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interactive novel

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To celebrate Frankenstein's 200th birthday, we've added new content, detailing the heady circumstances under which the original novel was written.

+ 'a brilliantly designed app; the current benchmark for high-quality storytelling via tablet.' Kirkus starred review

+ 'This masterful new adaptation of Mary Shelley's classic novel may be the best interactive fiction yet' - Laura Miller, Salon.com

+ "Superb" - Tim Harford, senior columnist for the FT

+ 'the most eye-catching development in April's digital publishing' - The Guardian

+ "Enormous sensitivity to Shelley's narrative... There's enormous intelligence behind the reworking" - Dr. Dale Townshend, lecturer in Gothic and Romantic Literature at Stirling University

+ 'a visual and textual masterpiece that you will be thrilled to experience' - John Bardinelli, Jayisgames.com

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The year is 1792 and in his Paris laboratory, Victor Frankenstein is building a man... Guide his tale with your choices in this unique literary app.

Written by best-selling author Dave Morris, designed and developed by creative studio inkle and published by award-winning independent publisher, Profile Books, Frankenstein is a new way of experiencing Mary Shelley's classic tale of terror and revenge.

The original text has been fully adapted into interactive form, allowing you the reader to visit Frankenstein's workshop, help him make his monster, and guide him through the disastrous events that follow. This is a reading experience like no other, that will put you into the heart of the story.

With breath-taking visuals and sleek design, Frankenstein is an unputdownable reading experience, and a whole new kind of ebook.

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Features:
- New novel-length interactive re-telling of the classic story
- Weave your own narrative as you guide Victor Frankenstein's choices
- Innovative and beautiful easy-to-use interface provides a seamless reading experience
- 65 illustrations including detailed 16th century anatomical engravings
- The full text of the original Frankenstein, as published in 1818
- The Art of Frankenstein, an annotated gallery of the illustrations used

Version 1.1.1

This app has been updated by Apple to display the Apple Watch app icon.

Updated to celebrate Frankenstein's 200 year anniversary with new content, that tells the story of how the novel was written.

Brilliant, I love it!

Could you please fix that by having chapter 27 be This app is amazing exclaim it's wonderful being able to choose what happens during the Frankenstein story. I have one suggestion: in the extras portion, Chapters 26 and 27 are identical, except 27 has Walton's continuation of Letter 4 at the end. Could you please fix that by having chapter 27 be just the continuation of the fourth letter, without the Chapter 23 duplicate at the beginning of the twenty-seventh chapter? Otherwise, this app is awesome and I can't wait for the update!

I prefer Shelley's but this is ok

I adored the 80 Days game and replayed it three times, so I decided to try this one. Unfortunately, Frankenstein is much more limited and not nearly as open ended in terms of what happens and how, which limits the value of revisiting it. I also find the writing, a bit of a pastiche, less interesting than Shelley's.

Truly in Epic Literature...

The play on words in incredible, with an array of words. The fact that you can take charge if events that may or may not take place, based on the choices you choose to portray in, are genius. A very vibrant app for those who enjoy and have a love for reading. A great buy.

The developer, inkle, has not provided details about its privacy practices and handling of data to Apple.

No Details Provided

The developer will be required to provide privacy details when they submit their next app update.

Information

Compatibility

iPhone

Requires iOS 8.0 or later.

iPad

Requires iPadOS 8.0 or later.

iPod touch

Requires iOS 8.0 or later.

Mac

Requires macOS 11.0 or later and a Mac with Apple M1 chip or later.

Apple Vision

Requires visionOS 1.0 or later.

Age Rating

12+ Infrequent/Mild Horror/Fear Themes Infrequent/Mild Alcohol, Tobacco, or Drug Use or References

Family Sharing

Up to six family members can use this app with Family Sharing enabled.

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‎+ 'a brilliantly designed app; the current benchmark for high-quality storytelling via tablet.' Kirkus starred review + 'This masterful new adaptation of Mary Shelley's classic novel may be the best interactive fiction yet' - Laura Miller, Salon.com + "Superb" - Tim Harford, senior columnist for...

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Halloween Cold Case Files Game - Find Frankenstein's Brain Murder Mystery - Digital Access Card

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Solve an unsolved Halloween Cold Case File in this spooky murder mystery game. Find Frankenstein's Brain in Dr Frankenstein's castle before this supernaturally-endowed brain is misused in all kinds of unspeakable ways.

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Shelley Jackson's "Patchwork Girl or a Modern Monster by Mary/Shelly and Herself"

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This section of Pathfinders contains 23 images of Shelley Jackson's folio, CD, and flash drive of Patchwork Girl. The photos detail the material aspect of the work and show the information that readers glean from its presentation.

Folio Contents

1. Floppy disk, 3 1/2," both original folio and re-release version
2. Booklet
3. CD, .047" thick and 3.150" in diameter
4. Flash Drive, 2014 re-release
5. Registration card

Shelley Jackson's Patchwork Girl, by Mary/Shelley and Herself was published in 1995 by Eastgate Systems as a 9-inch by 6-inch folio made of heavy card stock. When opened, the folio reveals a pocket on each side. The pocket on the left contains the 3.5-inch diskette of the work, along with a registration card. Diskettes were of "HD" capacity (either 720 kilobytes or 1.4 megabytes), formatted for Macintosh or Windows (MS-DOS), since at this point the two operating systems used exclusive data systems. A notation on the reverse of the folio (see image of Folio Back, below) indicates the operating system. There is no indication on the diskette itself.

The pocket on the right side of the folio holds the back page of a 16-page booklet that gives directions for "Getting Started." The look of the folio with its front and back cover and interior paper contents resembles a book environment and, thus provided a breadcrumb leading readers from the world of print to the world of the digital where they were headed with electronic literature. Note that the folio has a minimal spine of about one-eighth inch, sufficient for main title of the work, author's name, and publisher's name, and so may be shelved like a book. A note on the verso of the folio credits Eric Cohen with "jacket design."

Folio, Front
The front of the folio shows a title page in the manner of a 19th-century novel such as Mary Wollstonecraft Shelley's Frankenstein, or the Modern Prometheus. Jackson's full title and description of the work is: "PATCHWORK GIRL, by Mary/Shelley and Herself, a graveyard, a journal, a quilt, a story, & broken accents." The list identifies the major sections of the hypertext. The author's name, Shelley Jackson, follows this list, separated by a decorative graphic. Below the main title is a collaged monochrome graphic, presumably created by Eric Cohen, assembled from four images of women in portrait pose, modified by various digital processes that evoke the allotropic "patchwork" process by which Jackson's title character -- and her text itself -- come together. The cover is rendered in black ink over a sepia background that resembles a photographically magnified page from an old book. The text, which may come from Frankenstein, appears in a type face that mimics antique handwriting.

Folio, Back
The back of the folio continues the book-like design motif, offering contents similar to the back of a traditional print publication. Text on the back of the folio is divided into two parts, upper and lower. The upper part is set off with decorative borders. The upper part begins with an endorsement by Michael Joyce, the first two lines set as headlines, the remainder as centered body text. Joyce's remarks read: "Hypertext's next step... PATCHWORK GIRL is spectacular in every sense (from Rayban to Debordian to Cirque du Soleil). It is embodied writing in the company of Helene Cixous, Carolyn Guyer, Jeannette Winterson, and its progenitor and co-author (the other Shelley) Mary. Jackson weaves aspects of the Frankenstein tale, graphic novels, feminist meditation, and pure storytelling into a riveting work of multiple fiction with a fugue-like poetry and an artist's eye distinctly its (and her) own. This is a work of dream and desire and defying boundaries, an electronic collage, a theatre of windows, and a cyborg song of communion and reunion." --MICHAEL JOYCE." Following Joyce's endorsement is an image of (a young, gamine) Jackson at left, with a thumbnail biography of the author at right. The text reads: "A self-described 'student of the art of digression,' Shelley Jackson holds an AB in studio art from Stanford University and an MFA in creative writing from Brown University. Her work has appeared in Degenerative Prose and various journals, including Conjunctions. She has written and illustrated a children's book, The Old Woman and the Wave, to be published by Orchard Books." The lower part of the folio back, below the decorative border, begins with a line specifying the disk format (Windows or Macintosh) and advising that either configuration "Requires 2 MB RAM and a hard disk drive." The format selection is indicated with a circular white appliquée. Publisher's information follows: Published by Eastgate Systems, Inc. 134 Main Street Watertown, MA 02172 (800) 562-1638 (617) 924-9044 Adjacent to this information, on the right, is the ISBN-10 code for the work, running vertically: 1-884511-23-6. Immediately to the right of the ISBN-10 is an inset barcode.

Folio, Opened
The opened folio reveals a slot, or pocket, on the left hand side where the diskette is kept. The inside, left-hand side of the folio's cover advertises Diane Greco's Cyborg: Engineering the Body Electric and provides copyright information for Patchwork Girl. The work is copyrighted 1995 by Shelley Jackson, with all rights reserved. Cover art and documentation are copyrighted by Eric Cohen. Trademark recognition is given for Macintosh and Windows. Publisher information is given here also. On the right hand side is the 16-page booklet that contains directions for reading Patchwork Girl on both Windows and Macintosh. Also included in the booklet is a biographical sketch of Shelley Jackson and information about where to get answers to technical problems.

Folio, Booklet, Removed
At right is a page advertising the Storyspace Hypertext Writing Environment, the system used to produce Patchwork Girl and other Eastgate titles, some of which are listed in a box at right ( Patchwork Girl, A Dream with Demons, afternoon, Victory Garden, Socrates in the Labyrinth, and Cyborg: Engineering the Body Electric).

Booklet, Table of Contents
At the top of the first page is a list of Contents: Getting Started with Patchwork Girl (one section each for Macintosh and Windows), About the Author, and Questions. Immediately following are Acknowledgements: "The author would like to thank George P. Landow, Dan Russell, and Robert Coover for their help in the composition of Patchwork Girl."

Floppy Disk, Front
The 3 1/2" diskette containing Patchwork Girl is a double-sided, high density unit marked with the legend "HD" on the black plastic casing. The front of the disk has a white label overlapping onto the reverse, 2 1/4" of the front and 1/2" of the back. The front part of the label shows the title, printed in two lines centered, with author's name directly below it in italic capitals. Underneath is a red containing the text "SERIOUS HYPERTEXT from." Beneath this line and words is the Eastgate logo (a drawing of a stone arch) and contact information for the company. All lettering on the label is in a dark red ink.

Re-Release, Front
This is the packaging for a re-published version of Patchwork Girl brought out after all copies of the initial version had been exhausted. The package includes diskette and booklet shrink-wrapped against a cardboard backing.

CD Re-Release, Front
The CD-ROM version of Patchwork Girl was released in 2001, as the standard design of personal computers no longer included a diskette drive. the Compact Disk is readable by both Macintosh and Windows systems. The cover art (most likely by Eric Cohen) suggests two patches of skin connected by a line of fine sutures. (This image has the unfortunate effect of also looking like a crack in the CD, at first glance.) The title of the work appears in capitals. At left is a copyright statement. Eastgate's copyright date is given as 1992-2001. Author's name appears in large, italic capitals below, followed by publisher information.

CD Re-Release Liner, Back
The graphical background for the reverse of the liner is the same as the front. the image of the author shows a (puckish? pensive?) red-haired Jackson aiming a Polaroid instant camera in our direction. (This image also appears on Jackson's Wikipedia page.) The biographical sketch has been updated to include several publications subsequent to 1995, including three publications on the World Wide Web ( My Body, Stitch Bitch, and Musée Mécanique). More print works are also mentioned, including her story collection The Melancholy of Anatomy, which had yet to appear in 2001. "She lives nowhere in particular and specializes in everything."

CD Re-Release Case, Back
Main title of the work runs across the top of the insert in large capitals. Following this are endorsements. Joyce's earlier text is edited to a single line ("Hypertext's next step... spectacular in every sense"). There is a new endorsement from Robert Coover, exxerpted from his keynote address to the 1999 Digital Arts and Culture Conference: "Perhaps the true paradigmatic work of the era..." Below is the author's name in large bold italics. Following this, the legend "CD for Windows and Macintosh OS," and below that, two paragraphs offering operating system advice, first for Windows and then Macintosh, adjacent to the ISBN and barcode inset. Windows system requirements are listed as "Windows 95, 98, NT, me, 2000, XP, or later: insert this CD into your computer, and run SETUP.EXE to install Patchwork Girl. Requires: 486, Celeron, Pentium, or faster processor." Macintosh advice is: "insert this CD into your computer and double-click the "Patchwork Girl installer" to install Patchwork Girl. Requires Mac OS 6.07 or later. Below these elements, the Eastgate logo flanked at left by contact information, now including an e-mail address, with the Eastgate signature and postal address at right.

USB Stick Re-Release, Front
In the fourth quarter of 2014, Eastgate re-issued Patchwork Girl with updated installers and application code compatible with current versions of the Macintosh OS. Anticipating a time when standard personal computers will not include CD drives -- already the case on thin-format laptops -- Eastgate issued the work on a removable storage chip with a plug interface for Universal Serial Bus, referred to in their catalog as a "USB stick," and also popularly known as a thumb drive or flash drive. As of June, 2015, the new release is available only for Macintosh.

USB Stick Release, Contents
Contents of the USB stick viewed in Mac OS 10.10. Drag-and-drop installation is available for the included version of Patchwork Girl. Note the folders below the installer alias, one each for the "Classic" (pre-OSX) versions of Mac OS, the other for OSX versions prior to 10.7. The PDF document contains a reformatted version of the instruction booklet from the first release.

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Pathfinders: Photos of the Folio, CD, and Flash Drive and Their Contents for Shelley Jackson's Patchwork Girl

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Photos of the folio, CD re-release, and flash drive re-release and their contents for Shelley Jackson's Patchwork Girl

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A Queer Gender-Swapped Retelling of “Frankenstein”

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Shortlisted for the 2022 Shirley Jackson AwardUnwieldy Creatures, a biracial, queer, nonbinary retelling of Mary Shelley’s classic novel Frankenstein, follows the story of three beings who all navigate life from the margins: Plum, a queer biracial Chinese intern at one of the world’s top embryology labs, who runs away from home to openly be with her girlfriend only to be left on her own; Dr. Frank, a queer biracial Indonesian scientist, who compromises everything she claims to love in the name of science and ambition when she sets out to procreate without sperm or egg; and Dr. Frank’s nonbinary creation who, painstakingly brought into the world, is abandoned due to complications at birth that result from a cruel twist of revenge. Plum struggles to determine the limits of her own ambition when Dr. Frank offers her a chance to assist with her next project. How far will Plum go in the name of scientific advancement and what is she willing to risk?

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Everything queer in 'Lisa Frankenstein' according to Diablo Cody.

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The master of horror manga brings the world's greatest horror novel-Frankenstein-back to life.

Junji Ito meets Mary Shelley! The master of horror manga bends all his skill into bringing the anguished and solitary monster-and the fouler beast who created him-to life with the brilliantly detailed chiaroscuro he is known for.

Also included are six tales of Oshikiri-a high school student who lives in a decaying mansion connected to a haunted parallel world. Uncanny doppelgangers, unfortunately murdered friends, and a whole lot more are in store for him.

Bonus: The Ito family dog! Thrill to the adventures of Non-non Ito, an adorable Maltese!

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Frankenstein: Junji Ito Story Collection

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Frankenstein: Junji Ito Story Collection [Ito, Junji] on Amazon.com. *FREE* shipping on qualifying offers. Frankenstein: Junji Ito Story Collection

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Classic Frankenstein Films

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The Queer Tragedy of BRIDE OF FRANKENSTEIN

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Three novelists reimagine Mary Shelley's life and loves and her most famous creation.

"Chloe liked Olivia." When Virginia Woolf wrote this innocuous sentence in " A Room of One's Own," her foundational work of feminist criticism, she opened the door to another field, still decades in the future-that of queer literary criticism. "Do not start. Do not blush," Woolf cautioned her audience. (The published text of "A Room of One's Own" is framed as a lecture and based on a pair of talks that she gave at two Cambridge women's colleges in October, 1928.) "Let us admit in the privacy of our own society that these things sometimes happen. Sometimes women do like women."

