Invent A Monster And Describe It? Best 191 Answer

What causes a society to view some categories of people as less than human? Throughout history we can see how people divided into groups and used violence to discriminate against each other. When groups of individuals are perceived as monstrous or demonic, it leads to dehumanization.

Numerous literary masterpieces explore the meaning of monstrosity and show the dire consequences of dehumanization. This article from Custom-Writing.org will:

explore what monsters represent in literature,

Dive into the topic of dehumanization.

present many examples.

👾 Monstrosity: Meaning

Let’s start with the question: What do people find monstrous? Usually, the words “monstrous” or “monstrosity” denote something ugly, evil, or frightening. For example, creatures like basilisks or dragons represent things that don’t fit into accepted natural categories.

By defining what is deviant, deformed, or monstrous, humans can determine what is “normal.” Training monsters reinforces our idea of ​​morality and social boundaries. It would be considered immoral to kill a human being. However, killing a monster can even be considered noble.

characteristics of a monster

In literature, monsters are fictional characters found primarily in horror, science fiction, and folklore. They have certain qualities that make them fearsome in the eyes of others. Here are some key features:

🤯 Relation to People’s Emotions Monsters often serve as symbols for people’s deep-rooted fears and suppressed thoughts. 👿 Origin Story Some monsters have a backstory describing how they became evil or deformed. 👹 Unusual or Frightening Appearance Monsters may physically exhibit some unnatural human or animal characteristics. It makes others even more afraid of them. 😱 Unpredictability Monsters differ from humans not only in their appearance, but also in their actions. Because of this, it can be difficult to predict their next move. 💪 Special Strengths or Weaknesses Monsters can have their limitations and weaknesses that help a hero defeat them. However, they can also be portrayed as invincible.

Monster Archetype: What do monsters represent?

According to Carl Jung’s theory, monsters are the reflections of aspects of our personality called shadows. It refers to people’s characteristics and desires, which are condemned by society. Because people struggle to acknowledge them, these qualities are suppressed and manifest unconsciously.

Jung believed that one of the ways to deal with one’s shadow aspects was through projection. For example, humans can project their suppressed emotions and traits onto monsters. Therefore, monsters often act as scapegoats.

🧛 Monsters in literature

In this section you will learn more about literary monsters and their types. You can also find our list of the top 10 most iconic monsters here.

History of Monsters in Literature

Literary monsters are timeless. We can find them in all types of writing, from ancient mythology to modern fiction. However, the depiction of monsters has undergone some changes over time:

Initially, they were mostly portrayed as evil creatures or antagonists of the hero.

In modern fiction, they are often portrayed as sympathetic and misunderstood.

monsters of mythology

When we think of an ancient myth, we often think of the monster rather than the hero. Why is that? Well, monsters have to be impressive: after all, they challenge heroes to prove their worth and gain power and recognition.

In his book Hero with a Thousand Faces, Joseph Campbell describes a heroic narrative common to most myths. In this tale, a hero must complete a transformative adventure and return home victorious. It is also known as the hero’s journey.

As you might have guessed, monsters are an integral part of the hero’s journey. They usually serve as antagonists in the Trial and Final Battle phases. Think of Cyclops or Scylla from Homer’s Odyssey as a prime example of a memorable monster.

Medieval monsters

In the Middle Ages, monsters had two main roles:

They served as a counter-example to humans. Monsters demonstrated to humans what can be considered “human” by being the opposite of it.

They were the embodiment of something frightening and unknown. Monsters were often associated with spirits and believed to inhabit exotic lands.

Medieval Europeans were fascinated by the newly discovered lands. They described native peoples and animals from other continents as something otherworldly. An old epic poem Beowulf is an excellent example of such perception. The text contains a wide range of magical creatures, animals and people.

Victorian era monsters and Gothic monsters

The idea of ​​the monstrosity undergoes some changes in the Victorian era. This is also the time when gothic novel becomes popular.

Duality is one of the main emphases of Gothic literature. The characters, including antagonists, become more complex and diverse. Monsters are now portrayed more sympathetically. Instead of cruel creatures that inspire fear, we see characters misunderstood and ostracized by humans. It is also around the Victorian era that the theme of monstrosity enters the science fiction genre.

The Creature from Frankenstein and Mr. Hyde from Strange Case of Dr. Jekyll and Mr. Hyde are good examples of monsters that make readers sympathize with them since they are created during experiments. These characters make us wonder if one is born a beast or if life makes them one.

Monster tropics guys

Monsters in literary works can be divided into several categories:

We will discuss the most well-known types in the following sections.

Traits of monster villains

Villain monsters are usually complex characters that don’t necessarily fall into the antagonist category. They are characterized by motivations such as greed or striving for power.

Rogue monsters can communicate evil without violence. Also, these types of characters often combine ordinary looks with some terrifying bestial elements.

Bram Stoker’s Count Dracula is a great example of a monster villain. He looks like a human but is monstrous by nature.

Misunderstood and sympathetic monsters

A sympathetic monster is a character who appears like a monster to others but does no harm. Isolation and marginalization cause such characters to turn their backs on people and commit crimes, even if they initially had no ill intentions.

Likeable monsters are often created by society. For example, the hunchback Quasimodo, like Frankenstein’s monster, is shamed and manipulated by humans because of his physical deformity. He is perceived as a monster simply because of his unusual appearance.

Lovecraft Monsters: Cosmic Horror

Cosmic horror is a subgenre of gothic literature. It emphasizes fear of the unknown and portrays people as vulnerable and ignorant.

