leap onto a moving train and then jump up off a multistory building into a dark whole. They show how each decision made during this time feels so momentous and dangerous yet exhilarating. We get to see these same scenes later in the movie as she has come to grips with the decisions she has made and they are much less frightening and easier done now she has accepted more of who she is and she given up on the fear that made the choices difficult earlier.

The movie ends in an expected fashion. It is how she is different that allows her to escape the programming that turns most of Dauntless into mindless drones. It even allows her to save her new paramour, Four, who has been captured and brainwashed by Erudite.

I enjoyed this movie. The ending was expected and nothing truly unique was done with the setting. Despite this, it did everything that id very well. The acting was solid and the cinematography was good. In particular, I liked the set design. We have a city that is devastated yet functional. It has this decrepit feel yet a sterility that is unexpected in a post-apocalyptic story. It takes a story about not fitting into society and makes it accessible without being boring or bland.

I both want to read the books now and am looking forward to see the next movie. If you have time, make sure to see this in the theaters because it definitely worth a matinee.

Loki: Agent of Asgard No 1

Loki_Agent_of_Asgard_Vol_1_1_TextlessA few weeks back Aron and Paul mentioned a new offering coming to the All New Marvel Now. The title was to be Loki: Agent of Asgard. I sounded interesting and this second incarnation of the Marvel Now was being touted as new reader friendly. So with their recommendation and the promise of being a good jumping on point, I picked up the first issue.

This issue opens up with a very dynamic and shocking page. There is a full page of Loki thrusting a glowing sword through the chest of his brother, Thor. The only text on the page are two bubbles. Trust me. I know what I’m doing. The book then jumps into the past and shows us where this one page has it’s beginning.

Loki is on earth and working missions for the All-Mother. She interrupts him in his shower and gives him a mission. As he is undertaking said mission we get to hear his explanation of magic. It is a fairly interesting take on the subject and provides some excellent foreshadowing for the rest of the issue.

His explanation is that magic is telling a story and making the universe believe it. As he explains it, he talks about the various grimoires that can can house spells and even mentions an AD&D Manual which made me smile. Loki demonstrates this through his use of various magical item that he has liberated in his earlier adventures. It plays up the idea that he is magical Jason Bourne of the Asgardians and plays well into the actual reward for a successful mission which is the erasure of a horrible crime committed by his earlier incarnation. I know that this isn’t an original take on magic but it is one of my favorite and seeing it being used here to change the course of Loki’s future is intriguing.

The mission itself is to cleanse Thor. He had been tainted by something he had came in contact with but the other had not noticed. It had caused him to become more surly and brutal as time passed. It was dragging him down into a destructive cycle that had to be stopped. To accomplish his goal, Loki had to stir the Avengers into a mass of chaos and then become captured. This capture is not believable and it is pretty neat when Thor sits next to Loki and asks if he has time for a drink before his inevitable escape. He says yes and they have a heart to heart discussing how their relationship is broken and how it might he has tried to change but isn’t sure that he has really changed. The most touching point is when Loki pauses and then says lets swallow the lie as sometimes that is all we have.

Damn good stuff.

Loki then turns over the taint that had infected Thor as the All-Mother requested and heads off to continue on in his new life. The All-Mother opens the container to reveal that the presence was actually the Old Loki and he had gone to great length to get this audience.

I have to say that I enjoyed the story immensely and am fascinated by the two Loki and what this could portend. The art and colors are fantastic. Garbett’s art has these soft lines that gives an ethereal aesthetic that I find really accentuates the story. Woodard’s colors pick this up and adds a layer of energy that just pops from the page when there are these power dramatic moments and yet provide a sepia toned filter for the touching character moments.

I am looking forward to this series and will have a review of issue two soon!

Aetheric Dreams City of 10 Rings

The Nights of the Crusades game’s bread and butter is the juxtaposition of a fairly gritty, down-to-earth representation of the historical world during the crusades and just enough of the odd, mystical and supernatural to make it as haunting and frightening as the people of the period thought the world actually was.  Your character is not going to run into a fireball throwing wizard or bloodthirsty ork in a Nights of the Crusades session but you just might face a ghost, a curse or a thing that should not be.  Almost as likely is the possibility of your character dying from some plague or going insane from the seeing too much of the horrible face of violence.  The City of 10 Rings adventure supplement fully lives up to this promise, providing a setting grounded in medieval society but incorporating much that is darkly supernatural.

