#her inspirations include Victor Frankenstein

[tmnt-obsessed-ace]

So I said a couple of months ago I would have to make up a Rise Villain to fit a super specific scenario I had for When The World Crumbles. (Ie the only canon that would've fit the role before was Baron Draxum but this is post his redemption arc and while I could do brainwashing why not create someone new)

Well

Her name is Dr. Theodora Bloodmoon

She and her two assistants Katrina and Anastasia will become a nightmare to fight. Not because their strong, no no no...

Because all it takes is an injection to turn the turtles against each other.

One little poke to reduce them to animals.

Hungry, blood thirsty, cannibalistic animals.

If they survive then they'll have to face the Armagon

[hollowed-theory-hall]

how did voldemort make that snake baby body thing that he used before he got his real body back? did they use bertha to birth it or something?

Well, Bertha birthing the malformed babymort is definitely an... image, so thank you for that...

But I don't think that's what happened.

In Alchemy the concept of a homunculus: a miniature human created through Alchemy, existed for a long time. This concept is thought to be one of the main inspirations for Mary Shelley's Frankenstein in which the creature is brought to life with Alchemy (she never explains the process but Victor Frankenstein is mocked by the university professors for reading Paracelsus — a pioneer in Alchemy and medicine in the 1500s). So, the idea of creating a miniature living form is one that people have been theorizing about for a while (even before Paracelsus).

The documented recipes we have for a Humonculus are not that far off from what you suggested, being made by "impregnating" a female animal (cow, monkey, or horse in the ones I've read) with human semen and animal blood and then feeding the pregnant animal more animal blood during the pregnancy until it births a homunculus. There are some variations on this recipe but I don't think that's what Voldemort and Wormtail did in Harry Potter (if they did, this would be more disturbing than how you make a Horcrux, which I don't think is the case).

The main reason I don't think the homunculus was "birthed" is because of how birth works. To create a living body you need three things:

Body

Spirit

Soul

Now, when a body is born, including in these homunculus recipes, it is born with all three. It has a body, a soul, and a spirit that binds them. This works for what alchemists are usually after when creating a homunculus because they are creating a whole new life form, but this doesn't work for Voldemort. Voldemort as the wraith already has a soul, so he doesn't need a soul. Having the body "born" with a soul of its own would only make it harder for Voldemort to possess and use. So I believe he created the body by other means, to make sure it was empty and only his.

So what did he do to create the homunculus?

When it comes to ingredients, the only confirmed ones we have for Voldemrot's homunculus-making potion are:

Unicron Blood

Nagini's venom

Let's approach this by the three components of life described above:

The Unicron blood is a spirit component which is representative of the elements water and air. Something that makes sense for a pure liquid that brings someone to life from the brink of death. This is to mak the body alive and allow Voldemort's soul to stay in it without killing it (like with Quirrell).

Nagini's venom, I think, is there to represent the soul, sort of. Usually, snake venom would not be a soul component, but because Nagini is a Horcrux and binds Voldemort's soul to the world of the living, I think anything that came from her would help bind his soul to the body. It's more like it makes the body capable of being possessed by Voldemort without dying like most of the animals he possessed. Basically it'll make the homunculus fit to hold Voldemort's soul like Nagini can.

What's left is really where the body itself came from?

Now, there are a lot of options for this, from clay or any mix of earth and water (the salt, the body is a mix of earth and water, in terms of the elements it represents) or a corpse or corpse parts, which represents the same.

the description:

It was hairless and scaly-looking, a dark, raw, reddish black. Its arms and legs were thin and feeble, and its face — no child alive ever had a face like that — was flat and snake-like, with gleaming red eyes.

(GoF, 640)

From this description, it doesn't look like the homunculus was made from human bones or corpse parts. I think it was made from dirt, water, Nagini's venom, and human blood. I added blood into the mix because of the "dark reddish black" color which sounds like the color of blood or clotted blood (or blood mixed with dirt), so I think it was part of the mix. The scales are due to Nagini's venum being in there and perhaps even snake shedding (which could be part of it, we don't know. I think it's likely as snake shedding represents death and rebirth, which is what Voldemort is going for).

Then the unicorn blood was used to bring it to life and bind Voldmeort's wraith (soul) to it. I don't think Bertha had anything to do with this form.

If I were to guess other likely ingredients, I'd say yew ashes. Yew trees, besides being connected to Voldemort personally (via his wand) and therefore personalizing the body further are symbolic of raising the dead and immortality. Birch ash is another likely ingredient as birch is known as life-giving and to ward against lightning (the killing curse). Now, the reason I mention ashes specifically is because the white fine-grained ash that you get when burning a plant repeatedly and extracting all moisture from it, is the salt of that plant — it's the body. This is therefore the part of the plant you want when using it to sculpt a new body.

So, the ingredients are basically:

Water

Dirt

Nagini's venom

Nagini's shed skin

Human blood

Birch ash

Yew ash

To create the clay of sorts to sculpt a body from. Then you feed the new body the unicorn blood to give it life and allow Voldemort to possess it.

[readingoals]

Getting ready for the Booklr Reads Australian challenge. These are a selection of Aussie books I own (fiction on the left, nonfic on the right) which I'll be choosing from during the month. I'm a mood reader so I have no idea what I'll actually end up picking but I'd like to get through at least a few of these.

List of titles and brief descriptions of each is below the cut for anyone looking for ideas for their own Australian reads.

The open book is The Tea Chest by Josephine Moon (my current read.) It's a rather sweet novel revolving around four women who's lives in Australia have been disrupted and who come together to open a tea shop in London.

A true History of the Hula Hoop by Judith Lanigan The book weaves together two parallel stories, one of Catherine, a struggling Aussie hula-hooping performance artist, and the other of Columbina, a feisty 16th century Italian female clown travelling through Europe with the first ever commedia dell'arte troupe, while also weaving in the history of the hula hoop.

Without Further Ado by Jessica Dettmann A romcom inspired by/paying homage to Shakespeare's Much Ado About Nothing, in which the protagonist loves the Kenneth Branagh adaptation and finds her love life mirroring the plot.

Angelika Frankenstein Makes Her Match by Sally Thorne A romance inspired by Frankenstein by Mary Shelley, in which Victor Frankenstein's sister Angelika is anxious for love and decides to take matters into her own hands and create a suitable suitor.

Empires by Nick Earls This novel spans continents and centuries. It's split up into 5 parts, each occurring in a different time and place, but which all intertwine and connect. It's about two brother from Brisbane who've lead separate lives, but its also about humans in strange and difficult times, the way people see themselves, and the interconnectedness of all things.

The Tea Ladies by Amanda Hampson A cosy mystery set in 1965 Sydney. It follows a group of tea ladies who work in a fashion house getting tea and biscuits for the staff. Until a murder occurs in the building and the tea ladies become accidental sleuths.

Top End Girl by Miranda Tapsell Larrakia Tiwi actress Miranda Tapsell's memoir about her work and life as an Aboriginal woman and how she combined both when creating the film Top End Wedding.

Girt by David Hunt A humorous look at Australian history, from megafauna to Macquarie. Full of strange, ridiculous and bizarre stories.

Harlem Nights: The Secret History of Australia's Jazz Age by Deirdre O'Connell This is the story of the Sydney and Melbourne legs of American jazz band The Colored Idea's ill fated Australian tour in 1928. It's about the international rise of African American jazz, the history of Australia's entertainment industry and modernism in the arts in Australia, and the influence of the White Australia Policy beyond immigration issues.

