(Sketch for a Chill of Cthulhu campaign)
No deep ones, no tommy guns, no Delta Green, but not purist Lovecraft either--the horror is too personal.
Nobody's ever very good at anything, even the monster. Except maybe pyrokinesis. If "big" counts as "good".
In the gothic as we've come to know it, it all feels right, sexy. That's what the word 'seductive' implies.
In the gothic the monster has to be known at least well enough to be attractive (which is why gothic eventually knew the monster well enough that you could be a vampire).
Not here: The metaphysical anomaly in Nosebleed horror is just wrong. All wrong all the time.
People forget to shave and it does not look good on them.
Was Rosemary's Ob/Gyn in the cult, too, or was he just representing the apathy of authority to the complaints of women and SAN-damaged citizens?
If we as an audience aren't even expecting an answer, that's Nosebleed. She's desperate and on the run and no-one cares and that's Nosebleed.
The monsters aren't monsters, they're deformities. They aren't adapted for fighting, they aren't meant to do anything. They just appear and are wrong.
They'll go down easy sometimes. This isn't survival horror.
But the evil doesn't care because it did most of what it was going to do to you as soon as you saw it.
Unlike the classic Lovecraft--where any human law that lays eyes on the enemy sees this enemy as the enemy--this subgenre understands running-from-the-cops desperation as one more example of the desperation.
No one will ever notice or care. Ok, they might run and scream, but their running and screaming is as much from you as from it.
Or: if the problem doesn't start with the Torrances, it's less nosebleed. It's a slasher movie.
Mechanically, I should mention, this works in Call of Cthulhu really well: players, unlike Lovecraft protagonists, quickly turn pragmatic when faced with horror and Cthulhu, unlike so many systems, is happy to watch them face the problem pragmatically and then fail at it and RPG cops, unlike Inspector LeGrasse, will not help you.
In this horror, the villains call the cops.
You don't see it, you don't see it, you don't see it, then you're gone.
In Nosebleed you might see it in the first scene, but then it disperses into a kind of ambience and it's not so much you're scared of seeing it (it's there) as what exact awful form it's about to crystallize into this next time.