MINI SKULL CANDY BUCKETS Halloween decoration candle holder trick treat horror

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Seller: sidewaysstairsco ✉️ (1,180) 100%, Location: Santa Ana, California, US, Ships to: US & many other countries, Item: 194379828031 MINI SKULL CANDY BUCKETS Halloween decoration candle holder trick treat horror. Elsa Frankenstein Evelyn Ankers Ilona Massey" (wikipedia.org). As depicted by Shelley, the monster is a sensitive, emotional creature whose only aim is to share his life with another sentient being like himself.
Check out my other new & used items>>>>>>HERE! (click me) FOR SALE: A spooky-cool set of Halloween-themed treat holders SPOOKY VILLAGE MINI SKULL TREAT BUCKETS (3-PACK) DETAILS: Sure to thrill trick-or-treaters and Halloween fanatics! These buckets are perfect for adding a bit of fun and spooky Halloween spirit to your home décor/decorations. Each molded plastic bucket is shaped like the human skull and includes a plastic handle for carrying or hanging. These boneheads are detailed with pronounced almost alien eye-like eye sockets, high cheekbones, a protruding brow, and an incomplete toothy grin. Suggestions for use: 🎃 Place LED tea light candle inside - hang in your home, yard, porch, or office 🎃 Fill with small candies and/or treats and pass out to trick-or-treaters 🎃 Halloween party decoration and/or favors 🎃 Use as part of a handmade Halloween centerpiece 🎃 Hang several as accents on a wreath 🎃 Use multiple packs to create a white skull wreath Dimensions: Skull bucket: approximately 2-3/8" x 2-1/8" x 2-1/2" CONDITION: New in package. Package label has a cut corner. Please see photos.  *To ensure safe delivery all items are carefully packaged before shipping out.* THANK YOU FOR LOOKING. QUESTIONS? JUST ASK. *ALL PHOTOS AND TEXT ARE INTELLECTUAL PROPERTY OF SIDEWAYS STAIRS CO. ALL RIGHTS RESERVED.* "Halloween or Hallowe'en (a contraction of "All Hallows' evening"),[5] also known as Allhalloween,[6] All Hallows' Eve,[7] or All Saints' Eve,[8] is a celebration observed in many countries on 31 October, the eve of the Western Christian feast of All Hallows' Day. It begins the observance of Allhallowtide,[9] the time in the liturgical year dedicated to remembering the dead, including saints (hallows), martyrs, and all the faithful departed.[10][11] One theory holds that many Halloween traditions may have been influenced by ancient Celtic harvest festivals, particularly the Gaelic festival Samhain, which may have had pagan roots;[12][13][14][15] some scholars hold that Samhain may have been Christianized as All Hallow's Day, along with its eve, by the early Church.[16] Other academics believe, however, that Halloween began solely as a Christian holiday, being the vigil of All Hallow's Day.[17][18][19][20] Halloween activities include trick-or-treating (or the related guising and souling), attending Halloween costume parties, carving pumpkins into jack-o'-lanterns, lighting bonfires, apple bobbing, divination games, playing pranks, visiting haunted attractions, telling scary stories, as well as watching horror films.[21] In many parts of the world, the Christian religious observances of All Hallows' Eve, including attending church services and lighting candles on the graves of the dead, remain popular,[22][23][24] although elsewhere it is a more commercial and secular celebration.[25][26][27] Some Christians historically abstained from meat on All Hallows' Eve, a tradition reflected in the eating of certain vegetarian foods on this vigil day, including apples, potato pancakes, and soul cakes.... Etymology The word appears as the title of Robert Burns' "Halloween" (1785), a poem traditionally recited by Scots. The word Halloween or Hallowe'en dates to about 1745[32] and is of Christian origin.[33] The word "Hallowe'en" means "Saints' evening".[34] It comes from a Scottish term for All Hallows' Eve (the evening before All Hallows' Day).[35] In Scots, the word "eve" is even, and this is contracted to e'en or een.[36] Over time, (All) Hallow(s) E(v)en evolved into Hallowe'en. Although the phrase "All Hallows'" is found in Old English, "All Hallows' Eve" is itself not seen until 1556.[35][37] History Gaelic influence An early 20th-century Irish Halloween mask displayed at the Museum of Country Life Today's Halloween customs are thought to have been influenced by folk customs and beliefs from the Celtic-speaking countries, some of which are believed to have pagan roots.[38] Jack Santino, a folklorist, writes that "there was throughout Ireland an uneasy truce existing between customs and beliefs associated with Christianity and those associated with religions that were Irish before Christianity arrived".[39] Historian Nicholas Rogers, exploring the origins of Halloween, notes that while "some folklorists have detected its origins in the Roman feast of Pomona, the goddess of fruits and seeds, or in the festival of the dead called Parentalia, it is more typically linked to the Celtic festival of Samhain, which comes from the Old Irish for 'summer's end'."[40] Samhain was the first and most important of the four quarter days in the medieval Gaelic calendar and was celebrated on 31 October – 1 November[41] in Ireland, Scotland and the Isle of Man.[42][43] A kindred festival was held at the same time of year by the Brittonic Celts, called Calan Gaeaf in Wales, Kalan Gwav in Cornwall and Kalan Goañv in Brittany; a name meaning "first day of winter". For the Celts, the day ended and began at sunset; thus the festival began on the evening before 7 November by modern reckoning (the half point between equinox and solstice).[44] Samhain is mentioned in some of the earliest Irish literature. The names have been used by historians to refer to Celtic Halloween customs up until the 19th century,[45] and are still the Gaelic and Welsh names for Halloween. Snap-Apple Night, painted by Daniel Maclise in 1833, shows people feasting and playing divination games on Halloween in Ireland. Samhain marked the end of the harvest season and the beginning of winter or the 'darker half' of the year.[46][47] Like Beltane/Calan Mai, it was seen as a liminal time, when the boundary between this world and the Otherworld thinned. This meant the Aos Sí, the 'spirits' or 'fairies', could more easily come into this world and were particularly active.[48][49] Most scholars see the Aos Sí as "degraded versions of ancient gods [...] whose power remained active in the people's minds even after they had been officially replaced by later religious beliefs".[50] The Aos Sí were both respected and feared, with individuals often invoking the protection of God when approaching their dwellings.[51][52] At Samhain, it was believed that the Aos Sí needed to be propitiated to ensure that the people and their livestock survived the winter. Offerings of food and drink, or portions of the crops, were left outside for the Aos Sí.[53][54][55] The souls of the dead were also said to revisit their homes seeking hospitality.[56] Places were set at the dinner table and by the fire to welcome them.[57] The belief that the souls of the dead return home on one night of the year and must be appeased seems to have ancient origins and is found in many cultures throughout the world.[58] In 19th century Ireland, "candles would be lit and prayers formally offered for the souls of the dead. After this the eating, drinking, and games would begin".[59] Throughout Ireland and Britain, the household festivities included rituals and games intended to foretell one's future, especially regarding death and marriage.[60] Apples and nuts were often used in these divination rituals. They included apple bobbing, nut roasting, scrying or mirror-gazing, pouring molten lead or egg whites into water, dream interpretation, and others.[61] Special bonfires were lit and there were rituals involving them. Their flames, smoke and ashes were deemed to have protective and cleansing powers, and were also used for divination.[46] In some places, torches lit from the bonfire were carried sunwise around homes and fields to protect them.[45] It is suggested that the fires were a kind of imitative or sympathetic magic – they mimicked the Sun, helping the "powers of growth" and holding back the decay and darkness of winter.[57][62][63] In Scotland, these bonfires and divination games were banned by the church elders in some parishes.[64] In Wales, bonfires were lit to "prevent the souls of the dead from falling to earth".[65] Later, these bonfires served to keep "away the devil".[66] photograph A plaster cast of a traditional Irish Halloween turnip (rutabaga) lantern on display in the Museum of Country Life, Ireland[67] From at least the 16th century,[68] the festival included mumming and guising in Ireland, Scotland, the Isle of Man and Wales.[69] This involved people going house-to-house in costume (or in disguise), usually reciting verses or songs in exchange for food. It may have originally been a tradition whereby people impersonated the Aos Sí, or the souls of the dead, and received offerings on their behalf, similar to the custom of souling (see below). Impersonating these beings, or wearing a disguise, was also believed to protect oneself from them.[70] It is suggested that the mummers and guisers "personify the old spirits of the winter, who demanded reward in exchange for good fortune".[71] In parts of southern Ireland, the guisers included a hobby horse. A man dressed as a Láir Bhán (white mare) led youths house-to-house reciting verses – some of which had pagan overtones – in exchange for food. If the household donated food it could expect good fortune from the 'Muck Olla'; not doing so would bring misfortune.[72] In Scotland, youths went house-to-house with masked, painted or blackened faces, often threatening to do mischief if they were not welcomed.[69] F. Marian McNeill suggests the ancient festival included people in costume representing the spirits, and that faces were marked (or blackened) with ashes taken from the sacred bonfire.[68] In parts of Wales, men went about dressed as fearsome beings called gwrachod.[69] In the late 19th and early 20th century, young people in Glamorgan and Orkney cross-dressed.[69] Elsewhere in Europe, mumming and hobby horses were part of other yearly festivals. However, in the Celtic-speaking regions, they were "particularly appropriate to a night upon which supernatural beings were said to be abroad and could be imitated or warded off by human wanderers".[69] From at least the 18th century, "imitating malignant spirits" led to playing pranks in Ireland and the Scottish Highlands. Wearing costumes and playing pranks at Halloween spread to England in the 20th century.[69] Traditionally, pranksters used hollowed out turnips or mangel wurzels often carved with grotesque faces as lanterns.[69] By those who made them, the lanterns were variously said to represent the spirits,[69] or were used to ward off evil spirits.[73][74] They were common in parts of Ireland and the Scottish Highlands in the 19th century,[69] as well as in Somerset (see Punkie Night). In the 20th century they spread to other parts of England and became generally known as jack-o'-lanterns.[69] Christian influence Today's Halloween customs are thought to have been influenced by Christian dogma and practices derived from it.[75] Halloween is the evening before the Christian holy days of All Hallows' Day (also known as All Saints' or Hallowmas) on 1 November and All Souls' Day on 2 November, thus giving the holiday on 31 October the full name of All Hallows' Eve (meaning the evening before All Hallows' Day).[76] Since the time of the early Church,[77] major feasts in Christianity (such as Christmas, Easter and Pentecost) had vigils that began the night before, as did the feast of All Hallows'.