Flash Jim: The Astonishing Story of the Convict Fraudster Who Wrote Australia's First Dictionary by Kel Richards This is a biography of conman, pickpocket and thief James Hardy Vaux who was sent to Australia as a convict. Not only does it go into explanations of his numerous crimes but also the origins of Australian English as Vaux also created a dictionary of the criminal slang of the colony, some of which can still be seen in modern Australian language.

Great Australian Mysteries by John Pinkney A collection of Australian true crime mysteries including inexplicable disappearances, unsolved murders and scientific enigmas.

Notorious Australian Women by Kay Saunders This book celebrates the lives of some of Australia's most fearless, brash, and scandalous women, including bushrangers, courtesans, and writers, amongst others.

[classiclitbracket]

Welcome to The Classic Literature Bracket!

Moderated by @sorrel-scribbles [she/her, minor] and inspired by @ultimatehistorical, @riordanversecharactertournament, @baldguy-fight, @spnepisodebracket, @classic-lit-couples-showdown, @ultimate-poll-tournament and so many more!

***VOTING HAS STARTED, SEE PINNED POST***

Important Info:

Submissions will be open one week (March 15-22), but will stay open if I have less than fifteen submissions or close early if I receive more than one hundred.

The current plan is a 32 entry bracket, but I will consider doing a 64 entry one if I get enough interest/submissions.

There will probably be a couple of preliminary rounds before the actual polls come out, because there are a couple of authors whose work I expect to see multiple submissions for.

Propaganda is welcome, but please wait to submit it at least until the first preliminaries come out (this can be done by using the ask box or making your own post and @ing me)

If you have questions feel free to submit them to the ask box!

Friendly competition is fine, but I will block you if you can’t be civil with one another!

Voting/Submitting Guidelines:

The goal here is to determine which is the most classic piece of literature. You can vote based on your personal favorite, what you think had the most cultural impact, what is the most popular or timely today etc. 

I DO NOT want to see any moral complaints. Many of these authors/works were racist, sexist, etc. and I fully condemn that, but we can separate the art from the artist and still understand the importance of/enjoy the work despite its flaws.You’re free to not like/not vote for a book due to offensive material, but I don’t want to see tags/comments/asks saying “you shouldn’t have included x because it’s racist” or “nobody vote for y it’s misogynistic.” This isn’t “which classic lit book is the most morally correct”.

Submission Criteria:

The book must have been published between 1600-1970 CE

It must be written by a European (Russia/the Ural mountains to Ireland, not including Turkey/The Ottoman Empire), Canadian, or United States American*

The book must be fictional and considered a novel (no short stories, plays, poetry etc.)

You can’t submit a book already on the auto-inclusion list

You can’t submit for an author already on the auto-inclusion list as I’m only allowing one book per author

You can submit a series together (ex: Sherlock Holmes) or an individual book from the series (ex: A Study in Scarlet), just make sure to specify in the form

Up to five submissions per person, but you can only submit each book once

You have to make your submission through the google form (below). Submissions in comments, asks, etc. will not count (sorry, but I need to be able to keep track).

*on the Eurocentrism of this criteria: There is so much amazing Islamic, African, S./E. Asian, Pacific, and South American literature out there, but I feel it really merits its own bracket by someone who understands the material more and that it wouldn’t really get the fair chance it deserves in this bracket anyway as I expect it to be American and Brit Lit heavy as is and more people will come out to support those books so I might as well just limit the criteria off the bat.

Auto-Entries:

The Great Gatsby-F. Scott Fitzgerald

Pride and Prejudice-Jane Austen

The Metamorphosis-Franz Kafka

Wuthering Heights-Emily Bronte

Little Women-Louisa May Alcott

1984-George Orwell

Frankenstein-Mary Shelly

Les Miserables-Victor Hugo

Sherlock Holmes-Arthur Conan Doyle

Crime and Punishment-Fyodor Dostoyevsty

Submissions Here ⇊

[aviculor]

I'm watching Birth/Rebirth, the new release I mentioned. Because it just came out recently, I'm going to spoiler tag my thoughts.

Oh my god, Celie IS played by the same actress as Carla from Scrubs! Judy Reyes! I knew it!

Rose is like a female Herbert West but even more clinical and asocial. I love when a piece of media has a woman who is a mad scientist and an offputting freak. I'd let her masturbate me in the bathroom.

Celie and Lila's story is so incredibly sad and compelling. The way the last time Celie saw Lila was when she was dropping her off with Pauline so she could go to work, and Pauline couldn't contact Celie when Lila got sick, and when Celie's phone was working again she heard all the voicemails including a message from Lila...it tugs at your heartstrings. It's tragic.

I know how blatantly obvious it is that Rose stole Lila's body because that's literally the premise of the film, but her behavior is just comically incriminating. What, you didn't think far enough ahead to have an alibi for when someone asks you where the body went? Also, how dumb would Celie have looked chasing Rose down and waiting outside her apartment and forcing her way inside if Rose's behavior wasn't related to Lila's whereabouts?

"Your daughter's genetic profile made her a perfect candidate for an experimental treatment I've been working on." "For meningitis?" "For death."

Crossing all kinds of ethical lines, I love it.

"Dignity and motherhood don't always line up". Another great quote.

The symbolism that Rose ended up sacrificing her reproductive system to bring Lila back into this world is not lost on me. Lila was figuratively birthed again. Rebirthed, you might say. Coupled with how Lila seemed to stop recognizing Celie as her mother and Rose became uncharacteristically warm and nurturing towards Lila. Which is especially jarring considering how the aforementioned sacrifice was due to her repeatedly...umm, "homebrewing"...stem cell serum.

Basically, motherhood is the overarching theme of the whole film. It's interesting how Writer/Director Laura Moss took inspiration from Mary Shelley's Frankenstein, as many people would interpret Victor and his creation as being father and son. This predicates that acts of "creating life" are all equal, be it birthing a baby or resuscitating a corpse. Which circles back around to what I just said about Rose effectively being Lila's second mother.

...Which segues into how Rose and Celie's situation has undertones of a same-sex relationship. Celie moves into Rose's apartment when she learns about Lila, the two begin caring for one another, they're both Lila's mothers in literal and figurative senses, and Rose (involuntarily) stops going to bars to give men handjobs and getting herself pregnant after the "relationship" starts. Rose does not come off as being attracted to men, being completely emotionless about collecting sperm samples as well as other small details that code her as a lesbian. But most egregiously, when Rose was hospitalized, Celie got the staff to break confidentiality by saying they lived together and that was met with "Oh. Oh."

The whole "What would a parent do to save their child?" Psychological Horror aspect that Pet Sematary had, this film is all that. Distilled, in spades, turned up to 11. I really liked it. I can't even spoil anything about the last act. Go watch it yourself. It wowed me a lot more than the last Shudder exclusive film I saw.

[blackfeathercourt]

Character Inspirations

HI thanks for the tag @gingernutbiscuit!! ^^

I don't think I've ever taken direct inspiration from other characters when creating my own! So here's some characters that could've inspired my beloved Nocmos.

Not tagging anyone but if you see this you're welcome to do your characters! some explanations and a blank version under the cut :)

Making start with Twilight Sparkle! So the obvious thing is that they're both autistic bookworms with a special talent in magic, which is already enough. There are also similarities in their stories - how they both were so caught up in their studies that they made it into their adulthood without making friends... but became fiercely loyal to them when the friends actually turned up ^^

Gandalf follows next because. magic. They're both powerful, stubborn, and a bit mary-sueish if I'm being honest. Nocmos will definitely become like him if she lives for thousands of years lol.

Varuni Arvel could serve as an inspiration for Nocmos because of their general aesthetics and initial stance on religion. Varuni is a high-ranking Apostle which Nocmos also aspires to be, and before the events of the Clockwork City questline they both treat Sotha Sil with unquestionable reverence. But by the end of the story, they reconsider their views on worship! I should really make them friends.