The first name that comes to mind when we talk about cosmic horror is H.P. Lovecraft. The two terms “Lovecraftian horror” and “cosmic horror” are used interchangeably. In the world of cosmic horror, monsters are far more powerful than humans. They question human values ​​and their perception of the world.

Lovecraftian horror has some unique qualities that set it apart from other works of gothic literature. It includes the use of:

weirdness,

Ambiguity,

thriller Elements,

psychological horror.

Female Monsters in Literature

In classical Greek and Roman myths, many villains and monsters are female. Many myths and legends reinforced certain expectations about women’s behavior and appearance. These stories also reflected, to some extent, the way women were viewed as destructive. It shows men’s desire to control and dominate women.

Female monsters symbolize someone who transcends the patriarchal order and therefore poses a threat to the male protagonist. Grendel’s mother from Beowulf is a good example of such a character.

Monsters in Children’s Literature

In 17th-19th century literature, children’s books were full of depictions of death and brutality. Fairy tales featured frightening monsters; They emphasized physical harm and incited terror. Most of these stories served as cautionary tales, with monsters representing the general dangers of the time.

Today’s children’s literature contains no explicit descriptions of violence. Horror for children took on a form of fantasy fiction, featuring magical creatures such as dragons and fairies.

Maurice Sendak’s Where the Wild Things Are is an excellent example of contemporary children’s literature. It has mysterious elements and features various magical creatures, but contains no violence.

Top 10 Literary Monsters

From Greek mythology to contemporary horror, literature is full of fantastical beasts. However, only a few of them remain in our memory after the story is over. Here is a list of the top 10 literary monsters, which have served as inspiration for many other fictional characters:

Scylla from Homer’s. A mythical sea monster with 5 heads and 12 legs. odyssey . A mythical sea monster with 5 heads and 12 legs. Grendel of Beowulf. A powerful and bloodthirsty man-eating creature. A powerful and bloodthirsty man-eating creature. Count Dracula from Bram Stoker’s Dracula. A centuries-old vampire who serves as the blueprint for nearly all subsequent vampire characters. The creature from Mary Shelley’s Frankenstein. An articulate and intelligent monster created from the corpses by Victor Frankenstein. An articulate and intelligent monster created from the corpses by Victor Frankenstein. Smaug from J.R.R. Tolkien’s The Hobbit. A dragon guarding a trove of treasures. A dragon guarding a trove of treasures. Edward Hyde from Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr Hyde. An alternate personality of Henry Jekyll, embodying his inner monsters. Pennywise from Stephen King’s It. An ancient, shapeshifting creature that often appears as a clown, preying on the Children of Derry. An ancient, shapeshifting creature that often appears as a clown, preying on the Children of Derry. Cthulhu by H.P. Lovecraft’s The Call of Cthulhu. An Ancient One that lies beneath the Pacific Ocean in the sunken city of R’lyeh. The Jabberwocky from Lewis Carroll’s Jabberwocky. A giant chimera with wings, a dragon body, a fish-like head, and a pair of claw-like hands. Fenrir – a monstrous wolf from . The son of the demonic Loki and a giantess, Angerboda. Norse Mythology. The son of the demonic Loki and a giantess, Angerboda.

Theme of the monstrosity in Frankenstein

Monstrosity is one of the central themes in Frankenstein, with the creature serving as a great example of a misunderstood monster.

At first, the creature has no ill intentions: it just wants to be loved and accepted. However, he was born out of Victor’s selfish desire to prove himself by creating a human from the body parts of dead criminals. This fact alone determines his tragic fate. He becomes a victim of ostracism and turns into a real monster.

Victor can be seen as a victim of his pride and isolation. He wants to prove himself to people and be recognized. After the monster kills his family, Victor devotes the rest of his life to killing his own creation. In the end, his ambition only leads him to alienation and self-destruction.

Would you like to learn more about these themes in the novel? Feel free to check out our article on topics in Frankenstein.

Monstrosity in Frankenstein: Quotations

Here are some quotes from Mary Shelley’s novel that reflect the idea of ​​monstrosity:

I was absolutely ignorant of my creation and my Creator, but I knew I had no money, no friends, no property. In addition, I was endowed with a hideously deformed and hideous figure; I wasn’t even of the same nature as man. I was more mobile than they, and could live on coarser fare; I have endured the extremes of heat and cold with fewer injuries to my body; my stature far exceeded hers. As I looked around, I saw and heard no one like me. Was I then a monster, a spot on earth from which all men fled and which all men denied? (Frankenstein, Chapter 5)

I saw the wretched one – the wretched beast I had created. He held up the bed curtains; and his eyes, if they may be called eyes, were upon me. His jaws opened and he murmured some inarticulate sounds while a grin tugged at his cheeks. He could have spoken, but I didn’t hear; a hand was outstretched, seemingly to restrain me, but I escaped and fell down the stairs. (Frankenstein, Chapter 5)

Cursed creator! Why did you create a monster so hideous that even you turned away from me in disgust? God, out of compassion, made man beautiful and attractive in his own image; but my form is a dirty kind of you, more terrible even for the mere resemblance. Satan had his fellows, middle devils, who admired and encouraged him, but I’m a loner and I loathe him. (Frankenstein, Chapter 15)

⚡ Dehumanization definition

Dehumanization is a process by which adversaries perceive one another as people devoid of human qualities. It happens when a group of people sees another as inferior, evil, or a criminal. We usually believe that all human beings have certain rights that should not be violated. Unfortunately, it is also the case that people who are considered outsiders are not always treated fairly.