Chloe and Olivia are characters in a book that Woolf has invented, a mediocre novel by a writer she names Mary Carmichael. Ostensibly, the women are friends and colleagues, not lovers, but Woolf drops clues for attentive readers. At one point, she interrupts her train of thought to ask for reassurance that Sir Chartres Biron is not lurking somewhere in the room. When she gave her original talks, Biron had recently been appointed the chief magistrate in an obscenity case that had been brought against the publisher of Radclyffe Hall's " The Well of Loneliness," a novel about a girl named Stephen who wants to be a boy and has romantic feelings for women. The novel had been published earlier that year, and the trial, which Woolf would attend, took place a couple of weeks after the Cambridge lectures. What's more, Woolf had just published her novel " Orlando," a fictional biography of a man who transforms into a woman. The inspiration for the book was her lover Vita Sackville-West, who accompanied Woolf on at least one of her trips to Cambridge. The implications of Biron's crusade would not have been lost on either of them.

A typical reader may skim over the reference to Biron, which is no more than an aside. But, as is often the case in queer history, words unspoken or muttered under the breath can be more significant than words said aloud. Woolf laments the paucity of models for relationships between women in novels by male writers: "If Chloe likes Olivia and Mary Carmichael knows how to express it she will light a torch in that vast chamber where nobody has yet been." "A Room of One's Own" argues for the importance of literary forebears. "We think back through our mothers if we are women," Woolf writes. If conventional literary history passes over these figures, we may need to create them.

Feminist readers have long acknowledged Mary Shelley as one of the most influential of those literary mothers. In the past few decades, her novel " Frankenstein "-which she began writing, extraordinarily, at the age of eighteen-has been credited as a primary text not only in science fiction, a genre that the book is said to have originated, but also in fiction about women's experience. Critics have drawn attention to the circumstances under which Shelley wrote the novel: her first child, born prematurely, had died at less than two weeks old the previous year, and she had recently given birth to another; she then became pregnant again during the year she worked on "Frankenstein." Her journal hints at another haunting analogue for the work of Victor Frankenstein, a student of science who creates a figure out of dead matter, stitches it together, and animates it: "Dream that my little baby came to life again-that it had only been cold & that we rubbed it by the fire & it lived."

At the same time, the novel can be read as a fantasy of reproduction without women, giving rise to queer-oriented interpretations. Critics have noticed that the horror and revulsion with which Victor reacts to his creation, which is male, resemble the "homosexual panic" sometimes manifested by men confronted with homosexuality in nineteenth-century England, where sexual relations between men had been criminalized for at least five hundred years. The creature initially appears at Victor's bedside as he awakens from a nightmare about kissing Elizabeth, his cousin and intended bride, who turns into a corpse in his arms. Victor, whose closest relationship is with his boyhood friend Henry Clerval, refers to his creation as a "dreadful secret" that he can reveal to Elizabeth only after their wedding night. Even the namelessness of the creature-Victor calls it "the being" or "the fiend"-might be seen as anticipating Lord Alfred Douglas's famous reference to homosexuality as "the love that dare not speak its name." The Age of Frankenstein, as the critic Eve Kosofsky Sedgwick called this period in England, was one in which gay men suffered constant fear of exposure and arrest, which could result in a sentence of death or, as in Oscar Wilde's 1895 conviction, of forced labor. The poet Lord Byron-whom Mary and Percy Bysshe Shelley, her eventual husband, met and befriended while visiting Lake Geneva in the summer of 1816-sought refuge in Switzerland after rumors spread in London about his penchant for young men.

Though sexual relationships between women were not criminalized, women whose romantic inclinations defied the heterosexual standard generally faced a choice between repressing their desires and living as outcasts. Was Mary Shelley herself such a woman? The Dutch novelist Anne Eekhout suggests as much in " Mary and the Birth of Frankenstein " (HarperVia), a reimagining of both Mary's early life and the period during which she wrote her famous novel. Regardless of whether her biography confirms that designation-and at least one late relationship suggests that it does-Eekhout's book, together with two other recent novels that expand the contours of Shelley's life, offers a bold new framing for questions about where we draw lines: between queerness and heterosexuality, the natural and the unnatural, and the imaginary and the real.

The origin story of "Frankenstein" is nearly as famous as the novel itself. During the summer of 1816, the Shelleys, visiting Lake Geneva along with Mary's stepsister, Claire Clairmont, spent time with Byron and his friend John Polidori, who were staying at a nearby villa. One evening, the group read aloud from a book of ghost stories, and then Byron challenged each of them to write one. Everyone except for Mary abandoned the effort. As she wrote in her preface to the third edition of "Frankenstein," the premise had come to her in a vision: "I saw the pale student of unhallowed arts kneeling beside the thing he had put together. . . . I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion."

Eekhout's novel proposes a different origin story. Four years before the trip to Lake Geneva, as biographers have chronicled, Mary, then a young teen-ager, paid an extended visit to the home of William Baxter, a Scottish friend of her father's. She became close to Baxter's daughter Isabella, a vivacious girl of sixteen, with whom she rambled in the countryside during the day and shared a room at night. Near the house was a hill where the spirits of women who had been burned as witches were said to walk. It was in this landscape, Shelley later wrote, that "the airy flights of my imagination" first took shape.

In Eekhout's novel, Mary discovers her powers of invention during one of the Baxter family's regular storytelling sessions, when she takes an episode from her life and elaborates on it "until it was more than the truth." This is an apt description of Eekhout's own method, which picks up the seeds dropped by Shelley's biographers about Isabella and allows them to bloom into an intense romantic and sexual attachment. The narrative unfolds in hypnotic language steeped in fantasy and allusion, poetically translated from the Dutch by Laura Watkinson. The girls examine a book about mythological gender-bending sea creatures, "half male, half female, with breasts and beards, elegant, long hair, tough, muscular arms, and a fish's tail." At once seductive and dangerous, the beings exert a fascination on the girls, who may unconsciously recognize in them something of themselves.

In her preface to "Frankenstein," Shelley writes of hearing Percy and Byron discuss the experiments of Erasmus Darwin (grandfather of Charles), who is said to have observed a microbe spontaneously coming to life. Eekhout represents the potentially sinister powers of science in the figure of David Booth, a mysterious older man married to Isabella's sister, Margaret. Booth speaks about seeing a physicist use electricity to reanimate the corpse of a criminal. Soon afterward, while walking in the countryside near the Baxters' home, Mary and Isabella glimpse a creature similar to a man but larger, with dark skin and hair on its body-the result, perhaps, of a deranged experiment by Booth, whose odd behavior disconcerts them.

The idea that "Frankenstein" could have been inspired by the work of an actual mad scientist may seem to diminish the genius of Shelley's imagination. But Eekhout suggests throughout the novel that the beast, which Mary continues to see, could be the offspring of her own fantasies. The monster-if that is what it is-appears only at moments of sexual tension between Mary and Isabella. That first glimpse takes place after the girls have decided to remove their corsets and expose their skin to the air. Mary sees it again after an intensely erotic episode (which she may or may not have imagined) while she and Isabella are swimming nude in a lake, and again as she stands outside the window of their bedroom after a similar encounter, or a dream of one. "Our monster was here," Mary says-a phrase that could refer to either the physical creature or the frightening power of their sexuality.

The monster reappears four years later, as Mary struggles to come up with a ghost story. She is tormented by Percy's attention to Claire Clairmont, with whom he may be having an affair, and even more so by dreams of their dead child. With unusual deftness, Eekhout blurs the lines between the facts of Mary Shelley's life and the world of the novel. The fictional Mary blames herself for not having watched over the baby more carefully: Did her feelings for Isabella mark her as an unnatural woman who shouldn't be a mother? (Four years earlier, sick and delirious in the Booths' house, she had a dream about giving birth in which a midwife tore her newborn daughter limb from limb, saying, "Girls like that cannot exist.") She is also distressed by Percy's insistence that they should both have sex with others-a demand that she experiences as an affront to her nature. After Polidori kisses her, at Percy's instigation, she becomes enraged: "There is a beast inside her, a monster . . . it howls. It is awake."

"Mary and the Birth of Frankenstein" is punctuated by appearances of a mythical creature called the Draulameth, which can be seen as personifying the perils of any chosen path for a queer person in nineteenth-century England. The Draulameth insinuates itself into people's minds and lures them to the sea: "As you stand there on the water's edge, it shows you how your life could be: all your fears become reality, your dreams dissolve in the foam of the waves. Every moment of your life will be filled with horror, bitterness, sadness, and loss, or: you go with the Draulameth." The creature is first invoked by Booth, apparently as an attempt to frighten Mary into agreeing to marry him after Margaret dies under suspicious circumstances. But it might also be read as another monstrous embodiment of Mary's desires-or her fear of them. Beyond the novel, the legend takes on the qualities of a grim prophecy, in light of what would happen to the historical Mary Shelley. Within a few years, she would experience the early deaths of three of her and Percy's four children, as well as the death of Allegra, Claire's daughter by Byron, at age five; the suicides of her half sister Fanny Imlay and of Percy's first wife, Harriet; and, finally, Percy's death, in a shipwreck, in 1822.

After these tragedies, Shelley developed an intense friendship with Jane Williams, the widow of a friend who had drowned with Percy. Recalling these years in a letter to a friend in 1835, Shelley confessed that, after Percy died, she was "ready to give myself away-and being afraid of men, I was apt to get tousy-mousy for women" (a reference to sex). In the travel book "Rambles in Germany and Italy'' (1844), Shelley's final published work, she wrote of the art she had encountered and argued that artists should not be condemned for depicting homosexual love-"a bold stance that was anathema to most Victorians," Charlotte Gordon argues in "Romantic Outlaws," her dual biography of Shelley and her mother, the writer and political activist Mary Wollstonecraft. Gordon describes the real-life Isabella Baxter and Mary Shelley as sharing a mutual admiration for Booth-feared by neighbors for his "prodigious store of arcane knowledge," but also for his radical politics-and writes that Shelley encouraged Baxter to marry him after her sister's death. In Eekhout's novel, these events play out differently. But, in its philosophy, this fictional excavation of a lesser-known episode in Shelley's life feels true to her memory.

Victor Frankenstein's anxiety about the birth of his creature has lately been understood as a reflection of Shelley's tragic pregnancies. But we can also hear in it the reverberations of her own birth: Wollstonecraft died of an infection shortly afterward. The aftermath-common in those days-was a household uncomfortably stitched together. Shelley's father, William Godwin, was already responsible for Fanny Imlay, Wollstonecraft's daughter from an earlier relationship; he soon wed Mary Jane Clairmont, a widow who brought her own two children into the home and didn't get along with her stepdaughters.

Though Godwin and Wollstonecraft had disparaged marriage as a patriarchal institution, they had decided to marry when Wollstonecraft became pregnant, in order to spare their daughter the uncertain fate of an illegitimate child. The narrator of C. E. McGill's "Our Hideous Progeny" (Harper) is not as lucky. Her mother became pregnant by the son of the family for whom she was a servant, was banished from their home, and died in childbirth. The baby's father, who brought her back to the family home, died of consumption shortly thereafter, leaving the child to be raised by his mother, a forbidding woman who never hesitates to remind her granddaughter of the disgrace of her birth. "An ill-gotten child is a faulty cog; living testament to the fact that rules are not always followed, that sons and daughters cannot always be controlled, that men and women do not always couple as we might think they should," the narrator muses.

" Our Hideous Progeny " might be called historical science fiction: it takes place in the aftermath of "Frankenstein," treating that text as if it were a true family history rather than a novel. Blood runs strong in this family, of whom all the child narrator initially knows is their surname-"long and sharp and foreign"-which she, being illegitimate, does not share. She grows up hearing stories of her grandfather, a businessman who left Geneva for London, and of a mysterious tragedy. One of her grandfather's brothers was murdered, as was a sister-in-law; another brother went insane and disappeared, leaving behind only a trunk full of old papers entrusted to a British sea captain. In these papers, as she eventually discovers, her great-uncle, one Victor Frankenstein, chronicles an experiment gone grotesquely awry.

The narrator, whose name is Mary, inherits her ancestor's scientific proclivities, as well as his boldness. Growing up on the Isle of Wight, she is fascinated by fossils that wash up on the shore. As a teen-ager, she follows debates among scientists trying to puzzle out what dinosaurs looked like and how they moved. Eventually, she undertakes an experiment worthy of Victor Frankenstein, had he been a paleontologist.

And what if Frankenstein had also been a woman? In "A Room of One's Own," Woolf posits the existence of a Judith Shakespeare, sister to the playwright, and imagines the fate of a female genius in Elizabethan England: insanity, suicide, or isolation "in some lonely cottage outside the village, half witch, half wizard, feared and mocked at." The narrator of "Our Hideous Progeny" is, in effect, a Victoria Frankenstein. Unlike her infamous progenitor, who runs from the creature he animates, she acts as mother to hers: caring for it, educating it, and ultimately giving it what it needs most. Did Victor Frankenstein's crime lie not in creating a new being but in deserting it? If he had reared it properly, it might not have sought recourse in rage and violence.

Like Eekhout, McGill is concerned with questions about what is natural or normal and what is not-and the conservatism and arbitrariness with which such distinctions are made. The novel's protagonist is motivated by her sense of herself as an unnatural creature. Her world has no language for a female scientist: as McGill points out in a postscript, the term at the time was "man of science." And her interest in fossils is linked from the start to her passionate attachment to another girl her own age who identifies an ammonite that the narrator finds on the beach. Like Mary and Isabella, in Eekhout's novel, they pore over a book filled with illustrations of monsters, but this one is a paleontology text called "Book of the Great Sea-Dragons." Perhaps this is a nod to Woolf: her Chloe and Olivia are scientists who share a laboratory.

Later, in a marriage that resembles a business partnership, McGill's Mary becomes close to her husband's sister, whose status as a spinster and an invalid, in the social strictures of the time, renders her an outsider. Mary is drawn, too, to others who inhabit the outskirts, such as an Indian scientist who points out that British innovation relies on imperialism. "West Indian cotton in the looms, Amazonian rubber in the hydraulics," he says. "What wonders the British have made, with their own wit and gumption."

Evocatively and compassionately, "Our Hideous Progeny" seeks a way to tell the stories of those "whose tales cannot fit in one book, those poor creatures who remain lost or forgotten," as one character notes. Here, too, there are real-life analogues. The teen-age Mary Wollstonecraft imagined setting up a household with her friend Fanny Blood, an artist who supported her family at the age of eighteen by making botanical illustrations. Wollstonecraft was saddened when Blood chose to marry a man who Wollstonecraft thought was unworthy of her, and was devastated when she died in childbirth soon afterward.

But happier endings were also possible. Half a century later, Mary Shelley became close to a woman named Isabel Robinson, who had recently given birth to an illegitimate child. Together with another friend, Mary Diana Dods, known as Doddy, Shelley concocted a plan: Doddy, whose looks were masculine, would disguise herself as a man and move with Isabel to France, where the two would pretend to be husband and wife. McGill's narrator, too, ultimately finds a way to escape from patriarchy with her respectability intact and live a life true to her desires.

In 2011, a BBC article suggested ten ways to read the novel "Frankenstein"; a follow-up a few weeks later offered at least a dozen more, derived from readers' comments. Most fundamentally, the book has been seen as an analogue to God's creation of Adam, and as a perversion of it. If humans are created in the image of our Maker, then what Victor Frankenstein does is a crime against God as well as nature. "Supremely frightful would be the effect of any human endeavor to mock the stupendous mechanism of the Creator," Shelley wrote in her preface.

Some of the novel's earliest readers reacted violently to its implicit atheism: one called it "the foulest Toadstool that has yet sprung up from the reeking dunghill of the present times." But, as others have pointed out, Frankenstein's intention is not to compete with the divine but to be useful to humanity: he hopes to ultimately eliminate diseases such as those which killed Shelley's mother and children. And he creates only a single being. "If this is a blasphemous crime, then all parents stand condemned for it too," one "Frankenstein" scholar has written.

