Kurt Komoda     agony@optonline.net

Saturday, May 21, 2016

H.P. Lovecraft's Night-gaunt: The Tickling Terror

   "Suddenly, without a warning sound in the dark, Carter felt his curved scimitar drawn stealthily out of his belt by some unseen hand. Then he heard it clatter down over the rocks below. And between him and the Milky Way he thought he saw a very terrible outline of something noxiously thin and horned and tailed and bat-winged. Other things, too, had begun to blot out patches of stars west of him, as if a flock of vague entities were flapping thickly and silently out of that inaccessible cave in the face of the precipice. Then a sort of cold rubbery arm seized his neck and something else seized his feet, and he was lifted inconsiderately up and swung about in space. Another minute and the stars were gone, and Carter knew that the night-gaunts had got him."
                                                        - H.P. Lovecraft, The Dream Quest of Unknown Kadath, 1927

    H.P. Lovecraft wrote of the night-gaunts in his poem "Night-Gaunts" and in the story "The Dream Quest of Unknown Kadath." He certainly had a vision of what they were and how they behaved because, as a child, he was tormented by them in his nightmares- which I'll talk about a bit later. They were later expanded upon in the writings of Brian Lumley, who hinted that they may have mouths with which to suckle Yibb-Tstll's black breasts.

   The alternate title to this post could have been "Why I Hate Wings On the Backs of Humanoid Anatomy." For almost a quarter century I have struggled to come up with a feasible way that wings on a humanoid (while still retaining normal arms) could work and, for now, have concluded, like so many others, that it just doesn't- not with our bone structure and musculature, anyway. To carry the weight of the human body, the wings would have to cover an extremely large area, with a wing span of something like 25-30 feet. Now, the muscles needed to move such limbs would be immense, requiring additional bone area on the scapula and sternum- and these muscles and bones couldn't interfere with the existing arms. It just becomes ridiculous. Wings just growing out of shoulder blades always bothered me, even in the most beautiful depictions of angel or demon. For the purposes of fantasy, it really is best to ignore it and just plop those wings on there. What I am going to do, then, is take my very limited knowledge of physics and physiology and try my best to come up with a solution for a humanoid with wings while at the same time freely ignoring some of the complications.

   If we can change the anatomical structure of the organism we're dealing with, we're given some anatomical leeway. You see, we're not dealing with a human, or even an earthly lifeform. In fact, we're not even dealing with something that is absolutely confined to the physics of this universe. The night-gaunt is a denizen of the H.P. Lovecraft's Dreamlands, and while it is a "real" place- just one separate from ours- it is fantastical, and while I won't be as lazy as to just say this or that happens or exists "because magic," I'm pretty sure it is exempt from at least some of the laws of physics. I mean, cats can jump to the moon- the Dreamlands moon with forests and oily seas on the dark side of it. The Dreamlands is a constantly changing world, formed by the dreams of the people of Earth. Other planets and realms have their own Dreamlands.

 So, in no way would the night-gaunts that I draw "work." Lovecraft described them as "noxiously thin," so I wanted no musculature. The night-gaunts are black and rubbery, with a skin texture akin to a whale's. I picture them like a skeleton or demonic armature covered in oily latex, but with a bit of weathering here and there. The only loose flesh they have is the membrane of their bat-like wings. Lovecraft, again with the bat-like wings. It leaves room for artistic liberty, but this time I decided to stick with almost exactly a bat wing. Problem is, a real bat's wings are comprised of its two arms and the membrane goes all the way down to the ankles and then across to the tail. Night-gaunts have to have those two arms in addition to those wings.

Night-gaunt with its wings folded. In this design, the wing membrane only extends down to about the hip, something I later changed by extending it to the ankle.
Those Damned Wings: The problem with just attaching wings so that they just stick out the back of the shoulder blades is that, because there is an existing set of shoulders in the way, they would lack the clearance for the down sweep in the flapping motion. Now, if you watch this slow motion footage of a bat in flight from the Smithsonian Channel, you can see that while the wings don't down sweep to steeply, they still can't be blocked by the previously existing shoulders, lats, and rib cage, so the attachment point (where the humerus attaches to the scapula) has to be wide enough to accommodate this range of motion. It's basically like wearing a "wing pack" on one's back.   Notice that even the legs and the tail/tail membrane are involved in the flapping motion in the video below.