Ok I'm so sorry for including a Marvel character, but. Doctor Strange and Nocmos share similar traits as well as some points in their story. They're aloof, assertive but also like, really intelligent. Because of an accident, they become disabled and find help in a newfound... interest.

Speaking of accidents, yes I picked Victor Frankenstein. He comes from a respectable family who has certain expectations from him, but follows his own path, creating something dangerous he loses control of. Which is all true for Nocmos - but her "monster" is a construct. However, it only hurts her, unlike Frankenstein's monster which hurts everyone but him.

and finally Sun-in-Shadow. Unsurprisingly, it mostly concerns Nocmos's period of life when she was climbing the ranks of house Telvanni ^^ a process which brought out their ambitiousness and cunning. Resulting in some losses, too.

Alright here's the blank version <3

[thewardenofwinter]

Character Inspo Tag

Tagged by the wonderful Nopal over at @writernopal! Thank you so much, here is their post with some absolutely insane character combinations lol

(also some of these are not characters but real people but I wanted to include them anyway)

Rules: List your OCs and the characters that inspired them!

Very gently Tagging: @sam-glade @elshells @zestymimblo @crowandmoonwriting @captain-kraken @indigowriting @rownanisntwriting and @eurydicefades

Give No Quarter

Circe

Circe of Aeaea (Greek Mythology)

Gamora (Guardians of The Galaxy)

Golsifteh Farahani (Actress)

Wonder Woman and Talia al Ghul (DC Comics)

Sypha Belnades (Castlevania TV show)

Yennefer (Witcher)

Aya/Amunet (Assassins Creed: Origins)

Mix together mommy issues, witchcraft, and ancient knowledge in large bowl with a gilded dagger you get Circe.

Adam Bonny

EDWARD FUCKING KENWAY (Assassins Creed: Black Flag)

Trevor Belmont (Castlevania TV show)

Charlie Hunnam (Actor)

William Thatcher (A Knight's Tale)

Jack Sparrow (Pirates of The Carribean)

Westley (Princess Bride)

Flynn Ryder (Tangled)

You let a BLONDE MAN speak to you like that??? Ceo of 'maybe if he were a little less fuckable we wouldn't be in this mess.'

Henri Bellamy

Ichabod Crane (Sleep Hollow TV Show)

Chris Cornell (Musician)

Julien du Casse (Assasins Creed: Black Flag)

Dracula (Bram Stoker's Dracula 1992)

Armand (Interview with the Vampire 1994)

The only Frenchman to ever exist, the rest are fake. Don't let anyone lie to you.

The Resurrectioners

Samara Dombroski

Isabel Dodson (Constantine 2005)

Selene (Underworld Series)

Victor (Umbrella Academy)

Sidney Prescott (Scream)

Sarah (The Craft)

Pretty much the human personification of what happens when you gain too much Insight in Bloodborne.

Nazriya Akkineni

Theodora (The Haunting)

Morana *gasp* (Castlevania TV show)

Zoya (Leigh Bardugo's Grishaverse)

Satine (Moulin Rogue)

Nancy (The Craft)

Jennifer (Jennifer's Body)

God only made her 5 feet tall because was afraid of her being too close to him.

Zekiah Rush

Chyna Parks (ANT Farm)

Janella Monae (Actress)

Belle (Beauty and The Beast)

Rachel (The Craft)

Karen (Blade)

Resident walking encyclopedia. If you give her a bookmark she might propose to you on the spot.

Dmitriy Mikhailovich

Dmitri Pisarenko (Actor)

Morpheus (Sandman TV Show)

Levi (Attack on Titan)

Viktor (Arcane TV and for his design ONLY that weird mix of a czech/russian accent fucking kills me)

Men with big noses and dark hair>>>>> Frequently pretends he doesn't speak English so people don't talk to him.

What We Undertake

Dolores Clive

Dolores O'Riordan (Singer)

Mina Harker (Bram Stoker's Dracula book)

Edith Cushing (Crimson Peak)

Lydia Deetz (Beetlejuice)

Being the village freak isn't easy but someone has to do it.

Charles Morrison

Alan McMichael (Crimson Peak)

Hercules (Hercules)

Thor (Marvel Franchise)

Milo Thatch (Atlantis)

I wouldn't call Charlie a himbo per say because he's actually quite clever, so I guess he's more of a 'golden retriever nerd with really weird interests.'

Vincent Karloff

Thomas Sharpe (Crimson Peak)

V (V for Vendetta 2005)

Jason Dean (Heathers)

Edward (Edward Scissorhands)

Victor Frankenstein (Mary Shelly's Frankenstein)

Voted most likely to disappear under mysterious circumstances in high school.

Reading some of these combinations is giving me whiplash.

— M. Warrin

[waateeystein]

My Victor Frankenstein Inspired D&D Character

So this is a little different, but I wanted to share my Victor Frankenstein-inspired D&D character with you all! (Requested by @frankingsteinery)

This is Temperance! Temp is a tiefling alchemist artificer, and I've been playing her semi-regularly for almost a year now. I am being intentionally vague about details because a few of my co-players are on here so I don't want to spoil anything that has not been revealed to them yet. I am also including a few art pieces I've done of Temperance for your viewing pleasure :)

Temperance has a fraternal twin sister named Prudence, and to make a long sorry short, the two of them spent most of their childhood/teenage years in an orphanage. And after a dragon attack destroys their hometown, they split off to new adoptive families, until ten years later when they reunite with each other and their adoptive siblings. This is where our campaign essentially started. (And for more context, we play in a homebrew setting which is fantasy based but has a lot of modern/cyberpunk-y influences.)

But how is Temperance like Victor you may be asking? Well, she is very different from him in many ways, but here is how she got her Frankenstein story. In the ten years on her own, she was a medical prodigy, and very quickly passed through med school and earned her Ph.D. in Orthopedic surgery (eat your heart out Victor lol.) Like Victor, she was highly interested in the humanoid body and wanted to figure out how life could be created. So in secret, she created Eve. Eve was created to be a sort of companion to the lonely Temperance, but tensions between the two heightened, ending in a violent encounter. Temp's creation was discovered quickly discovered afterward. Because of the innumerable ethics violations in creating her, her medical license was revoked, she was shunned from her professional community and was forced to shamefully return home to her sister.

In the time since the campaign started, the group has gotten bits and pieces from Temp about her and Eve. Most of them assume that Eve is the reason Temp is missing a horn. Eve also sends a frightening package to Temp and Pru, containing a threatening note and a set of eyeballs that match those of the twins. Temp also assumes that Eve is actively trying to hunt her down and possibly kill her.

This is the threatening note, which was a physical note my DM created and gave to me at one of the very rare irl sessions of our game. This note caused so many problems it was fantastic.

Unfortunately, I do not have any art to share of Eve at the moment. Because the other players have not encountered her yet and because of other more pertinent campaign things happening, I don't want to accidentally spoil what she looks like. But when I have the art and the time comes, I will absolutely share it here!

I do however have a Spotify playlist for both Temperance and Eve if that's your Jam. I think it's pretty good, and it was really fun giving it to the other players with no context before they learned about Eve (then giving them Eve's to speculate on after she was revealed.)

In conclusion, playing a Frankenstein-inspired D&D character is super fun. This is obviously just one way to go about it, but if y'all have your own versions I would love to hear about them. Frankenstein and D&D are my two favorite things right now and combining them makes my brain go brrrrrrrrrr.

[statecryptids]

Another book review! I was hoping to post this back in October for spooky season, but work and class got in the way. So I'm posting it now to start off the new year.