Pregnancy and birth, if not as deadly today as they were in Mary Shelley's time, can still be gruesome. Louisa Hall's " Reproduction " (Ecco) is a work of autofiction that juxtaposes a failed attempt to write a novel about Shelley with harrowing stories of pregnancy: debilitating nausea, a late-stage miscarriage, an experience of labor that makes the narrator feel as if she had "departed from Earth," a hemorrhage in which blood clots the size of her organs emerge from her body. Recalling that Shelley was pregnant when she wrote "Frankenstein," Hall vividly imagines pregnancy's effect on the novelist's body and mind. "What am I? she must have wondered. What kind of creature is this?" The female body is mad scientist and creation in one.

In Hall's hands, "Frankenstein" evolves yet again, this time becoming a parable for a contemporary American dystopia of climate change, abortion restrictions, family separation, white supremacy, and, finally, COVID -all of which give the narrator a sense that "the world had tilted ever so slightly toward the science-fictional." The last section, a novella in itself, tells the story of a female scientist who "edits" her own defective embryos, altering their genes to make them viable. She sees this process as returning them to a "natural" condition, "the state they'd have been in if they'd been conceived in a world without pollution and global warming."

The parallels that Hall draws with "Frankenstein" sometimes feel too direct, as when the narrator imagines a miscarried fetus as her own "creature of imperfect animation." But her ultimate insight is resonant: "We are all monsters, stitched together loosely, composed of remnants from other lives, pieces that often don't seem as though they could plausibly belong to us." McGill, similarly, urges the contemporary reader to reclaim the idea of monstrousness as something empowering, especially for "women who love women, women who didn't know they were women at first but know better now, those who thought they were women at first but know better now. We shall be monsters, you and I."

Perhaps this is why the "Frankenstein" story continues to haunt us. If, as parents, we are Victor Frankenstein, then as children we are all his creature. Or, perhaps better, the creature is us: the expression of our most forbidden desires, for sex or violence or revenge, as well as of our deepest fears-abandonment, isolation, unlovability. We may dress in clothes and abide by social compacts, but our bodies know that we are still animals. Even today, as we move ever closer to the boundary between person and machine, sharpening our vision with plastic in our eyes or replacing our joints with steel hardware, the creature lurks, threatening to expose us for what we truly are: imperfect, human, real. ♦

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Ruth Franklin reviews three novels that variously reimagine "Frankenstein" and the life of its author, Mary Shelley, in light of historical and contemporary conceptions of gender: Anne Eekhout's "Mary and the Birth of Frankenstein," C. E. McGill's "Our Hideous Progeny," and Louisa Hall's "Reproduction."

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Listen to Frankenstein: Dissected on Spotify. Join your hosts, Lisa and Ross (General Witchfinders, Dark Darzet) as they read Mary Shelly's classic novel.Bear witness to them pulling apart the myth, and exploring the events and the people behind the phenomenon of Frankenstein.Topics covered:Mary Shelley, Mary Wollstonecraft, William Godwin, Percy Bysshe Shelley, Boris Karloff, Lord Byron, The 1815 eruption of Tambora volcano, Elsa Lanchester, James Whale, and more.Follow us on Twitter @FrankDissected If you enjoyed this, please tell your friends and leave us a review wherever you found us.

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These are examples of famous Frankenstein poems written by some of the greatest and most-well-known modern and classical poets. PoetrySoup is a great educational poetry resource of famous frankenstein poems. These examples illustrate what a famous frankenstein poem looks like and its form, scheme, or style (where appropriate).

by Reeser, Jennifer

...Whether the clouds had abandoned Geneva that evening
no one can say now, but what I remember are roses
bruised at their edges, and china cups yellowed with age.
"I am too sick of interior vapors," I told you,
"Find us a corner of sunlight, and hammer it down...
Tell me again I'm so lovely the insects won't bite."
Do you remember it, Vic...Read more of this...

by Moore, Thomas

...am
My maw with the fruits of the Squirearchy's acres,
And, knowing who made me the thing that I am,
Like the monster of Frankenstein, worry my makers.
Then riddle-me-ree, come, riddle-me-ree,
And tell, if thou knows't, who I may be....Read more of this...

by Field, Edward

...The monster has escaped from the dungeon
where he was kept by the Baron,
who made him with knobs sticking out from each side of his neck
where the head was attached to the body
and stitching all over
where parts of cadavers were sewed together.

He is pursued by the ignorant villagers,
who think he is evil and dangerous because he is ugly
and makes ugl...Read more of this...

by Field, Edward

...The Baron has decided to mate the monster,
to breed him perhaps,
in the interests of pure science, his only god.

So he goes up into his laboratory
which he has built in the tower of the castle
to be as near the interplanetary forces as possible,
and puts together the prettiest monster-woman you ever saw
with a body like a pin-up girl
and hardly any st...Read more of this...

by Field, Edward

...He didn't die in the whirlpool by the mill
where he had fallen in after a wild chase
by all the people of the town.

Somehow he clung to an overhanging rock
until the villagers went away.

And when he came out, he was changed forever,
that soft heart of his had hardened
and he really was a monster now.

He was out to pay them back,
to throw the...Read more of this...

by Nesbitt, Kenn

...When Frankenstein was just a kid,
he ate his greens. It's true. He did!
He ate his spinach, salads, peas,
asparagus, and foods like these,
and with each leaf and lima bean
his skin became a bit more green.
On chives and chard he loved to chew,
and Brussels sprouts and peppers too,
until he ate that fateful bean
that turned his skin completely green.
He ...Read more of this...

Dont forget to view our wonderful member Frankenstein poems.

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Famous Frankenstein Poems | Examples of Famous Frankenstein Poetry

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Famous Frankenstein poems written by famous poets. Examples of famous Frankenstein poetry from the past and present. Read famous Frankenstein poems considered to be modern and old classics.

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LISA FRANKENSTEIN - Official Trailer [HD] - Only In Theaters February 9

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Rina Sawayama - Frankenstein (Official Video)

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Frankenstein AI - a monster made by many

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Developed and produced in collaboration with the Columbia University School of the Arts' Digital Storytelling Lab, Frankenstein AI: a monster made by many is a creative system- a network of projects around a central narrative - designed to provoke exploration around possible shared futures for artificial intelligence.

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Frankenstein's Monster book by Susan Heyboer O'Keefe

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Buy a cheap copy of Frankenstein's Monster book by Susan Heyboer O'Keefe. A gothic horror story that imagines what happens to Frnkenstein's monster after the death of his creator, Victor. What becomes of a monster without its maker? At... Free Shipping on all orders over $15.

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The world of anime features plenty of spooky and scary characters who fit the Halloween season, from cute and/or deadly vampires to dark wizards, zombies, mad scientists and more. Another popular Halloween character is Frankenstein's Monster, who's often depicted as a lab-born monster built with assembled body parts.

RELATED: 10 Anime With Spooky Skeleton Characters

Ever since Mary Shelley's original 1818 novel, which is arguably the first-ever sci-fi story, Frankenstein's Monster has been a pop-culture staple, such as Boris Karloff's famous depiction of the monster. Now, as Halloween approaches, anime fans can try out all kinds of scary series featuring their own version of this character. The best monsters are stitched together one corpse at a time.

9 Blood Lad Featured Akim Parpradon, Who Kept Experimenting On Himself

Blood Lad features a doctor actually named Franken Stein, but it's not the creator who is evil, but the creation. Franken Stein is actually somewhat friendly to Staz and Fuyumi, while his creation, Akim Parpradon, is totally evil.

Akim continuously collects more and more demonic body parts, then mixes and matches them to boost his power level higher and higher. He chooses only the best parts, and with them, he can become far stronger than any demon was ever meant to be.

8 Soul Eater's Franken Stein Is Hardly Ambiguous

Some anime characters are meant to be a subtle reference to pop culture characters or Japanesese mythology, while others are gleefully obvious about it, often for the sake of humor or to match the character's blunt personality. One example is Franken Stein from .

Franken Stein is the doctor and monster combined into one, and he loves to dissect specimens. He will only reluctantly leave his work to teach the heroine Maka Albarn and her classmates, and it's clear that he has experimented on himself a few times. Why else would he have a giant bolt in his head and sutures on his skin and coat?

In the original 2003 Fullmetal Alchemist anime, several of the homunculi are different than their manga versions, including Wrath and Sloth, among others. In this alternate take on the franchise, some homunculi can be roughly compared to Frankenstein's monster in spirit.

RELATED: 10 Anime With Black Cats Perfect For Halloween

These characters were made in a lab and have a relationship to their creator that might remind astute anime fans of that between Dr. Victor Frankenstein and his own monster, but with a little more alchemy and action added to the mix. For what it's worth, the 2009 anime Wrath is a bit like Frankenstein's monster too, being a creature finished in a lab with mad science.

6 Dragon Ball Had A Robot Frankenstein's Monster, Android 8

Many high-tech robots and contraptions can be found in Akira Toriyama's legendary Dragon Ball franchise, and many fans love Android 18, who became more human and married Krillin. But there is another android worth mentioning: Android 8.

This particular android pays clear homage to the Boris Karloff version of Frankenstein's monster, and in the anime, he was supposed to fight for the Red Ribbon army. However, he is actually a good-hearted creation, and he wouldn't fight unless he absolutely had to.

5 My Hero Academia's Nomu Beasts Are Like Frankenstein's Monster

The world of My Hero Academia depicts a future where almost everyone has a Quirk, or superpower. But for some villains such as All For One and Dr. Garaki, that's still not enough, so these villains built their own Frankenstein-style monsters: the Nomu.

RELATED: Iruma-Kun & 9 Other Anime That Are Perfect For A Scare-Free Halloween

Each Nomu is made from assembled body parts and has multiple Quirk factors, making them far more powerful than typical humans. Some of them are even designed with specific missions or targets in mind, such as the invincible All Might.

4 Pokémon's Mewtwo Is A Frankenstein's Monster Analogy

Not all Frankenstein-style monsters have to look like zombies or Gothic horror creatures. Some anime characters are meant to be Frankenstein monsters in spirit rather than in the flesh, and that includes the bizarre Pokémon known as Mewtwo. Fans saw this for themselves in the first Pokémon movie.

Mewtwo was made in a lab to be the ultimate being, but it was in torment, not knowing its true purpose or whether it can find any acceptance from others. Mewtwo escaped the lab and built its own island kingdom, populated by clone Pokémon who also had nowhere else to go.

3 The Empire Of Corpses Has Lots Of Monsters

The feature-length anime movie The Empire of Corpses takes the basic concept of Mary Shelley's story and greatly expands upon it. In this version of the tale, Dr. Victor Frankenstein can make living corpses with a soul, but it's also possible to make Frankenstein monsters with artificial souls in them, or Necroware.

RELATED: The 10 Best Halloween Movies on Disney+

As the 19th century progresses, these kinds of monsters become common laborers, mindless automatons that keep society running. At one point, the medical student John Watson tries to reanimate his dead friend Friday, and the plot gets even wilder from there.

2 Fate/Apocrypha Includes The Bride Of Frankenstein

In Fate/Apocrypha, Dr. Victor Frankenstein wanted to create a zombie version of Adam and Eve from the Bible, and he started with the bride, Frankenstein. However, she had a twisted and underdeveloped mind and didn't behave as intended.

Still, this version of Frankenstein is a powerful fighter, as expected of the Fate series, and she has all the Frankenstein classic elements to her, including being built from stitched-together corpses and given life from the power of lightning.

1 Anpanman Includes Frankenrobo

Anpanman is a somewhat older anime series, but it has been running for over 1,000 episodes and was originally based on children's books. This series has influenced a number of modern franchises and has taken inspiration from older works, including Frankenstein.

The series includes a small and cute robotic version of Frankenstein's Monster, which is clearly more interested in making music than spreading terror. Given the intended audience for Anpanman, it makes sense to depict a harmless and fun version of the monster instead of the original.

Next: 10 Spooky DC Comics To Read This Halloween

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9 Anime Series With Frankenstein's Monster

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Frankenstein's Monster is a famous stitched-together beast, and some anime series feature a similar character.

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Research Guides: Mary Shelley’s Frankenstein: Medicine and Science

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Resources about Mary Shelley and her novel Frankenstein

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Boris Karloff as Frankenstein's monster in Bride of Frankenstein (1935)

Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus, and the famous character of Frankenstein's monster, have influenced popular culture for at least a century. The work has inspired numerous films, television programs, video games and derivative works. The character of the Monster remains one of the most recognized icons in horror fiction.

The first film adaptation of Frankenstein in 1910 by Edison Studios

The first film adaptation of the tale, Frankenstein, was made by Edison Studios in 1910, written and directed by J. Searle Dawley, with Augustus Phillips as Frankenstein, Mary Fuerte as Elizabeth, and Charles Ogle as the Monster. The brief (16 min.) story has Frankenstein chemically create the Creature in a vat. The Creature has encounters with the scientist until Frankenstein's wedding night, when true love causes the Creature to vanish. For many years, this film was believed lost. A collector announced in 1980 that he had acquired a print in the 1950s and had been unaware of its rarity.

The Edison version was followed soon after by another adaptation entitled Life Without Soul (1915), directed by Joseph W. Smiley, starring William A. Cohill as Dr. William Frawley, a modern-day Frankenstein who creates a soulless man, played to much critical praise by Percy Standing, who wore little make-up in the role. The film was shot at various locations around the United States, and reputedly featured much spectacle. In the end, it turns out that a young man has dreamed the events of the film after falling asleep reading Mary Shelley's novel. This film is now considered a lost film.

There was also at least one European film version, the Italian The Monster of Frankenstein ( Il Mostro di Frankenstein) in 1921. The film's producer, Luciano Albertini, essayed the role of Frankenstein, with the Creature being played by Umberto Guarracino, and Eugenio Testa directing from a screenplay by Giovanni Drivetti. This film is also now considered lost.

The first sound adaptation of the story, Frankenstein (1931), was produced by Universal Pictures, directed by James Whale, and starred Boris Karloff as the creature. The film has been selected for preservation in the United States National Film Registry. Its sequel, The Bride of Frankenstein (1935) was also directed by Whale with Karloff as the Creature. It was followed by Son of Frankenstein (1939), the last of the three films with Boris Karloff as the Creature. The Ghost of Frankenstein (1942) marked the Universal series' descent into B movie territory; later efforts by the studio combined two or more monsters, culminating in the comedy Abbott and Costello Meet Frankenstein. The later Universal films in which the Monster appears (and the actors who played him) are:

1. Frankenstein Meets the Wolf Man (1943 - Béla Lugosi, with Eddie Parker, Gil Perkins, and a possible third stuntman often doubling)

2. House of Dracula (1945 - Strange)

3. Abbott and Costello Meet Frankenstein (1948 - Strange, with Lon Chaney Jr. taking the role for one scene).

For the reboot film, Guillermo del Toro said his Frankenstein would be a faithful " Miltonian tragedy", citing Frank Darabont's "near perfect" script, which evolved into Kenneth Branagh's Frankenstein. Del Toro said of his vision, "What I'm trying to do is take the myth and do something with it, but combining elements of Frankenstein and Bride of Frankenstein without making it just a classical myth of the monster. The best moments in my mind of Frankenstein, of the novel, are yet to be filmed ... The only guy that has ever nailed for me the emptiness, not the tragic, not the Miltonian dimension of the monster, but the emptiness is Christopher Lee in the Hammer films, where he really looks like something obscenely alive. Boris Karloff has the tragedy element nailed down but there are so many versions, including that great screenplay by Frank Darabont that was ultimately not really filmed." He has also cited Bernie Wrightson's illustrations as inspiration, and said the film will not focus on the monster's creation, but be an adventure film featuring the character. Del Toro said he would like Wrightson to design his version of the creature. The film will also focus on the religious aspects of Shelley's tale. In June 2009, del Toro stated that production on Frankenstein was not likely to begin for at least four years. Despite this, he has already cast frequent collaborator Doug Jones in the role of Frankenstein's monster. In an interview with Sci Fi Wire, Jones stated that he learned of the news the same day as everybody else; that "Guillermo did say to the press that he's already cast me as his monster, but we've yet to talk about it. But in his mind, if that's what he's decided, then it's done ... It would be a dream come true." The film will be a period piece. It is unclear what stage of development this film is in.[when? ]

Universal Studios later began the development of their own cinematic universe featuring their classic monsters. Variety reported that Academy Award-winner Javier Bardem was in negotiations to star as the Frankenstein Monster. The Dark Universe film was not made due to the failure of the 2017 film .