Dehumanization often leads to violence, human rights violations and genocide. It is also worth noting that both the abuser and the abused tend to rob another party of human qualities. This, in turn, can only exacerbate the conflict, leading to more casualties and discrimination.

types of dehumanization

Dehumanization can take many forms. The exclusion criteria are often race, ideology, gender or cognitive abilities.

Dehumanization of the Jews in the Holocaust

The Holocaust is one of the most prominent examples of dehumanization. There were religious, political, and racial grounds that encouraged discrimination against Jews. In the eyes of the Nazis, Jews were not human at all.

According to the interview published by NPR, Hitler’s regime used forms of contemporary discourse to dehumanize the Jews. The Jews were labeled in the media and newspapers as subhumans or parasites. The use of animal images was essential for the success of the propaganda. It depicted Jewish people as bloodthirsty predators. These depictions caused disgust and fear among the Germans.

dehumanization of slaves

This type of dehumanization has affected both slaves and slave owners in many ways. The slaves have to work under inhumane conditions and are constantly abused. They also suffer from depression and loneliness. It leads to low self-esteem, PTSD and a loss of cultural identity. Slave owners, in turn, are affected by dehumanization by depriving others of their human qualities and rights.

dehumanization in war

Dehumanization during war works as a coping mechanism. It allows people to justify killing or even perceive it as something noble. In combat, enemies are associated with deeds of evil and depravity. The enemy image created is crucial for soldiers to be able to kill as needed. It also encourages civilians to support military action and keep up the enthusiasm even when casualties begin to mount.

dehumanization of women

It’s no secret that women have long been, and continue to be, viewed only as objects of desire. Sexualization achieved through revealing clothing and bright makeup causes people to attribute less human characteristics to women. Such objectification of a person reduces them to a mere body and can be viewed as dehumanization.

📚 Subject of dehumanization in literature: examples

In literary works, the topic of dehumanization is presented from different angles and perspectives. It is often associated with the subject of monstrosity as it deals with the issue of humanity and inhumanity. Some literary works reinforce certain stereotypes, thereby contributing to the problem of dehumanization. However, most of the work focuses on exposing the inhumane nature of discrimination.

Many stories that explore the concept of dehumanization have a strong emotional impact on readers and resonate with them. They serve as cautionary tales and encourage us to learn from the past. There are some good examples of works that talk about dehumanization and human nature:

Examples of dehumanization at night

Night by Elie Wiesel examines many critical issues that arose during World War II and in particular the Holocaust. Dehumanization is one of the book’s most prominent themes.

The characters who show the most violence in the book are Nazi officers and SS doctors. They believe that some nations, including the Jews, should be exterminated. An example of the graphic depiction of violence in Night is the execution of a teenager. The prisoners must watch the boy’s torture and then witness his death.

Elie Wiesel also shows in his book how cruelty breeds more cruelty. Forced to live in inhumane conditions, the prisoners themselves gradually begin to lose their minds and become increasingly violent. You can read more about this in our article on Themes in Night.

dehumanization quotes at night

Here are some quotes from Wiesel’s book that show how people were stripped of their humanity in concentration camps:

Always remember this, let it be engraved in your memories. You are in Auschwitz. And Auschwitz is not a convalescent home. It’s a concentration camp. Here you have to work. If you don’t, go straight to the chimney. To the crematorium. Work or crematorium – the choice is yours. (Night, p. 38)

The night was pitch black. From time to time a shot would explode in the darkness. They had orders to shoot anyone who couldn’t keep up the pace. They didn’t let their fingers on the trigger take away the pleasure. If either of us stopped for a second, a quick shot would kill the filthy dog. (Night, p. 85)

listen to me little one Don’t forget that you are in a concentration camp. In this place everyone is for themselves and you cannot think of others. Not even your father. There is no such thing as father, brother, friend in this place. Each of us lives and dies alone. (Night, p. 110)

Monstrosity & Dehumanization in Metamorphosis

The Metamorphosis by Franz Kafka is another example of a literary work that deals with dehumanization. After Gregor Samsa awakens as an insect, he gradually loses all his human qualities.

As a result of a transformation, the man also becomes alienated from his work and from society in general. However, Gregor’s mental transformation occurs long before the physical. Because of his demanding job, he was isolated from his family for a very long time. When Gregor turns into an insect, his family members begin to neglect him. In her eyes, the man loses his humanity. Over time, Gregor himself slowly begins to deny his human nature.

There are many other interesting themes in the novella. Feel free to read about them in our article on Themes in The Metamorphosis.

The Metamorphosis Quotes About Dehumanization

Here are quotes from the novella showing how alienation and transformation affected Gregor and his family:

They even got used to it, both Gregor and the family, they gratefully accepted the money and he gladly gave it, although not much warm affection was given for it anymore. (The Metamorphosis, Part II)

Did he really want to turn his room into a den, a warm room furnished with the beautiful furniture he had inherited? That would have left him free to crawl in all directions, but it would also have made him quickly forget his past when he was human. (The Metamorphosis, Part II)

He got into the habit of watching it closely for an hour or two before it was opened, and then, lying in the darkness of his room where he could not be seen from the living room, he could watch the family in the light of the dinner table and listen to their conversation – with everyone’s permission, in a way that is completely different than before. (The Metamorphosis, Part III)

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❓ Frequently asked questions about monstrosity and dehumanization