MARY'S MONSTER

written and illustrated by Lita Judge

The common story of how Mary Shelley came to write Frankenstein is that she conceived the plot during a ghost-writing contest while she, her lover Percy Bysshe Shelley, and her sister Claire were staying at the manor house of Lord Byron and his personal physician, John Polidori. Some might add that she took inspiration from an experiment in galvanism she had witnessed a few weeks earlier.  But Lita Judge’s evocative book, told through prose poetry, posits that the novel grew for many years within Mary’s mind, sewn together from the tragedies and drama of her life. It grew from the deaths that surrounded her: her children; her neglected sister; Percy Shelley’s abandoned first wife; and Mary’s own mother who died giving birth to her. It grew from her feelings of estrangement towards her once-beloved father who did not approve of her romance with the young poet.  It grew from the anger of her sister Fanny “shackled by illegitimacy and despair”. And it grew from Percy Shelley’s own growing madness “because society loathes him for his beliefs”. Out of these parts Mary made her creation, so Judge writes, stitching them into a greater whole just as Victor Frankenstein assembled his creature from corpses.

The book is told in first person from Mary’s perspective, giving the reader a personal connection with her pain and her joy. At critical moments the voice of her creature also emerges as an extension of her. A literary child just as precious to her as the biological children she lost.

Central to Mary’s story is her turbulent relationship with Percy Bysshe Shelley. How they came to love each other and fled to Europe to try to build a life through loss, ostracization, and Shelley’s growing mania. Equally important to the narrative is Mary’s relationship with her sister Claire, who travels with the couple and shares in Mary’s pain and joy. And, then, of course the book depicts the fateful ghost-writing contest at Byron’s chateau, when Mary’s creature finally comes to life and speaks with his own voice.

The book gives context to some of the more macabre events in Mary’s life, such as when she first makes love to Shelley on her mother’s grave, or how she rescues his physical heart after he is cremated and keeps it in her writing desk for the rest of her life. Both acts keep her deceased loved ones close to her.

Judge’s evocative black-and-white illustrations accompany and enhance each poem, steeping the book in a gothic aesthetic. This is a passion project for the author, undertaken- as she explains in the afterward- while she struggled with pain, fatigue, and isolation during a long illness. “I have represented the details of Mary’s life,” she writes, “by weaving the actual events (as documented in her journals, copious letters, and later biographies) with the themes she and Shelley wrote about in their creative work.” The author does acknowledge that, although this book draws from facts, it is a dramatization of Mary’s experiences.  Judge provides an extensive bibliography for further reading, along with a list of what the characters themselves read, to provide some context for their lives. She also includes short biographical notes of what happened to everyone later in life.

You can get a copy of Mary's Monster at Bookshop.org. Or, like, Amazon if you want.

[davisexplainableart]

(~September - October 27, 2023): Eddy's Costume Mishap:

So you're probably wondering, "why is Eddy from 'Ed, Edd n Eddy' wearing a costume of Weasel from 'I Am Weasel'? And why does he suddenly turn into his costume?"

Well, allow me to explain.

On October 28, 2016, Fridays aired a night full of specials, including "Billy & Mandy's Jacked Up Halloween", a 1-hour "PBS Kids GO!" special about an evil gas that haunts the CN City, and more.

But one special that really stuck out to viewers was the premiere of a big "Ed, Edd n Eddy" Halloween special called "The Costume Tragedy".

Now before you say anything, don't worry. Nobody dies in the special, I was just really bad at making titles.

This special came from a line of EEnE episodes that...

Take place after Big Picture Show. And...

Have a slight pinch of supernatural circumstances added.

With this special, a random witch decides to mess around with random trick-or-treaters, by creating a spell that affects the moon. This effect causes anyone within a rather large radius of where the spell was cast to turn into their costumes.

And this spell just so happened to be casted near Peach Creek Estate, the cul-de-sac that the Eds live in, so it affects them too.

Here are a few of the costumes that the characters are wearing:

Ed is dressed as Frankenstein's monster, so once he's affected by the spell, his way of speaking changes to be more like the monster (not like it was all that different to begin with).

Edd is dressed as Victor Frankenstein himself, due to being too eager to correct people about the misconception of who's who.

Eddy is dressed as Weasel from Cartoon Network's "I Am Weasel", which was the same costume he wore during the Cartoon Cartoon Fridays Halloween Party. The reason he wore it is because his parents didn't want to get him the costume he wanted because they thought it was too scary, so they made him dress as something more "safe and cute".

Sarah is dressed as a black cat. When the spell affects her, she assumes that Ed is responsible (since Ed's stupidity had caused other supernatural things to occur in previous episodes).

While Rolf doesn't wear a costume, he once again has his shirt off (just like in the previous Halloween special, Boo Haw Haw). It probably has something to do with his "Gathering of the Fungus" tradition. However, with no shirt, the spell sees this as a werewolf costume. After he's affected, Rolf is left in fear, not wanting anyone to see him like this. This probably has something to do with his tradition, but I'm not sure.

A Fridays segment from this night will be posted later.

Also, sorry that the last panel in the 1st page ended up being off model. I have no one to blame but myself for that.

And one more thing, this artwork was inspired by a TF drawing related to "The Legend of Zelda: Breath of the Wild" that I can't find anywhere.

[multifandomhoodies]

Fic Stats Meme

Rules: Give us the links to your fics with the most hits, second most kudos, third most comments, fourth most bookmarks, fifth most words, and your fic with the least amount of words. Thanks @theydjarin for the tag! :)

Most Hits

From the Same Star - (T, 45.3K, Dinluke and Finnpoe) with 5,741 hits

It's been six weeks, four days, and 21 hours since Leia Organa has last heard from Poe Dameron. She can't lose him. He's too important, to the Resistance, to the war effort, to her. She has no options left but to contact the one person she believes could find him and rescue him. The Mand'alor has been living in retirement with his husband and their son, but he's her last hope. In short, the ruler of Mandalore and Jedi Master Skywalker help locate Poe Dameron. What they don't expect is to bring others back with them.

Second Most Kudos

rite of movement - (E, 3.4k, Dinluke) with 277 kudos (actually tied for first place but it would have been FTSS again)

Luke was only at this self defense class because Leia had somehow managed to convince him to sign up. He really didn't need to learn self defense, thankfully his years in the military had done taught him enough. However, the gorgeous and shy but unbearably kind instructor Din Djarin was the spectacle that made going to classes a little more interesting. They seem to get far more interesting after Din asks him to help demonstrate some moves.

Third Most Comments

My Dear, You Fool (G, 2.2k, Henry Clerval/Victor Frankenstein (yes actually) with 23 comments

Victor has been ill for many months whilst creating his monster. When he sees Henry Clerval, it seems as though he has not endured these hardships. However, he falls very ill. Luckily, he has Henry to help him.

Fourth Most Bookmarks

Six Shots Out of Sunday - (T, 2.2k, Dinluke) with 17 bookmarks

Luke really hates living on this side of town. He's used to hearing gunshots, that's not too surprising. But the man knocking on his door, asking to borrow his phone so he can call his son's babysitter, yeah that's new. Inspired by a tweet "I had six shots in me. Two were bourbon. Three were Pfizer. One was that .38 slug that the doc never bothered to fish out of my shoulder. And on a night like this, I was feeling all of em."

Fifth Most Words

This is my 4th most words I'm not linking my sh*rlck fic

Smoke it Flies (T, 10.6k, Finnpoe)

A new recruit from Kalluran Smokejumpers, Finn Everson joins the Bespin Hotshots out of Yavin National Forest. There, he meets the Bespin Hotshot Crew, including their hopeful new squad boss, Poe Dameron. He and Poe work through some troubles of their own and find something new out of it.