   Speaking of flapping, I've watched bats flying around in my parents' backyard on many a summer night. We used to throw pebbles into the air and watch them chase them for a bit. One time, my brother and I even tried bits of bologna, and I know at least one of them caught the piece- don't know if it ate it or not. Anyway, a bat's flapping sound, though quiet, is still audible. Lovecraft made a point of saying that the night-gaunts were completely silent, even in flight. Now, owls have special serrated feathers along the back edge of their wings to allow for near-silent flight, and that just doesn't work for membranous wings. Basically, I'm just going to attribute this to being a supernatural Dreamlands...thing.

The forward shoulders (the "normal" shoulders, if you will) on these sketches are too broad. The shoulders of the wings would have to extend out a bit further to allow a full range of motion.

   Assuming that the night-gaunt bone structure was light enough to allow for winged flight, it's still unlikely that they could carry the weight of a struggling human, but in the Dreamlands - and we might as well say in all of fiction- it is possible. I am confident we can all think of an instance where a winged  man-thing has carried something about its own size aloft, so we're just going to have to let that go (even though I will not let the wings sticking out of shoulder blades thing go!). In Dream Quest, the night-gaunts were able to lift the toad-like moon beasts into the air. Now, the story never describes the size of the moon beasts, but I imagine them to be these heavy, blubbery things. It takes several night-gaunts to haul even one up into the air, and not always successfully: "Sometimes a group of the black flutterers would drop a toadlike prisoner from aloft by mistake, and the manner in which the victim would burst was highly offensive to the sight and smell." I love that.

Two night-gaunts carrying a moon beast. A rather small moon beast. Probably should have drawn it larger.
   For some reason, once the night-gaunts are no longer these fearsome shadow entities and take on the role of loyal soldier and transportation, they fly in pairs to carry our hero Randolph Carter and his ghoul allies through the sky. I'm assuming that this was for some sort of comfort, but I cannot figure out how this would work. It's really hard, if not impossible, for a pair of winged things to carry a singular object- not talking about something spread out like a tarp or a ribbon- without their wings interfering with each other. Take a look at this illustration from The Wizard of Oz, drawn by W.W. Denslow:

   Now, it looks wonderful as an illustration, but there's just no way those flying monkeys could flap their wings without hitting each other or Dorothy. Still, I bet that what we see in the drawing is exactly what Lovecraft was thinking.

   Now, in the drawings above, we can see that it still would probably be best for just one night-gaunt to carry one man or ghoul, though, I doubt that there would be a comfortable way to do this. In the first drawing, it's like the man is being held in baby-swing position, with the hands grasping the thighs from below and the back being supported by the forearms. The second drawing shows a tandem carry- with one night-gaunt behind or below the other. This...I suppose could work, though I don't know how efficient it is and it doesn't look very comfortable the way I've drawn it. In the third drawing, the night-gaunts have these tiny Final Fantasty Moogle wings, so they can fly side by side and not bump into each other. Okay, I haven't solved this at all and I'm not going to. Let's move on.

I imagine that the wing membrane wouldn't be so saggy looking as this, but I was using a hairless bat as reference and loved how the membrane looked.

The Basic Shape: Lovecraft dreamed of the night-gaunts. Rather, he was tormented by them in dreadful nightmares, as described in a letter to friend: "When I was 6 or 7 I used to be tormented constantly with a peculiar type of recurrent nightmare in which a monstrous race of entities (called by me 'night-gaunts'—I don't know where I got hold of the name) used to snatch me up by the stomach...and carry me off though infinite leagues of black air over the towers of dead and horrible cities...The "night-gaunts" were black, lean, rubbery things with bared, barbed tails, bat-wings and no faces at all. Undoubtedly I derived the image from the jumbled memory of DorĂ© drawings (largely the illustrations to 'Paradise Lost') which fascinated me in waking hours."
   And then "...They had no voices & their only form of real torture was their habit of tickling my stomach...before snatching me up & swooping away with me. […] They seemed to come in flocks of 25 or 50, & would sometimes fling me one to the other." -I cannot find a copy of this letter or a complete transcript of it- only portions of it here and there. There are numerous books dedicated to the letters of Lovecraft to various friends.