What do monsters symbolize in our culture? Monsters represent the unknown and people’s darkest fears. Monsters in stories often make us question what can be called a human. They also help people define social boundaries. By looking at monsters in stories, we can learn about people’s perception of the world. What do monsters tell us about ourselves as humans? Monsters reflect people’s hidden desires or fears. They are projections of people’s suppressed emotions and qualities that they find difficult to acknowledge. Because monstrous creatures represent the darker side of the human psyche, they also show humans’ potential to become inhuman. When does Gregory’s dehumanization begin in Metamorphosis? Gregor’s dehumanization begins before he physically transforms into an insect. He is alienated from his family and social life by work. When Gregor becomes an insect, his family also stops seeing him as a human. How was dehumanization used in the book Night? In Elie Wiesel’s book, dehumanization is used in a way that challenges the victim’s own humanity. The author shows how even good people can lose compassion when repeatedly abused or forced to live in inhumane conditions. What is the name of Frankenstein’s monster? Frankenstein’s monster is referred to in various ways throughout the book, but does not have a specific name. He is called “creature”, “fiend”, “wretch”, “demon”, “devil”, “thing”, “creature” and “ogre” in the novel.

🔍 References

Have you felt something draw you to the dark side of literature? Do you see stories in the shadows that keep you company when you wake up in the dark at night? If so, then you might be ready to embark on the journey of writing your own monster story. Don’t be afraid of the work ahead; There are endless ways to stitch together your own unique, terrifying monster that will both delight and intrigue your readers.

A great example of classic horror is Bram Stoker’s Dracula. This epistolary novel offers significant insight into the horror genre, but is especially relevant for writers working on their own creature feature. The eponymous character defined the vampire genre and is the antagonist by which other gothic monsters are measured. What makes the aristocratic blood-drinker so terrifying, and how can writers successfully create their own monsters using Stoker’s work as a template? Here are some tips.

Expand established fears

Many elements of Dracula build on shared fears. Stoker includes the fear of spiders, fear of bats, fear of the dark, fear of chronic diseases, fear of blood, and fear of predators such as wolves. Using so many different but fairly common fears was a clever way for Stoker to connect with as many readers as possible.

If you’re creating or writing your monster to horrify an audience, you should use the same tactic and draw on common fears. According to ABC News Australia, the most common fears are:

You don’t have to pick those specific shared fears, but do your best to build the fear directly into the creature and its behavior. Perhaps the monster’s fingers end in hypodermic needles; perhaps the creature is ushered in by a thunderstorm or just hunts in the rain; or maybe the creature is able to take the form of something strange, like Dracula takes the form of a bat or a big wolf. There are endless combinations of fears, animals, insects, and locations that can be combined in unique ways to create a truly terrifying creature.

Make the mundane spooky

Another way is to make the mundane terrifying. For example, Stephen King used cars as a horror device. Since nearly everyone relies on their vehicle to get to work each morning, alienating these objects is central to King’s storytelling.

Stoker, on the other hand, removes normal, everyday elements to achieve his classic creepy effect. For example, Stoker eliminates the vampire’s shadow and reflection, and depicts his foe with eyes that glisten at the sight of blood. While other authors have turned shadows and reflections into autonomous and sneaky creatures, Stoker’s method highlights what happens when something is simply missing that we consider normal.

In both King’s and Stoker’s writing, the creepiness derives from an alienation of an ordinary event – repairing a car or looking in the mirror. When the reader believes an outcome is likely, and then that outcome slowly turns out to be false or contradictory, the reader is prompted to question other elements of the narrative. For example, Dracula tells protagonist Jonathan Harker that the doors to his mansion are locked and claims the rooms are unused. It is only when Jonathan explores the mansion that his captivity is revealed.

Don’t show us the monster

Monsters tend to be a lot less scary once a reader understands them and can see them clearly. For this reason, keeping the reader in the dark is a tactic when writing your own monster story. No matter how talented the writer, an unveiled monster will always fail to affect certain readers—it’s almost like giving the ending away too soon. Think of the shadows you see at night, or the creaks and bangs you hear when you’re alone in the house. They can be nerve wracking until you realize the shadow is just the shirt you left sitting on the chair and the creaking is from the wind blowing outside. That surge of relief you feel when you discover the true nature of the unknown washes away the fear that drives you to learn more about what you see and hear. Your readers experience the same feelings when they read your story. Put them on, hold them there, and then reveal the truth at just the right moment.

Authors have approached this issue in a variety of ways, ranging from not disclosing anything about the creature to keeping its purpose or origin secret even when disclosing its appearance. In IT, King gave Pennywise the ability to shapeshift, so the monster’s true form would not be revealed until the climax of the story. Stoker painted Dracula as an able and charming host, wealthy and accommodating. Only later did he allow us a glimpse of the interior of the coffin and the scene in which the Count staggers down the steep wall of his castle. In Who Goes There? We understand that an alien parasite exists long before we see its final form. Other times, seeing the monster is just part of the fight.

In summary, keep the monster’s visual descriptions and/or abilities close to your chest; don’t tell the reader too much. A shadow at the door, a ripping and tearing of flesh, or a blood-smeared knife are more ominous than any detailed description you could give of dripping cheeks or alien tendons. Once the monster is known, it’s easier to see how to defeat it, removing the fear.