In Great Britain, a long-running series by Hammer Films focused on the character of Dr Frankenstein (usually played by Peter Cushing) rather than his monster. Peter Cushing played Dr Frankenstein in all of the films except for The Horror of Frankenstein, in which the character was played by Ralph Bates. Cushing also played a creation in The Revenge of Frankenstein. David Prowse played two different Creatures.

The Hammer films are a series in the loosest sense since there is only tenuous continuity between the films after the first two (which are, by contrast, carefully connected). Starting with The Evil of Frankenstein, the films are standalone stories with occasional vague references to previous films, much the way the James Bond films form a series. In some of the films, the Baron is a kindly, even heroic figure, while in others he is ruthless, cruel and clearly the villain of the piece.

The Hammer Films series (and the actor playing the Creature) consisted of:

1. The Horror of Frankenstein (1970 - David Prowse) - a black comedy remake of The Curse of Frankenstein

2. Frankenstein and the Monster from Hell (1974 - David Prowse)

In 1959, Hammer shot a half-hour pilot episode for a TV series to be called Tales of Frankenstein in association with Columbia Pictures. Anton Diffring played the Baron, and Don Megowan his creation. Curt Siodmak directed. The series was scrapped, largely because of the two companies' disagreement over what the basic thrust of the series would be: Hammer wanted to do a series about Baron Frankenstein involved in various misadventures, while Columbia wanted a series of science fiction stories loosely based around the idea of science gone wrong. Though unreleased at the time of its production, the episode is available on DVD from several public domain sources.

Depictions of the Monster have varied widely, from a savage, mindless brute to the depiction of the Monster as a kind of tragic hero (closest to the Shelley version in behavior) in Mary Shelley's Frankenstein, The Bride, and Van Helsing. Throughout the Universal series, he evolved from the latter to the former.

Three films have depicted the genesis of the Frankenstein story in 1816: directed by Ken Russell (1986), Haunted Summer directed by Ivan Passer (1988), and Remando al viento (English title: Rowing with the Wind) directed by Gonzalo Suárez (1988). The opening scene of Bride of Frankenstein also dealt with this event.

1957: American International Pictures (AIP) released the low-budget I Was a Teenage Frankenstein in November 1957, a few months after its successful I Was a Teenage Werewolf. In a desperate and vain attempt to be viewed as a great scientist, an unscrupulous professor creates a monster out of parts of teenagers killed in a car crash, then later directs his creation to kill a good-looking teenager to replace the monster's disfigured face. Whit Bissell stars as Professor Frankenstein, and Gary Conway plays the creature. A follow-up, How to Make a Monster, was released in July 1958. This film features actor Gary Conway as an actor playing the Teenage Frankenstein in a film.

1958: This year also brought the bizarre Frankenstein's Daughter, in which a modern descendant of Frankenstein (Donald Murphy) experiments with a Jekyll/Hyde type of serum before stitching together a grotesque female creature. John Ashley and Sandra Knight co-starred.

1961: Frankenstein, el Vampiro y Cia ("Frankenstein, the Vampire and Company") is a Mexican remake of Abbott and Costello Meet Frankenstein.

1965: Ishirō Honda's 1965 tokusatsu kaiju film Frankenstein vs. Baragon was produced by Toho Company Ltd. The film's prologue is set in World War II; the Monster's heart is stolen by Nazis from the laboratory of Dr. Reisendorf in war-torn Frankfurt, and taken to Imperial Japan. Immortal, the heart survives the atomic bombing of Hiroshima and, by 15 years later, has regenerated a new body which feeds on protein, eventually growing into a giant humanoid monster named Frankenstein that breaks loose and battles the burrowing dinosaur Baragon that was destroying villages and devouring people and animals. There is also a loose sequel to this film (see below).

1966: Jesse James Meets Frankenstein's Daughter. Director William Beaudine's sci-fi\Western contribution has what would actually be Frankenstein's granddaughter, Maria Frankenstein, cobbling a monster out of Jesse James' (John Lupton) brawny partner-in-crime, Hank Tracy (Cal Bolder), after an ambush by the law. Frankenstein renames her creation Igor. Narda Onyx plays Maria Frankenstein.

1966: The War of the Gargantuas (Furankenshutain no Kaijû: Sanda tai Gaira), also directed by Honda, is a loose sequel to Frankenstein vs. Baragon (although this fact is obscured in the U.S. version), with samples of Frankenstein's cells growing into two giant humanoid brother monsters: Sanda (the Brown Gargantua), the strong and gentle monster raised by scientists in his youth, and Gaira (the Green Gargantua), the violent and savage monster who devours humans. The two monsters eventually battle each other in Tokyo.

1971: The Italian La Figlia di Frankenstein ("The Daughter of Frankenstein"), released in North America as Lady Frankenstein. Joseph Cotten plays Baron Frankenstein, who is killed by his creation early in the film. Sara Bay, as the Baron's daughter, creates her own creature from a handsome young man and the brain of her homely but brilliant lover (Paul Muller).

1972: Jesús Franco contributed Dracula contra Frankenstein ("Dracula vs. Frankenstein"), which hit the North American drive-in circuit as Dracula, Prisoner of Frankenstein. Baron Frankenstein (played by Dennis Price) revives Count Dracula (Howard Vernon) in order to enslave an army of vampires to help his Monster (Fred Harrison) conquer the world.

1972: Franco followed up his Dracula/Frankenstein effort with The Erotic Rites of Frankenstein (also known as The Curse of Frankenstein, but having no relation to the Hammer film of the same name). Here, Baron Frankenstein (Dennis Price again) is killed off early on by minions of the evil Count Cagliostro (Howard Vernon), who wants to use the Monster in his plots to rule the world.

1972: Frankenstein '80, a film by Mario Mancini, featured a modern-day scientist named Albrechtstein (Gordon Mitchell) creating a monster called Mosaico (Xiro Papas). Mosaico is driven to homicidal mania by lust, and by his body's constant rejection of its constituent parts. The ingenue was played by Dalila Di Lazzaro (under the pseudonym "Dalila Parker"), who later appeared as the female creation in 1973's Flesh for Frankenstein (see below).

1973: Andy Warhol's Flesh for Frankenstein has Udo Kier playing the Baron, a bizarre but brilliant scientist who creates a male and a female creature in the hopes of breeding a superior race. Joe Dallesandro plays the handyman who attempts to thwart the Baron's mad dream, and Monique van Vooren is the Baron's nymphomaniac wife.

1976: Victor Frankenstein (a.k.a. Terror of Frankenstein), a fairly faithful version of the book, starred Leon Vitali as Frankenstein. Per Oscarson played the creature.

1981: Another Japanese version, this one animated, was Kyofu Densetsu: Kaiki! Furankenshutain (titled in the U.S. simply Frankenstein) which was released in 1981.

1983: In Star Wars: Return of the Jedi, Darth Sidious's Force Lightning effects were based on the ones used in Frankenstein.

1984: Frankenstein '90, a French film by Alain Jessua, with Jean Rochefort and Eddy Mitchell.

1985: was an adaptation directed by Franc Roddam. It stars Clancy Brown as the Monster, with rocker Sting as Dr. Charles Frankenstein. The plot features the Monster wandering about Europe with a tragic circus midget (David Rappaport) while the doctor himself engages in a -inspired relationship with a female creation, the eponymous Monster's Bride played by Jennifer Beals. A love triangle between the doctor, the Monster, and the Bride provides the film's conflict.

1987: The Monster Squad is a comedy/horror film written and directed by Fred Dekker that was released by TriStar Pictures. The film features the reunion of a number of classic movie monsters, led by Count Dracula and including the Frankenstein Monster (Tom Noonan), the Wolf Man, the Mummy, and the Gill-Man.

1990: Frankenstein Unbound is a science fiction movie based on the novel by Brian Aldiss and the last movie directed by Roger Corman. In it, a scientist (John Hurt) travels back in time to meet Victor Frankenstein (Raúl Juliá) and his Creature, as well as Mary Shelley herself.

1994: Mary Shelley's Frankenstein was directed by Kenneth Branagh, who also portrayed Victor Frankenstein. It featured a star cast with Robert De Niro as the Monster, Tom Hulce as Henry, John Cleese as Professor Waldman, Helena Bonham Carter as Elizabeth, and Aidan Quinn as Captain Robert Walton. Despite the title, it still diverged from Mary Shelley's original novel in many ways.

2004: Frankenstein, a two-episode miniseries that is faithful to the novel.

2005: Frankenstein vs. the Creature from Blood Cove. In this film, Frankenstein's Monster is resurrected to fight terrorists along with a half-fish, half-man creature. However, the plan soon goes awry.

2006: Perfect Woman. This film, produced by Olympic Productions, is a modern spin on the tale. The plot follows a reality game show that is looking for the perfect woman to win the perfect man, played by Marcus Schenkenberg. Little do the girls know that the game show is a mask for an evil genius who is literally trying to make the perfect woman, using various body parts.

2006: Subject Two. This film, written and directed by Philip Chidel, has a modern nanotechnology spin on the tale. The plot follows a disillusioned medical student's journey to a remote snowbound mountain location where he is met by Dr. Vic.

2008: In , the Jason Statham character takes the place of a race car driver who goes by the name Frankenstein; the same character's beginnings are explored in the two direct-to-video prequels, Death Race 2 and Death Race 3: Inferno.

2009: Army of Frankensteins, This film is directed by Richard Raaphorst; the story tells over a fight in the year 1945 between the Polish and German borderlines at the end of the Second World War.

2011: "Frankenstein's Wedding - Live in Leeds": Broadcast live on BBC Three, this adaptation uses the romance between Victor and Elizabeth as a basis for a music drama portraying the rest of the story and was filmed live on 19 March 2011 at Kirkstall Abbey in Leeds. The drama used popular music, such as "Wires" by Athlete, sung by Andrew Gower, portraying the Scientist, Frankenstein. Other members of the cast included Lacey Turner as Elizabeth "Liz" Lavenza and David Harewood as the Creature

2010: Mary Shelley's Frankenhole

2011: Frankenstein: Day of the Beast is an independent American horror film directed by Ricardo Islas.

2014: I, Frankenstein is a more action-based adaptation, which includes Frankenstein's monster, now named Adam, and a centuries-old feud between two immortal races.

2015: Victor Frankenstein tells the story from Igor's point of view.

2015: Bernard Rose's Frankenstein is a modern-set adaptation of the novel, with an emphasis on portraying elements which have not typically been included in screen adaptations, particularly the Monster's intelligence and organic (as opposed to reanimated) genesis. In the film, Victor Frankenstein and his wife Elizabeth create the Monster by manipulating DNA instead of reviving corpses, and the film unfolds from the Monster's point of view.

2019: is a modern adaptation of the novel written and directed by Larry Fessenden and centering on a soldier suffering from PTSD who creates life in a Brooklyn loft.

Between 1921 and 1922, H.P. Lovecraft wrote the serialized "Herbert West, Reanimator" in six parts, as a satirical send-up of Mary Shelley's original novel.

In the Mighty Mouse's 1942 cartoon Frankenstein's Cat, a community of mice and birds are living and playing peacefully until the arrival of the title character: a mechanical cat who wants to eat everything that comes his way.

A 1965-1968 cartoon series featured the overly-nice Milton the Monster and "Fangenstein".

In a 1968 episode of The Inspector entitled "Transylvania Mania", a smart Dracula-like character and a stupid Frankenstein-like creature try to steal the Inspector's brain to put it in a new creature that the vampire is building.

The 1968 Beatles movie, Yellow Submarine, featured a scene with the Frankenstein Monster drinking a potion and becoming John Lennon.

Franken Berry (1971), the mascot of the General Mills cereal of the same name, is a friendly parody of the Monster (cartoon and movie clip versions of the actual Frankenstein Monster have appeared in some commercials).

The Mel Brooks and Gene Wilder comedy Young Frankenstein (1974) borrows heavily from the first three Universal Frankenstein films, especially Son of Frankenstein. The production used many of James Whale's original laboratory set pieces and employed the technical contributions of their original creator, Kenneth Strickfaden. Wilder portrays Dr. Frankenstein's American grandson, Frederick, while Peter Boyle plays the Monster. A Turkish remake, Sevimli Frankestayn was released in 1975. Brooks later adapted his film for musical theater. The musical Young Frankenstein opened on Broadway in November 2007.

The Rocky Horror Picture Show (1975) was a musical parody of the story. In this twisted comedic tale, Dr. Frank N. Furter creates a creature for his own pleasure (named 'Rocky') and finds that his creature has heterosexual lusts as well.

The 1995 Disney Mickey Mouse short Runaway Brain features Mickey going to the nefarious Dr. Frankenollie and having his brain switched with a monster's.

The 1982 young adult novel Frank and Stein and Me by Kin Platt has the protagonist meet the strange Dr. Stein and his hulking creature Frank while on the run from smugglers. In the novel Frank is described as an accident victim that Dr Stein has saved from death and rebuilt. The book features a running joke with Stein being confused by references to Frankenstein, being unfamiliar with the story.

The 1985 teen comedy Weird Science stars two high school students, who are inspired by the original Universal film to create through a Memotech MTX512 home computer a virtual idealistic girlfriend, but the situation degennperates when they, hacking into a government mainframe for more power and engaging in a weird ritual, end up creating an actual girl. The film and the music video for the theme and the song of the same name by Oingo Boingo features a clip of the "It's Alive!" scene and frontman Danny Elfman doing an impression of Dr. Frankenstein in the music video.

Frankenhooker (1990) is a parody of the Universal films in which Jeffrey Franken gathers body parts from various streetwalkers in order to build the "perfect" woman. This same concept was borrowed for 2006's Perfect Woman (mentioned above).

Return of the Killer Tomatoes (1988) includes a scene in which the lead character is watching a movie called Frankenstein's Mummy (as a spoof of the 1940s sequel titles) on nighttime television. Return also features a character named Igor who parodies the "hunchbacked assistant" cliche upon his first appearance in the film.

Frank Enstein (1992) is a direct-to-video children's film about a robot named "Frank Enstein" who goes on an adventure.

The Addams Family (2019) features a scene where Wednesday brings the dead frogs in science class back to life a la Dr. Frankenstein in a parody of the 1931 film.

The Frankenstein story and its elements have been adapted many times for television:

A 1959 Hammer Film Productions half-hour pilot episode called Tales of Frankenstein. Anton Diffring played the Baron, and Don Megowan his creation. Curt Siodmak directed.

Boris Karloff reprised his role wearing the Frankenstein Monster makeup in a 1962 episode of titled "Lizard's Leg and Owlet's Wing" for Halloween. Also appearing in the episode were Lon Chaney Jr. as both the Wolf Man and the Mummy, and Peter Lorre.

Universal produced a television sitcom from 1964 to 1966 for CBS entitled The Munsters with Fred Gwynne as Herman Munster, a character physically resembling Universal's cinematic depiction of Frankenstein's Monster, who was the patriarch of a family of kindly monsters. The rest of the family included a grandfather resembling the Universal Dracula (who may actually be Dracula), a wife that resembles one of the Brides of Dracula, and a werewolf son. The Munsters' house at 1313 Mockingbird Lane can still be seen on the Universal Studios' backlot tour at Universal Studios in Universal City, California.

In the 1960s series The Addams Family, the family butler was Lurch, who looked and behaved very much like the Creature. Asked about his father in an episode of The Addams Family (1992 TV series), Lurch smiled and replied, "He put me together!" His vocabulary was limited, much like Boris Karloff's creature, but he became iconic for the catchphrase, "You rang?"

The 1965 serial features a sequence set in what appears to be a mysterious old house where various horror film monsters, including Frankenstein's Monster, menace first the Doctor and his companions and later the Daleks. The house is subsequently revealed to be a Haunted House exhibit at an event entitled the "Festival of Ghana, 1996"

A 1976 serial, The Brain of Morbius, has a Time Lord criminal brought back to life by a mad scientist, using the Time Lord's brain and a body composed of various alien races who had crashed onto the planet where Morbius' brain had been stored since his defeat.

