No one is saying that his books or the books of any other problematic dead white man/author need to be burned and ignored. A lot of people are the products of their times and circumstances—though, I’m sure you know that saying Lovecraft was just that is fairly reductive of like decades of scholarship on the man.

This is a pretty good overview someone else linked in a comment not replying to you

to be fair: he was constantly in communication with authors and other intellectuals that thought his more racist views were seriously out there, and finding out he was not 100% of Aryan descent might’ve been the almost-psychotic break he needed to start being less racist...since, y’know.

1) Stop begging the question about racism-at-large or “does this problematic thing I enjoy make me problematic” because that ain’t what we’re talking about and you know it.

The correct response.

I guess I’m approaching it more from the viewpoint of being a creator / writer, in that regard. I think the average fan might not need to know or contend with Lovecraft’s racism if they’re just looking to consume “something scary,”—but really understanding Lovecraftian Horror, for me, requires that you also grapple…

Try reading The Horror at Red Hook for probably the most obvious racism you’ll ever see in anything fictional short of a KKK handbook.

Excellent use of Atomic Robo.

Imagine playing a modern riff of Lovecraft, thinking the idea is pretty cool, then going on to read almost any of his writing. Like, close your eyes and throw a dart at a board picking what to read.

Yeah, he belonged to a very small subsection of anglophile racists that even your average racist found insufferable and weird—so, that’s saying something about how bad his views were.

And this right here is why we need to continue having discussions about Lovecraft and his role in pop culture + literary history.

https://lithub.com/we-cant-ignore-h-p-lovecrafts-white-supremacy/

the thing is, even when it’s not a character doing the narration, his crazy obvious racism shines through. i agree that in some stories you can maybe play it off as the narrator being a typical new england/anglophile racist at the time; but that’s a very, very low number of his stories.

I disagree with it not mattering, especially in 2020. Any author who wants to work with or adapt Lovecraft—especially biographically—needs to bring that shit front and center—even if his views did soften as he aged (and they didn’t soften by much, tbh)—because so much of Lovecraft as a person literally defines the…

Every single co-author and person who has picked up and improved on his writing/universe/whatever you want to call it demonstrates that, objectively? Yes.

I’m gonna walk back this comment since I see enough people dog-piled you for it.

And now with that out of the way: hasn’t this been done multiple times by different publishers? Correct me if I’m wrong, but I’m pretty sure folks over at Chaosium have been saying this for years, or at least that more recent products/tabletop rpgs have been putting this disclaimer in somewhere.

Oh, most definitely. The first two seasons of Digimon definitely pushed boundaries, but Tamers is where the franchise really succeeded in forming its own identity.

Digimon Tamers (the one with the card battling) was a self-contained story that made a ton of sense from beginning to end and requires no knowledge of season 1 or 2 to enjoy.

10-1 that Patamon is an egg or baby until the fight with Devimon, then WHAM Angemon comes out.