[78] These three days are collectively called Allhallowtide and are a time for honoring the saints and praying for the recently departed souls who have yet to reach Heaven. Commemorations of all saints and martyrs were held by several churches on various dates, mostly in springtime.[79] In 609, Pope Boniface IV re-dedicated the Pantheon in Rome to "St Mary and all martyrs" on 13 May. This was the same date as Lemuria, an ancient Roman festival of the dead, and the same date as the commemoration of all saints in Edessa in the time of Ephrem the Syrian.[80] The feast of All Hallows', on its current date in the Western Church, may be traced to Pope Gregory III's (731–741) founding of an oratory in St Peter's for the relics "of the holy apostles and of all saints, martyrs and confessors".[81][82] In 835, All Hallows' Day was officially switched to 1 November, the same date as Samhain, at the behest of Pope Gregory IV.[83] Some suggest this was due to Celtic influence, while others suggest it was a Germanic idea,[83] although it is claimed that both Germanic and Celtic-speaking peoples commemorated the dead at the beginning of winter.[84] They may have seen it as the most fitting time to do so, as it is a time of 'dying' in nature.[83][84] It is also suggested that the change was made on the "practical grounds that Rome in summer could not accommodate the great number of pilgrims who flocked to it", and perhaps because of public health considerations regarding Roman Fever – a disease that claimed a number of lives during the sultry summers of the region.[85] On All Hallows' Eve, Christians in some parts of the world visit cemeteries to pray and place flowers and candles on the graves of their loved ones.[86] The top photograph shows Bangladeshi Christians lighting candles on the headstone of a relative, while the bottom photograph shows Lutheran Christians praying and lighting candles in front of the central crucifix of a graveyard. By the end of the 12th century they had become holy days of obligation across Europe and involved such traditions as ringing church bells for the souls in purgatory. In addition, "it was customary for criers dressed in black to parade the streets, ringing a bell of mournful sound and calling on all good Christians to remember the poor souls."[87] "Souling", the custom of baking and sharing soul cakes for all christened souls,[88] has been suggested as the origin of trick-or-treating.[89] The custom dates back at least as far as the 15th century[90] and was found in parts of England, Flanders, Germany and Austria.[58] Groups of poor people, often children, would go door-to-door during Allhallowtide, collecting soul cakes, in exchange for praying for the dead, especially the souls of the givers' friends and relatives.[90][91][92] Soul cakes would also be offered for the souls themselves to eat,[58] or the 'soulers' would act as their representatives.[93] As with the Lenten tradition of hot cross buns, Allhallowtide soul cakes were often marked with a cross, indicating that they were baked as alms.[94] Shakespeare mentions souling in his comedy The Two Gentlemen of Verona (1593).[95] On the custom of wearing costumes, Christian minister Prince Sorie Conteh wrote: "It was traditionally believed that the souls of the departed wandered the earth until All Saints' Day, and All Hallows' Eve provided one last chance for the dead to gain vengeance on their enemies before moving to the next world. In order to avoid being recognized by any soul that might be seeking such vengeance, people would don masks or costumes to disguise their identities".[96] It is claimed that in the Middle Ages, churches that were too poor to display the relics of martyred saints at Allhallowtide let parishioners dress up as saints instead.[97][98] Some Christians continue to observe this custom at Halloween today.[99] Lesley Bannatyne believes this could have been a Christianization of an earlier pagan custom.[100] While souling, Christians would carry with them "lanterns made of hollowed-out turnips".[101] It has been suggested that the carved jack-o'-lantern, a popular symbol of Halloween, originally represented the souls of the dead.[102] On Halloween, in medieval Europe, fires served a dual purpose, being lit to guide returning souls to the homes of their families, as well as to deflect demons from haunting sincere Christian folk.[103][104] Households in Austria, England and Ireland often had "candles burning in every room to guide the souls back to visit their earthly homes". These were known as "soul lights".[105][106][107] Many Christians in mainland Europe, especially in France, believed "that once a year, on Hallowe'en, the dead of the churchyards rose for one wild, hideous carnival" known as the danse macabre, which has often been depicted in church decoration.[108] Christopher Allmand and Rosamond McKitterick write in The New Cambridge Medieval History that "Christians were moved by the sight of the Infant Jesus playing on his mother's knee; their hearts were touched by the Pietà; and patron saints reassured them by their presence. But, all the while, the danse macabre urged them not to forget the end of all earthly things."[109] This danse macabre was enacted at village pageants and at court masques, with people "dressing up as corpses from various strata of society", and may have been the origin of modern-day Halloween costume parties.[101][110][111] In parts of Britain, these customs came under attack during the Reformation as some Protestants berated purgatory as a "popish" doctrine incompatible with their notion of predestination. Thus, for some Nonconformist Protestants, the theology of All Hallows' Eve was redefined; without the doctrine of purgatory, "the returning souls cannot be journeying from Purgatory on their way to Heaven, as Catholics frequently believe and assert. Instead, the so-called ghosts are thought to be in actuality evil spirits. As such they are threatening."[106] Other Protestants maintained belief in an intermediate state, known as Hades (Bosom of Abraham),[112] and continued to observe the original customs, especially souling, candlelit processions and the ringing of church bells in memory of the dead.[76][113] Mark Donnelly, a professor of medieval archaeology, and historian Daniel Diehl, with regard to the evil spirits, on Halloween, write that "barns and homes were blessed to protect people and livestock from the effect of witches, who were believed to accompany the malignant spirits as they traveled the earth."[114] In the 19th century, in some rural parts of England, families gathered on hills on the night of All Hallows' Eve. One held a bunch of burning straw on a pitchfork while the rest knelt around him in a circle, praying for the souls of relatives and friends until the flames went out. This was known as teen'lay.[115] Other customs included the tindle fires in Derbyshire and all-night vigil bonfires in Hertfordshire which were lit to pray for the departed.[116] The rising popularity of Guy Fawkes Night (5 November) from 1605 onward, saw many Halloween traditions appropriated by that holiday instead, and Halloween's popularity waned in Britain, with the noteworthy exception of Scotland.[117] There and in Ireland, they had been celebrating Samhain and Halloween since at least the early Middle Ages, and the Scottish kirk took a more pragmatic approach to Halloween, seeing it as important to the life cycle and rites of passage of communities and thus ensuring its survival in the country.[117] In France, some Christian families, on the night of All Hallows' Eve, prayed beside the graves of their loved ones, setting down dishes full of milk for them.[105] On Halloween, in Italy, some families left a large meal out for ghosts of their passed relatives, before they departed for church services.[118] In Spain, on this night, special pastries are baked, known as "bones of the holy" (Spanish: Huesos de Santo) and put them on the graves of the churchyard, a practice that continues to this day.[119] Spread to North America The annual Greenwich Village Halloween Parade in Manhattan is the world's largest Halloween parade. Lesley Bannatyne and Cindy Ott write that Anglican colonists in the southern United States and Catholic colonists in Maryland "recognized All Hallow's Eve in their church calendars",[120][121] although the Puritans of New England maintained strong opposition to the holiday, along with other traditional celebrations of the established Church, including Christmas.[122] Almanacs of the late 18th and early 19th century give no indication that Halloween was widely celebrated in North America.[123] It was not until mass Irish and Scottish immigration in the 19th century that Halloween became a major holiday in America,[123] confined to the immigrant communities during the mid-19th century. It was gradually assimilated into mainstream society and was celebrated coast to coast by people of all social, racial, and religious backgrounds by the first decade of the 20th century.[124] "In Cajun areas, a nocturnal Mass was said in cemeteries on Halloween night. Candles that had been blessed were placed on graves, and families sometimes spent the entire night at the graveside".[125] The yearly Greenwich Village Halloween Parade was begun in 1974 by puppeteer and mask maker Ralph Lee of Greenwich Village; it is the world's largest Halloween parade and America's only major nighttime parade, attracting more than 60,000 costumed participants, two million spectators, and a worldwide television audience.[126] Symbols At Halloween, yards, public spaces, and some houses may be decorated with traditionally macabre symbols including witches, skeletons, ghosts, cobwebs, and headstones. Development of artifacts and symbols associated with Halloween formed over time. Jack-o'-lanterns are traditionally carried by guisers on All Hallows' Eve in order to frighten evil spirits.[102][127] There is a popular Irish Christian folktale associated with the jack-o'-lantern,[128] which in folklore is said to represent a "soul who has been denied entry into both heaven and hell":[129]     On route home after a night's drinking, Jack encounters the Devil and tricks him into climbing a tree. A quick-thinking Jack etches the sign of the cross into the bark, thus trapping the Devil. Jack strikes a bargain that Satan can never claim his soul. After a life of sin, drink, and mendacity, Jack is refused entry to heaven when he dies. Keeping his promise, the Devil refuses to let Jack into hell and throws a live coal straight from the fires of hell at him. It was a cold night, so Jack places the coal in a hollowed out turnip to stop it from going out, since which time Jack and his lantern have been roaming looking for a place to rest.[130] In Ireland and Scotland, the turnip has traditionally been carved during Halloween,[131][132] but immigrants to North America used the native pumpkin, which is both much softer and much larger – making it easier to carve than a turnip.[131] The American tradition of carving pumpkins is recorded in 1837[133] and was originally associated with harvest time in general, not becoming specifically associated with Halloween until the mid-to-late 19th century.[134] Decorated house in Weatherly, Pennsylvania The modern imagery of Halloween comes from many sources, including Christian eschatology, national customs, works of Gothic and horror literature (such as the novels Frankenstein and Dracula) and classic horror films (such as Frankenstein and The Mummy).