The regeneration sequence of the seventh Doctor, Sylvester McCoy, into the eighth incarnation, Paul McGann, in the 1996 TV movie is set in a hospital morgue. The night attendant at the morgue is watching the 1931 Frankenstein in the next room, and scenes in which the monster is brought to life are intercut with images of the Doctor's "resurrection", his appearance out of the storage room then causing the attendant to pass out.

In The Famous Adventures of Mr. Magoo episode "Doctor Frankenstein", the titular nearsighted Mr. Magoo plays the mad scientist Victor in what is surprisingly a semi-accurate adaptation to the original book by Mary Shelley, even for a kid's cartoon, with some notable similarities not featured in the 1931 film, such as featuring the Monster being intelligent, Captain Walton and writing Victor's story into a letter, the Monster saving the little girl, and the possibility of a race of Monster-like beings that could take over the world.

Milton the Monster (1965-67) was a cartoon character developed shortly after The Munsters about a kind-hearted Frankenstein monster who famously "flipped his lid" (emitted steam out of the top of his head like a whale's blowhole) when angered, and who was constantly nearly kicked out of the lab by his scheming creator, Professor Weirdo.

The 1970-71 Saturday morning cartoon series Groovie Goolies was a parody of both the Universal monsters and Rowan and Martin's Laugh-In. The leads were the Monster Trio of Drac, Wolfie, and Frankie, a friendly version of the Monster. Howard Morris did Frankie's voice.

The 1971 Canadian series The Hilarious House of Frightenstein included a failed Frankenstein's-monster-like creation named Brucie who needed to be revived by Count Frightenstein in order to return from exile to Transylvania.

Frankenstein's Monster was one of the monster trio from various skits on The Electric Company, portrayed by Skip Hinnant.

Dan Curtis' 1973 adaptation had Robert Foxworth as Frankenstein and Bo Svenson as the Creature.

A 1973 Universal production, Frankenstein: The True Story, was more an amalgamation of various concepts from previous films than a direct adaptation of the novel. It starred Leonard Whiting as Frankenstein and Michael Sarrazin as the Creature, with a star supporting cast including James Mason, David McCallum, John Gielgud, Ralph Richardson, Agnes Moorehead and Jane Seymour.

In an episode of Fantasy Island, Dr. Anne Frankenstein, a descendant of Dr. Frankenstein, visits the island to try to find out about her ancestor. A being created by the elder scientist appears, and Anne is determined to take the being with her, naively believing that it will be treated with proper care in the 1980s.

CBS Television aired a 1979 series starring Jack Elam as Frank (the Monster) and Jeffrey Kramer as Ted Stein, a descendant of Dr. Frankenstein, called Struck by Lightning.

In an episode of The World's Greatest Super Friends, the Super Friends battle Dr. Victor Frankenstein and three of his monsters, one with all of the powers of Superman, Wonder Woman and Batman.

The 1980s cartoon Drak Pack featured Frankie, a descendant of the Monster who could assume his form as a superhero guise.

One of Arale's classmates in Dr. Slump was named Monsuta (a.k.a. Frank).

A 1984 Yorkshire Television version starring Robert Powell as Victor, David Warner as his Creature, and Carrie Fisher as the doomed Elizabeth.

An episode of The Catillac Cats has Riff Raff as a mad scientist about to be beaten up by Mungo/Frankenstein's Monster.

In Dragonball, young Goku befriends a cyborg named Number 8 (whom he nicknames Ha-chan) who was similar in appearance to Frankenstein's Monster.

(1987) In The Comic Strip, he has a son named Franky who attends Camp Mini Mon.

In the television movie Scooby-Doo and the Ghoul School, Scooby, Shaggy and Scrappy-Doo meet the daughters of several monsters at "Miss Grimwood's School for Girls". One of the 'girl ghouls' (as they are called in the movie) is named Elsa Frankenteen, her father being Frankenteen Sr. Frankenteen Sr. is the best representation of Boris Karloff's creature, with his daughter more closely resembling Elsa Lanchester's interpretation of the Bride of Frankenstein. "Frankenteen" is also a portmanteau of "Frankenstein" and "teen" because Elsa is a teenager.

The New Adventures of Winnie the Pooh episode "Frankenpooh" is a parody in which Pooh is the Monster and Piglet is the scientist who made him.

In The Simpsons 2003 installment of the Treehouse of Horror series, Treehouse of Horror XIV, there is a segment entitled "Frinkenstein", whereby Professor Frink uses his universal multi-tool to resurrect his dead father, who then goes on a rampage stealing organs from others until his son is forced to kill him. In Treehouse of Horror XVIII, Bart wears a costume resembling the Monster. In Treehouse of Horror XX, he appears as one of the monsters at Homer and Marge's Halloween party wearing modern costumes after being teased by Jimbo, Kearney and Dolph, and in Treehouse of Horror XXI as the monster Frink created in his lab. Also in Treehouse of Horror III, Lewis is wearing a Halloween costume of the Monster at the Halloween party with Bart and Lisa.

The 1995 Fox "Tiny Toon Adventures" special Tiny Toons' Night Ghoulery offers about a dozen shorts introduced in the style of the 1970s program Night Gallery, with Babs Bunny stepping in for Rod Serling. One of the segments, "Frankenmyra & Dizzigor", is a parody of Frankenstein.

A 1992 production for the American TNT cable network, with Patrick Bergin as Victor and Randy Quaid as his hapless creation.

There were two instances where the concept of Frankenstein's Monster was used in the Super Sentai and Power Rangers series. In Kyōryū Sentai Zyuranger, the monster Dora Frank was an obvious nod to the Monster, as well as its Mighty Morphin Power Rangers counterpart, which was simply referred to as the "Frankenstein Monster". Then, in Mahou Sentai Magiranger one of the main villains, Victory General Branken, was inspired by Frankenstein's Monster. Branken's Power Rangers: Mystic Force counterpart was Morticon.

In a 1993 episode of Mighty Morphin Power Rangers, Frankenstein's Monster was created by Rita Repulsa to destroy the rangers.

In the 1994 animated series Monster Force, Frankenstein's Monster, alias "Frankenstein" or "the Monster", becomes humanity's ally in a desperate fight against evil Creatures of the Night.

The comedy series called Weird Science (1994-98) was inspired by the Frankenstein storyline (just as the 1985 film of the same name was). The series follows the adventures of two high school students who design their "perfect" woman simulation by filling their computer with various forms of data and images, which is accidentally turned into life after a freak lightning storm.

"Frankenbone", a 1995 episode of the PBS children's series Wishbone, had an adaptation of Shelley's novel that stayed true to the original story with the canine star in the role of Victor and Matthew Tompkins as the Monster.

The Animaniacs episode "Phranken-Runt", featuring Rita and Runt, parodied both the overall Frankenstein plot and elements of The Rocky Horror Picture Show.

The 1996-98 Fox Kids series Big Bad Beetleborgs (later Beetleborgs Metallix) featured a "hulking stitched-up" character named Frankenbeans, "brought to life" by David Fletcher. The zany character owes a great debt to Herman Munster and Peter Boyle in Young Frankenstein. Strangely, the character is celebrated every year on the Thursday before the last Friday of October on a day called Frankenbeans Thursday.

The children's animated series has an episode depicting a reenactment of the night the novel was created. Titled Fernkenstein's Monster, it was described as: "Inspired by Mary Shelley's Frankenstein, Fern tells a tale so scary that Arthur and the gang become afraid of her. Can Fern prove her skills as a writer and create a different story that's fun instead of frightening?"

Nightmare! The Birth of Horror (U.S. title: Nightmare! The Birth of Victorian Horror) was a BBC miniseries with Professor Christopher Frayling. There were four episodes on classic horror tales: Dracula, Frankenstein, Dr. Jekyll and Mr. Hyde, and The Hound of the Baskervilles. Each episode began on looking at the author's nightmares or encounters with the nightmarish and how it inspired their novel.

Buffy the Vampire Slayer has also faced "Frankensteinian" creations. In the season 2 episode "Some Assembly Required, the creation was Darryl Epps, a reanimated high school jock whose brother reanimated him after an accident, but after his brother refused to complete a project to create a bride for him as the rapid decay rate of brain tissue would have required him to actually kill someone, Darryl allowed himself to die in a fire rather than have to live alone. The season 4 Big Bad was Adam, a conglomeration of robot, human, and demon parts created by a government scientist in charge of a demon research facility who rebelled against his creator, whom he referred to as 'Mother', mirroring the statements of the Creature, who believed that Frankenstein should have been a better father, and tried to create a new society of creatures like him before he was destroyed.

In the episode "Super Writers", at the end of a sketch about Edgar Allan Poe publishing "The Raven", Mary Shelley appears (portrayed by Charity Bazaar dressed as the Bride of Frankenstein) to pitch the book to Sammy Melman.

An episode of SpongeBob SquarePants called "Frankendoodle" involves SpongeBob using a human artist's "magic pencil" to create a living, evil doodle of himself.

The 2000 anime television series Argento Soma draws a large amount of inspiration from Frankenstein. The series' plotline revolves around an ambitious scientist assembling a giant silver creature from scattered components. The giant (aptly nicknamed "Frank") possesses a tender and compassionate nature but has a bizarre and hideous exterior and the potential to inflict death and destruction.

A 2004 production titled Frankenstein for the American USA Network starred Thomas Kretschmann as Victor and Vincent Pérez as his original creature, named "Deucalion" (because he was the "son" of the "Modern Prometheus". It was not a direct adaptation but a postmodern Gothic reinvention set in present-day New Orleans.

In the series Kamen Rider Kiva, Dogga's race, the Franken, is an obvious nod to the Monster, along with Kiva's Dogga form.

In the original Transformers episode "Autobot Spike", Sparkplug Witwicky creates an Autobot using mismatched robot parts that he names Autobot X, but the robot is a mindless monster and goes berserk. Later, Spike Witwicky is injured and his consciousness is transferred to the giant robot body. Spike makes several direct references to the invention as a "robot Frankenstein Monster".
Also, the character of Rampage in the Transformers: Beast Wars series has a great many similarities to Frankenstein's Monster, especially his origins as a product of science gone horribly wrong; the main differences are his status as an irredeemable psychopath and that his body was not created by piecing others together. In a later episode, Megatron's cloning of Dinobot bears a strong resemblance to the creation of the Monster.

In an episode of Time Warp Trio entitled Nightmare on Joe's Street, Mary Shelley accidentally draws her first impression of the Monster in The Book, causing her dream to become a reality. Unlike typical versions of the Creature, which have one-colored complexions, this render of the Monster is seen with patchwork-colored skin, signifying his construction from various corpse parts.

In a 15-minute episode of Sonic the Hedgehog, Rotor the Walrus, assisted by Antoine, creates a robot named Ro-Becca. Antoine accidentally activates Ro-Becca and she falls in love with him.

Two segments from Braingames showed Frankenstein's monster. One was "Splatnarnt", in which two scientists assembling a Frankenstein's-monster-like creature using interior body parts whose names were scrambled; the idea was for the viewer to unscramble the names. The other was "Whosamawhatchamacallits", in which Frankenstein's Monster was the last character portrayed in the game.

Dr. Frankenstein and Frankenstein's Monster appeared in Mad Monster Party?, Mad Mad Mad Monsters and Alvin and the Chipmunks Meet Frankenstein, while Frankenstein's Monster appeared in Scooby-Doo and the Reluctant Werewolf.

The fifth-season episode of Highlander: The Series titled The Modern Prometheus has Mary Shelley draw her inspiration from two immortals battling during the long winter in the Swiss Alps. Upon seeing Byron (in the series secretly an Immortal) restored to life by lightning, she asks Methos why her child rots in her grave while Byron simply gets up and walks away. Methos admonishes her to pity their kind, for life can go on when it should not. The isolation he describes enables Shelley to write her classic.

Two animated segments from Sesame Street teaching basic geography were hosted by Dr. Geo and his Frankenstein-like unnamed assistant who would mimic everything Geo said behind his back. One segment talked about the concept of a globe and the other about mountains.

Frankenstein's Monster and the Bride of Frankenstein's Monster are the father and mother of Frankie Stein in Monster High.

2009: Wizards of Waverly Place, episode 1 season 3 "Franken Girl", Justin's monster.

Episode 7x07 of Criminal Minds deals with a serial killer who murders young men and removes their body parts in an attempt to build a new body for his deceased brother.

In the anime/manga Soul Eater, Professor Frank N. Stein is a teacher and meister at the DWMA (Death Weapon Meister Academy).

In 2014, PBS and Pemberley Digital created a webseries based on the original novel, called Frankenstein, M.D.; the series brings the story to modern days, following the medical student who subsequently becomes Doctor Victoria Frankenstein.

In the Supernatural season 10 episode "Dark Dynasty", Eldon Styne reveals that his family, the Styne Family and the main enemies of Book of the Damned, Dark Dynasty and The Prisoner are in actuality members of the House of Frankenstein, one of the oldest families in Europe.

Victor Frankenstein, the Creature and the Bride are major characters of the Showtime series Penny Dreadful.

In the television series , the sixth season episode "The Son Also Rises" features a group of scientists attempting to bring the son of one of their number back to life in a Frankenstein-esque experiment, but their work goes wrong when the reanimated body was created using the body parts taken from dead wesen, causing an extreme reaction that provokes the scientists to try and kill him, prompting the boy to go after them in revenge.

In the first episode of the animated television series VeggieTales, "Where's God When I'm S-Scared?", the plot of the first story revolves around Junior Asparagus's fear of an in-universe version of Frankenstein's Monster called "Frankencelery."

The Halloween episode of Animaniacs (2020 TV series) had a segment parodying Frankenstein called "Bride of Pinky", in which Dr. Brainenstein builds a female monster in a plan to take over his village, only for Pee-Gor to fall in love with her.

Phineas and Ferb had a Frankenstein parody in "The Monster of Phineas-and-Ferbenstein" in which the boys' ancestors build a giant monster version of Perry. Also, the episodes "One Good Scare Ought to Do It!" and "That's the Spirit!" both feature Ferb dressed as Frankenstein's Monster, with Phineas dressed as Dr. Frankenstein in the former.

In the Mickey Mouse (TV series) Halloween special "The Scariest Story Ever!", the first story Mickey tries to scare his and Donald's nephews with is a parody of Frankenstein, with Goofy, Donald and Mickey as Dr. Goofenstein, Duckor and the Monster, respectively.

Both of the TV shows Mister Magoo and The Famous Adventures of Mr. Magoo had adaptations of Frankenstein.

In the Cloudy with a Chance of Meatballs (TV series), there is an episode called "Flintenstein" when Flint Lockwood and the class watch the original Frankenstein movie. However, Flint is disappointed as he considers it to be "Hollywood science", as Flint believes that Dr. Victor Frankenstein in the movie does not behave the way normal scientists would and says he makes other inventors look bad. However, to prove it is actual science, he just grabs whatever junk he can find in the lab and then Flint's creation comes to life after the lab is struck by a lightning bolt. However, Flint's monster is really kind and friendly and calls him "Daddy", despite Flint trying his best to prove that this monster is not his son. After hanging out though, Flint feels close to his creation until the citizens of Swallow Falls form a mob and try to get rid of him. By the end, however, Flint has to transport his creation into another universe with a portal machine and finds a lover.

Both versions of Wacky Races have a parody of the Monster as half of the Gruesome Twosome.

The 1962 novelty song "Monster Mash" is narrated by a Dr. Frankenstein-like character, who talks about his Monster learning a new dance.

"Frankenstein" is a 1973 instrumental by the Edgar Winter Group - so named because it was constructed from bits and pieces of several different takes.

The video for Yazoo's song "Don't Go" featured a Frankenstein theme.

In the video for her 1983 song "Telephone (Long Distance Love Affair)", Sheena Easton is pursued through a haunted house by Frankenstein's Monster.

In The Dead Milkmen video "Big Time Operator" lead singer Rodney is depicted as FrankenElvis.

