Monsters are not just other—they are bigger. Well in the novel Frankenstein by Mary Shelley, Victor Frankenstein created a monster out of different parts of the body. Have you ever wondered what it is like to have to kill your own monster that you created?
Well in the novel Mary talks about how Victor had to try to kill his monster after the monster killed his wife Elizabeth. In Frankenstein the monster tries to kill all the things that Victor loved. In the book the monster would like a female monster to run away with but Victor does want to create the monster a female companion therefore the monster is crazy and it might be even worse with two monsters.
The irony of this is the monster is upset at Victor for. What Makes a Monster? Monsters are often thought of as green, abnormally large and scary.
They are believed to hide in dark shadows and forgotten street corners. Monsters have a bad reputation and the very nature of the term monster is not smiled upon. I believe these thoughts are generic and relics of a much safer past. In our morally bankrupt society monsters exist in the realist scariest form. As we step into adulthood and take our heads out of the comic books that shows us the danger of the Green Goblin we must now be alerted the real demons.
Adolf Hitler killed thousands upon thousands of people. His persona and legacy can only be thought of as sick and sadistic. Adolf Hitler did by himself what would take an entire army of …show more content… This lead to a total DNA change that turned him into a huge psychotic lizard. Mainly I want to see what makes the memorable monsters tick, what are they constructed from? How do we see them, and why are they memorable? Why do these monsters stick to us, psychologically, culturally, and why do others just kind of fall flat and are forgotten?
Even though they are not purely human, they contain enough features of being human to give readers empathy for the monster. Such features are empathy towards others, human emotions love, hate, anger, etc , and the joy of art or creativity, to name a few. They contain beastial natures that come across as primal and both contrast and amplify the humanity. This personality is usually expressed through the first two items on this checklist. The monsters humanity and how it is grotesque helps reveal the personality to the reader.
But, the creature from Shape of Water is, because it is grotesque and follows the rest of the list. What makes them stick and others fail? Business Books. Humor in Nonfiction. Creative Nonfiction. Write Better Poetry. Poetry Prompts. Poetic Forms. Interviews With Poets. Why I Write Poetry. Poetry FAQs. Get Published. Build My Platform. Find a Fiction Agent.
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WD Competitions. Annual Competition. Self-Published Book. Self-Published Ebook. Popular Fiction. Personal Essay. Short Short Story. Their limbs were removed by the hunters who supplied the birds in New Guinea. The birds were interpreted by European naturalists as heavenly creatures that never landed, inhabiting the boundary between the avian and the angelic. At the other end of the avian spectrum, Dutch sailors landing on Mauritius at the end of the 16th century encountered dodos.
Though rarely brought to Europe physically, the descriptions and detached parts of dodos were used by naturalists to depict ungainly, fat birds. Not only did dodos not fly, they could hardly walk.
Lacking the typical feathers and wings of other birds, they were almost mammalian in form. Monsters are not self-evident; they were created to serve these roles. Even beautiful creatures like the birds of paradise could become monsters due to their lack of limbs and imagined ascetic lifestyles. Making monsters added value. They were commercially lucrative things: oddities, curiosities and rare things were very marketable.
The market for monstrosity motivated the literal creation of monsters: 'mermaids' were assembled from pieces of fish, monkeys and other objects while 'ray-dragons' were created from carefully mutilated and dried rays.
These objects could be sold to collectors or displayed in menageries and freak-shows. Writing about and portraying virtual monsters helped to sell books and pamphlets. The tale of Cecil and 'The Dentist' is not so different. It is certainly highly saleable, as details about this particular monster's life and activities provide valuable fodder for media outlets. Animal monsters could have very specific roles. The dodo, for example, was depicted as vast and gluttonous in late 17th-century accounts.
It greedily consumed everything it came across, even hot coals. It was described as nauseatingly greasy to eat: one bird could apparently feed 25 men. This image was created by writers who had never seen the bird, and is not supported by current paleobiological evidence. The idea of the avian glutton embodied European anxieties about the rapacious colonial trading activities in the Indian Ocean, which brought a surfeit of riches to Europe.
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