[135][136] Imagery of the skull, a reference to Golgotha in the Christian tradition, serves as "a reminder of death and the transitory quality of human life" and is consequently found in memento mori and vanitas compositions;[137] skulls have therefore been commonplace in Halloween, which touches on this theme.[138] Traditionally, the back walls of churches are "decorated with a depiction of the Last Judgment, complete with graves opening and the dead rising, with a heaven filled with angels and a hell filled with devils", a motif that has permeated the observance of this triduum.[139] One of the earliest works on the subject of Halloween is from Scottish poet John Mayne, who, in 1780, made note of pranks at Halloween; "What fearfu' pranks ensue!", as well as the supernatural associated with the night, "Bogies" (ghosts), influencing Robert Burns' "Halloween" (1785).[140] Elements of the autumn season, such as pumpkins, corn husks, and scarecrows, are also prevalent. Homes are often decorated with these types of symbols around Halloween. Halloween imagery includes themes of death, evil, and mythical monsters.[141] Black cats, which have been long associated with witches, are also a common symbol of Halloween. Black, orange, and sometimes purple are Halloween's traditional colors.[142] Trick-or-treating and guising Main article: Trick-or-treating Trick-or-treaters in Sweden Trick-or-treating is a customary celebration for children on Halloween. Children go in costume from house to house, asking for treats such as candy or sometimes money, with the question, "Trick or treat?" The word "trick" implies a "threat" to perform mischief on the homeowners or their property if no treat is given.[89] The practice is said to have roots in the medieval practice of mumming, which is closely related to souling.[143] John Pymm wrote that "many of the feast days associated with the presentation of mumming plays were celebrated by the Christian Church."[144] These feast days included All Hallows' Eve, Christmas, Twelfth Night and Shrove Tuesday.[145][146] Mumming practiced in Germany, Scandinavia and other parts of Europe,[147] involved masked persons in fancy dress who "paraded the streets and entered houses to dance or play dice in silence".[148] Girl in a Halloween costume in 1928, Ontario, Canada, the same province where the Scottish Halloween custom of guising is first recorded in North America In England, from the medieval period,[149] up until the 1930s,[150] people practiced the Christian custom of souling on Halloween, which involved groups of soulers, both Protestant and Catholic,[113] going from parish to parish, begging the rich for soul cakes, in exchange for praying for the souls of the givers and their friends.[91] In the Philippines, the practice of souling is called Pangangaluwa and is practiced on All Hallow's Eve among children in rural areas.[21] People drape themselves in white cloths to represent souls and then visit houses, where they sing in return for prayers and sweets.[21] In Scotland and Ireland, guising – children disguised in costume going from door to door for food or coins – is a traditional Halloween custom.[151] It is recorded in Scotland at Halloween in 1895 where masqueraders in disguise carrying lanterns made out of scooped out turnips, visit homes to be rewarded with cakes, fruit, and money.[132][152] In Ireland, the most popular phrase for kids to shout (until the 2000s) was "Help the Halloween Party".[151] The practice of guising at Halloween in North America is first recorded in 1911, where a newspaper in Kingston, Ontario, Canada reported children going "guising" around the neighborhood.[153] American historian and author Ruth Edna Kelley of Massachusetts wrote the first book-length history of Halloween in the US; The Book of Hallowe'en (1919), and references souling in the chapter "Hallowe'en in America".[154] In her book, Kelley touches on customs that arrived from across the Atlantic; "Americans have fostered them, and are making this an occasion something like what it must have been in its best days overseas. All Halloween customs in the United States are borrowed directly or adapted from those of other countries".[155] While the first reference to "guising" in North America occurs in 1911, another reference to ritual begging on Halloween appears, place unknown, in 1915, with a third reference in Chicago in 1920.[156] The earliest known use in print of the term "trick or treat" appears in 1927, in the Blackie Herald, of Alberta, Canada.[157] An automobile trunk at a trunk-or-treat event at St. John Lutheran Church and Early Learning Center in Darien, Illinois The thousands of Halloween postcards produced between the turn of the 20th century and the 1920s commonly show children but not trick-or-treating.[158] Trick-or-treating does not seem to have become a widespread practice in North America until the 1930s, with the first US appearances of the term in 1934,[159] and the first use in a national publication occurring in 1939.[160] A popular variant of trick-or-treating, known as trunk-or-treating (or Halloween tailgating), occurs when "children are offered treats from the trunks of cars parked in a church parking lot", or sometimes, a school parking lot.[119][161] In a trunk-or-treat event, the trunk (boot) of each automobile is decorated with a certain theme,[162] such as those of children's literature, movies, scripture, and job roles.[163] Trunk-or-treating has grown in popularity due to its perception as being more safe than going door to door, a point that resonates well with parents, as well as the fact that it "solves the rural conundrum in which homes [are] built a half-mile apart".[164][165] Costumes Main article: Halloween costume Halloween costumes are traditionally modeled after supernatural figures such as vampires, monsters, ghosts, skeletons, witches, and devils.[89] Over time, the costume selection extended to include popular characters from fiction, celebrities, and generic archetypes such as ninjas and princesses. Halloween shop in Derry, Northern Ireland, selling masks Dressing up in costumes and going "guising" was prevalent in Scotland and Ireland at Halloween by the late 19th century.[132] A Scottish term, the tradition is called "guising" because of the disguises or costumes worn by the children.[152] In Ireland the masks are known as 'false faces'.[166] Costuming became popular for Halloween parties in the US in the early 20th century, as often for adults as for children, and when trick-or-treating was becoming popular in Canada and the US in the 1920s and 1930s.[157][167] Eddie J. Smith, in his book Halloween, Hallowed is Thy Name, offers a religious perspective to the wearing of costumes on All Hallows' Eve, suggesting that by dressing up as creatures "who at one time caused us to fear and tremble", people are able to poke fun at Satan "whose kingdom has been plundered by our Saviour". Images of skeletons and the dead are traditional decorations used as memento mori.[168][169] "Trick-or-Treat for UNICEF" is a fundraising program to support UNICEF,[89] a United Nations Programme that provides humanitarian aid to children in developing countries. Started as a local event in a Northeast Philadelphia neighborhood in 1950 and expanded nationally in 1952, the program involves the distribution of small boxes by schools (or in modern times, corporate sponsors like Hallmark, at their licensed stores) to trick-or-treaters, in which they can solicit small-change donations from the houses they visit. It is estimated that children have collected more than $118 million for UNICEF since its inception. In Canada, in 2006, UNICEF decided to discontinue their Halloween collection boxes, citing safety and administrative concerns; after consultation with schools, they instead redesigned the program.[170][171] Since the late 2010s, ethnic stereotypes as costumes have increasingly come under scrutiny in the United States.[172] Such and other potentially offensive costumes have been met with increasing public disapproval.[173][174] Pet costumes According to a 2018 report from the National Retail Federation, 30 million Americans will spend an estimated $480 million on Halloween costumes for their pets in 2018. This is up from an estimated $200 million in 2010. The most popular costumes for pets are the pumpkin, followed by the hot dog, and the bumble bee in third place.[175] Games and other activities In this 1904 Halloween greeting card, divination is depicted: the young woman looking into a mirror in a darkened room hopes to catch a glimpse of her future husband. There are several games traditionally associated with Halloween. Some of these games originated as divination rituals or ways of foretelling one's future, especially regarding death, marriage and children. During the Middle Ages, these rituals were done by a "rare few" in rural communities as they were considered to be "deadly serious" practices.[176] In recent centuries, these divination games have been "a common feature of the household festivities" in Ireland and Britain.[60] They often involve apples and hazelnuts. In Celtic mythology, apples were strongly associated with the Otherworld and immortality, while hazelnuts were associated with divine wisdom.[177] Some also suggest that they derive from Roman practices in celebration of Pomona.[89] Children bobbing for apples at Hallowe'en The following activities were a common feature of Halloween in Ireland and Britain during the 17th–20th centuries. Some have become more widespread and continue to be popular today. One common game is apple bobbing or dunking (which may be called "dooking" in Scotland)[178] in which apples float in a tub or a large basin of water and the participants must use only their teeth to remove an apple from the basin. A variant of dunking involves kneeling on a chair, holding a fork between the teeth and trying to drive the fork into an apple. Another common game involves hanging up treacle or syrup-coated scones by strings; these must be eaten without using hands while they remain attached to the string, an activity that inevitably leads to a sticky face. Another once-popular game involves hanging a small wooden rod from the ceiling at head height, with a lit candle on one end and an apple hanging from the other. The rod is spun round and everyone takes turns to try to catch the apple with their teeth.[179] Image from the Book of Hallowe'en (1919) showing several Halloween activities, such as nut roasting Several of the traditional activities from Ireland and Britain involve foretelling one's future partner or spouse. An apple would be peeled in one long strip, then the peel tossed over the shoulder. The peel is believed to land in the shape of the first letter of the future spouse's name.[180][181] Two hazelnuts would be roasted near a fire; one named for the person roasting them and the other for the person they desire. If the nuts jump away from the heat, it is a bad sign, but if the nuts roast quietly it foretells a good match.[182][183] A salty oatmeal bannock would be baked; the person would eat it in three bites and then go to bed in silence without anything to drink. This is said to result in a dream in which their future spouse offers them a drink to quench their thirst.[184] Unmarried women were told that if they sat in a darkened room and gazed into a mirror on Halloween night, the face of their future husband would appear in the mirror.[185] However, if they were destined to die before marriage, a skull would appear. The custom was widespread enough to be commemorated on greeting cards[186] from the late 19th century and early 20th century. Another popular Irish game was known as púicíní ("blindfolds"); a person would be blindfolded and then would choose between several saucers. The item in the saucer would provide a hint as to their future: a ring would mean that they would marry soon; clay, that they would die soon, perhaps within the year; water, that they would emigrate; rosary beads, that they would take Holy Orders (become a nun, priest, monk, etc.); a coin, that they would become rich; a bean, that they would be poor.