   I think that the silent, black, night-gaunts in Lovecraft's dreams were like winged nightmare shadows come to life. Of the tickling sensation, I can say that I have personally felt something like this- sort of an electrifying paralyzation that occurs in dreams- probably akin to dream paralysis (where certain motor functions have shut down during sleep but your mind is semi aware). It has happened to me while being attacked by some nondescript entity (a shadow or shape). I wonder if it's the same thing that Lovecraft was talking about.

The elements of my night-gaunt design. The bat wing is from www.uksafari.com. The devil's purse, the black beetle (possibly blaps gigas), and the black wasp paralyzing a spider to be used as her future nursery (possibly Anoplius nigerrimus) are my own.
   When drawing the night-gaunt, I drew inspiration from a few things. Obviously, bats. The bat wing and the texture of the membrane was very important. Devil's purses, which I find on the beaches on the Jersey shore, have the perfect texture (when soaked) and these long, curly hooks on them, which made me think of claws adapted for tickling (I guess another design would be something that looked like a Koosh ball for a talon). I like the rubbery black texture of the beetle and I've always felt that the night-gaunts would have a wasp-like appearance with their elongated limbs, not to mention their behavior.

A Trip Down Night-gaunt Memory Lane: Now, I've been drawing night-gaunts for years (and not real well, mind you!). So, let me show you some of my early designs from way back there in the closet full of sketchbooks.

   July, 1992: My first drawings of the night-gaunt were pretty typical. I think those horns would be considered outward pointing, so that's wrong. You can see by the bottom sketch that I'm already troubled with the wings on the back concept.

   July, 1992: At this point, the head is just this ovoid shape. I'm starting to elongate the limbs, but the forms are still too thick, especially the tail. 

   First studies of bat wings and how they might apply to the night-gaunt. You can see that I basically just took the bat on the left and stuck it on the night-gaunt on the right. At this point, I even had a small set of pseudo legs extending from the hip so that the wing membrane could attach there.

   January, 1993: I thought it might be interesting to add a bit of form to the head, but these camel-like designs are just funny looking. The two-thumbed design on the right is stolen directly- and badly- from Wayne Barlowe's Overlord design from Barlowe's Guide to Extra Terrestrials- one of my favorite books from my childhood.

    1994: By this point, my night-gaunt designs began to take on more insectoid qualities. Wings have a barbed or serrated edge and the horns are still outward pointing. 

   1999: Introduction of the "x-faced" night-gaunt. Horns became larger and ridged. Was playing with the idea that the non-wing arms would be these arthropod limbs extending from either side of the chest which, when folded, would fit into the cavity under the sternum. I dunno.

   1999: Okay, I have no real explanation for the one on the left, with its huge crustacean arm and muscular legs. The thing on the left side of the right page is just a doodle, but I kind of still like the night-gaunt on the right, although I could do without the massive hips/pelvis.

   2000: A really clumsy handling of the wing limbs on the left, with both pages looking more towards pterosaur anatomy, Still sticking with the "x-face" design.

   2000: Still pursuing the pterosaur wing design. The drawing on the right was supposed to be night-gaunts communicating through gesture, but I abandoned it on the grounds that it sucked.

   2006: Doodles of the night-gaunt with the x-face becoming less pronounced. Also, studies for Baku, a Yokai from Japanese mythology. Yep, all those years later and the wing design was still no closer.

The Head: I don't have a real clear opinion of how the head should look. It seems like every time I draw one, the head is a bit different.

Various night-gaunt head designs, some with the hint of features. The one in the center that's just pencil line- not shaded with wash- was a design that occurred where there would be this mass of wrinkles that could form expressions. I thought this might be something, since they spoke entirely in gesture,but then realized that it would imply a definite feature on a featureless face, so I abandoned it. It was a silly idea. The lowermost one with the black wash is this "X-shaped" night-gaunt face that I was using for years. Also, you can see that I haven't settled on a horn shape, yet.

   The interesting thing about drawing the head and neck of the night-gaunt, and one that I was constantly forgetting, is that this is a creature with no features, which meant that it had no nasal passages, no need for any musculature on the face, no mandible, no throat, and -supposedly- they were mindless. I don't think that necessarily means that they have no brains, but it is interesting to think that they are these just dream constructs, without any need for such things.

Night-gaunt skulls.
   I began to think of what their skulls might look like. I'm guessing that they would be these solid masses of bone, but it's also interesting to think of a skull being nightmare twisted. Like if you took a human skull and smeared it flat like it was made of clay. The remnants of features and divisions in the bone might still be visible, but maybe don't transfer to the skin that encases it.