Clarify the rules

Often the difference between cosmic horror and gothic horror lies in the understandability. Although all monsters should follow rules (they should have goals and their actions should serve a purpose), these attributes may not be immediately obvious to the reader. In the case of gothic horror, a creature’s abilities and weaknesses should eventually or gradually be revealed to the reader. For example, the protagonist should learn that the werewolf can be killed with silver bullets or that the vampire must be impaled through the heart in a coffin filled with burial earth. These rules are designed to make it appear that the protagonist has an advantage over the monster. But even though the protagonist can eventually defeat the monster, in the first few cases the rules seem to favor the hero, the hero should actually be overpowered (but not broken) by the creature. The rules are designed to make it seem like the hero has the upper hand before knocking the rug out from under them. Only at the end should the character have a chance to defeat the monster – and only if he sticks to the rules. This also gives the protagonist a reason to continue exploring and learning about the creature. You won’t have all the answers to begin with. It is more realistic for the reader that the hero must earn his victory and be worthy.

In cosmic horror, on the other hand, the “why” of the rules is never explained, but the “what” of the rules is often made clear. The reader may learn that the slug monsters only cling to children, but when the protagonist discovers a trove of lost books detailing the slugs’ final appearance, this book should not provide answers as to why the children are the chosen victims.

In short, gothic horror is based on Enlightenment ideologies: once we understand something, it becomes less scary and we can fight it. In general, Gothic Horror focuses on individuals and is more personal. Cosmic horror is based on the unknown and evil in the universe. Cosmic horror is also called Lovecraftian horror because it was rooted in the neuroses and prejudices of H. P. Lovecraft: There are some creatures we can never understand, and trying to understand them is more dangerous than a solution or a tool in the fight. Even if the reader doesn’t know your monster’s rules, it’s a good idea to write down a few guidelines and make sure your characters don’t break their own rules. You shape the world in your story, which means the rules can be anything you want. Just make sure you follow these rules consistently throughout the story.

Let the monster stand for something deeper

After all, all good monsters symbolize something. This symbolic nature can affect the creature’s rules, and in this way the monster and its behavior both work to reinforce the theme of your text.

For example, Dracula is an aristocrat. When our protagonist hits the vampire for the first time, his large cloak is torn and coins and bills bleed from the wound. It’s no surprise that much of the discussion in Dracula revolves around how money is made and used by upright men and monsters. Furthermore, we can see this theme of the aristocratic monster repeated in the monster’s other attributes. The vampire, like a noble, cannot enter a house unless invited; The vampire spoils his guests with food and drink and cigars – they are good hosts. After all, the vampire’s lair is an old mansion, and Dracula’s plan involves acquiring land in London. He buys property to expand his influence and get closer to his prey: Lucy Westenra and later Mina Harker.

In Mary Shelley’s Frankenstein, according to some scholars, the monster represents when scientists go too far. Others have said that the monster is the example of what happens when we create life and then ignore life’s needs. Many decisions surrounding the creation and pursuit of the monster have catastrophic consequences. This is an example of how different readers can connect to different subjects through the use of allegory.

When creating a monster, keep in mind the symbolic nature of that creature and use that as a starting point. If your monster embodies greed, think about the rules that might apply to it. It may always finish its food and devour a corpse before hunting new prey. Think about where it lives, for example in a lonely mountain on a pot of gold or in a bank vault. Consider related fears, like losing a job or bankruptcy, then consider making the mundane scary by tying the creature to money or another symbol of wealth. If the fear is the fear of drowning, use water that comes out of the faucet as the creature’s tool – or make it the creature itself.

Finally, if you’re creating a monster out of whole cloth, you don’t need to worry too much about it. But if you’re using a classic monster, be aware that most readers won’t like your monster if it breaks the rules set in the story or goes off-topic. If you’re writing a book about vampires and letting their skin sparkle in the sunlight, make sure it has purpose and meaning throughout the book, because taking an existing trope and changing it takes a lot of work to get the reader involved to bring it to believe enough to be afraid of it.

Whatever you choose to create, keep the tips above in mind, and you’ll come out the other side with a compelling and frightening horror story that readers will remember long after they’ve read the book.

“This monstrous being, speaking in a human voice and looking like a hairy animal, was the embodiment and personification of all my wasted energies.”

“And then she appeared to him in her size as a hideous and monstrous witch, a thousand times more repulsive than the most horrid things to be seen on earth.”

“It was not uncommon for medieval cultural artifacts to depict monstrous deformities as genuine physical disabilities, with social ostracism indicative of their outcome.”

At the root of humanity lies our fear. Early humans imagined gods and goddesses, often in half-animal, half-human form, to explain the world, natural disasters, the seasons, and the cycle of birth and death.

But how did monsters come about? Monsters represent the unknown, our deepest fears, and the ultimate death we all face. There are countless examples of monsters throughout history. Some of our most iconic monsters hail from a time when the world was still shrouded in darkness and nameless fears counted in the dark. But even today we are fascinated by these monsters of the deep.

Many have found that 3D printing technologies allow them to design their own monsters and bring them to life. Learning about some traditional monsters can make you look at your own fears and inspire you to create your own personalized monster. Let’s examine the origins of some of these monsters and the corresponding psychological reasons behind these creatures.

1. Vampires

Vampires are typically attributed to Romania. Vlad the Impaler, also known as Dracula, came from here. Vlad was a ruler of Wallachia and his victims are said to number in the tens of thousands, but he was actually known as a folk hero for his protection of the Romanian people. Bram Stoker used Dracula’s name for his novel Dracula, where we find our most famous example of vampires.

Another facet of the myth and lore surrounding vampires occurred in the Middle Ages. The dead were often blamed for bad luck, murder, crop failures, and anything else that could go wrong. Villagers buried the recently deceased to prove the existence of vampires, and viewed the natural decomposition of bodies as evidence that the dead walked among them. Evidence has been given of things such as long fingernails, bloated bodies, and the presence of blood in the mouth caused by the bloated body forcing blood up and into the mouth. Many protections and remedies were used, such as garlic, crosses, holy water and other folk remedies to ward off vampire attacks.