[187][188][189][190][191] The game features prominently in the James Joyce short story "Clay" (1914).[192][193][194] In Ireland and Scotland, items would be hidden in food – usually a cake, barmbrack, cranachan, champ or colcannon – and portions of it served out at random. A person's future would be foretold by the item they happened to find; for example, a ring meant marriage and a coin meant wealth.[195] Up until the 19th century, the Halloween bonfires were also used for divination in parts of Scotland, Wales and Brittany. When the fire died down, a ring of stones would be laid in the ashes, one for each person. In the morning, if any stone was mislaid it was said that the person it represented would not live out the year.[45] Telling ghost stories, listening to Halloween-themed songs and watching horror films are common fixtures of Halloween parties. Episodes of television series and Halloween-themed specials (with the specials usually aimed at children) are commonly aired on or before Halloween, while new horror films are often released before Halloween to take advantage of the holiday. Haunted attractions Main article: Haunted attraction (simulated) Humorous tombstones in front of a house in California File:US Utah Ogden 25th Street Halloween 2019.ogvPlay media Humorous display window in Historic 25th Street, Ogden, Utah Haunted attractions are entertainment venues designed to thrill and scare patrons. Most attractions are seasonal Halloween businesses that may include haunted houses, corn mazes, and hayrides,[196] and the level of sophistication of the effects has risen as the industry has grown. The first recorded purpose-built haunted attraction was the Orton and Spooner Ghost House, which opened in 1915 in Liphook, England. This attraction actually most closely resembles a carnival fun house, powered by steam.[197][198] The House still exists, in the Hollycombe Steam Collection. It was during the 1930s, about the same time as trick-or-treating, that Halloween-themed haunted houses first began to appear in America. It was in the late 1950s that haunted houses as a major attraction began to appear, focusing first on California. Sponsored by the Children's Health Home Junior Auxiliary, the San Mateo Haunted House opened in 1957. The San Bernardino Assistance League Haunted House opened in 1958. Home haunts began appearing across the country during 1962 and 1963. In 1964, the San Manteo Haunted House opened, as well as the Children's Museum Haunted House in Indianapolis.[199] The haunted house as an American cultural icon can be attributed to the opening of the Haunted Mansion in Disneyland on 12 August 1969.[200] Knott's Berry Farm began hosting its own Halloween night attraction, Knott's Scary Farm, which opened in 1973.[201] Evangelical Christians adopted a form of these attractions by opening one of the first "hell houses" in 1972.[202] The first Halloween haunted house run by a nonprofit organization was produced in 1970 by the Sycamore-Deer Park Jaycees in Clifton, Ohio. It was cosponsored by WSAI, an AM radio station broadcasting out of Cincinnati, Ohio. It was last produced in 1982.[203] Other Jaycees followed suit with their own versions after the success of the Ohio house. The March of Dimes copyrighted a "Mini haunted house for the March of Dimes" in 1976 and began fundraising through their local chapters by conducting haunted houses soon after. Although they apparently quit supporting this type of event nationally sometime in the 1980s, some March of Dimes haunted houses have persisted until today.[204] On the evening of 11 May 1984, in Jackson Township, New Jersey, the Haunted Castle (Six Flags Great Adventure) caught fire. As a result of the fire, eight teenagers perished.[205] The backlash to the tragedy was a tightening of regulations relating to safety, building codes and the frequency of inspections of attractions nationwide. The smaller venues, especially the nonprofit attractions, were unable to compete financially, and the better funded commercial enterprises filled the vacuum.[206][207] Facilities that were once able to avoid regulation because they were considered to be temporary installations now had to adhere to the stricter codes required of permanent attractions.[208][209][210] In the late 1980s and early 1990s, theme parks entered the business seriously. Six Flags Fright Fest began in 1986 and Universal Studios Florida began Halloween Horror Nights in 1991. Knott's Scary Farm experienced a surge in attendance in the 1990s as a result of America's obsession with Halloween as a cultural event. Theme parks have played a major role in globalizing the holiday. Universal Studios Singapore and Universal Studios Japan both participate, while Disney now mounts Mickey's Not-So-Scary Halloween Party events at its parks in Paris, Hong Kong and Tokyo, as well as in the United States.[211] The theme park haunts are by far the largest, both in scale and attendance.[212] Food Pumpkins for sale during Halloween On All Hallows' Eve, many Western Christian denominations encourage abstinence from meat, giving rise to a variety of vegetarian foods associated with this day.[213] A candy apple Because in the Northern Hemisphere Halloween comes in the wake of the yearly apple harvest, candy apples (known as toffee apples outside North America), caramel apples or taffy apples are common Halloween treats made by rolling whole apples in a sticky sugar syrup, sometimes followed by rolling them in nuts. At one time, candy apples were commonly given to trick-or-treating children, but the practice rapidly waned in the wake of widespread rumors that some individuals were embedding items like pins and razor blades in the apples in the United States.[214] While there is evidence of such incidents,[215] relative to the degree of reporting of such cases, actual cases involving malicious acts are extremely rare and have never resulted in serious injury. Nonetheless, many parents assumed that such heinous practices were rampant because of the mass media. At the peak of the hysteria, some hospitals offered free X-rays of children's Halloween hauls in order to find evidence of tampering. Virtually all of the few known candy poisoning incidents involved parents who poisoned their own children's candy.[216] One custom that persists in modern-day Ireland is the baking (or more often nowadays, the purchase) of a barmbrack (Irish: báirín breac), which is a light fruitcake, into which a plain ring, a coin, and other charms are placed before baking.[217] It is considered fortunate to be the lucky one who finds it.[217] It has also been said that those who get a ring will find their true love in the ensuing year. This is similar to the tradition of king cake at the festival of Epiphany. A jack-o'-lantern Halloween cake with a witches hat List of foods associated with Halloween:     Barmbrack (Ireland)     Bonfire toffee (Great Britain)     Candy apples/toffee apples (Great Britain and Ireland)     Candy apples, candy corn, candy pumpkins (North America)     Chocolate     Monkey nuts (peanuts in their shells) (Ireland and Scotland)     Caramel apples     Caramel corn     Colcannon (Ireland; see below)     Halloween cake     Sweets/candy     Novelty candy shaped like skulls, pumpkins, bats, worms, etc.     Roasted pumpkin seeds     Roasted sweet corn     Soul cakes     Pumpkin Pie Christian religious observances The Vigil of All Hallows' is being celebrated at an Episcopal Christian church on Hallowe'en On Hallowe'en (All Hallows' Eve), in Poland, believers were once taught to pray out loud as they walk through the forests in order that the souls of the dead might find comfort; in Spain, Christian priests in tiny villages toll their church bells in order to remind their congregants to remember the dead on All Hallows' Eve.[218] In Ireland, and among immigrants in Canada, a custom includes the Christian practice of abstinence, keeping All Hallows' Eve as a meat-free day, and serving pancakes or colcannon instead.[219] In Mexico children make an altar to invite the return of the spirits of dead children (angelitos).[220] The Christian Church traditionally observed Hallowe'en through a vigil. Worshippers prepared themselves for feasting on the following All Saints' Day with prayers and fasting.[221] This church service is known as the Vigil of All Hallows or the Vigil of All Saints;[222][223] an initiative known as Night of Light seeks to further spread the Vigil of All Hallows throughout Christendom.[224][225] After the service, "suitable festivities and entertainments" often follow, as well as a visit to the graveyard or cemetery, where flowers and candles are often placed in preparation for All Hallows' Day.[226][227] In Finland, because so many people visit the cemeteries on All Hallows' Eve to light votive candles there, they "are known as valomeri, or seas of light".[228] Halloween Scripture Candy with gospel tract Today, Christian attitudes towards Halloween are diverse. In the Anglican Church, some dioceses have chosen to emphasize the Christian traditions associated with All Hallow's Eve.[229][230] Some of these practices include praying, fasting and attending worship services.[1][2][3]     O LORD our God, increase, we pray thee, and multiply upon us the gifts of thy grace: that we, who do prevent the glorious festival of all thy Saints, may of thee be enabled joyfully to follow them in all virtuous and godly living. Through Jesus Christ, Our Lord, who liveth and reigneth with thee, in the unity of the Holy Ghost, ever one God, world without end. Amen. —Collect of the Vigil of All Saints, The Anglican Breviary[231] Votive candles in the Halloween section of Walmart Other Protestant Christians also celebrate All Hallows' Eve as Reformation Day, a day to remember the Protestant Reformation, alongside All Hallow's Eve or independently from it.[232] This is because Martin Luther is said to have nailed his Ninety-five Theses to All Saints' Church in Wittenberg on All Hallows' Eve.[233] Often, "Harvest Festivals" or "Reformation Festivals" are held on All Hallows' Eve, in which children dress up as Bible characters or Reformers.[234] In addition to distributing candy to children who are trick-or-treating on Hallowe'en, many Christians also provide gospel tracts to them. One organization, the American Tract Society, stated that around 3 million gospel tracts are ordered from them alone for Hallowe'en celebrations.[235] Others order Halloween-themed Scripture Candy to pass out to children on this day.[236][237] Belizean children dressed up as Biblical figures and Christian saints Some Christians feel concerned about the modern celebration of Halloween because they feel it trivializes – or celebrates – paganism, the occult, or other practices and cultural phenomena deemed incompatible with their beliefs.[238] Father Gabriele Amorth, an exorcist in Rome, has said, "if English and American children like to dress up as witches and devils on one night of the year that is not a problem. If it is just a game, there is no harm in that."[239] In more recent years, the Roman Catholic Archdiocese of Boston has organized a "Saint Fest" on Halloween.[240] Similarly, many contemporary Protestant churches view Halloween as a fun event for children, holding events in their churches where children and their parents can dress up, play games, and get candy for free. To these Christians, Halloween holds no threat to the spiritual lives of children: being taught about death and mortality, and the ways of the Celtic ancestors actually being a valuable life lesson and a part of many of their parishioners' heritage.