   Looking at my old drawings, the description of the night-gaunts being faceless immediately made me think of this smooth surface where a face would be. As time went by, I began to add hints of features or even features that could contradict a face. In the end, I think a blankness, like a phantom's face in stark shadow, is more appropriate. Right now- and I say this because my opinion may change in an hour- I even want to avoid the hints of a brow or cheekbones, as I have done in the previous drawings. Maybe it all goes back to the x-face. I still like that one. 

   The night-gaunt head is just one of these things that keeps changing in my mind, and I'm not sure why. With the inward curving horns: again, there's a lot of leeway, but we can take note that no special attention was paid to them, so we know that they probably weren't immense or elaborate. Right now, I'm partial to the second one in the top row in the sketch above.

The Hands: As the instruments of the night-gaunt's torturous tickling, at the last minute when starting the drawings for this post, I decided to make their fingertips- in fact the tips of all their extremities- these long wiry things, like the hooked ends of the Devil's Purses I find on the beach. I had considered- and with no justification from the source material- that they can extend and retract these hooks at will, but really only because when I look at them I think that they must be terribly bothersome when not tickling something.

Hands of a night-gaunt. Tips retracted.
   No matter what, long fingers and toes lend to the look of the night-gaunt, so I like them to be almost cartoonishly elongated.

Further Thoughts: I was going to do a whole section about the night-gaunts form of communication through gesture, but I felt that it was pretty self-explanatory and I wanted to finish this within the week. I do wonder what they would talk about, unless it's just directions of how to get to this or that, similar to how bees communicate to other bees the location of a flower (by wiggling their butts).

   Even though the night-gaunts are mindless, there must be some continued order throughout the species, as they have certain enemies and allies  and seem to know where things are in the world. I'm not going to go into night-gaunt reproduction because I have no idea and I don't think that Lovecraft  ever even thought about that.
   I find it curious that Lovecraft was tormented by the very thought of these winged beasts, but that in The Dream Quest of Unknown Kadath they are almost instantly made to be tame with the use of a secret password, which I bet Lovecraft himself had wished he had possessed when he was 6 years old. 

Tuesday, May 10, 2016

The Mi-Go, the Official Lovecraftian Monster of Vermont

   What follows are my attempts to depict H.P. Lovecraft's Mi-Go, the Fungi From Yuggoth (probably Pluto) based on his descriptions in "The Whisperer in the Darkness." I make no claims as to their accuracy, but this was just a fun creative project to do in a week where not a lot of freelance work is coming in. Okay, let's dive in.

   The Mi-Go are described as 5' pinkish, vaguely humanoid, crustaceans that were more vegetable than animal, having a fungoid structure- despite the presence of a chlorophyll-like substance. The had several pairs of limbs and great bat-like wings that extending from the middle of their backs.Their heads were a mass of ringed pyramids covered with short antennae, There were a few more descriptions throughout the story, but we'll get into those later.

- Oh, I'm going to be going into spoilers for "The Whisperer in the Darkness, " so if you have not read it- do this now: The Whisperer in the Darkness

The body of a dead Mi-Go seen in flood waters of the Passumpsic River, Vermont. 
   Right off the bat, the whole "fungus thing" trips me up a bit. I suppose it could mean that even their carapaces were made of some sort of fleshy, spongy substance, but for some reason I've always jumped to the conclusion that Lovecraft was referring to their heads and internals- or just their basic molecular structure was fungoid (there are some rather hard and tough fungi out there). I think my design may be a bit too lobster-like, but as I tried to design and re-design my Mi-Go, I kept coming back to it. Well, both fungi and crustaceans have chitin in common. It forms the cell walls of fungi and crustacean exoskeletons.

   The second stumbling block was the whole vaguely humanoid outline. Now, Lovecraft wrote of this in such a way that it gives a bit of leeway. Walking upright on two hind legs with an ovoid head on top may be all he was suggesting. I did know that I wanted to give them larger hind legs, while the rest of the limbs would serve as arms.

Vaguely humanoid? ehhhhhhh....kind of. Vaguely vague. 
   Now, the vaguely humanoid outline comes into play late in the story- like real late, as in the very last sentence- when it is revealed that the strangely stiff and be-robed seated figure of Henry Akeley has been a Mi-Go in disguise, wearing what our narrator,  Albert N. Wilmarth, prays to be just perfect facsimiles of Akeley's face and hands (it's more or less suggested that they are, in fact, Akeley's actual face and hands). So, apparently, all it takes is the mask of a face wrapped around the head and neck with a long yellow scarf, a dressing gown, a pair of human hand gloves, bandages wrapped about the feet, and a comfy chair in a dimly lit room to disguise a Mi-Go as a human being.