The City of Ten Rings (the only name the city that is the subject of the book has) is a classic hidden metropolis reminiscent of Atlantis, Xanadu or, more appropriately for the setting, Babylon.  Few know where to find the city and fewer still have the ability to get there and even fewer are welcomed.  For all that, it is a economically rich metropolis and engages in carefully controlled trade of the special metal that forms the heart of the city with distant lands.  Thus, though a difficult place to get to, characters could arrive there as sailors, guards or traders, either voluntary or involuntary on a trading vessel.  For that matter, they might learn rumors of its existence and the wonders it possesses and go on a quest to find it for any number of reasons.  How welcome they are when they get there is another matter.

There is not much in the way of overall history or topography given for the city.  The fact that the city was founded by a group of curious scholars on the enormous crater created by the impact of a meteor and how the ripples in the stone caused by that impact form the borders between the rings are described in the introductory portion of the supplement. Additionally, the minimal government of the city, namely that each ring is ruled by a Ring Bearer is provided in the few pages that make up this section.  The remaining details are rightly left to the section that describes each ring.

As might be expected by the name, there are ten of these rings, ranging from the graveyard that is the Ring of Bone on the outermost edge to the highly restricted, highly dangerous realm of study that is the Ring of Stars in the middle.  Actually, “highly dangerous” is something of a relative term in this city as every one of the Rings has its own dangers, from the rapacious traders of the Ring of Gold who will trample over anyone for a profit to the hidden, ever watching guard of the opulent Ring of Silver who are looking for any excuse to arrest or exile outsiders.  There is not one ring in the city that is not fraught with danger for those who do not understand its hazards.  And all these hazards are not entirely mundane.  There is a definite air of dark magic around many of the rings.  For that matter, most of the rings are fairly restrictive.  Even citizens of other rings are considered outsiders, in a way and can expect less than a warm welcome.

The format for each ring is set up to make adventure design particularly easy.  After a short description of the ring and the ring bearer, each contains three charts: one with ten street names, one with ten locations and one with ten events.  The charts of the street names contain nothing more than the Arabic name and a translation into English and are meant to be used only to provide some color, letting the Tale-Weaver provide a little color when characters find themselves in a Ring.

The locations and events, however, are fleshed out more completely.  Each one contains an in-game description, usually of the people and objects of the location or event, as well as behind the scenes information for the Game Master.  While these are hooks rather than full adventures, each of the ten rings contains ten of each, providing a full 200 hooks for Tale-Weavers to gain inspiration from.

Much like the streets, the locations are more for flavor and can be thrown in as a bit of color when the characters are wandering around a Ring or first arrive in one.  The hooks provided, though are easily complex enough to draw characters into a short encounter and could just as easily be expanded into a full scale adventure.

These adventures can incorporate some of the Events provided.  In fact, for Tale-Weavers strapped for ideas, the book advises rolling up three random encounters (each encounter determined by a d10 roll to determine the ring and another d10 roll to determine the event within that ring) and combining them with their knowledge of their characters and players to craft an adventure.  The encounters that are given for the Locations could be easily substituted in for the Events, too.

Of course, Tale-Weavers are free to pick and chose the Events and Locations they want to use as well as designing their own adventures in the City of 10 Rings using the Locations and characters provided or coming up with their own.

Neither path comes without some work, however.  Other than the random street, location and event charts, there are no mechanics included in the supplement.  Tale-Weavers are required to stat up the opponents and hazards their players will face, an activity that should no doubt take place before the adventure begins unless they have very patient players.

Whether or not this is a flaw largely depends on how a Tale-Weaver approaches a game.  It is hard to beat getting 200 adventure elements in one book and if each one was fully detailed, only a tiny fraction could be included or the supplement would be gargantuan.  As it is, each Ring’s Locations fit on one page while its Events fit on another.  For Tale-Weavers with more time and elbow grease than inspiration, the format works perfectly.  For Tale-Weavers with plenty of inspiration, it is of less value, but still quite useful as a sourcebook for an exotic setting.

Given the origins of the city, it is almost required that an element of something from beyond the stars be included in The City of 10 Rings.  The supplement delivers, in this regard, as well.  While not heavily fleshed out, there are plenty of oblique and direct references to creatures that have either been mutated by the strange energies of the meteorite that formed the foundation of the City of 10 Rings or that potentially arrived on that very meteorite.  While none are of Great Old Ones levels, there is plenty of room for terror from beyond the stars in the location.

With The City of 10 Rings Aetheric Dreams has once again nicely incorporated the real world setting that most of us are familiar with as the idealized inspiration of our gaming lives with the realities of that period and the darkness that was common in both life and storytelling at the time

 

Funnybooks with Aron and Paulie: Family Business!