[241] Christian minister Sam Portaro wrote that Halloween is about using "humor and ridicule to confront the power of death".[242] In the Roman Catholic Church, Halloween's Christian connection is acknowledged, and Halloween celebrations are common in many Catholic parochial schools in the United States.[243][244] Many fundamentalist and evangelical churches use "Hell houses" and comic-style tracts in order to make use of Halloween's popularity as an opportunity for evangelism.[245] Others consider Halloween to be completely incompatible with the Christian faith due to its putative origins in the Festival of the Dead celebration.[246] Indeed, even though Eastern Orthodox Christians observe All Hallows' Day on the First Sunday after Pentecost, The Eastern Orthodox Church recommends the observance of Vespers or a Paraklesis on the Western observance of All Hallows' Eve, out of the pastoral need to provide an alternative to popular celebrations.[247] Analogous celebrations and perspectives Judaism According to Alfred J. Kolatch in the Second Jewish Book of Why, in Judaism, Halloween is not permitted by Jewish Halakha because it violates Leviticus 18:3, which forbids Jews from partaking in gentile customs. Many Jews observe Yizkor communally four times a year, which is vaguely similar to the observance of Allhallowtide in Christianity, in the sense that prayers are said for both "martyrs and for one's own family".[248] Nevertheless, many American Jews celebrate Halloween, disconnected from its Christian origins.[249] Reform Rabbi Jeffrey Goldwasser has said that "There is no religious reason why contemporary Jews should not celebrate Halloween" while Orthodox Rabbi Michael Broyde has argued against Jews' observing the holiday.[250] Islam Sheikh Idris Palmer, author of A Brief Illustrated Guide to Understanding Islam, has ruled that Muslims should not participate in Halloween, stating that "participation in Halloween is worse than participation in Christmas, Easter, ... it is more sinful than congratulating the Christians for their prostration to the crucifix".[251] It has also been ruled to be haram by the National Fatwa Council of Malaysia because of its alleged pagan roots stating "Halloween is celebrated using a humorous theme mixed with horror to entertain and resist the spirit of death that influence humans".[252][253] Dar Al-Ifta Al-Missriyyah disagrees provided the celebration is not referred to as an 'eid' and that behaviour remains in line with Islamic principles.[254] Hinduism Hindus remember the dead during the festival of Pitru Paksha, during which Hindus pay homage to and perform a ceremony "to keep the souls of their ancestors at rest". It is celebrated in the Hindu month of Bhadrapada, usually in mid-September.[255] The celebration of the Hindu festival Diwali sometimes conflicts with the date of Halloween; but some Hindus choose to participate in the popular customs of Halloween.[256] Other Hindus, such as Soumya Dasgupta, have opposed the celebration on the grounds that Western holidays like Halloween have "begun to adversely affect our indigenous festivals".[257] Neopaganism There is no consistent rule or view on Halloween amongst those who describe themselves as Neopagans or Wiccans. Some Neopagans do not observe Halloween, but instead observe Samhain on 1 November,[258] some neopagans do enjoy Halloween festivities, stating that one can observe both "the solemnity of Samhain in addition to the fun of Halloween". Some neopagans are opposed to the celebration of Hallowe'en, stating that it "trivializes Samhain",[259] and "avoid Halloween, because of the interruptions from trick or treaters".[260] The Manitoban writes that "Wiccans don't officially celebrate Halloween, despite the fact that 31 Oct. will still have a star beside it in any good Wiccan's day planner. Starting at sundown, Wiccans celebrate a holiday known as Samhain. Samhain actually comes from old Celtic traditions and is not exclusive to Neopagan religions like Wicca. While the traditions of this holiday originate in Celtic countries, modern day Wiccans don't try to historically replicate Samhain celebrations. Some traditional Samhain rituals are still practised, but at its core, the period is treated as a time to celebrate darkness and the dead – a possible reason why Samhain can be confused with Halloween celebrations."[258] Around the world Main article: Geography of Halloween Halloween display in Kobe, Japan The traditions and importance of Halloween vary greatly among countries that observe it. In Scotland and Ireland, traditional Halloween customs include children dressing up in costume going "guising", holding parties, while other practices in Ireland include lighting bonfires, and having firework displays.[151][261][262] In Brittany children would play practical jokes by setting candles inside skulls in graveyards to frighten visitors.[263] Mass transatlantic immigration in the 19th century popularized Halloween in North America, and celebration in the United States and Canada has had a significant impact on how the event is observed in other nations.[151] This larger North American influence, particularly in iconic and commercial elements, has extended to places such as Ecuador, Chile,[264] Australia,[265] New Zealand,[266] (most) continental Europe, Finland,[267] Japan, and other parts of East Asia.[268] In the Philippines, during Halloween, Filipinos return to their hometowns and purchase candles and flowers,[269] in preparation for the following All Saints Day (Araw ng mga Patay) on 1 November and All Souls Day – though it falls on 2 November, most Filipinos observe it on the day before." (wikipedia.org) "Frankenstein; or, The Modern Prometheus is an 1818 novel written by English author Mary Shelley. Frankenstein tells the story of Victor Frankenstein, a young scientist who creates a sapient creature in an unorthodox scientific experiment. Shelley started writing the story when she was 18, and the first edition was published anonymously in London on 1 January 1818, when she was 20. Her name first appeared in the second edition, which was published in Paris in 1821. Shelley travelled through Europe in 1815 along the river Rhine in Germany, stopping in Gernsheim, 17 kilometres (11 mi) away from Frankenstein Castle, where two centuries before, an alchemist engaged in experiments.[2][3][4] She then journeyed to the region of Geneva, Switzerland, where much of the story takes place. Galvanism and occult ideas were topics of conversation among her companions, particularly her lover and future husband Percy B. Shelley. In 1816, Mary, Percy and Lord Byron had a competition to see who could write the best horror story.[5] After thinking for days, Shelley was inspired to write Frankenstein after imagining a scientist who created life and was horrified by what he had made.[6] Though Frankenstein is infused with elements of the Gothic novel and the Romantic movement, Brian Aldiss has argued that it should be considered the first true science fiction story. In contrast to previous stories with fantastical elements resembling those of later science fiction, Aldiss states that the central character "makes a deliberate decision" and "turns to modern experiments in the laboratory" to achieve fantastic results.[7] The novel has had a considerable influence on literature and popular culture and spawned a complete genre of horror stories, films, and plays. Since the publication of the novel, the name "Frankenstein" has often been used to erroneously refer to the monster, rather than his creator/father.... Summary Captain Walton's introductory narrative Frankenstein is a frame story written in epistolary form. It documents a fictional correspondence between Captain Robert Walton and his sister, Margaret Walton Saville. The story takes place in the eighteenth century (the letters are dated as "17-"). Robert Walton is a failed writer who sets out to explore the North Pole in hopes of expanding scientific knowledge. During the voyage, the crew spots a dog sled driven by a gigantic figure. A few hours later, the crew rescues a nearly frozen and emaciated man named Victor Frankenstein. Frankenstein has been in pursuit of the gigantic man observed by Walton's crew. Frankenstein starts to recover from his exertion; he sees in Walton the same obsession that has destroyed him and recounts a story of his life's miseries to Walton as a warning. The recounted story serves as the frame for Frankenstein's narrative. Victor Frankenstein's narrative Victor begins by telling of his childhood. Born in Naples, Italy, into a wealthy Genevan family, Victor and his younger brothers, Ernest and William, are sons of Alphonse Frankenstein and the former Caroline Beaufort. From a young age, Victor has a strong desire to understand the world. He is obsessed with studying theories of alchemists, though when he is older he realizes that such theories are considerably outdated. When Victor is five years old, his parents adopt Elizabeth Lavenza, the orphaned daughter of an expropriated Italian nobleman, whom Victor later marries. Victor's parents later take in another child, Justine Moritz, who becomes William's nanny. Weeks before he leaves for the University of Ingolstadt in Germany, his mother dies of scarlet fever; Victor buries himself in his experiments to deal with the grief. At the university, he excels at chemistry and other sciences, soon developing a secret technique to impart life to non-living matter. He undertakes the creation of a humanoid, but due to the difficulty in replicating the minute parts of the human body, Victor makes the Creature tall, about 8 feet (2.4 m) in height, and proportionally large. Despite Victor's selecting its features to be beautiful, upon animation the Creature is instead hideous, with watery white eyes and yellow skin that barely conceals the muscles and blood vessels underneath. Repulsed by his work, Victor flees. While wandering the streets the next day, he meets his childhood friend, Henry Clerval, and takes Henry back to his apartment, fearful of Henry's reaction if he sees the monster. However, when Victor returns to his laboratory, the Creature is gone. Victor falls ill from the experience and is nursed back to health by Henry. After a four-month recovery, he receives a letter from his father notifying him of the murder of his brother William. Upon arriving in Geneva, Victor sees the Creature near the crime scene and becomes convinced that his creation is responsible. Justine Moritz, William's nanny, is convicted of the crime after William's locket, which contained a miniature portrait of Caroline, is found in her pocket. Victor knows that no one will believe him if he tries to clear Justine's name, and she is hanged. Ravaged by grief and guilt, Victor retreats into the mountains. While he hikes through Mont Blanc's Mer de Glace, he is suddenly approached by the Creature, who pleads for Victor to hear his tale. The Creature's narrative Intelligent and articulate, the Creature relates his first days of life, living alone in the wilderness. He found that people were afraid of and hated him due to his appearance, which led him to fear and hide from them. While living in an abandoned structure connected to a cottage, he grew fond of the poor family living there and discreetly collected firewood for them, cleared snow away from their path, and performed other tasks to help them. Secretly living next to the cottage for months, the Creature learned to speak by listening to them and taught