Least Amount of Words

chipped china (G, 161, Dincobb)

Din's musings before he sleeps.

No pressure tagging @boogerwookiesugarcookie @ace-din-djarin and @creature-song

[bookeysnewsletter]

Summary of Frankenstein: Mary Shelley's Classic Tale

Chapter 1 What's The Book Frankenstein by Mary Wollstonecraft Shelley

"Frankenstein" by Mary Shelley is a classic novel that tells the story of Victor Frankenstein, a young scientist who creates a monstrous creature in his laboratory. The novel explores themes of ambition, morality, and the consequences of playing god. As the creature struggles to find acceptance in society, Victor grapples with the responsibility of his creation. The novel raises questions about the limits of scientific advancement and the destructive power of unchecked ambition. Ultimately, "Frankenstein" is a cautionary tale about the dangers of playing with forces beyond our control.

Chapter 2 Is The Book Frankenstein A Good Book

Many readers and critics consider "Frankenstein" by Mary Shelley to be a classic and important work of literature. The novel explores themes of science, ethics, humanity, and the consequences of playing god. It has had a significant impact on popular culture and has inspired numerous adaptations and interpretations. Overall, "Frankenstein" is widely regarded as a good book and is worth reading for those interested in classic literature, Gothic fiction, and the study of ethical and scientific themes.

Chapter 3 The Book Frankenstein by Mary Wollstonecraft Shelley Summary

Frankenstein follows the story of Victor Frankenstein, a young scientist obsessed with the idea of creating life. After years of experimentation, Victor successfully brings to life a being made from the body parts of corpses. However, horrified by his creation, Victor abandons the creature, who is left to fend for himself in a hostile world.

The creature, devoid of companionship and understanding, becomes increasingly lonely and bitter. He seeks revenge on his creator, causing a chain of tragic events that ultimately leads to the deaths of Victor's loved ones.

The novel explores themes of ambition, responsibility, rejection, loneliness, and the consequences of playing god. It raises questions about the ethical implications of scientific advancement and the impact of societal rejection on individuals.

Throughout the story, both Victor and the creature struggle with their own morality and humanity, ultimately leading to a tragic and haunting finale. Frankenstein is a classic tale that continues to captivate readers with its powerful storytelling and thought-provoking themes.

Chapter 4 The Book Frankenstein Author

Mary Wollstonecraft Shelley was born on August 30, 1797, in London, England. She was the daughter of the renowned feminist writer Mary Wollstonecraft and the philosopher William Godwin. Shelley is best known for her novel "Frankenstein; or, The Modern Prometheus," which was first published anonymously in 1818.

The novel tells the story of Victor Frankenstein, a young scientist who creates a grotesque creature in an unorthodox scientific experiment. The creature, fearing rejection and loneliness, seeks revenge on his creator and ultimately becomes a tragic figure in the tale.

Shelley's other notable works include "The Last Man," "Mathilda," and "Valperga." However, "Frankenstein" remains her most famous work and has been adapted into numerous films, plays, and other forms of media.

In terms of editions, the 1831 revised edition of "Frankenstein" is often considered the best as it includes additions and revisions made by Shelley herself. This edition also includes an introduction written by Shelley, shedding light on the inspiration and creative process behind the novel.

Chapter 5 The Book Frankenstein Meaning & Theme

The Book Frankenstein Meaning

The novel "Frankenstein" by Mary Shelley explores themes of ambition, creation, isolation, and the consequences of playing god. The story follows Victor Frankenstein, a young scientist who creates a monster through his experiments in reanimating dead tissue. The monster is rejected by society and seeks revenge on his creator, leading to tragic consequences for both.

Overall, the novel delves into questions about the nature of humanity, the dangers of scientific advancement, and the responsibility that comes with playing with the forces of life and death. It serves as a cautionary tale about the potential consequences of unchecked ambition and the importance of empathy and understanding in our interactions with others.

At its core, "Frankenstein" examines the themes of alienation and the search for connection, as both Victor and the monster struggle with feelings of isolation and longing for acceptance. The novel serves as a powerful exploration of the human condition and the complexities of moral responsibility.

The Book Frankenstein Theme

1. The dangers of unchecked ambition: Victor Frankenstein's obsession with creating life ultimately proves to be his downfall, as his creation turns against him and wreaks havoc on his life and the lives of those around him. Shelley warns against the dangers of pursuing power and knowledge without considering the potential consequences.

2. The responsibility of the creator towards their creation: Victor Frankenstein abandons his creation out of fear and disgust, leading to the monster's feelings of isolation and resentment. The novel explores the moral obligation that creators have towards their creations, and the consequences of neglecting this responsibility.

3. The nature of humanity: The monster in "Frankenstein" grapples with his own humanity and his place in the world. Despite his monstrous appearance, the creature demonstrates a deep capacity for emotion, intelligence, and empathy, challenging the reader to reconsider what it means to be truly human.

4. The destructive power of prejudice and intolerance: The monster in "Frankenstein" is rejected by society due to his appearance, leading him to seek revenge against those who have wronged him. Shelley critiques the societal prejudices and biases that can lead to discrimination and violence, emphasizing the importance of empathy and acceptance towards those who are different.

5. The consequences of playing God: Victor Frankenstein's attempt to create life leads to disastrous consequences, raising questions about the limits of scientific advancement and the ethical implications of manipulating life. Shelley cautions against the hubris of playing God and emphasizes the need for humility and caution in the pursuit of knowledge and power.

Chapter 6 Other Accessible Resources

1. "Frankenstein" by Mary Shelley - Available for purchase at major book retailers such as Amazon and Barnes & Noble.

2. SparkNotes - Offers a comprehensive study guide for "Frankenstein" including summaries, analysis, and character information.

3. CliffsNotes - Provides a detailed analysis of key themes, characters, and plot points in "Frankenstein."

4. Goodreads - Access reader reviews, ratings, and discussions about "Frankenstein" by Mary Shelley.

5. Wikipedia - Offers a detailed overview of the plot, themes, and historical context of "Frankenstein."

6. YouTube - Search for videos analyzing "Frankenstein" by literary experts and enthusiasts.

7. Academic Journals - Read scholarly articles and essays on "Frankenstein" by searching databases such as JSTOR or ProQuest.

8. Online Courses - Enroll in a MOOC (Massive Open Online Course) that covers "Frankenstein" and its themes.

9. Podcasts - Listen to podcasts that discuss Mary Shelley's life, the writing of "Frankenstein," and its impact on literature.

10. Social Media - Join online book clubs or discussion groups on platforms like Facebook and Reddit to engage with others who have read "Frankenstein."

Chapter 7 Quotes of The Book Frankenstein

The Book Frankenstein

quotes as follows:

1. "Beware; for I am fearless, and therefore powerful."

2. "I do know that for the sympathy of one living being, I would make peace with all. I have love in me the likes of which you can scarcely imagine and rage the likes of which you would not believe. If I cannot satisfy the one, I will indulge the other."

3. "Life, although it may only be an accumulation of anguish, is dear to me, and I will defend it."

4. "I am solitary and detested."

5. "Did I request thee, Maker, from my clay to mould me man? Did I solicit thee from darkness to promote me?"

6. "I am malicious because I am miserable."

7. "The beauty of the dream vanished, and breathless horror and disgust filled my heart."

8. "I was benevolent and good; misery made me a fiend."

9. "My spirit will sleep in peace; or if it thinks, it will not surely think thus. Farewell."

10. "Who shall conceive the horrors of my secret toil as I dabbled among the unhallowed damps of the grave, or tortured the living animal to animate the lifeless clay?"