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Paul and Aron are alone in the FunnyCave this week! What does that mean? Where are Wayne and Tim? Will their disappearance be investigated by Dick Tracy? Is Paul playing an April Fools’ Day joke on Aron or is there actually going to be a Dreadstar movie? Did we need another Aquaman monthly title? All these questions and more answered on this week’s Funnybooks!

  • Dick Tracy to solve the disappearance of Little Orphan Annie (link)
  • Paul & Aron: Family Business
  • Spider-Man: Family Business OGN
  • Captain America: The Winter Soldier (spoiler free chat)
  • Dreadstar the movie (link)
  • Aquaman and the Others #1
  • Earth-2 #22
  • Starlight #2
  • Moon Knight #2
  • She-Hulk #3
  • Inhuman #1
  • Caliban #1
  • Superman Unchained…delayed! (link)

Also, don’t forget to check out our first quarter episode of Superman with Aron and Paulie featuring an interview with comics writer Ron Marz!

And Give us a call at 972-763-5903972-763-5903 and leave us your thoughts. If we use your voicemail, you’ll win an Ideology of Madness SurPrize!

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Superman with Aron and Paulie: Interview with Ron Marz!

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Superman with Aron and Paulie is BACK! We’ve moved to a quarterly format for 2014 (since we’re doing Batman with Aron and Paulie monthly) and, for our first episode of this year, we’re interviewing friend of Funnybooks Ron Marz!

Ron recently contributed a 3-part digital story to DC’s popular Adventures of Superman (chapters 43-45), featuring wonderful art by Evan “Doc” Shaner. So, of course, this being a Superman show, we chat at length about the Man of Steel, including his favorite Superman stories and artists! In addition, we jump in the Way Back Machine and chat about Ron’s writing for DC vs. Marvel, back in 1996!

We also talk about the upcoming return of the creator-owned book Shinku (and the recent art submission contest for it), Dynamite Entertainment’s The Shadow Over Innsmouth, and so much more in this awesome extra-sized interview with one of our favorite comic writers!

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World War Cthulu: The Darkest Hour

Don’t tell him I know, but Aron is trying to destroy me.  Why else would he force me to read so much about things that are beyond mortal ken?  And every time I thought I was finished with them all, that there were no more soul defiling works to be read, he would send me more.   But finally, finally, I have read what is truly the last one.

And that last was perhaps the largest of the Call of Cthulu texts that I read.  World War Cthulu: the Darkest Hour is a supplement to the game system that is the first of its line.  This line is meant to tell the stories of what happens to the things humanity is not meant to know and the humans who are trying to know it against the backdrop of the various conflicts in human history that are horrible in and of themselves.  And this first one focuses on what may be the most horrible one of those conflicts, World War II.

One of the first topics covered in World War Cthulu: the Darkest Hour is the juxtaposition between the human inflicted horrors or war that are based in historical fact and the Mythos inflicted horrors that are based on fiction.  A point is made that the terrible things done by the Nazis were not caused by some otherworldly entity even in the fiction of this work.  The extent of man’s inhumanity to man is not diminished in this supplement.  This work simply adds another layer of horror to the terrible facts of the war.

To help give the setting some structure and a good basis for all the characters to come together, it is assumed that all the characters in the campaign work for a branch of British Intelligence.  This limitation puts surprisingly few bounds on character creation, however, as a rather extensive variety of people, from natives of the British Isles to natives of the Empire’s current and former colonies to partisans from the continent all served one function or another in British Intelligence during WWII.

And to help the players and game master get into the right mindset there is an extensive discussion of British Intelligence at the time.  Again, this is the sort of supplement that is so common for Call of Cthulu products that has portions that could stand alone as a scholarly document if the fiction and rules mechanics were taken out.

Just as thorough as the information about the real British Intelligence are the revised character creation rules used to make the characters who are going to be a part of the fictional one in the campaign.  In fact, the character creation section of World War Cthulu: the Darkest Hour is so extensive that I doubt that players would need the core rulebook to create their characters.  Especially given the information and mechanics specific to this setting that supersede the rules from the core book.

Every aspect of a character is defined and explored and given in game mechanical (especially skill bonus) benefits in this creation process from nationality to rural or urban background to education, hobbies and military service.  While the player is in control of every one of these choices, they quickly become dizzying and there appears to be a great deal of potential for obsessing over each one to get the exact results desired instead of just being able to get those results and then create an entertaining history to match.

The next portion of the book bridges the gap between player information and game master information by discussing common squad level tactics used in World War II.  These are tactics the players can use against their opponents but also ones that the game master can use against the characters and some rules suggestions that will apply to their usage either way.

The first purely game master matter in the book is a section that helps the person taking that role create missions and gives advice on how to make these missions appropriate and fitting to the setting.  This advice will go to great lengths to help the game master create missions and adventures that fit the tone of the setting.