himself to read after discovering a lost satchel of books in the woods. When he saw his reflection in a pool, he realized his appearance was hideous, and it horrified him as much as it horrified normal humans. As he continued to learn of the family's plight, he grew increasingly attached to them, and eventually he approached the family in hopes of becoming their friend, entering the house while only the blind father was present. The two conversed, but on the return of the others, the rest of them were frightened. The blind man's son attacked him and the Creature fled the house. The next day, the family left their home out of fear that he would return. The Creature was enraged by the way he was treated and gave up hope of ever being accepted by humans. Although he hated his creator for abandoning him, he decided to travel to Geneva to find him because he believed that Victor was the only person with a responsibility to help him. On the journey, he rescued a child who had fallen into a river, but her father, believing that the Creature intended to harm them, shot him in the shoulder. The Creature then swore revenge against all humans. He travelled to Geneva using details from Victor's journal, murdered William, and framed Justine for the crime. The Creature demands that Victor create a female companion like himself. He argues that as a living being, he has a right to happiness. The Creature promises that he and his mate will vanish into the South American wilderness, never to reappear, if Victor grants his request. Should Victor refuse, the Creature threatens to kill Victor's remaining friends and loved ones and not stop until he completely ruins him. Fearing for his family, Victor reluctantly agrees. The Creature says he will watch over Victor's progress. Victor Frankenstein's narrative resumes Clerval accompanies Victor to England, but they separate, at Victor's insistence, at Perth, Scotland. Victor suspects that the Creature is following him. Working on the female creature on the Orkney Islands, he is plagued by premonitions of disaster. He fears that the female will hate the Creature or become more evil than he is. Even more worrying to him is the idea that creating the second creature might lead to the breeding of a race that could plague mankind. He tears apart the unfinished female creature after he sees the Creature, who had indeed followed Victor, watching through a window. The Creature immediately bursts through the door to confront Victor and tries to threaten him into working again, but Victor is convinced that since the Creature is evil, his mate would be evil as well, and that the pair would threaten all of humanity by giving rise to a new race just like them. The Creature leaves, but gives a final threat: "I will be with you on your wedding night." Victor interprets this as a threat upon his life, believing that the Creature will kill him after he finally becomes happy. Victor sails out to sea to dispose of his instruments, falls asleep in the boat, is unable to return to shore because of changes in the winds, and ends up being blown to the Irish coast. When Victor lands in Ireland, he is arrested for Clerval's murder, as the Creature had strangled Clerval to death and left the corpse to be found where his creator had arrived. Victor suffers another mental breakdown and wakes to find himself in prison. However, he is shown to be innocent, and after being released, he returns home with his father, who has restored to Elizabeth some of her father's fortune. In Geneva, Victor is about to marry Elizabeth and prepares to fight the Creature to the death, arming himself with pistols and a dagger. The night following their wedding, Victor asks Elizabeth to stay in her room while he looks for "the fiend". While Victor searches the house and grounds, the Creature strangles Elizabeth to death. From the window, Victor sees the Creature, who tauntingly points at Elizabeth's corpse; Victor tries to shoot him, but the Creature escapes. Victor's father, weakened by age and by the death of Elizabeth, dies a few days later. Seeking revenge, Victor pursues the Creature through Europe, then north into Russia, with his adversary staying ahead of him every step of the way. Eventually, the chase leads to the Arctic Ocean and then on towards the North Pole, and Victor reaches a point where he is within a mile of the Creature, but he collapses from exhaustion and hypothermia before he can find his quarry, allowing the Creature to escape. Eventually the ice around Victor's sledge breaks apart, and the resultant ice floe comes within range of Walton's ship. Captain Walton's conclusion At the end of Victor's narrative, Captain Walton resumes telling the story. A few days after the Creature vanishes, the ship becomes trapped in pack ice, and several crewmen die in the cold before the rest of Walton's crew insists on returning south once it is freed. Upon hearing the crew's demands, Victor is angered and, despite his condition, gives a powerful speech to them. He reminds them of why they chose to join the expedition and that it is hardship and danger, not comfort, that defines a glorious undertaking such as theirs. He urges them to be men, not cowards. However, although the speech makes an impression on the crew, it is not enough to change their minds and when the ship is freed, Walton regretfully decides to return South. Victor, even though he is in a very weak condition, states that he will go on by himself. He is adamant that the Creature must die. Victor dies shortly thereafter, telling Walton, in his last words, to seek "happiness in tranquility and avoid ambition." Walton discovers the Creature on his ship, mourning over Victor's body. The Creature tells Walton that Victor's death has not brought him peace; rather, his crimes have made him even more miserable than Victor ever was. The Creature vows to kill himself so that no one else will ever know of his existence and Walton watches as the Creature drifts away on an ice raft, never to be seen again. Author's background Mary Shelley by Richard Rothwell (1840–41) Mary Shelley's mother, Mary Wollstonecraft, died from infection shortly after giving birth to her. Shelley grew close to her father, William Godwin, having never known her mother. Godwin hired a nurse, who briefly cared for her and her half sister, before marrying second wife Mary Jane Clairmont, who did not like the close bond between Shelley and her father. The resulting friction caused Godwin to favour his other children. Shelley's father was a famous author of the time, and her education was of great importance to him, although it was not formal. Shelley grew up surrounded by her father's friends, writers, and persons of political importance, who often gathered at the family home. This inspired her authorship at an early age. Mary met Percy Bysshe Shelley, who later became her husband, at the age of sixteen while he was visiting her father. Godwin did not approve of the relationship between his daughter and an older, married man, so they fled to France along with her stepsister, Claire Clairmont. It was during their trip to France that Percy very likely had an affair with Mary's stepsister, Claire.[11] On 22 February 1815, Shelley gave birth prematurely to her first child, Clara who then died two weeks later. Over eight years, she endured a similar pattern of pregnancy and loss, one hemorrhage occurring until Percy placed her upon ice to cease the bleeding.[12] In the summer of 1816, Mary, Percy, and Claire took a trip to visit Claire's lover, Lord Byron, in Geneva. During the visit, Byron suggested that he, Mary, Percy, and Byron's physician, John Polidori, have a competition to write the best ghost story to pass time stuck indoors.[13] Historians suggest that an affair occurred too, even that the father of one of Shelley's children may have been Byron.[12] Mary was just eighteen years old when she won the contest with her creation of Frankenstein.[14][15] Literary influences Shelley was heavily influenced by both of her parents' works. Her father was famous for Enquiry Concerning Political Justice and her mother famous for A Vindication of the Rights of Woman. Her father's novels also influenced her writing of Frankenstein. These novels included Things as They Are; or, The Adventures of Caleb Williams, St. Leon, and Fleetwood. All of these books were set in Switzerland, similar to the setting in Frankenstein. Some major themes of social affections and the renewal of life that appear in Shelley's novel stem from these works she had in her possession. Other literary influences that appear in Frankenstein are Pygmalion et Galatée by Mme de Genlis and Ovid, with the use of individuals identifying the problems with society.[16] Ovid also inspires the use of Prometheus in Shelley's title.[17] The influence of John Milton's Paradise Lost and Samuel Taylor Coleridge's The Rime of the Ancient Mariner are clearly evident in the novel. In The Frankenstein of the French Revolution, author Julia Douthwaite posits that Shelley likely acquired some ideas for Frankenstein's character from Humphry Davy's book Elements of Chemical Philosophy, in which he had written that "science has ... bestowed upon man powers which may be called creative; which have enabled him to change and modify the beings around him ...". References to the French Revolution run through the novel; a possible source may lie in François-Félix Nogaret [fr]'s Le Miroir des événemens actuels, ou la Belle au plus offrant (1790), a political parable about scientific progress featuring an inventor named Frankésteïn, who creates a life-sized automaton.[18] Both Frankenstein and the monster quote passages from Percy Shelley's 1816 poem, "Mutability", and its theme of the role of the subconscious is discussed in prose. Percy Shelley's name never appeared as the author of the poem, although the novel credits other quoted poets by name. Samuel Taylor Coleridge's poem "The Rime of the Ancient Mariner" (1798) is associated with the theme of guilt and William Wordsworth's "Tintern Abbey" (1798) with that of innocence. Many writers and historians have attempted to associate several then popular natural philosophers (now called physical scientists) with Shelley's work because of several notable similarities. Two of the most noted natural philosophers among Shelley's contemporaries were Giovanni Aldini, who made many public attempts at human reanimation through bio-electric Galvanism in London,[19] and Johann Konrad Dippel, who was supposed to have developed chemical means to extend the life span of humans. While Shelley was aware of both of these men and their activities, she makes no mention of or reference to them or their experiments in any of her published or released notes. Ideas about life and death discussed by Percy and Byron were of great interest to scientists of that time. They discussed ideas from Erasmus Darwin and the experiments of Luigi Galvani as well as James Lind.[20] Mary joined these conversations and the ideas of Darwin, Galvani and perhaps Lind were present in her novel. Shelley's personal experiences also influenced the themes within Frankenstein. The themes of loss, guilt, and the consequences of defying nature present in the novel all developed from Mary Shelley's own life. The loss of her mother, the relationship with her father, and the death of her first child are thought to have inspired the monster and his separation from parental guidance. In a 1965 issue of The Journal of Religion and Health a psychologist proposed that the theme of guilt stemmed from her not feeling good enough for Percy because of the loss of their child.