Chapter 8 Similar Books Like The Book Frankenstein

1. "War and Peace" by Leo Tolstoy - A sweeping epic that follows the lives of several aristocratic families during the Napoleonic Wars in Russia. With themes of love, war, and destiny, this novel is a must-read for anyone interested in Russian literature.

2. "Anna Karenina" by Leo Tolstoy - Another masterpiece by Tolstoy, this novel explores the consequences of adultery and societal norms in 19th century Russia. The characters are complex and the story is both tragic and thought-provoking.

3. "Crime and Punishment" by Fyodor Dostoevsky - A psychological thriller that delves into the mind of a young man who commits a murder and grapples with guilt and redemption. Dostoevsky's exploration of morality and justice is both gripping and profound.

4. "The Brothers Karamazov" by Fyodor Dostoevsky - A philosophical novel that examines the complexities of faith, family, and freedom. The characters, especially the three brothers, are richly developed and the themes are timeless.

5. "One Hundred Years of Solitude" by Gabriel Garcia Marquez - A magical realist novel that follows the multi-generational saga of the Buendia family in the fictional town of Macondo. Marquez's prose is lyrical and his storytelling is both enchanting and haunting.

Book https://www.bookey.app/book/frankenstein

Author https://www.bookey.app/quote-author/mary-wollstonecraft-shelley

Quotes https://www.bookey.app/quote-book/frankenstein

YouTube https://www.youtube.com/watch?v=XRppXdKDY_c

Amazom https://www.amazon.com/-/zh/dp/1512308056

Goodreads https://www.goodreads.com/book/show/28354519-frankenstein?from_search=true&from_srp=true&qid=VierdS3qYY&rank=1

[readingoals]

Angelika Frankenstein Makes Her Match was the third Frankenstein book I read this month and it was....fine.

The premise is that Victor Frankenstein's younger sister can't find a suitable man to marry so she decides to create her own, picking out all his parts according to what she finds most attractive (and yes that includes his dick). Unfortunately he remembers nothing about his identity and wont marry her (or more importantly sleep with her) until he figures out who he was.

It's a silly concept, perhaps a touch on the icky side when you consider the original text treated the creature as Victor's son, but I went in expecting something light and fun. And I spose thats mostly what I got.

I think there were a couple big things that meant I didn't enjoy it as much as I'd hoped I would. One is my fault - this book followed two Very strong Frankenstein inspired books which set the bar very high and while it is unfair to compare them to Angelika because they are vastly different genres and tones, the brilliance of Pride and Prometheus and Our Hideous Progeny really made the issues of AFMHM stand out.

The second thing however, is very much a fault with the book. To me it felt as if the author had over complicated her story unnecessarily. The focus drifted away from the quest to figure out who her beau was before his untimely death, got sidetracked with about 3 other storylines, and then felt a bit rushed right at the end when everything had to be wrapped up.

Add on top of that some issues with dialogue (I don't think Thorne knows how to write male/female dialogue that isn't flirting which meant some of the Victor/Angelika convos were bizarre and gross) and the historical setting (why set a book in 1850 if its going to read like it could be 2023?), not to mention the implications of the very end of the book with the housekeeper's niece (Pride and Prometheus attempted a similar sort of thing much more successfully), and the whole thing really just fell flat for me.

Certainly not the worst book I've read this year. I did enjoy parts of it, the ending even had me tearing up a little. But I can't possibly give it more than 3 stars.

[fearsmagazine]

THE ANGRY BLACK GIRL AND HER MONSTER - Review

DISTRIBUTOR: RLJE Films

SYNOPSIS: Vicaria is a brilliant teenager who believes death is a disease that can be cured. Death is ever present in Vicaria's world - violence, police brutality, substance abuse - and after watching her mother and brother succumb, she's had enough. After the brutal and sudden murder of her brother, she embarks on a dangerous journey to put an end to all this death… by bringing the dead back to life.

REVIEW: From the writing to the directing by Bomani J. Story, to mesmerizing performances, THE ANGRY BLACK GIRL AND HER MONSTER captures the intensity of the classic Hammer Horror films with black exploitation films for a brilliant modern take on Shelly’s “Frankenstein.”

From the character voices, to the character arcs and the way themes are blended together, Story is an amazing writer who seamlessly blends the contemporary elements with science fiction themes and touches on numerous issues and makes it all work. He brings many things in front of the lens and presents them in a way that permits the viewer to reflect on them without feeling they're being preached to. Vicaria has numerous poignant lines that feel like inspired observations. Story nicely lays out Vicaria’s character arc so that her hubris overshadows her choices that affect her family in much the same way Victor Frankenstein’s family suffers from his choices. He presents the tragedies that have influenced Vicaria’s decisions, further impact by the urban community she lives in filled with drug dealers, police conflict and poverty. He creates genuine voices and realistic situations that he nicely folds in the science fiction and horror aspects. It's powerful, engaging, and passionate.

This is an independent film that looks like a million bucks. I liked the organic feel of Vicaria’s lab, made from elements she would find in her community.The other locations feel organic and grounded. Built into that are some nice color schemes that add to the tone of the film. Cinematographer Daphne Qin’s work adds soft tones to this star reality. It feels authentic, still engaging and at times like shadows in a nightmare. A nice balance. It’s well framed and paced, and is wonderfully lit. The filmmakers do an outstanding job of creating this world. Mixed in as a fantastic score by Nima Fakhrara. There are classic themes with some modern sounds blended in to create this hybrid sound that adds magic to the narrative.

Story’s film features a soulful cast, with a tour de force performance by actress Laya DeLeon Hayes. Currently starring opposite Queen Latifah on the CBS series "The Equalizer," and known for voicing the main character of the award-winning animated series "Doc McStuffins," Hayes brings a vast palate to the role. It’s a unique character that even exhibits a touch of madness, and she weaves it all into a believable and impassioned performance. Adding some delight and joy to the film is the young actress Amani Summer who plays Jada. She radiates attitude and innocence, and her performances lights up the screen.

THE ANGRY BLACK GIRL AND HER MONSTER embraces all the history from which it springs from, including the black exploitation films of the 70’s. However, there is a respect and intensity with which Story presents these characters that it never feels like exploitation. Likewise, his humor comes from the interaction between characters, never at the expense of characters or the themes of the film. There is a raw honesty in the screenplay and the directing that perfectly does what any good genre story should - explore the human condition in a different light. This is Bomani J. Story’s directorial debut and he demonstrates adept skills as a filmmaker and a master storyteller. I’m excited to see what he does next.

CAST: Laya DeLeon Hayes, Denzel Whitaker, Chad L. Coleman, Reilly Brooke Stith, Keith Holliday, Ellis Hobbs IV, Amani Summer, and Edem Atsu-Swanzy. CREW: Director/Screenplay/Producer - Bomani J. Story; Producers - Jack Davis & Darren Brandl; Cinematographer - Daphne Qin Wu; Score - Nima Fakhrara; Editor - Annie De Brock; Production Designer - Mark Bankins; Costume Designer - Cailey Breneman; SFX Make-up - Ravenous Studios; Creature Concept - Tristan Schane; Visual Effects - Moontower VFX OFFICIAL: N.A. FACEBOOK: www.facebook.com/profile.php?id=100093250422551 TWITTER: N.A. TRAILER: https://youtu.be/5lDANhEmTBc RELEASE DATE: In Theaters on June 9th, on Demand & on Digital June 23rd, 2023

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)

Reviewed by Joseph B Mauceri

[apollos-boyfriend]

“frankenstein-style homoeroticism” have you read frankenstein 😭😭😭 i’m p sure the creature straight up calls frankenstein his father at one point

anon, have YOU read frakenstein?? frankenstein’s monster is subtextually a manifestation of victor’s own homosexual desires. understandably so, considering mary shelley was inspired by dracula, which is also a story about repressed homosexuality. it’s theorized that not only did she take inspiration from dracula itself, but also her friend, lord byron (who was either gay or bisexual, and the reason she even wrote the story in the first place) or her own husband, who scholars theorize to have had his own repressed homosexuality, especially towards byron. on top of that, mary shelley was queer herself!! she was bisexual!! she ABSOLUTELY knew what she was doing when including queen themes in her work. do not test me when it comes to homosexual literary subtext.