Psychological roots of vampires

Since unfortunate events must be explained in some way, and since the peoples of the Middle Ages often did not understand the cause of such misfortunes, another explanation must be found. If someone was murdered or the harvest failed, the evil must be at work and not caused by the ordinary townspeople. Murder in a small village was not common, and who but the dead could commit such a terrible act? Vampires provided a simple explanation, and by sticking the corpse in the heart, it was easy to solve. Then the village was safe again, at least until the next incident.

2. Zombies

The myth of zombies stems from real Haitian practices. The name zombie probably comes from the word Nazambi, which means “ghost of a dead person”. In Haiti, problem villagers can become candidates for zombification by Haitian Vodoun priests called Bokors. Bokors gives the victim magic powder containing ingredients from the porcupine fish or the puffer fish. These fish contain tetrodotoxin, a deadly neurotoxin.

Some of the symptoms of tetrodotoxin include deafness, weakness, vomiting, and loss of voice. Breathing and heartbeat are reduced to such an extent that the person is mistaken for dead and buried by the victim’s family. Zombies are then dug up by the bokor and placed in the service of the bokors who work the fields.

Modern day zombies are typically portrayed as mindless corpses reduced to the basic necessities of life, the need to feed. Zombies eat human flesh and have most of their human elements removed. In movies, zombies usually move slowly, with outstretched arms, and little intelligence. In other films, however, zombies can have great speed and the ability to think and strategize against their unwitting victims.

Psychological Roots of Zombies

While the flesh-eating zombies are terrifying enough, the idea of ​​becoming a zombie is far worse. Once bitten by a zombie, the victims become one too, losing their humanity in the process. This shows our fear of losing our will and becoming a slave to our needs. By becoming mindless corpses, we lose our ability to choose, think, and love. Zombies do not recognize their loved ones and kill carelessly. The ruthless nature of zombies strikes our fear of extreme violence, echoed in our modern society of murder, mass shootings and war. Some films, like Warm Bodies, depict love as a cure for zombification. By becoming masters of our will and putting love above our basic needs, we can conquer the zombie within us.

3. Werewolves

It is said that there are many ways to turn into a werewolf, from eating wolf meat mixed with human flesh, to conceiving on a new moon, to drinking water that a wolf drank from. Some legends said that werewolves had a wolf skin that they could wear to transform into wolf form. Today, being bitten by a werewolf and then turning into a wolf under the full moon is considered the most important way to become one.

There is also a condition known as hypertrichosis, in which the person’s body is covered in thick, long hair. This disease is also known as werewolf syndrome.

Psychological root of werewolves

The idea of ​​”wolf in sheep’s clothing” is old. The fear that the people among us may be violent, aggressive, and predatory is very real. A werewolf can change form, leading the innocent to believe that the wolf is easy to spot. But in fact, the wolf looks just like everyone else and can even take part in the “wolf hunt” and pretend to be helpful. In our daily lives we may encounter people who appear friendly but may cause us harm. This may not happen regularly, but at some point each of us has met someone we considered a friend only to betray us in some way. The pain runs deep and we blame her for being a wolf.

4. Witches

Witches have been around for a long time, from the Greek sorceress Circe to medieval witches persecuted during the Burning Times. Witches are often condemned in religions as a very real threat to ordinary people. Although most people no longer believe in real witches, accused witches suffered greatly in the past and were typically tortured and killed. In tribal cultures, on the other hand, the witch doctor or shaman held a place of honor. The witch doctor cured the evil eye, prescribed cures for physical and spiritual ailments, and guided the tribe through important rites such as birth and death.

Today, such popular stories, films and TV shows as Bewitched, Glinda the Good Witch in The Wizard of Oz and the Harry Potter series portray witches in a positive light. Evil depictions of witches still exist, such as those found in the television series Once Upon a Time and other popular stories.

Psychological Roots of Witches

Midwives were often accused of witchcraft because of their association with childbirth and sometimes the death of the mother or child in childbirth. It was believed that through obstetric care, midwives had the unique ability to alter, deform, or contaminate the born child. Midwives also had a vast knowledge of the medicinal properties of herbs, how the body works, and protection against disease. Since the knowledge of these subjects was still largely mysterious, unknown and poorly understood, these midwives were thought to be witches with their knowledge and healing powers.

People have sometimes been appalled at how our bodies work, especially women’s functions in terms of menstruation, pregnancy, childbirth and menopause. Often a woman was considered unclean or unfit for regular activities during menstruation and pregnancy. Some cultures locked women in during these times until women were “back to normal.” Old age was a dangerous time for women, as well as great beauty. Old women and beautiful young women were often targets of jealousy, fear, and accusations of witchcraft.

Witchcraft and spells often required the “living tissue of your enemy or lover,” such as fingernails or severed hair. We humans feel vulnerable when it comes to our bodies, especially our hair and fingernails, which fall off or get cut so easily. Our vulnerabilities remind us that we are mortal and that those who have access to our hair or nails have power over us, and our fear of losing control or being under the power of those who wish to harm us. When we are not in control, we can harm those we love or face death. At the witch’s behest, all sorts of misfortunes can happen to us, from crop losses to the loss of loved ones. However, when we overcome our own fears and accept what cannot be changed, these cunning witches we believe are out to get us will be tamed.