For their 1987 single, "Doin' It All for My Baby", Huey Lewis and the News used a Frankenstein theme in a video performance.

The lyrics of T'Pau's 1987 song "China in Your Hand" reference Frankenstein.

"Frankenstein" is a song by funk metal band Clutch from Pure Rock Fury.

"Dr. Stein", a song produced by the power metal band Helloween for their 1988 album Keeper of the Seven Keys, Pt. 2, is based on Victor Frankenstein and his Monster.

Hillbilly Frankenstein was the name of a band formed in 1988 in Athens, Georgia.

Rock musician Alice Cooper recorded a song titled "Teenage Frankenstein" for his 1986 album Constrictor, and recorded "Feed My Frankenstein" for his 1991 album Hey Stoopid. The latter song was also featured in the 1992 film Wayne's World.

Electric Frankenstein is an American punk rock band from New Jersey.

Frankenstein Drag Queens From Planet 13, a horror punk band formed in North Carolina in 1996.

How I Made This, the multimedia musical composition of Ukrainian-born Russian composer Evgeni Kostitsyn, won first place at the First International Competition for Composers in the Ukraine in 1998.

Sam Cooke's song "Another Saturday Night" includes a verse that goes: "Another fellow told me / He had a sister who looked just fine. / Instead of being my deliverance, she had a strange resemblance / To a cat [guy] named Frankenstein."

"Some Kind of Monster" is a 2004 song by Metallica which uses themes from Frankenstein.

"Jesse James meets Frankenstein's Daughter" is a song by American Folk musician Space Mandino.

The Rammstein song "Mutter" is about a monster that kills its creator or mom in this case.

The Abby Travis music video for her 2011 single Lightning Squared is a cartoon parody of the Frankenstein story, with the Monster and his Bride as doomed lovers forever on the run from an angry mob.

The punk band Crass referenced Frankenstein in the song "Reject of Society".

Dr. Frankenstein a concept album/rock opera written by Cuban/Mexican musician José Fors, was based on both the original novel and James Whale's films. It was released in 2009.

East Bay hardcore punk band The Nerve Agents included a song called "Planet Frankenstein" on a split EP they released in collaboration with New York hardcore punk band Kill Your Idols in 2000.

Toy Love released a 1980 single, "Bride of Frankenstein".

The German band Oomph!'s song "Brennende Liebe" details a sort of Frankenstein scenario, and the video features Frankenstein, his wife, and the scientist and his associates.

The rock band Glass Wave included a song about Frankenstein's Monster (entitled "Creature") on their 2010 album. The lyrics are sung through the Creature's voice.

Kevin Max's song "Jumpstart Your Electric Heart", from his 2005 album The Imposter is a modern-day retelling of Shelley's Frankenstein.

In the "Weird Al" Yankovic song parody, "Perform This Way", Frankenstein was mentioned on the lyrics.

Pop singer Chisu released a single titled "Frankenstein" in 2012 with Finnish lyrics. It was also used as the theme song for a dark comedy TV series in Finland, Helsingin herra, in 2012.

Bob Dylan's 2020 song "My Own Version of You", featuring a narrator who wants to "bring someone to life" using the body parts of disparate corpses, was inspired by Shelley's novel and makes several explicit references to it in the lyrics.

In their song "Maniac" from the EP (2022), Stray Kids encourages listeners to embrace the odd sides in themselves and show how maniac they can be using the metaphor of Frankenstein. They included the Frankenstein reference in their lyrics, choreography, and promotional photos.

In Swedish House Mafia and ASAP Rocky's "Frankenstein" from Paradise Again, ASAP Rocky compares himself and frequent collaborator Tyler, the Creator to Victor Frankenstein and Igor, respectively, the latter of whom has an album called which refers to the character's archetype.

On August 3, 1931, Alonzo Dean Cole adapted the novel as a 30-minute episode of his program The Witch's Tale. It was redone on March 7, 1932 and July 17, 1935.

In 1932, George Edwards produced a 13-part, 3-hour series for radio. It follows the structure and spirit of the novel closely.

On January 8, 1944 it was adapted as a 30-minute drama on the syndicated program The Weird Circle.

On December 13, 1947 it was adapted as a 30-minute drama on the program Favorite Story.

In 1952, an adaptation was broadcast on NBC Presents: Short Story.

In 1994, BBC Radio 4 broadcast a two-part adaptation written by Nick Stafford and directed by Claire Grove, with Michael Maloney as Frankenstein and John Wood as the Creature.

In 2012, BBC Radio 4 broadcast a two-part adaptation as part of their Gothic Imagination series written by Lucy Catherine and directed by Marc Beeby, with Jamie Parker as Frankenstein, Shaun Dooley as the Monster and Susie Riddell as Elizabeth.

In 2014, Big Finish Productions released an audio version by Jonathan Barnes directed by Scott Handcock starring Arthur Darvill as Victor Frankenstein, Nicholas Briggs as Waldman/the Creature, Geoffrey Beevers as Alphonse Frankenstein/DeLacey, Georgia Tennant as Elizabeth and Terry Molloy.

Parodies have been broadcast on radio:

On January 12, 1945 Boris Karloff guest-starred on Duffy's Tavern and appeared in a parody of Frankenstein.

On January 27, 1957 The Goon Show broadcast The Curse of Frankenstein (which actually had nothing to do with the Frankenstein story except for the title).

On August 7, 2008, in the Bleak Expectations episode "A Happy Life, Cruelly Re-Kippered", the antagonist Gently Benevolent is brought back to life using electricity by the mad scientist Francis Norman 'Frank N.' Sternbeater, one of many of Benevolent's step-siblings who serve as his evil accomplices.

On November 20, 2014, in Series 4 Episode 6 of the BBC Radio comedy series John Finnemore's Souvenir Programme, when Finnemore's storyteller character is invited to Castle Krupenstein for a scientific demonstration, he is greeted by a slow, groaning character (voiced by Simon Kane) who he believes is 'Krupenstein's monster', but who is in fact her husband. Dr. Gretchen Krupenstein is revealed to have invented a time machine, not a means of reanimation.

A Broadway adaptation of the story by Victor Gialanella played for one performance on January 4, 1981 (after 29 previews) and was considered the most expensive non-musical flop ever produced to that date. However, the New York Times writer Carol Lawson observed that "critics have remarked that Mr. (Bran) Ferren's work on this play (the special effects and sound designer), which included the spectacular destruction of Dr. Frankenstein's laboratory by his Monster, had the lavishness that audiences have come to expect in films, but have never before seen in the theater." It is noteworthy for John Carradine's playing the part of the blind "DeLacey". Also starring were David Dukes as "Victor Frankenstein", Dianne Wiest as "Elizabeth", John Glover as "Henry Clervel", and Keith Joachim as "the Creature".

The Guthrie Theater in Minneapolis commissioned Barbara Field to write a response/adaptation to Shelley's novel. The play, called "Frankenstein - Playing with Fire," went on a national tour in early 1988 before playing at the Guthrie during the summer of 1988. The Guthrie restaged the play in September-October 2018.

Catalyst Theatre's musical adaptation premiered in 2007 in Edmonton and had subsequent productions in Banff (Eric Harvie Theatre), Vancouver (The Cultch), Saskatoon (Persephone Theatre), Calgary (Theatre Calgary/High Performance Rodeo), Whitehorse (Yukon Arts Centre), and Toronto (Canadian Stage). Book, music and lyrics by Jonathan Christenson, from the original novel.

Joined At The Heart is a musical with music and lyrics by Graham Brown and Geoff Meads, book by Frances Anne Bartam and directed by Frances Brownlie. It tells the love story of Victor Frankenstein and his step-sister Elizabeth, a young orphan girl taken in by Victor's parents and cared for as if she were their own daughter. When Victor's mother dies, he vows to end the suffering that death brings by pursuing eternal life. Joined At The Heart reached the final of the Worldwide Search for Musicals competition. The show was produced at The Junction 2 in Cambridge, UK from 1-4 August 2007 and at the Edinburgh Fringe in Scotland from 12-18 August 2007.

Young Frankenstein, a musical theatre adaptation of Mel Brooks' Young Frankenstein, opened in November 2007 and closed in January 2009.

Frankenstein - A New Musical, a pop-opera adaptation which adhered closely to the original novel, opened at 37 Arts Theatre, New York, in autumn 2007 and closed in December 2007. The first UK performance was at The Stables Theatre Hastings in May 2009. Music was by Mark Baron, book by Jefferey Jackson and Gary P. Cohen.

A performance storytelling production of Frankenstein is currently touring both in the UK and internationally. It is performed by storyteller Ben Haggarty and the composer, singer and musician Sianed Jones.

Frankenstein, a play adapted by Nick Dear from the original novel, premiered at the Royal National Theatre in 2011. This production originally starred Benedict Cumberbatch and Jonny Lee Miller alternating in the roles of Victor Frankenstein and the Creature. A recording of the performance was broadcast live in cinemas worldwide in March 2011. It was later produced in the Sydney Opera House and the Denver Center for the Performing Arts.

A Korean musical adaptation of the book, written and directed by Wang Yong-beom and songs by Lee Seong-joon, premiered on March 11, 2014. The show achieved unprecedented level of success for an original domestic production, and it has since been produced in Japan and China as well. Each country's top stars, such as Park Eun Tae and Akinori Nakagawa have been in it.

FRANKENSTEIN, a musical theatre adaptation by Eric B. Sirota (book, music and lyrics) opened at St. Luke's Theatre, an Off-Broadway venue in NYC on Oct. 9, 2017, and continued to run there into its fourth calendar year until the pandemic. It is described as "a sweeping romantic musical about the human need for love and companionship."

The Royal Ballet's production of Frankenstein in collaboration with San Francisco Ballet was produced and choreographed by Liam Scarlett, score by Lowell Liebermann and costume and set by John Macfarlane, with Federico Bonelli as Victor, Laura Morera as Elizabeth and Steven Mcrae as 'the Creature' on opening night. It was also broadcast live to cinemas on 18 May 2016. The production premiered 4 May 2016 and the run lasted until 24 May 2016. The ballet is being revived for the first time in the 2018/2019 season from the 5-23 March 2019 with a run of nine shows.

The story of Frankenstein and " Frankenstein's monster", has formed the basis of many original novels over the years, some of which were considered sequels to Shelley's original work, and some of which were based more upon the character as portrayed in the Universal films. Yet others were completely new tales inspired by Frankenstein.

1957: French screenwriter Jean-Claude Carrière wrote six Frankenstein novels in 1957 and 1958 for Angoisse, the horror imprint of publisher Fleuve Noir, under the house pseudonym of Benoît Becker (with plotting assistance from Guy Bechtel for the first novel).

1. La Tour de Frankenstein [The Tower of Frankenstein] (FNA No. 30, 1957)

2. Le Pas de Frankenstein [The Step of Frankenstein] (FNA No. 32, 1957)

3. La Nuit de Frankenstein [The Night of Frankenstein] (FNA No. 34, 1957)

4. Le Sceau de Frankenstein [The Seal of Frankenstein] (FNA No. 36, 1957)

5. Frankenstein Rôde [Frankenstein Prowls] (FNA No. 41, 1958)

6. La Cave de Frankenstein [The Cellar of Frankenstein] (FNA No. 50, 1959)

Carrière followed the footsteps of the Monster, christened Gouroull, as he made his way back from Iceland, to Scotland, and then Germany and Switzerland, from the late 1800s to the 1920s. The plots have the Monster pursuing his own evil agenda, unafraid of the weaker humans. Even people who try to help or reason with him are just as likely to be killed by the inhuman fiend. Two further novels were published in the series by Black Coat Press. The books, The Quest of Frankenstein and The Triumph of Frankenstein, were written by Frank Schildiner.

1972: Popular Library published a series of nine novels called The Frankenstein Horror Series. Despite the title of the series, only the first book, The Frankenstein Wheel (catalog #01544), by Paul W. Fairman, actually concerns the further exploits of Frankenstein's creation. The remaining eight books were unrelated stories using different horror themes.

1973: Frankenstein Unbound, by Brian Aldiss, combining the titles of Mary Shelley's novel with Percy Bysshe Shelley's Prometheus Unbound (1820), sends a time traveler from the 21st century back to Geneva in 1816, when Mary Wollstonecraft Godwin (as she was known then) was engaged in writing the original Frankenstein story.

1975: Robert J. Myers wrote a sequel to Shelley's novel called The Cross of Frankenstein (ISBN 0-397-01086-9), in which the illegitimate son of Victor Frankenstein finds the Creature alive and well and plotting the destruction of mankind in the wilds of America in 1816. Myers followed up the novel in 1976 with a second novel called The Slave of Frankenstein (ISBN 0-397-01126-1), where racism is added to the Creature's long list of sins as Frankenstein's illegitimate son again thwarts his plans to create a race of perfect slaves in the pre-Civil War America of 1859. A third novel in the series was announced, but never published.

1978: Allan Rune Pettersson wrote two novels in 1978 and 1989

1986: Margaret Tarner wrote an adaptation of the novel for elementary students as part of the Macmillan Readers series from Macmillan Publishers (ISBN 978-0435271060). An audiobook of this version was published in 1992 (ISBN 978-0435272876).

1994: Leonore Fleischer wrote a novelization of the Kenneth Branagh film.

2003: Jim Benton has written a series of children's chapter books about a female mad scientist that goes by the name Franny K. Stein

2005: Joseph Covino Jr. wrote the first novel in a planned trilogy adapting and combining the characters and scenarios of the horror classics Frankenstein and Dracula, preserving the original stories of both perfectly intact without corrupting or distorting either: Frankenstein Resurrected.

2008: Peter Ackroyd's The Casebook of Victor Frankenstein is a postmodern retelling of the original story in which Victor Frankenstein encounters Percy Bysshe Shelley while studying in London. (ISBN 978-0-7011-8295-3)

2015: Mackenzi Lee's debut novel,This Monstrous Thing, is a young adult retelling of Frankenstein set in an alternate fantastical world. The novel's protagonist, Alastair Finch, uses clockwork technology to resurrect his (deceased) brother. Interestingly, Shelley's Frankenstein is published in Finch's world, so both men (human and Monster) hide as society tries to identify the "real" subjects in Shelley's tale. (ISBN 978-0062382788)

2017: In Monstrumfuhrer by Edward M. Erdelac Joseph Mengele discovers Frankenstein's lab journal and is ordered to recreate his experiments in his laboratory in Auschwitz. A young Jewish boy escapes and heads north to find the original Creature in the hope that he can convince him to stop Mengele.

2017: The Strange Case of the Alchemist's Daughter by Theodora Goss depicts Adam as an antagonist to a group of "monstrous" women, each of whom "must contend with the monstrous bodies they've been given, in most cases against their will, by men acting on ideological impulse." As well as Adam himself, the protagonists include Justinia Frankenstein, the "bride" Frankenstein created in the novel from the corpse of the family's dead servant, who was brought back to life without her original memories.

The Monster has also been the subject of many comic book adaptations, ranging from the ridiculous (a 1960s series portraying The Monster as a superhero; see below), to more straightforward interpretations of Shelley's work.

Dick Briefer's Frankenstein (1940-1954)

In 1940, cartoonist Dick Briefer wrote and drew a Frankenstein's-Monster comic book title for Crestwood Publications's Prize Comics, beginning with a standard horrific version, updated to contemporary America, but then in 1945 crafting an acclaimed and well-remembered comedic version that spun off into his own title, Frankenstein Comics. The series ended with issue #17 (Jan.-Feb. 1949, but was revived as a horror title from #18-33 (March 1952 - Oct.-Nov. 1954). The original Prize version served as catalyst for an intra-company crossover, where all characters starring in Prize Comics at the time teamed up to fight Frankenstein.

DC Comics' Movie Comics #1 (April 1939) featured an eight-page fumetti adaptation of the film Son of Frankenstein.

The Monster appeared in No. 143 (February 1961), in a story entitled "Bizarro Meets Frankenstein!"

In 1973 the "Spawn of Frankenstein" appeared in the Phantom Stranger comic, written by Len Wein. The portrayal of the Monster was as a reclusive, sympathetic character who had been living alone in the Arctic since the death of his creator.