"Don’t bother that fresh, shiny cylinder joined to the two testing instruments—the one with my name on it." Okay, H.P. I'm sure that won't come back at some point.

   This complicated things, because all of my early designs were way too bulky to pull off this sort of ruse. I hadn't read the story for about 25 years and had somehow forgotten the bit about them fitting into the shape of a human. I figure the robe in a seated position could have been very bulky with odd shapes here and there and still pass without suspicion in a poorly lit room.

Here is a drawing I did earlier this year, before re-reading the story. There are multiple problems with it. First, the antennae on the head are too long. It lacks hind legs to walk on. Although it does have hands, I wanted more of the Mi-Go's limbs to be practical for an intelligent race capable of hyper advanced surgical procedures.

Early sketch done for this blog, when I was still in the early stages of trying to work out the wings. All of my early sketches (from last week) have this kind of bulky structure. As they go on, they become more streamlined.
The Wings: Wings always give me trouble. The Old Ones' wings gave me a lot of trouble. The wings of the next blog post's subject, the Night Gaunts (or any humanoid with wings apparently sticking out of their scapula), gave me trouble. The wings of the Mi-Go gave me trouble because you have these bat-like fleshy membranous body parts somehow attached to chitinous body parts. Yeah, they're beings from outside the known universe, but Lovecraft mentioned the parallel evolution with our crustaceans, and you can't just have membranous wing attaching to a chitinous carapace. I mean, you could, but it wouldn't look right.

   The first sketches were just trying to figure out how to attach a bat-like wing to an exoskeleton. I was still pretty sure that the final result would definitely not just be a bat wing.

   I decided to try and base my wing design on an insect wing, but one that still looked "bat-like." The wings of larger beetles, like the Hercules Beetle, have this appearance. Toward the bottom of the page, you can see that I started to blend it with a bat wing, complete with a membrane that attached and stretched along the body, as opposed to tapering to a single point connection, like an insect's wing.

    The final design- or, the one I've settled on for now- is combination bat-insect wing that somehow fold up real nice and tight like a real bat wing. Now, real bat wings have a huge wing surface because the membrane basically goes from the bat's shoulder down to its ankles,and then webbing on the tail forms more of a wing surface. Here, the wing surface only goes from the shoulder to about where the hip would be.It wouldn't work at all unless the Mi-Go's body structure was incredibly light -which it may very well be. Well, in the story it does say that the wings were meant to traverse the ether of interstellar space and were not very well suited for flight on Earth. The only one seen flying leapt from the top of a hill, and besides...their very atomic make up- their electron vibrations, it says- are wholly different from ours. There's a little leeway in the physics.

The Limbs: Of this, I am certain: that I really do not know how the limbs of actual crustacea work or fit together and that anyone with a passing expertise on the subject will recoil in disgust at what I've done, BUT...I will again resort to the fact that we're talking about outer beings from outside the known universe, wholly comprised of a different type of matter. I have, however tried my best to adhere to Lovecraft's "parallel evolution" and made these  things try to make as much sense as is possible within my limited knowledge. 

      As you can see in the drawing and quotes from the source material above, dated April 27, 2016, the first thing I tried to tackle was the be-nippered claw of the hind leg, which left the footprints of ambiguous direction. The description says that there was a central pad and then pairs of nippers extending from that. I originally drew 3 pairs of claws, but later brought it down to 2 pairs, for no particular reason. I figure that the claws would lay flat when walking, but all four on each foot could be used like a 4-clawed hand. The multiple claws would become the basis for the other limbs, moving up the torso.

    So, starting with the hindmost pair of legs, we have 4 claws or nippers, as Lovecraft refers to them. The next 3 pairs are the primary hands. I figure that an exceedingly intelligent race that has been on earth for hundreds of millions of years (they came from space and waged war against the Old Ones at one time) capable of  interstellar navigation and travel and miraculous surgery would need something more than claws.These hands have 3 segmented digits, one in the position as a thumb as opposed to being evenly distributed like a tripod. They would have softer, padded surfaces on the palms and undersides of the digits for gripping. The last two pairs of limbs (the topmost) are your basic pincered crab-like limbs.