[echo-hiraeth]

The Depiction of Women in Frankenstein: Mary Shelley as a Staple of Social Commentary

A/n: As promised, my final piece of uni writing! This landed me a 13.75/20, which means that it is fairly-well substantiated and a valid piece of literary analysis. The main point of critique was that I didn't interact or go into discourse enough with existing sources. Otherwise my essay was deemed "quite inspirational". So instead of uwu fanfiction I'd like to present you this more scientific and academic (maybe even boring) side of myself. Do enjoy!

P.s. My dm's are always open should anyone be interested in going into this a little bit more or should anyone have any questions.

The Depiction of Women in Frankenstein: Mary Shelley as a Staple of Social Commentary

Daughter of two vociferous literary revolutionaries and wife to a renowned poet and activist, societal expectations for Mary Shelley and her work were always set high. Her publication of Frankenstein was nothing short of successful and pivotal in that “Shelley invented modern science fiction” (Sturgis 59). Though the novel was initially presented and perceived as a “ghost story” (Shelley 7) there appeared to be an underlying tone of social commentary present. This, however, is not surprising, as Mary’s mother, Wollstonecraft, was an avid advocate for women’s rights and gender equality. It becomes apparent through the characterisation of women within the text that Shelley seeks to denounce the idealisation of uneducated, objectified and submissive women. In doing this she presented herself, akin to her mother, as an activist for women and their rights.

In this essay I will argue that Shelley condemns the view of women as submissive, passive creatures through the male protagonists’ descriptions of women. I will do this by analysing the stark contrast in depiction and characterisation of several women within the text, through the male protagonists’ eyes. To achieve this, I will primarily focus on three female characters, namely Elizabeth Lavenza, Safie and the female creature. I chose these personalities specifically because they each represent different values and types of women. In addition to this, I will also be touching on Mary Wollstonecraft’s call to the education of women as addressed in her A Vindication of the Rights of Woman. This because Shelley herself plays around with the same ideas and concepts. In doing so I will bring forward Shelley’s own advocation for the education and emancipation of women.

Before I start analysing Shelley’s work I want to introduce Mary Wollstonecraft’s A Vindication of the Rights of Woman. In her work, which was “the first book on women’s rights published anywhere in the world” (Botting 296), Wollstonecraft called for the education of women as she believed that “if woman isn’t fitted by education to become man’s compassion, she will stop the progress of knowledge” (2). She furthermore argues that education was crucial in women’s understanding so they wouldn’t revolt or rebel against their “duty” (Wollstonecraft 2). On top of this, she condemns the sensibilization of women, stating that “their conduct is unstable because they feel when they should reason: and their opinions are wavering because of contradictory emotions” (Wollstonecraft 42). Here we see that Wollstonecraft disapproves of the emotionalism of women and how she wants to step away from the stereotypical depiction of woman as a sentimental creature. In her work she ultimately claims that due to the lack of reason and plethora of sensation, women are considered to be weak and “fragile in every sense of the word” she also adds that they are therefore “obliged to look up to man for every comfort” (Wollstonecraft 42). This then implies that the emancipation of women is achieved through education and reason.

Continuing on, I would like to shift my focus to Shelley’s novel and its female characters. As stated before, I will be analysing the three figures of Elizabeth, Safie and the female creature. In this part of my essay I will concentrate on Elizabeth Lavenza specifically. I will be analysing her characterisation and portrayal through the eyes of Victor, the main narrator in the book. In the novel, we are introduced to Elizabeth through Victor who describes that she, as a “sweet orphan” (Shelley 35) was taken in by his parents. From the very start she is presented as some sort of object, Frankenstein’s mother even referring to her as “a pretty present for [her] Victor” (Shelley 35). He seems to consolidate this sentiment, describing Elizabeth as “[his]” (Shelley 36), the possessive pronoun reaffirming the objectification. Aside from being seen as a possession, we see that after mother Frankenstein passes away, Elizabeth is appointed the new matriarch of the house. This is especially shown here: “She devoted herself to those whom she had been taught to call her uncle and cousins” (Shelley 44). Here Elizabeth is presented as the nurturing, parental figure and even further along in the story we see that she often intervenes as a nurse or caretaker: “how often have I regretted not being able to perform it myself! I figure to myself that the task of attending on your sick bed has devolved on some mercenary old nurse, who could never guess your wishes, nor minister to them with the care and affection of your poor cousin” (Shelley 64). Examples such as these reinforce the portrayal of the compassionate, caring woman. In terms of her personality, we soon learn that Elizabeth is a very emotional and sensitive woman. A good example would be her reaction to the death of William: “She fainted, and was restored with extreme difficulty. When she again lived, it was only to weep and sigh” (Shelley 72). Remarkable here is that Victor is said to be the “comforter” (Shelley 73) of the family, which coheres with a concept that Wollstonecraft previously introduced: because Elizabeth is so frail and emotional she needs Victor’s support. Wollstonecraft’s sentiment regarding the wavering of rationality and reason due to overwhelming emotionality is furthermore confirmed when Elizabeth is called on as a witness during Justine’s trial. We see here that while “simple and powerful” Elizabeth’s testimony “was excited by her generous interference, and not in favour of poor Justine” (Shelley 85). In other words: her passions and emotions contributed to the conviction of her friend, thus reinforcing the idea that strong emotions are a weakness, as they cancel out any reason. In terms of characterisation, we also see that Elizabeth is often described as a “sweet girl” with “gentleness, and soft looks of compassion” (Shelley 189-190). Throughout his narration it becomes apparent that Victor sees Elizabeth, as the perfect woman, even going so far as to state that he “never saw any woman who excited, as Elizabeth does, [his] warmest admiration and affection” (Shelley 151). We can conclude from this, that Victor deems the emotionally vulnerable, nurturing and motherlike woman the ideal one.