A 1995 Batman special called Batman: Castle of the Bat by Jack C. Harris and Bo Hampton amalgamates Batman and Frankenstein. Bruce Wayne fills the role of Victor Frankenstein, wishing to revive his deceased father. Having successfully done so, his creation becomes the monstrous "Bat-Man", a hulking figure in a rough analogue of the Batman costume who preys upon highwaymen, similar to the one who took the lives of the (this story's) parents of Bruce Wayne. Batman's butler Alfred Pennyworth is changed to a hunchbacked dwarf named Alfredo, filling the "Igor" role.

In The Superman Monster ( 1999), Lex Luthor is Viktor Luther, the creator. He discovers the spacecraft that would have carried the infant Superman to Earth. Inside, however, is only the skeleton of a child. Using the Kryptonian technology, he is able to animate his (unintentionally) super-powered creature, which initially resembles Bizarro. The creature flees and is raised by the kindly couple Johann and Marta Kant. They name the creature Klaus, after their dead son. The story features the Lois Lane character becoming "the Bride" to Superman's Creature.

DC Comics and Roy Thomas revived the character "The Spawn of Frankenstein" in Young All-Stars; he then appeared in Grant Morrison's Seven Soldiers of Victory. Here, Frankenstein is a Milton-quoting, gun-toting warrior battling to prevent the end of the world. In addition, DC's team of movie monster-esque soldiers known as the Creature Commandos featured a character that resembled the Universal Pictures version of Frankenstein's Monster; Private Elliot "Lucky" Taylor was nearly killed after stepping on a land mine, but was grotesquely reconstructed into a "Patchwork Creature" (as designated by the Who's Who in the DC Universe entry on the Creature Commandos), and later rendered mute by a suicide attempt. Later, DC Comics debuted an unrelated superhero (and member of the Teen Titans) called " Young Frankenstein."

In Warren Ellis and John Cassaday's , the protagonist, Elijah Snow, discovers an abandoned laboratory, filled with patchwork undead monsters. It is heavily implied that the lab belonged to Victor Frankenstein, and that, alongside Count Dracula, the Invisible Man, and Sherlock Holmes, Frankenstein had been part of a covert 19th century conspiracy to shape the direction of the future.

In the comic book Major Bummer, Louie defends the common misnaming of the monster as "Frankenstein": Dr. Frankenstein is, so to speak, the monster's "father", and it is only right that a son should have his father's family name. This is also the argument taken by the Seven Soldiers incarnation.

In September 2011, rebooted DC's continuity. In this new timeline, the Seven Soldiers' version of the character is re-established in the ongoing series Frankenstein, Agent of S.H.A.D.E..

The monster appeared as a foe to Marvel Comics' X-Men in issue #40 of their eponymous series (January 1968). In the story, written by Roy Thomas, the monster had various powers, including incredible strength, optic beams, and magnetized feet. He was an ambassador sent to Earth by aliens in the 1850s, but upon arrival, he went berserk. His fellow aliens followed him to the North Pole, where he was frozen. In the present, he was discovered by scientists and thawed. According to Professor X, this android was the inspiration for Shelley's novel.

The Monster of Frankenstein, the first five issues of which (Jan.-September 1973) contained a faithful (in spirit at least) retelling of Shelley's tale before transferring the Monster into the present day and pitting him against James Bond-inspired evil organizations. The artist, Mike Ploog, recalled, "I really enjoyed doing Frankenstein because I related to that naive monster wandering around a world he had no knowledge of - an outsider seeing everything through the eyes of a child."

In Invaders #31, the Invaders, searching for the Human Torch and Toro, disappear in Switzerland. The Invaders' investigation brings them face to fist with Frankenstein. A wheelchair-bound Nazi scientist and Japanese doctor plan to transplant said Nazi scientist's brain into Captain America's body. The Invaders have to fight Frankenstein in the issue (Frankenstein is dressed as a Nazi officer)

Classic Comics #27 (December 1945), reprinted in Classics Illustrated #26, had versions of the Shelley novel.

Dell Comics published a superhero version of the character in the comic book series Frankenstein #2-4 (September 1966 - March 1967; issue #1, published Oct. 1964, featured a very loose adaptation/update of the 1931 Universal Pictures movie).

In 1972, French comics publisher Aredit devoted seven issues of its digest-sized Hallucinations horror comic magazine to adapt Jean-Claude Carrière's Frankenstein novels.

In 1973, Dargaud published Dracurella, by Spanish born comic creator Julio Ribera (1927-2018), in the French comic magazine Pilote, which featured both Victor Frankenstein and his monster.

In 1991, Dark Horse Comics issued an adaptation of the 1931 Universal film.

The Monster is Monster in My Pocket #13. He appears among the good monsters in the comic book (1991), the video game (1991), the animated special (1992), and the 2003 animated series. In the comics, he was relatively inarticulate, represented by hyphens between each syllable he spoke, but possessed of simple wisdom and strong morals. This characterization was essentially characterized in the video game, where he was a playable character, and his only line of dialogue in the cut scenes was "Yeah..." In the animated special, he was known as "Big Ed" and was essentially a comic simpleton.

Junji Ito serialized a manga adaptation of the novel, which was collected and published by Asahi Sonorama as the last tankōbon volume of The Junji Ito Horror Comic Collection in 1999.

In 2001, Curtis Jobling released a picture book titled Frankenstein's Cat, which focused on Frankenstein's first creation; a cat named Nine (due to being made up of nine different cats). A television adaption aired in 2008 on CBBC.

2004 saw the debut of Doc Frankenstein, written by the Wachowskis, the writer-director team of ), and drawn by Steve Skroce. The book tells the continuing adventures of Frankenstein's monster, who has since adopted his creator's name and became a hero through the ages.

In 2004, manga artist Atsushi Ōkubo produced the manga Soul Eater; in the fifth chapter, a character known as Franken Stein made his debut; much of his design was referenced from the novel Frankenstein, including his body being covered in dozens of self-inflicted stitches. Like his namesake, Franken Stein is both a skilled doctor and scientist, actually accomplishing in resurrecting another character into a zombie. But otherwise, the rest of Victor Frankenstein's character was mostly tossed aside (the character was obsessed with taking things apart, usually with scalpels, and he was also a skilled fighter, especially in hand-to-hand combat); the major difference between Franken Stein and Mary Shelley's Victor Frankenstein is the fact that Franken Stein has the classic personality of a psychopath or serial killer.

In 2005, Dead Dog Comics produced a sequel to the Frankenstein mythos with Frankenstein: Monster Mayhem, written by R. D. Hall with art by Jerry Beck. In Dead Dog's version, the Monster sets out to create his own Necropolis.

Also in 2005, Speakeasy Comics put out their sequel, The Living and the Dead, written by Todd Livingston and Robert Tinnell, with art by Micah Farritor. In it, Victor, now calling himself Hans, must create a new body for his first cousin who wants her syphilitic son to remain alive after a vicious beating, and she coerces him to do so under fear of exposing him for who he really is. Half-crazed due to the disease, the newly-born monster proceeds to start a Grand Guignol theater in Ingolstadt until Victor puts him down with the help of the first Monster he ever created. As thanks, Victor begins work on the last attempt he will make at playing God, and begins to build the original Creature a mate.

In 2005, Puffin Books released a graphic novel adaptation adapted by Gary Reed with art from Frazer Irving.

The 2006 Beckett Entertainment/Image comics graphic novel The Cobbler's Monster: A Tale of Gepetto's Frankenstein features an amalgamation between Gepetto and Victor Frankenstein, who reanimates his dead son.

In 2006, Eros Comix published Adult Frankenstein, a comic book with Frankenstein X-rated stories (featuring also other classic monsters) all written by Enrico Teodorani (creator of Djustine), with cover by Joe Vigil and interior art by some of the best Italian authors in the erotic comics field.

The 2007 manga series Embalming-The Another Tale of Frankenstein-, published by Shueisha, is based on the idea that Victor Frankenstein actually existed and created an artificial human from body parts of dead people and that 150 years after this event, numerous doctors across Europe are using what is left of his notes to try and create their own monsters. The series also features characters reading Frankenstein; or, The Modern Prometheus.

In 2009 Papercutz published a Classics Illustrated Deluxe Graphic Novel adaptation of Frankenstein by French cartoonist Marion Mousse. His adaptation was originally published in French in three volumes, and was all collected and translated into English for the Papercutz version. Of all the comic book adaptations, this one is probably the most faithful to the original book.

Frankenstein's Monster appears in the Konami video game series Castlevania numerous times, with its name being "the Monster" or "the Creature", often as a major boss, but sometimes as a regular enemy. The Monster usually has the appearance of the Karloff/Universal version; however, the 2010 series reboot Castlevania: Lords of Shadow features a completely different-looking boss known as the "Mechanical Monstrosity", created some time prior to 1047 by "Friedrich von Frankenstein".

Several other video game version are also available, including Bride of Frankenstein ( Commodore 64 and ZX Spectrum), Frankenstein: Through the Eyes of the Monster - A Cinematic Adventure Starring Tim Curry (PC CD-ROM) and Mary Shelley's Frankenstein, ( Super NES, Genesis, Sega CD) based on the 1994 film of the same name. Other games featuring the monster include Frankenstein: The Monster Returns for the original Nintendo Entertainment System and Frankenstein's Monster for the Atari 2600.

In the 1995 Super NES game Donkey Kong Country 3: Dixie Kong's Double Trouble!, Kong's archenemy, King K. Rool, assumes the persona of Baron K. Roolenstein.

Frankenstein's Monster also appears in the video game adaptation of the film Van Helsing. He only appears as a non-playable character.

The role-playing game Promethean: The Created by White Wolf Publishing, focuses on beings created from human remains and animated by "the Divine Fire" who seek to attain humanity. One of the "Lineages" (groupings) of said creatures is that of the Frankensteins, who, like their namesake, are crafted from the best parts of multiple corpses and brought to life by lightning. The Monster himself, going by the name John Verney, appears in some of the book's fiction and illustrations.

In 1989, the line of action figures for The Real Ghostbusters featured figures of several Universal Monsters, including Frankenstein's Monster.

In 2002, LEGO released a Dr. Frankenstein and Monster set as part of the LEGO Studios toy line. In 2011, a new green-skinned Minifigure called Monster resembles the creature.

In 2019, Plaid Hat Games released Abomination: The Heir of Frankenstein, a board game sequel to Mary Shelley's Frankenstein; or, The Modern Prometheus, taking place 20 years after the events of the novel. In Abomination, the Creature lives and recruits scientists in Paris (the role of the players) to carry on the work of Victor Frankenstein, while Captain Walton seeks to stop the competition and fulfill his vow.

Also in 2019, Steel Wool Studios released Curse of Dreadbear, a Hallowe'en-themed downloadable content pack to their virtual reality game Five Nights at Freddy's: Help Wanted. The eponymous Dreadbear is a Frankenstein version of series mascot Freddy Fazbear, and was initially named "Franken Freddy" during Curse of Dreadbear's development. Dreadbear is included in merchandise and cameos in Five Nights at Freddy's: Security Breach on cardboard cutouts.

Frankenstein's Monster appears in the horror fighting game Terrordrome 2: Reign of the Legends. This version of the Monster considers himself the legitimate son of Victor Frankenstein, explaining why the game calls him 'Frankenstein' instead of 'Frankenstein's Monster'.

The Creature of Dr. Frankenstein appears as the main character in the 2019 video game 'The Wanderer: Frankenstein's Creature' ( Nintendo Switch, PC, iOS/Android). The game was co-produced by La Belle Games and Arte and is a point-and-click narrative adventure which features a story based more closely on Mary Shelley's novel than a number of modern popular culture references to Frankenstein.

The popular Fashion-Doll line Monster High (the concept of the line being children of famous monsters attending a high school) has a character called "Frankie Stein", who is the daughter of Frankenstein's Monster and his Bride.

In the 1920s, carbon monoxide was regarded as the Frankenstein of civilization in the context of humankind's industrial production of the gas and widespread problems with carbon monoxide poisoning leading to the notion of carbon monoxide as "the automaton that turns on its maker, pursues him to the ends of the earth and finally destroys him".

Science fiction author Isaac Asimov coined the term Frankenstein complex for the fear of robots.

Frankensteining is a term used by abusers of crystal methamphetamine to calm themselves by diassembling and reassembling objects. The term is used in that subculture and is recently gaining wider currency: it has been used in an episode of and has four different definitions in Urban Dictionary, all with the same meaning of assembling parts from diverse sources.[citation needed ]

Frankenstein or Franken- is sometimes used as a prefix to imply artificial monstrosity as in "Frankenfood", a politically charged name, coined by the American academic Paul Lewis, for genetically manipulated foodstuffs. The Franken- prefix can also mean anything assembled haphazardly from originally disparate elements, especially if those parts were previously discarded by others-for example, a car built from parts salvaged from many other cars. For many years Eddie Van Halen played a guitar built in such a manner which he called the " Frankenstrat".

In 1971, General Mills introduced " Franken Berry", a strawberry-flavored corn cereal whose mascot is a variation of the Monster from the 1931 movie.

"Frankenstein" is the name of a character in the 1975 movie Death Race 2000 and its 2008 remake . The first incarnation was portrayed by veteran actor David Carradine and the second by Jason Statham.

The hit song China in Your Hand by the British rock band T'Pau employs the story of Frankenstein, and Mary Shelley's writing of it, in its role as a classic cautionary tale.

In David Brin's science fiction novel Kiln People, defective golems that become autonomous are called "frankies".

Mewtwo of the franchise has been likened to Frankenstein's Monster in regards to being born through an artificial means and discontent with the fact.

Stitch, the main protagonist of Disney's Lilo & Stitch franchise, was somewhat influenced by the Monster, as he was created by a scientist from miscellaneous alien DNA. Unlike Shelley's Monster, however, his intentions were initially evil until he discovered an inner loneliness, causing him, and eventually his creator, to turn from crime to justice. Throughout the franchise, Stitch also demonstrates the Monster's Herculean strength and childlike curiosity.

In season 3 of Megatron clones Dinobot, making a Frankenstein's Monster out of the clone by transmetallizing him with the Transmetal Driver and adding the half of Rampage's mutant spark he cut out earlier. The result was an extremely mutated Transmetal II minion under the influence of his "half-brother's" evil.

In 2006, the book The 101 Most Influential People Who Never Lived listed Dr. Frankenstein's Monster (sic) at #6.

The California Medical Association, in a rather humorous gesture, chose Halloween 2006 to announce that Dr. Richard Frankenstein had been elected president of the organization. He had previously been president of the Orange County Medical Association in 1995-1996.

Pop artist Eric Millikin created a large mosaic portrait of Frankenstein's Monster out of Halloween candy and spiders as part of his "Totally Sweet" series in 2013.

The character Professor Franken Stein from Soul Eater is a composite of Victor Frankenstein and the Monster, covered in stitches with a screw through his head as the result of self-experimentation.

In Hellsing, Alexander Anderson is based on Frankenstein's Monster, given that his name came from a song that has a reference about Frankenstein's Monster, his abilities are similar and he is referred to as God's Monster after using the nail of Helena.

Frankenstein's Monster appears as the Berserker class Servant of the Black Faction in the Fate/stay night spin-off Fate/Apocrypha. This depiction of the Monster is a young female homunculus in a wedding gown.

The 2015 film is a film noir retelling of the Frankenstein story with a 21st-century femme fatale android.

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Frankenstein in popular culture - Wikipedia

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Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus , and the famous character of Frankenstein's monster, have influenced popular culture for at least a century. The work has inspired numerous films, television programs, video games and derivative works. The character of the Monster remains one of the most recognized icons in horror fiction.

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I n the summer of 1816, a pregnant, unwed teenager had a nightmare.

Mary Wollstonecraft Godwin - not yet Mary Shelley - was at Lake Geneva, Switzerland, with her lover, the poet Percy Bysshe Shelley. The rainy summer often forced them indoors. Once, at the villa that Lord Byron was renting on the lakeshore, the party entertained one another by reading from a recent anthology of German ghost stories, Fantasmagoriana. Byron challenged them to each write a horrific fiction. "Have you thought of a story?" Shelley recalled that she was asked each morning - "and each morning I was forced to reply with a mortifying negative."