The Technology: 

   Above is a drawing of, well, the latest in Yuggothian kitchen appliances, apparently. You all know very well that "Akeley" had Wilmarth plug wires from 3 devices into one of the metallic cylinders they use to store the live brains of other beings. One device gave the brain in the cylinder sight, the other a voice, and the third hearing....I think.

    I didn't give the devices described in the story much attention, because I didn't really know where to go with them. It bothers me that such an advanced race, using metals not of this earth, would use dials, wires, plugs, and vacuum tubes. I *suppose* they could have, I dunno, just been efficient by using local hardware they had access to, but....would they really use that technology with beings from other planets during their space travels? This is obviously just a case of Lovecraft not being that keen of a futurist. I mean, with the right two-way brainwave translating software, one smart phone is probably more advanced than all 3 of the devices mentioned in the story.

The Head: For some reason, most artists tend to draw the head looking like a big exposed brain. The story describes the head as "a sort of convoluted ellipsoid, covered with multitudes of very short antennae" and "a lot of pyramided fleshy rings or knots of thick, ropy stuff covered with feelers." Okay, so here we go:

   Now, I don't know the dimensions of the pyramided ring structures or their distribution about the head, but I did want to evoke a fungus-like appearance. It didn't say that the numerous short antennae extended from the tips of the pyramid structures, but it just seemed like the thing to do. I mean, why would antennae be recessed? I took liberties with the mouth area and the modified palps that look like mantis shrimp chelipeds. I haven't drawn the mouth in detail, but I figure that they're similar to crab mouths, although capable of speech. 

    The Mi-Go communicated through 3 methods: telepathy, buzzing noises which could imitate speech in any language, and by changing the colors of its head. I figure that their heads have chromatophores like squid and cuttlefish and can communicate with elaborate color displays (Video of squids communicating through flashing color changes). Most useful in the vacuum of space, although...telepathy would seem to trump any other type of communication, but what do I know?

Molting: As a kind of arthropod, it seems likely that the Mi-Go would have to shed their skin to grow. No mention is ever made of this in any of the stories, so this is just creative speculation. Now, again, they're outer world beings with a fungoid structure, so anything goes, but I like to think that they go through many instars before their final molt, when they finally grow their wings.

Molting Mi-Go

   Above, we see a Mi-Go undergoing its final molt, emerging from in between the first and second segments of the cephalothorax carapace, similar to how a lobster molts. Up to this point, the wings were underdeveloped wing buds, but upon shedding its skin, fluid is pumped into these buds and they grow into full wings.

   Okay, the above is something no one would ever see, but not because the Mi-Go are a secretive species on our plant, but because the exuvia, the shed skin, would disintegrate hours later just as the dead bodies of the Mi-Go do. Being not of our part of the universe, their matter breaks down soon after death. Also, while I made a weak attempt to make it look like a vintage photo, the matter of which Mi-Go are made cannot be photographed (at least by cameras in 1928, when the story takes place). I was just messing around with a silly idea, since I had such a childhood fascination with cicadas.

A "Migou" or Yeti in the Himilayas.

Abominable Snowmen and Other Species: Henry Akeley tells Wilmarth that the Vermont species of Mi-Go are one of the few that still have wings. The word Mi-Go comes from the Tibetan Migou- "wild man"- another name for the Yeti or Abominable Snowmen. Supposedly the legends of the Yeti or Migou come from the sightings of the Himilayan species of Mi-Go. Having been on Earth for hundreds of millions of years, they've had plenty of time to evolve into separate species or, I suppose, to surgically or genetically alter themselves to better suit their environments.

   I originally drew the Himilayan Mi-Go covered in long wispy fur, being inspired by the Yeti crab (Kiwa hirsuta) until I realized that 1) the Mi-Go are perfectly fine traversing the cold vastness of space, and 2) that the Yeti crab's fur isn't used for warmth, but possibly for chemosythesis, using the filamentous bacteria to detoxify the water around the deep sea hydrothermal vents where it lives.Still, I wanted there to be some sort of white fur. Enough to possibly have evoked the legends of the Yeti. I also wanted them to be wingless and a bit sturdier; built less lobster-like and more like a coconut crab (Birgus latro)


    Well, that's all I have for now, I hope to have another post next week. Bye!