Of course, the war spanned a great deal of world geography and even just focusing on a relatively small but significant part like Europe can be difficult for anyone who does not want to dedicate years to studying facts about the area and time to help them create a fictional game.  To help game masters avoid having to do this, brief descriptions and the frame work for possible missions that can be run in some of the more important or potentially interesting areas of Europe  are provided.

But a game about World War 2 would just be a game about World War 2 if there was not information about the Mythos to make it a Call of Cthulu game.  A list of Mythos threats with descriptions of both the entities, their cults, servitors and the possible tactics of all of them during the war is provided.  Again, nothing is done to diminish the horrific nature of the actual war as it historically happened and these threats from beyond prove to be more of scavengers on the edges of the conflict, simply opportunists who take advantage of the horrible human conflict rather than driving it.

Following this is a list of NPC’s that could be useful to the N Network, the branch of British Intelligence that the players will end up working for.  Like the rest of this book, this section is rooted in real world history and a few familiar names jump out.  For example, anyone who knows much about James Bond knows that the creator of this most famous superspy worked for British Intelligence himself.  Thus, it is no stretch for him to appear as a potential NPC for the characters to meet while operating with the British Intelligence at this time.

With the espionage aspect handled, an NPC who can deal with the occult part of the war in needed as well.  And who knows more about the occult at the time of World War II than the wickedest man alive?  Aleister Crowley is given as an NPC contact for the characters to tap when it is time to ask someone for information about things that are even more evil than he is.

Of course, while the basic rules of Call of Cthulu are quite extensive and cover most situations that arise, the world operates under different rules when there is a world spanning war going on.  A number of supplemental rules are provided to account for some of the special dangers that occur only when men are trying to kill men on a grand rather than on a personal scale.

For that matter, people in the military, especially people in the military during war have access to different pieces of equipment, especially those pieces of gear designed to kill or aid in killing their fellow men.  An extensive list of weapons, vehicles and other pieces of military equipment are provided.  But these are not the only rules for goods provided.  Additionally, a full discussion of the inability and expense of getting even the most basic of supplies during wartime by both military and civilian forces is provided including charts that provide the prices and availability of various items at different points in the war for each major country involved.

The book ends with the framework and details for a very extensive campaign that can be run in this setting.  It starts with a very small introduction but quickly jumps into the sites that the characters will encounter in the area where they will operate.  Each of these locations seems suitably mundane at first glance but has the secrets necessary to be as creepy and terrifying as needed in a Call of Cthulu campaign.  To give the game master a head start in presenting the plot, they each have at least one encounter provided for the players to deal with at some point in their investigation.

There are a wide variety of NPC’s provided for the ancient backwoods settlement that the characters will be making their base of operations and home for a time.  These characters are not just cardboard cutouts with a physical description and a single motivation that the game master is forced to flesh out.  Instead, the game master is given several layers to provide to the players as the characters get to know the NPC’s in their surroundings.  And in good Call of Cthulu fashion, every NPC has an ulterior motive and most of them have some dark secret that they are willing to murder, at least indirectly, to keep.

Also in good Call of Cthulu fashion, the bad guys are bad only because they have to be.  In fact, the evil that these men do can easily be considered part of a greater good.  While these bad guys (who are not Nazis) are doing horrible things and might do those horrible things to the characters to continue what they consider their holy task, it’s entirely possible that if the characters destroy/disband the bad guys, they will feel the need to take over that task.

Even the unholy entity that the bad guys worship is not particularly evil.  In true Mythos fashion, it is so vast and powerful that having ire toward such paltry things as humans is not only beneath it but would baffle it.  Instead, they are things of idle curiosity.  But, much like a small child with a too fragile pet, this curiosity and affection often means disaster for its subject.

If the party focuses on the assignment they’re given, they do not even have to come into conflict with the bad guys.  What they will have to face is the Entity and will probably butt heads with the bad guys at some point, but vanquishing the former is literally impossible and disbanding the latter is pointless.

Thus, in true Call of Cthulu style, fighting and trying to gain a victory over their opponents is pointless.

So, you can see, with this last, largest example of the sanity shattering works that Aron has cruelly forced me to read, it is obvious that he is trying to destroy me.  But he has made one fatal mistake.  Yes, a mistake he is going to regret and suffer mightily for.  You see, he has underestimated me.  I have not been broken by this knowledge he has made me ingest but rather been made stronger by it, a fact he is going to learn firsthand.  Oh yes, I shall have my revenge.  Know how I know that I’m going to succeed?  Because the Voices have assured me that I will.