Then she suffered what would become one of the most famous nightmares in history: "I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half-vital motion." The narrative grew in her imagination, and she followed it. Frankenstein; or, the Modern Prometheus was published - anonymously, like so many novels of the time - in 1818. Not until the second edition four years later did Shelley put her name on the title page.

New ways of thinking about nature (and human nature) require new ways of writing, and the writer we now consider the founder of science fiction saw the need for fresh metaphors while still a teenager. She confidently declared her position, midway between science and fancy, in her introduction to the first edition: "It was recommended by the novelty of the situations which it develops; and, however impossible as a physical fact, affords a point of view to the imagination for the delineating of human passions more comprehensive and commanding than any which the ordinary relations of existing events can yield."

Young Mary's first novel has lasted, in part, because the central figure quickly strode off the page and into popular culture.

Shelley's sentence could serve as a manifesto for her novel's successors and for fantastic tales in general. Frankenstein explored the ancient themes of literature: anguished dread of mortality, the consequences of obsession- inevitably hubris and its consequent ate- and the divine retribution that in mythology always follows overweening pride.

The Penguin Classics bicentennial edition is out this month.

Young Mary's first novel has lasted, in part, because the central figure quickly strode off the page and into popular culture. Nowadays the cobbled-together, nameless "monster" - long mistakenly known by his creator's name - is familiar to millions who have never read the novel. He is a stock figure in horror movies, a favorite of editorial cartoonists, a cautionary fable about science.

Tales of creation gone awry range from Pinocchio to the Gingerbread Man, from the Clay Boy of Czech folktales to the endless recreations of the protean monster conjured by Victor Frankenstein. The critic Michael Dirda listed some of Mary Shelley's themes apparent to an attentive reader: "the persistent interconnection of sex, birth, and death; the mirroring of monster and creator; the conflict between instinctive goodness and the societal creation of the criminal; the power of nature to soften and civilize; the human yearning for sympathy and love."

In the 200 years since the novel's publication, we've had bad imitations and truly inspired Frankenstinian progeny. Spanning the late 1800s to the Brexit era, here are 8 books that owe their life to the original creator.

The first book inspired by young Mary's 1818 book was her own 1831 revision of it. By this time, she had published other novels, established herself, somewhat transcended her scandalous youth, and become the keeper of the Romantics' flame. The 1818 edition presents a stronger, unadulterated view of Shelley's dark vision. In her introduction to the 1831 update, Shelley explicitly stated, "I have changed no portion of the story," and claimed that her revisions were limited to matters of style. Actually she greatly altered the spirit and implications of the story. She also saluted the memory of her brief but life-changing romance with Percy Shelley, who had died in a boating accident on the north-western coast of Italy in 1822. And she removed the epigraph that haunted the opening in 1818, from Milton's Paradise Lost:
Did I request thee, Maker, from my clay To mould me man? Did I solicit thee From darkness to promote me? -

Robert Louis Stevenson's now legendary 1886 novella The Strange Case of Dr Jekyll and Mr Hyde could not have been written without Shelley's pioneer novel. Stevenson wove many contemporary issues into his story, beginning with well-known case studies of dual personality, but they gained resonance when he mixed in evolutionary fears and the recent notion of the violent criminal as an atavistic reversion to our species' brute past. Like Shelley, Stevenson explored the horror of unleashing the primitive id. Two years later, when Jack the Ripper began to terrorize Whitechapel, the newspapers immediately referred to Mr. Hyde, to the lurking midnight viciousness of humanity.

"The Golem" by Avram Davidson

In the original Hebrew Bible and the later Christian Psalms, the word golem meant a kind of unformed material, a potent clay. Over time it became the name of the classic Hebrew Frankenstein, an anthropoid creature formed of mundane earth and animated by supernatural rather than by science-fictional methods. Victim and villain, as potent in its ambiguity as Frankenstein's monster, the golem stalks through folklore and into recent literature. It is difficult to imagine a more dryly amusing monster story than "The Golem" (1955) by the richly talented Avram Davidson, known mostly for his science fiction. It's available in numerous collections.

The British science fiction writer and historian of science fiction, Brian Aldiss, sent a time-traveling twenty-first-century character back to Shelley's time in his bloody but thoughtful 1990 novel Frankenstein Unbound. The title and big-picture themes echo the work of both Mary Shelley and her husband Percy's poetic drama Prometheus Unbound. Roger Corman, director of everything from a series of Poe adaptations starring Vincent Price to the pioneer biker movie The Wild Angels, adapted Aldiss's novel in 1990.

Frankenstein lumbered easily into the twentieth century. 2009 saw publication of The Casebook of Victor Frankenstein, by Mary Shelley's versatile and prolific countryman, Peter Ackroyd. Author of books about everyone from the poet Thomas Chatterton to London Underground, as well as of a biography of Dickens as manically creative and long-winded as its subject, Ackroyd knows how to conjure the past. This novel is sometimes pastel in hue and pedestrian in pacing, but it reaches heights of thoughtful homage to Shelley's original.

As recently as 2013, Stephanie Hemphill tackled a lyrical free-verse account of creator and monster in Hideous Love. As in her verse novel Your Own, Sylvia, about Sylvia Plath, Hemphill was inspired again by the genesis of a troubled young female writer. She focuses on Shelley rather than upon Frankenstein and his monster, but young Mary's Gothic imagination grew out of this period.

In 2015 Jon Skovron published a book that I have not yet read but which is on my bedside table. The beautifully refractive title Man Made Boy hints at the complexity and wit of this acclaimed YA novel built around the story of Boy, the ill-fated offspring of Frankenstein's monster and his equally scary bride. Boy has never walked freely in the world above the catacombs beneath Times Square, from which he and his family and other legendary monsters appear in public as a theater troupe. As much a child of the new millennium as of mythic monsters, Boy is a computer wizard who conjures a virus that, naturally, gets as out of control as the genesis of his own parents.

In the era of Trump and Brexit, it should be no surprise that the mythic tale of a raging monster inspired by blind hubris continues to flourish. The bleak year of 2016 saw publication of Spare and Found Parts, an elegant and thoughtful debut YA novel by Sarah Maria Griffin. Set in an apocalyptic near-future following a technological breakdown, the story follows Nell Starling-Crane, whose loudly ticking clockwork heart sets her apart even from the many other characters whose prosthetic augmentations enable them to survive in this anti-technology era. Secretly outwitting the ban against technology, young Nell builds an android whose creation and adventures raise as many thoughtful questions as its inspiration - Mary Shelley's nightmare precisely two centuries earlier.

About the Author

Michael Sims's most recent books are Frankenstein Dreams: A Connoisseur's Collection of Victorian Science Fiction, and Arthur and Sherlock, which has been long-listed for the Gold Dagger from the Crime Writers Association of Great Britain and short-listed for the Edgar Award from the Mystery Writers of America.

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8 Books that Wouldn't Exist Without Mary Shelley's 'Frankenstein' - Electric Literature

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I n the summer of 1816, a pregnant, unwed teenager had a nightmare. Mary Wollstonecraft Godwin - not yet Mary Shelley - was at Lake Geneva, Switzerland, with her lover, the poet Percy Bysshe Shelley. The rainy summer often forced them indoors. Once, at the villa that Lord Byron was renting on the lakeshore, the party entertained one another ...

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Mary Shelley's has remained one of the most enduring pieces of horror literature since its debut over two-hundred years ago. The classic 1931 Universal adaptation is perhaps the best-known (and most revered) interpretation of the novel, but it actually wasn't the first: that distinction belongs to a 1910 silent short film produced by Edison studios, also called Frankenstein. The next big filmmaker to tackle the horror-IP will be Guillermo del Toro, whose adaptation is set to star Oscar Isaac, Andrew Garfield, and Mia Goth.

Over the last 100 years, there have been more than 70 films that have featured the mad scientist's monster in some capacity. In addition to these films, there are dozens more that, while not direct adaptations, feature characters that have been inspired by Shelley's novel. Here are ten movie monsters that were heavily influenced by Frankenstein.

Related: Best Frankenstein Movies of All Time, Ranked

10 Bella Baxter - Poor Things

Yorgos Lathimos's follow-up to his critical hit The Favourite, has yet to be released, but we do know a thing or two about the surreally-Victorian film, which promises an unhinged descent into a world of Frankenstein-inspired madness.

Reuniting with screenwriter Tony McNamara, Poor Things is an adaptation of the late Alasdair Gray's 1992 novel of the same name. According to IMDb, Emma Stone stars as Bella Baxter, a young woman brought back to life by the brilliant but unorthodox scientist Dr. Godwin Baxter. Although it's unclear just how far Lathimos will go, the novel sees Bella - who's new brain was taken from an unborn fetus - embark on a hedonistic odyssey across Europe, Africa, and Asia alongside her deceptive lover, Duncan Wedderburn (played in the film by Mark Ruffalo).

Regardless of what direction the film takes, and how far it deviates from Gray's novel, the Frankenstein influences are glaring.

Lucky McKee's directorial debut May is a grotesque but utterly captivating psychological horror film that features a truly stand-out performance from Angela Bettis as the titular May, a socially-awkward veterinary assistant who has spent most of her life alone and isolated, her only company being that of a childhood doll she had sewn together out of various different parts. When her attempts at forming connections with other people fail, she takes matters into her own hands by building her own "friend" out of severed limbs and body parts.

Although May may not explicitly reference Frankenstein, the parallels are obvious, not just in May's attempts at creating "life" from human remains, but in the film's exploration of loneliness and rejection, and the obsessive pursuit for perfection at all costs.

Vincenzo Natali's disturbing sci-fi horror movie - which was executive produced by Guillermo del Toro - stars Adrien Brody and Sarah Polley as Clive Nicolo and Elsa Kast, two genetic scientists hoping to stun the world by creating a brand-new, hybrid organism by splicing together DNA strands from different animals. When their experiments end in failure, they secretly introduce human DNA into the trials, resulting in the creation of a small, amphibious humanoid organism they call Dren. As Dren grows both physically and mentally, its behavior becomes more unpredictable and dangerous, and the scientists are forced to face consequences of manipulating nature.

In her book, Shelley made sure to treat Frankenstein's monster with a great deal of sympathy. Natali doesn't do the same in Splice; Dren is a worst-case-consequence of humanity's ongoing quest to control nature and play God.

7 Jeffrey Franken - Frankenhooker

Frankenhooker is a 1990 horror-comedy directed by Frank Henenlotter, the man behind cult hits Basket Case and Brain Damage. Unlike most movies on this list, Frankenhooker isn't very concerned with exploring the moral and ethical quandaries at the heart of Shelley's novel; rather, it takes the basic elements of the story and twists it into a very offensive (yet very funny) B-movie.

The film stars James Lorinz as Jeffrey Franken, a brilliant medical student whose fiance, Elizabeth, is accidently killed in a freak lawn mower accident. Wrecked by grief and unable to accept her death, Franken concocts a plan to reassemble his dead fiance using the body parts of prostitutes he's murdered. Using the power of lighting, Jeffrey brings life back into his once-dead fiance.

However, there's a problem: the reanimated Elizabeth has a ravenous appetite for sex. Worse still, anyone who comes in contact with her literally explodes from the electricity coursing through her. Jeffrey attempts to keep her in his basement, but Elizabeth manages to escape, leaving a trail of death and destruction across New York City.

6 Edward - Edward Scissorhands

Frankenstein is a deeply melancholic novel, and as a result, most interpretations of the material share a similar tone. Most adaptations focus on humanity's cruelty; Tim Burton's Edward Scissorhands embraces humanity's kindness.

Johnny Depp stars as the titular Edward Scissorhands, an ageless humanoid trapped in the decrepit mansion of his late inventor, stuck with scissors for hands because he was never given real ones. When Ed meets Peg, a lovable door-to-door salesperson, she welcomes Ed into her family, giving the "monster" the love and affection he never received but always wanted.

Despite a sad undercurrent, Scissorhands is a much sweeter take on the Frankenstein material. It's as if Burton read Shelley's novel and set out to make a companion piece that didn't end in total and utter disaster.

Sleek and incredibly-timely, Alex Garland's directorial debut is a modern interpretation of Shelley's timeless novel.

Caleb (Domhall Gleeson) is a programmer who wins a competition to spend a week at the private retreat of Nathan (Oscar Isaac), the brilliant but enigmatic CEO of the world's biggest software company. But upon his arrival, Caleb discovers his true reason for being there: to administer the Turing test to Ava (Alicia Vikander), the world's first artificially-intelligent robot.

Both Frankenstein and Ex Machina deal with the creation of artificial life, albeit using different "parts." Nathan serves as Garland's mad scientist, and Ava his creation. Compared to Frankenstein's monster, Ava is more mature and far more intelligent - arguably even more so than her own creator. Much like Shelley, Garland acknowledges and even sympathizes with Ava's cruel existence; imprisoned, isolated, and alone.

In David Cronenberg's sci-fi horror film The Fly, Jeff Goldblum plays Seth Brundle, a scientist working on a groundbreaking teleportation device. But he's hit a snag: although the machine can easily transport inanimate objects, life forms - both living or dead - have been a tougher nut to crack. Nevertheless, Brundle's grit eventually leads to a scientific breakthrough. Emboldened, he attempts to transport himself, but a freak accident involving a housefly results in his monstrous transformation into a half-human, half-fly hybrid.

Technically speaking, Seth Brundle embodies both Dr. Frankenstein and his monster. Although Brundle and the mad scientist may appear different at first (Goldblum is far more charismatic), both characters are driven by scientific hubris and their desire to disrupt the natural order. And much like Shelley, Cronenberg treats the Monster with sympathy, even when relishing in its grotesqueness.

3 Herbert West - Re-Animator

Directed by Stuart Gordon and based on an H.P. Lovecraft story, Re-Animator tells the story of Herbert West (Jeffery Combs), a - you guessed it - "brilliant but eccentric" medical student who develops a serum that can reanimate dead tissue with some unforeseen - and gross - consequences. Driven by his obsession to conquer death, West's experiments become more and more unhinged.

While Re-Animator is known for its outrageous violence and moments of over-the-top gore, it also dabbles in the ethics of scientific experimentation and the lengths some individuals may go to in their pursuit of knowledge and power, which has no doubt contributed to its reputation as a celebrated cult classic.

2 Vera Cruz - The Skin I Live In

The Skin I Live In is a psychological horror movie from the mind of Pedro Almodovar. The film tells the story of Dr. Robert Ledgard (Antonio Banderas in one of his best performances), a brilliant plastic surgeon obsessed with creating a fire-resistant synthetic skin after his wife burns to death in a fiery car crash. He conducts his secretive experiments within the confines of an isolated mansion, where a young woman named Vera Cruz (Elena Anaya) serves as his test subject.

Although The Skin I Live In and Frankenstein differ in their narratives (specifically in the later half of the movie, which won't be spoiled here), both works share a number of thematic similarities, such as the ethical dilemmas surrounding scientific experimentation and the pursuit of identity and connection in the face of loneliness.

RELATED: Best Pedro Almodóvar Movies, Ranked

At first glance, Paul Verhoeven's classic sci-fi satire looks like the furthest thing from Frankenstein, but dig beneath its chrome exterior and you'll find it has more in common with Shelley's novel than you might imagine.

Think about it: Robocop was assembled from the body parts of our protagonist Alex Murphy, a police officer who was brutally killed in the line of action and then resurrected as the titular cyborg. The corrupt Omni Consumer Products serves as the film's mad Dr. Frankenstein; a multinational conglomerate that specializes in creating boundary-pushing scientific experiments.

Much like Shelley's novel, Robocop also questions the moral implications of such a scientific venture (albeit set in a dystopian and futuristic Detroit), and explores the profound loneliness the "monster" experiences as a result of its creation. Despite the movie's viciously playful tone, Verhoeven is sure to treat Murphy as a sympathetic bein - a robot more human that the people that created it.

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10 Movie Monsters Inspired by Frankenstein

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Over the last 100 years, there have been more than 70 films that have featured the mad scientist's monster in some capacity.