[15] Composition Draft of Frankenstein ("It was on a dreary night of November that I beheld my man completed ...") During the rainy summer of 1816, the "Year Without a Summer", the world was locked in a long, cold volcanic winter caused by the eruption of Mount Tambora in 1815.[21][22] Mary Shelley, aged 18, and her lover (and future husband), Percy Bysshe Shelley, visited Lord Byron at the Villa Diodati by Lake Geneva in Switzerland. The weather was too cold and dreary that summer to enjoy the outdoor holiday activities they had planned, so the group retired indoors until dawn. Sitting around a log fire at Byron's villa, the company amused themselves by reading German ghost stories translated into French from the book Fantasmagoriana.[23] Byron proposed that they "each write a ghost story."[24] Unable to think of a story, Mary Shelley became anxious. She recalled being asked "Have you thought of a story?" each morning, and every time being "forced to reply with a mortifying negative."[25] During one evening in the middle of summer, the discussions turned to the nature of the principle of life. "Perhaps a corpse would be re-animated," Mary noted, "galvanism had given token of such things".[26] It was after midnight before they retired and, unable to sleep, she became possessed by her imagination as she beheld the "grim terrors" of her "waking dream".[6]     I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world.[27] In September 2011, astronomer Donald Olson, after a visit to the Lake Geneva villa the previous year and inspecting data about the motion of the moon and stars, concluded that her "waking dream" took place between 2 a.m. and 3 a.m. on 16 June 1816, several days after the initial idea by Lord Byron that they each write a ghost story.[28] Mary Shelley began writing what she assumed would be a short story, but with Percy Shelley's encouragement, she expanded the tale into a full-fledged novel.[29] She later described that summer in Switzerland as the moment "when I first stepped out from childhood into life."[30] Shelley wrote the first four chapters in the weeks following the suicide of her half-sister Fanny.[31] This was one of many personal tragedies that impacted Shelley's work. Shelley's first child died in infancy, and when she began composing Frankenstein in 1816, she was likely nursing her second child, who was also dead by the time of Frankenstein's publication.[32] Shelley wrote much of the book while residing in a lodging house in the centre of Bath in 1816.[33] Byron managed to write just a fragment based on the vampire legends he heard while travelling the Balkans, and from this John Polidori created The Vampyre (1819), the progenitor of the romantic vampire literary genre. Thus two seminal horror tales originated from the conclave. The group talked about Enlightenment and Counter-Enlightenment ideas as well. Mary Shelley believed the Enlightenment idea that society could progress and grow if political leaders used their powers responsibly; however, she also believed the Romantic ideal that misused power could destroy society.[34] Shelley's manuscripts for the first three-volume edition in 1818 (written 1816–1817), as well as the fair copy for her publisher, are now housed in the Bodleian Library in Oxford. The Bodleian acquired the papers in 2004, and they belong now to the Abinger Collection.[35][36] In 2008, the Bodleian published a new edition of Frankenstein, edited by Charles E. Robinson, that contains comparisons of Mary Shelley's original text with Percy Shelley's additions and interventions alongside.[37] Frankenstein and the Monster The Creature Main article: Frankenstein's monster An English editorial cartoonist conceives the Irish Fenian movement as akin to Frankenstein's creature, in the wake of the Phoenix Park murders in an 1882 issue of Punch.[38] Although the Creature was described in later works as a composite of whole body parts grafted together from cadavers and reanimated by the use of electricity, this description is not consistent with Shelley's work; both the use of electricity and the cobbled-together image of Frankenstein's monster were more the result of James Whale's popular 1931 film adaptation of the story and other early motion-picture works based on the creature. In Shelley's original work, Victor Frankenstein discovers a previously unknown but elemental principle of life, and that insight allows him to develop a method to imbue vitality into inanimate matter, though the exact nature of the process is left largely ambiguous. After a great deal of hesitation in exercising this power, Frankenstein spends two years painstakingly constructing the Creature's body (one anatomical feature at a time, from raw materials supplied by "the dissecting room and the slaughter-house"), which he then brings to life using his unspecified process. Part of Frankenstein's rejection of his creation is the fact that he does not give him a name. Instead, Frankenstein's creation is referred to by words such as "wretch", "monster", "creature", "demon", "devil", "fiend", and "it". When Frankenstein converses with the creature, he addresses him as "vile insect", "abhorred monster", "fiend", "wretched devil", and "abhorred devil". In the novel, the creature is compared to Adam,[39] the first man in the Garden of Eden. The monster also compares himself with the "fallen" angel. Speaking to Frankenstein, the monster says "I ought to be thy Adam, but I am rather the fallen angel". That angel would be Lucifer (meaning "light-bringer") in Milton's Paradise Lost, which the monster has read. Adam is also referred to in the epigraph of the 1818 edition:[40]         Did I request thee, Maker, from my clay         To mould Me man? Did I solicit thee         From darkness to promote me?[41] The Creature has often been mistakenly called Frankenstein. In 1908, one author said "It is strange to note how well-nigh universally the term "Frankenstein" is misused, even by intelligent people, as describing some hideous monster."[42] Edith Wharton's The Reef (1916) describes an unruly child as an "infant Frankenstein."[43] David Lindsay's "The Bridal Ornament", published in The Rover, 12 June 1844, mentioned "the maker of poor Frankenstein". After the release of Whale's cinematic Frankenstein, the public at large began speaking of the Creature itself as "Frankenstein". This misnomer continued with the successful sequel Bride of Frankenstein (1935), as well as in film titles such as Abbott and Costello Meet Frankenstein. Illustration by Theodor von Holst from the frontispiece of the 1831 edition[44] Origin of Victor Frankenstein's name Mary Shelley maintained that she derived the name Frankenstein from a dream-vision. This claim has since been disputed and debated by scholars that have suggested alternative sources for Shelley's inspiration.[45] The German name Frankenstein means "stone of the Franks," and is associated with various places in Germany, including Frankenstein Castle (Burg Frankenstein) in Darmstadt, Hesse, and Frankenstein Castle in Frankenstein, a town in the Palatinate. There is also a castle called Frankenstein in Bad Salzungen, Thuringia, and a municipality called Frankenstein in Saxony. Until 1945, Ząbkowice Śląskie, now a city in Lower Silesian Voivodeship, Poland, was mainly populated by Germans and was the site of a scandal involving gravediggers in 1606, which has been suggested as an inspiration to the author.[46] Finally, the name is borne by the aristocratic House of Franckenstein from Franconia. Radu Florescu argued that Mary and Percy Shelley visited Frankenstein Castle near Darmstadt in 1814, where alchemist Johann Konrad Dippel had experimented with human bodies, and reasoned that Mary suppressed mention of her visit in order to maintain her public claim of originality.[47] A literary essay by A. J. Day supports Florescu's position that Mary Shelley knew of and visited Frankenstein Castle before writing her debut novel.[48] Day includes details of an alleged description of the Frankenstein castle in Mary Shelley's "lost journals." However, according to Jörg Heléne, Day's and Florescu's claims cannot be verified.[49] A possible interpretation of the name "Victor" is derived from Paradise Lost by John Milton, a great influence on Shelley (a quotation from Paradise Lost is on the opening page of Frankenstein and Shelley writes that the monster reads it in the novel).[50][51] Milton frequently refers to God as "the victor" in Paradise Lost, and Victor's creation of life in the novel is compared to God's creation of life in Paradise Lost. In addition, Shelley's portrayal of the monster owes much to the character of Satan in Paradise Lost; and, the monster says in the story, after reading the epic poem, that he empathizes with Satan's role. Parallels between Victor Frankenstein and Mary's husband, Percy Shelley, have also been drawn. Percy Shelley was the first-born son of a wealthy country squire with strong political connections and a descendant of Sir Bysshe Shelley, 1st Baronet of Castle Goring, and Richard Fitzalan, 10th Earl of Arundel.[52] Similarly, Victor's family is one of the most distinguished of that republic and his ancestors were counsellors and syndics. Percy's sister and Victor's adopted sister were both named Elizabeth. There are many other similarities, from Percy's usage of "Victor" as a pen name for Original Poetry by Victor and Cazire, a collection of poetry he wrote with Elizabeth,[53] to Percy's days at Eton, where he had "experimented with electricity and magnetism as well as with gunpowder and numerous chemical reactions," and the way in which Percy's rooms at Oxford were filled with scientific equipment.[54][55] Modern Prometheus The Modern Prometheus is the novel's subtitle (though modern editions now drop it, only mentioning it in introduction).[56] Prometheus, in versions of Greek mythology, was the Titan who created humans in the image of the gods so that they could have a spirit breathed into them at the behest of Zeus.[57] Prometheus then taught man to hunt, but after he tricked Zeus into accepting "poor-quality offerings" from humans, Zeus kept fire from mankind. Prometheus took back the fire from Zeus to give to man. When Zeus discovered this, he sentenced Prometheus to be eternally punished by fixing him to a rock of Caucasus, where each day an eagle pecked out his liver, only for the liver to regrow the next day because of his immortality as a god. As a Pythagorean, or believer in An Essay on Abstinence from Animal Food, as a Moral Duty by Joseph Ritson,[58] Mary Shelley saw Prometheus not as a hero but rather as something of a devil, and blamed him for bringing fire to man and thereby seducing the human race to the vice of eating meat.[59] Percy wrote several essays on what became known as vegetarianism including A Vindication of Natural Diet.[58] In 1910, Edison Studios released the first motion-picture adaptation of Shelley's story. Byron was particularly attached to the play Prometheus Bound by Aeschylus, and Percy Shelley soon wrote his own Prometheus Unbound (1820). The term "Modern Prometheus" was derived from Immanuel Kant who described Benjamin Franklin as the "Prometheus of modern times" in reference to his experiments with electricity.[60] Publication Shelley completed her writing in April/May 1817, and Frankenstein; or, The Modern Prometheus was published on 1 January 1818[61] by the small London publishing house Lackington, Hughes, Harding, Mavor, & Jones.