5. Frankenstein’s monster

Frankenstein, also called The Modern Prometheus, is a novel by Mary Shelley, first published in 1817. In the story, the scientist Dr. Victor Frankenstein the monster through scientific experiments. In the novel, the monster is never given a name, but in popular culture, Frankenstein’s monster takes its creator’s name.

Psychological roots of Frankenstein’s monster

When Mary Shelley wrote Frankenstein, it was in the industrial age. Science and industry drew back the veils of darkness that had covered mankind’s eyes. But the question that plagued many people was the moral obligations and potential flaws of pursuing science without religion.

In her novel, Shelley explores the unnatural creation of life without the presence of God. Could man simulate the birth of life without actually going through the natural methods of conception and birth? The answer in the novel is that the result will be monstrous, a being lonely, cut off from humanity and ultimately destructive in the face of its creator’s rejection. dr Frankenstein becomes the god figure for the monster, and after being rejected, the monster seeks revenge on those who harmed Dr. Frankenstein loves. The end is ultimately desolation, save for most of humanity, where Dr. Frankenstein chasing the monster to the North Pole, and finally the death of Dr. Frankenstein.

To understand our own fears, we must acknowledge that the pursuit of knowledge without a sense of ethics and policy has the potential to create monsters or encourage cruelty. Scientists today have codes of conduct regarding their experiments. Cruelty to animals and dangerous experiments on living beings, whether human or animal, are prohibited. Nowadays, scientists strive to look at the results of experiments more and more attentively, not to harm, but to help the pursuit of knowledge.

Face our fears

These are just some of the monsters found in our literature, movies, television, and folk tales. There are many others, all with a psychological reason behind the horror and fear. When we look into our own mind to touch the seed of fear, we can conquer our fear of these monsters and see that they are human after all.

3D printed monsters

WhiteClodus is a 3D printing service company and we offer some fun options to celebrate monsters. 3D print your own spore monster, search skulls or upload your design of a monster and we will 3D print it for you.

Everyone loves a good monster story. After all, it wasn’t all that long ago that humans weren’t at the top of the food chain, and becoming another animal’s dinner was a very real possibility. In film and literature, monster stories are now a physical manifestation of our societal concerns: the fear of exploitation in Alien, the aftermath of nuclear war and environmental catastrophe in Godzilla, the fear of an unknown, invasive species destroying our way of life in A Quiet Place. In the latest installment of Eli Roth’s History of Horror, Eli Roth is joined by some of the biggest names in film to break down the legacy of cinematic monsters. Quentin Tarantino, Andy and Barbara Muschietti, Jack Black, Bill Hader and more dissect some of the most iconic monsters in film history.

But some monsters are more than just movie magic. All over the world there have been reports of unidentifiable creatures and terrifying predators that humans just can’t embrace. Despite the advancement of modern technology, there is always this deep fear that we might fall prey to an unknown killing machine. Of course, some are quick to dismiss these types of accounts as baseless or misguided, but one thing is certain: monster tales are a central part of the human experience. They’re not going away anytime soon. Dive into a collection of true monster sightings from around the world below.

The Wendigo

The Wendigo is a creature from the folklore of the First Nations Algonquin tribes. They are to haunt the cold, northern forests of the United States and Canada. Physical descriptions of the creature vary among the many Alonguin-speaking tribes, but all understand this monster to be cannibalistic. They are deeply feared by wayward travelers and isolated forest dwellers. Some legends describe the creature as huge and menacing, others as human-sized but with gaunt features, bright yellow eyes, and fearsome claws and fangs. According to some legends, hrendigos are created when a human resorts to cannibalism, typically to survive. The monster’s stories gave rise to the real, but highly controversial medical term “Wendigo Psychosis”. Accounts of the condition date back to the 17th century and describe its manifestations as fraught with delusions, homicidal or suicidal thoughts, antisocial behavior, and a compulsion to eat human flesh. Although reported sightings and stories of Wendigos have greatly declined in the 20th century, key aspects of the legend persist in popular culture.

The Mothman

A core figure in West Virginian folklore, the Mothman was first mentioned in 1966. Two couples driving down a country road in Point Pleasant, West Virginia, claimed their car was being pursued by a large, winged humanoid creature with glowing red eyes. Soon after, more reports of a similar creature swept through the area. Scientists were quick to suggest the mothman was probably a sandhill crane with a seven-foot wingspan or a large barn owl whose eyes shimmered red when faced with a light source at night. Still, the town of Point Pleasant is happy to delve into the lore of their local monster. Since 2002, the city has hosted an annual Mothman Festival, celebrating the crypt with a weekend of Mothman-themed celebrations, attracting approximately ten to twelve thousand visitors annually. Delve deeper into the mystery of the Mothman legend in True Terror With George Takei here.

The Beast of Bodmin Moor

The Bodmin Moor Beast has become a fixture in modern British folklore. In the late 1970’s there were numerous sightings of a large phantom cat and reports of mutilated cattle in Cornwall, England. While scientists firmly believe that the Cornish climate, food supply and size of territory are not conducive to fostering significant numbers of large, panther-sized cats, the tales of massive, shadowy cats that roamed the farms of Bodmin Pursue Moor, unstoppable spread. Cornwall Police are still receiving concerned calls over a sighting of a large feline animal. In October 2016, a man took photos of large paw prints embedded in the mud. Some suspect the beasts could be some sort of cougar or lynx, or even a leopard or panther that escaped from a local zoo, but there’s no conclusive evidence as to the beast’s origins…only the mysterious stories about it suddenly appearing have crossed paths.