The second character I will be discussing is Safie. Here it is important to mention that unlike Elizabeth and the female creature, this character is observed and narrated from the creature’s point of view. We are introduced to this character in chapter XIII when the monster is in hiding, taking refuge in a local cottage. Very noticeable is that in comparison to Elizabeth, the focus with Safie mostly lies on the woman’s physical features rather than her emotionality. The creature describes her as having “a countenance of angelic beauty and expression” (Shelley 116) and being “charming” (Shelley 121). In terms of her personality, the creature deems the Arabian to be “sweet” as well as “lovely” (Shelley 117). She is furthermore described to be “always gay and happy” (Shelley 118). While these traits are directly worded by the creature, through reading her story we see that Safie is actually a very brave, smart and self-governing woman rather than an overly sentimental one. Her independence and bravery were inspired by her mother who “taught her to aspire to higher powers of intellect, and an independence of spirit, forbidden to the female followers of Mahomet” (Shelley 124). Following her mother’s advice, Safie abandons her religion and sets out to Europe as “the prospect of marrying a Christian, and remaining in a country where women were allowed to take a rank in society, was enchanting to her” (Shelley 124). This reveals to the reader that Safie’s priorities include intelligence and independence, rather than motherhood or love. While Felix is definitely a romantic partner to her, having been referred to as her “lover” (Shelley 127), the marriage is also a sort of leverage, ensuring her freedom as it offers an escape from her repressive and sexist religion, as mentioned in the quote. However during her travels to unite with Felix, Safie’s companion falls ill and passes away, leaving her “unacquainted with the language of the country, and utterly ignorant of the customs of the world” (Shelley 127). Here her true bravery shines through as she keeps pushing forward with the help of an Italian family, despite being alone in a foreign country. Eventually once settled in with the De Laceys, the creature, who is equally “unacquainted” (Shelley 127), informs the reader on their learning process, stating that “she and [him] improved rapidly in the knowledge of language” (Shelley 118). This then also supports the statement that Safie is indeed a smart woman, being capable of learning a new language in a matter of months. When we apply Wollstonecraft’s philosophy to this, we see that Safie closely resembles that new woman considering that she is in touch with both her reason and passion. She furthermore endorses Wollstonecraft’s educational stance as she actively pursues knowledge. In terms of sensibility Safie has only been described to “[appear] affected by different feelings; wiping a few tears from her lovely eyes” (Shelley 117) once, when meeting Felix. We can conclude that in terms of this character we see a healthy balance between emotionality and rationality, therefore introducing a different “type” of woman. It is safe to say that Safie is to be regarded as “the incarnation of Mary Wollstonecraft in the novel” (Mellor 5).

Moving on, the third and final character I would like to discuss is the female creature. It is once again important to note that this part of the story is told from Victor’s perspective and that this creature was never actually brought to life. She was merely an idea and request. We learn that the idea of the female creature is introduced by Frankenstein’s monster, after he fails to find a human counterpart: “I am alone, and miserable; man will not associate with me; but one as deformed and horrible as myself would not deny herself to me. My companion must be of the same species, and have the same defects. This being you must create” (Shelley 144). This request, or demand, is however not well-received by Victor: “Shall I create another like yourself, whose joint wickedness might desolate the world? Begone!” (Shelley 145). However after a lot of contemplation and convincing, Victor agrees: “I consent to your demand, on your solemn oath to quit Europe for ever, and every other place in the neighbourhood of man, as soon as I shall deliver into your hands a female who will accompany you in your exile” (Shelley 148). The task proved easier said than done, as Victor struggles to “overcome [his] repugnance to the task which was enjoined [him]” (Shelley 149). Victor seems to think and overthink his decision until ultimately he decides against it, therefore breaking the agreement. He comes to this conclusion after thoroughly considering what a new creation might bring forward:

I was now about to form another being, of whose dispositions I was alike ignorant; she might become ten thousand times more malignant than her mate, and delight, for its own sake, in murder and wretchedness. He had sworn to quit the neighbourhood of man, and hide himself in deserts; but she had not; and she, who in all probability was to become a thinking and reasoning animal, might refuse to comply with a compact made before her creation. They might even hate each other; the creature who already lived loathed his own deformity, and might he not conceive a greater abhorrence for it when it came before his eyes in the female form? She also might turn with disgust from him to the superior beauty of man; she might quit him, and he be again alone, exasperated by the fresh provocation of being deserted by one of his own species. (Shelley 165)

This revelation brings more to light than meets the eye and requires a more thorough reading. I will start with analysing the female creature’s speculated character. This is speculation because she was never actually brought to life. In other words: this version of the female creature only ever existed in Victor’s inner thoughts. Nonetheless, we see that this female is depicted as malevolent or violent and seemingly emancipated since she might not conform with what her creator, Frankenstein, imposes on her. On the other hand, the creature is also described as “a thinking and reasoning animal” (Shelley 165), which strives from Victor’s ideal woman (cf. Elizabeth) and makes her a threat. Here lies the sexism and Shelley’s critique thereof. She exposes Victor because “he is afraid of an independent female will, afraid that his female creature will have desires and opinions that cannot be controlled by his male creature” (Mellor 6). What we can also deduce from this is that Frankenstein seeks to adhere to the “sexist aesthetic that insists that women be small, delicate, modest, passive, and sexually pleasing – but available only to their lawful husbands” (Mellor 7). We see throughout the story that aesthetics and beauty are important virtues as both Elizabeth and Safie, though perceived by two different protagonists, are praised for their beauty. This is in stark contrast with the female creature, as Frankenstein reasons that the male creature might perceive her as a “greater abhorrence” (Shelley 165). Shelley with this shows the superficial mind of Victor Frankenstein and brings a whole system of sexism in societal standards to light. It is remarkable to see how, despite never even having lived, the female creature becomes one of the most crucial characters in outing her criticisms.

When comparing the three female characters with one another, we notice a sort of spectrum. On the one end there is Elizabeth who is seen as the perfect woman and wife by Victor’s standards and on the other end we have the female creature who is nothing short of horrifying, violent and a threat to him and his standards. Somewhere in the middle we then find Safie, the fictional embodiment of Wollstonecraft and her ideals. Now, what sets Elizabeth apart from these other two women is her objectification. She is often presented as a matriarch and sometimes even an object or something akin to a pet in relation to Victor. She is submissive and for the most part reliant on the men in her life as previously mentioned. The other two women differ in that they strive for emancipation and independence. Furthermore these two women are described as rational creatures, rather than “sensible” or emotional ones, which is exactly what Wollstonecraft was advocating for.

To conclude, while Shelley’s Frankenstein at first glance presents itself as a “ghost story” (Shelley 7), a thorough, more critical read brings to light a sharp piece of social commentary. Shelley masked her criticisms, which were heavily inspired by her mother’s A Vindication for the Rights of Woman, by writing mostly from the perspective of males. These criticisms entailing women and the sexist expectations that society has provided are revealed through the male depiction of three female characters. There are several things to be established surrounding these women. First of all it becomes apparent that Victor favours his Elizabeth, who is the staple of a housewife: submissive, oppressed and dependent on her husband or provider. Then there is the self-governing Safie, who travelled across the continent just to obtain her freedom as a woman. The third and final personality, the female creature, is pivotal in that she is the epitome of Shelley’s critique. Victor Frankenstein fears this female creation as she is rational and will likely have a strong will of her own and can therefore not be controlled by his male creature. He furthermore is appalled by this creature as she does not conform with the stereotypical beauty standard. Throughout this narration Shelley brought to light the intricate and subtle elements of sexism in which Victor, the man, presents himself as superior to women. Shelley’s work went on to inspire and “managed to change the Western world’s conception of women’s rights, human reason, education theory and romantic love” (Sturgis 55). In her work Shelley advocates, as her mother before her, for the education of women and gender equality and seeks to denounce the submissive woman as a whole.

(2681 words)

Works Cited

Botting, Eileen Hunt. “Crossing Borders and Bridging Generations: Wollstonecraft's ‘Rights of Woman’ as the ‘Traveling Feminist’ Classic.” Women's Studies Quarterly, vol. 35, no. 3/4, 2007, pp. 296–301.

Mellor, Anne K. “Possessing Nature: The Female in Frankenstein.” Frankenstein: The 1818 Text, Contexts, Criticism. By Mary Wollstonecraft Shelley. Ed. J. Paul Hunter. New York: W.W. Norton, 2012.

Shelley, Mary. Frankenstein. Edited by M.K. Joseph, Oxford University Press, 2008.

Sturgis, Amy H. "Feminism, Frankenstein, and Freedom." Reason, vol. 47, no. 2, 2015, pp.54-60, 6.

Wollstonecraft, Mary. A Vindication of the Rights of Woman. Edited by J. Bennett, Oxford University Press, 2017.