The Chupacabra

The first sightings of the Spanish folklore creature, the chupacabra, were reported in Puerto Rico in 1995. Since then, sightings of the creature have spread across America, and even as far away as Russia, India, and the Philippines. The chupacabra has been described as a lizard-like creature, about the size of a small bear, with a spiked crest running from its neck to the base of its tail. Some reports compare it more closely to a hairless, canine-like animal. The creature supposedly kills its prey — typically goats, cats, and other livestock — sucking its blood from a series of small incisions along its corpse. Of course, scientists have been unable to verify any of the accounts of the mysterious creature, with most attributing the ferocious cattle attacks to coyotes or mange-ridden wild dogs. However, that hasn’t stopped the legend of the chupacabra from spreading around the world.

The Snallygaster

The Snallygaster is a dragon-like creature said to have plagued the South Mountain region of Maryland. Some accounts describe it as half reptilian, half bird, with a beak lined with razor-sharp teeth. It swoops down from the sky to pluck and carry away farm animals, pets, and even small children. Others describe it with wings and octopus-like tentacles emerging from its mouth and used to grasp its prey. Originally sighted in the Maryland, Pennsylvania area by German immigrants in the 1730s, tales of the Snallygaster persisted well into the 19th century. When the story of a man who was abducted and bled was reported in the Maryland Valley Register, the sightings spread across the country and gained so much traction that even President Theodore Roosevelt reportedly considered hunting him down.

Explore the history and legacy of monsters in film in the latest installment of Eli Roth’s History of Horror, now on amc.com. The latest full episodes can also be viewed on AMC’s mobile and device apps, as well as on AMC+, the company’s premium subscription package (currently available to Comcast Xfinity, DISH, and Sling TV customers).

Eli Roth chats to AMC.com in this Q&A about what fans can expect from the final season, the scariest movie he’s seen recently, who he’d interview for the show if he had a time machine, and more.

Want more horror movies? AMC’s annual spectacular horror film, FearFest, is now running all of October through Halloween. Check the on-air schedule here and see what’s streaming here on amc.com, the AMC apps and AMC+.

Sign up for the AMC Insiders Club for the latest news from Eli Roth’s History of Horror.

Monsters are usually characterized in literature as a creature that possesses some sort of inhuman traits or deformities, is perceived as evil, and has no compassion for humanity. The term monster can also refer to a person who has done something terrible in life that badly affects others around them. In literature, outcasts are people who are not wanted and rejected by society. In the novel Frankenstein by Mary Shelley, many readers refer to the creature as a monster because of its physical appearance and Victor as an outcast to all around him. While this may seem true, Victor is the real monster in the story as the creature is the outcast in society.

Victor Frankenstein can be accurately portrayed as the monster in the story. Victor’s unnatural obsession with creating life and becoming a godlike being ultimately leads to his downfall and the deaths of his loved ones. When Victor brings his creation to life for the first time, he says: “…breathless horror and disgust filled my heart. Unable to endure the aspect of the being I had created, I fell out of space…” (43). Victor acts like a monster here, looking at his creature with disgust and refusing to help it. He shows no compassion or empathy towards him, as on page 157, Victor exclaims, “Get out! I break my promise; never again will I create another like you, equal in deformity and wickedness.”

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Although all of this is Victor’s fault, he refuses to accept the consequences of his actions. He’s the reason everyone he loves dies. By creating the monster, refusing it and failing her only request to create a mate, the creature kills everyone Victor loves. The deaths in the book are due to his lack of responsibility for adopting the creature. He has it coming to him all the time. Due to his selfishness, he manages to destroy his own life along with the creature’s. Victor’s poor life choices are enough to call him the monster in Frankenstein.

Frankenstein’s creation is almost always perceived as a monster in the story due to his deformities and appearance. Society is quick to judge the creature before it gets a chance to show who it really is. The creature lives a life of rejection from its Creator and society. He only wants acceptance from Victor and humanity, but because his appearance is different from everyone else, he is an outcast on Earth. He is rejected by Victor several times throughout the book along with the family in the woods.

The old blind man in the forest has no problem talking to the creature because he can’t see his deformities, but when the rest of the family returns home, “Agatha fainted and Safie who don’t care about their friend rushed out of the hut… Felix… threw me to the ground and hit me violently with a stick” (123-124). The family is too quick to judge by its appearance and never allows the creature to speak or explain itself. The creature is a victim and outcast, living a life of rejection when it means what is best for humanity. He recognizes this on page 133 when he says, “I am alone and miserable; Man will not associate with me…” All he needs is someone to take him in and teach him the ways of life. The creature’s rejected and condemning life ultimately marks him as the outcast in Frankenstein.

By physical description, the creature in Frankenstein is often perceived as a monster, but he’s just a mistreated outcast in society trying to do the right thing. Society judges beings by their looks and doesn’t give their personality a chance. Victor is the true monster through his actions and personality throughout the book. Victor’s hostility towards the creature, his obsession with creating life, and longing for godlike status and power reveal the inner monster that Victor possesses. Victor is the real monster who destroys his life, while the creature is just an outcast in society that craves affection and acceptance.

Works cited:

Shelley, Maria. Frankenstein. Bantam, New York. 1818

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The definition of a monster is an ill-behaved or cruel person, something absurdly large, or a fictional and frightening creature.

An example of a monster is a person who commands others to be killed just for their own amusement.

An example of a monster is a child who is misbehaving in public and throws constant tantrums.

An example of a monster is a huge 5000-page book; a monster of a book.

An example of a monster is an imaginary scary creature that your child fears hiding under their bed at night.