[62][63] It was issued anonymously, with a preface written for Mary by Percy Bysshe Shelley and with a dedication to philosopher William Godwin, her father. It was published in an edition of just 500 copies in three volumes, the standard "triple-decker" format for 19th-century first editions. A variety of different editions A French translation (Frankenstein: ou le Prométhée Moderne, translated by Jules Saladin) appeared as early as 1821. The second English edition of Frankenstein was published on 11 August 1823 in two volumes (by G. and W. B. Whittaker) following the success of the stage play Presumption; or, the Fate of Frankenstein by Richard Brinsley Peake.[64] This edition credited Mary Shelley as the book's author on its title page. On 31 October 1831, the first "popular" edition in one volume appeared, published by Henry Colburn & Richard Bentley.[65] This edition was heavily revised by Mary Shelley, partially to make the story less radical. It included a lengthy new preface by the author, presenting a somewhat embellished version of the genesis of the story. This edition is the one most widely published and read now, although a few editions follow the 1818 text.[66] Some scholars prefer the original version, arguing that it preserves the spirit of Mary Shelley's vision (see Anne K. Mellor's "Choosing a Text of Frankenstein to Teach" in the W. W. Norton Critical edition). Reception Frankenstein has been both well received and disregarded since its anonymous publication in 1818. Critical reviews of that time demonstrate these two views, along with confused speculation as to the identity of the author. Walter Scott, writing in Blackwood's Edinburgh Magazine, praises the novel as an "extraordinary tale, in which the author seems to us to disclose uncommon powers of poetic imagination," although he was less convinced about the way in which the monster gains knowledge about the world and language.[67] La Belle Assemblée described the novel as "very bold fiction"[68] and the Edinburgh Magazine and Literary Miscellany hoped to see "more productions ... from this author".[69] On the other hand, John Wilson Croker, writing anonymously in the Quarterly Review, although conceding that "the author has powers, both of conception and language," described the book as "a tissue of horrible and disgusting absurdity."[70] In two other reviews where the author is known as the daughter of William Godwin, the criticism of the novel makes reference to the feminine nature of Mary Shelley. The British Critic attacks the novel's flaws as the fault of the author: "The writer of it is, we understand, a female; this is an aggravation of that which is the prevailing fault of the novel; but if our authoress can forget the gentleness of her sex, it is no reason why we should; and we shall therefore dismiss the novel without further comment".[71] The Literary Panorama and National Register attacks the novel as a "feeble imitation of Mr. Godwin's novels" produced by the "daughter of a celebrated living novelist."[72] Despite these reviews, Frankenstein achieved an almost immediate popular success. It became widely known, especially through melodramatic theatrical adaptations—Mary Shelley saw a production of Presumption; or The Fate of Frankenstein, a play by Richard Brinsley Peake, in 1823. Critical reception of Frankenstein has been largely positive since the mid-20th century.[73] Major critics such as M. A. Goldberg and Harold Bloom have praised the "aesthetic and moral" relevance of the novel,[74] although there have also been critics, such as Germaine Greer, who criticized the novel for technical and narrative defects (such as it featuring three narrators who speak in the same way).[75] In more recent years the novel has become a popular subject for psychoanalytic and feminist criticism: Lawrence Lipking states: "[E]ven the Lacanian subgroup of psychoanalytic criticism, for instance, has produced at least half a dozen discrete readings of the novel".[76] Frankenstein has frequently been recommended on Five Books, with literary scholars, psychologists, novelists, and historians citing it as an influential text.[77] Today, the novel is generally considered to be a landmark work of Romantic and Gothic literature, as well as science fiction.[78] Film director Guillermo del Toro describes Frankenstein as "the quintessential teenage book", noting that the feelings that "You don't belong. You were brought to this world by people that don't care for you and you are thrown into a world of pain and suffering, and tears and hunger" are an important part of the story. He adds that "it's an amazing book written by a teenage girl. It's mind-blowing."[79] Professor of philosophy Patricia MacCormack says that the Creature addresses the most fundamental human questions: "It's the idea of asking your maker what your purpose is. Why are we here, what can we do?"[79] On November 5, 2019, the BBC News listed Frankenstein on its list of the 100 most influential novels." (wikipedia.org) "Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus, and the famous character of Frankenstein's monster, have influenced popular culture for at least a century. The work has inspired numerous films, television programs, video games and derivative works. The character of the monster remains one of the most recognized icons in horror fiction.... Film derivatives See also: List of films featuring Frankenstein's monster Silent era The first film adaptation of Frankenstein in 1910 by Edison Studios The first film adaptation of the tale, Frankenstein, was made by Edison Studios in 1910, written and directed by J. Searle Dawley, with Augustus Phillips as Frankenstein, Mary Fuerte as Elizabeth, and Charles Ogle as the Monster. The brief (16 min.) story has Frankenstein chemically create the creature in a vat. The creature has encounters with the scientist until Frankenstein's wedding night, when true love causes the creature to vanish. For many years, this film was believed lost. A collector announced in 1980 that he had acquired a print in the 1950s and had been unaware of its rarity. The Edison version was followed soon after by another adaptation entitled Life Without Soul (1915), directed by Joseph W. Smiley, starring William A. Cohill as Dr. William Frawley, a modern-day Frankenstein who creates a soulless man, played to much critical praise by Percy Standing, who wore little make-up in the role. The film was shot at various locations around the United States, and reputedly featured much spectacle. In the end, it turns out that a young man has dreamed the events of the film after falling asleep reading Mary Shelley's novel. This film is now considered a lost film. There was also at least one European film version, the Italian The Monster of Frankenstein (Il Mostro di Frankenstein) in 1921. The film's producer, Luciano Albertini, essayed the role of Frankenstein, with the creature being played by Umberto Guarracino, and Eugenio Testa directing from a screenplay by Giovanni Drivetti. The film is also now considered lost. Universal Pictures See also: Universal Monsters The first sound adaptation of the story, Frankenstein (1931), was produced by Universal Pictures, directed by James Whale, and starred Boris Karloff as the creature. The film has been selected for preservation in the United States National Film Registry. Its sequel, The Bride of Frankenstein (1935) was also directed by Whale with Karloff as the creature. It was followed by Son of Frankenstein (1939), the last of the three films with Boris Karloff as the creature. The Ghost of Frankenstein (1942) marked the Universal series' descent into B movie territory; later efforts by the studio combined two or more monsters, culminating in the comedy Abbott and Costello Meet Frankenstein. The later Universal films in which the Monster appears (and the actors who played him) are:     The Ghost of Frankenstein (1942 – Lon Chaney Jr.)     Frankenstein Meets the Wolf Man (1943 – Béla Lugosi, with Eddie Parker, Gil Perkins, and a possible third stuntman often doubling)     The House of Frankenstein (1944 – Glenn Strange)     House of Dracula (1945 – Strange)     Abbott and Costello Meet Frankenstein (1948) – Strange, with Lon Chaney Jr. taking the role for one scene). Future reboot film For the reboot film, Guillermo del Toro said his Frankenstein would be a faithful "Miltonian tragedy", citing Frank Darabont's "near perfect" script, which evolved into Kenneth Branagh's Frankenstein.[2] Del Toro said of his vision, "What I'm trying to do is take the myth and do something with it, but combining elements of Frankenstein and Bride of Frankenstein without making it just a classical myth of the monster. The best moments in my mind of Frankenstein, of the novel, are yet to be filmed ... The only guy that has ever nailed for me the emptiness, not the tragic, not the Miltonian dimension of the monster, but the emptiness is Christopher Lee in the Hammer films, where he really looks like something obscenely alive. Boris Karloff has the tragedy element nailed down but there are so many versions, including that great screenplay by Frank Darabont that was ultimately not really filmed."[3] He has also cited Bernie Wrightson's illustrations as inspiration, and said the film will not focus on the monster's creation, but be an adventure film featuring the character.[4] Del Toro said he would like Wrightson to design his version of the creature. The film will also focus on the religious aspects of Shelley's tale.[5] In June 2009, del Toro stated that production on Frankenstein was not likely to begin for at least four years.[6] Despite this, he has already cast frequent collaborator Doug Jones in the role of Frankenstein's monster. In an interview with Sci Fi Wire, Jones stated that he learned of the news the same day as everybody else; that "Guillermo did say to the press that he's already cast me as his monster, but we’ve yet to talk about it. But in his mind, if that's what he's decided, then it's done ... It would be a dream come true."[7] The film will be a period piece.[8] It is unclear what stage of development this film is in.[when?] Universal Studios has since begun development of their own cinematic universe featuring their classic monsters. Variety reported that Academy Award-winner Javier Bardem was in negotiations to star as the Frankenstein Monster.[9] Hammer Films Main article: Frankenstein (Hammer film series) In Great Britain, a long-running series by Hammer Films focused on the character of Dr Frankenstein (usually played by Peter Cushing) rather than his monster. Peter Cushing played Dr Frankenstein in all of the films except for The Horror of Frankenstein, in which the character was played by Ralph Bates. Cushing also played a creation in The Revenge of Frankenstein. David Prowse played two different Creatures. The Hammer films are a series in the loosest sense since there is only tenuous continuity between the films after the first two (which are, by contrast, carefully connected). Starting with The Evil of Frankenstein, the films are standalone stories with occasional vague references to previous films, much the way the James Bond films form a series. In some of the films, the Baron is a kindly, even heroic figure, while in others he is ruthless, cruel and clearly the villain of the piece. The Hammer Films series (and the actor playing the Creature) consisted of:     The Curse of Frankenstein (1957 – Christopher Lee)     The Revenge of Frankenstein (1958 – two Creatures: Michael Gwynn and Peter Cushing)     The Evil of Frankenstein (1964 – Kiwi Kingston)     Frankenstein Created Woman (1967 – Susan Denberg)     Frankenstein Must Be Destroyed (1969 – Freddie Jones)     The Horror of Frankenstein (1970 – David Prowse) - a black comedy remake of The Curse of Frankenstein     Frankenstein and the Monster from Hell (1974 – David Prowse) In 1959, Hammer shot a half-hour pilot episode for a TV series to be called Tales of Frankenstein, in association with Columbia Pictures. Anton Diffring played the Baron, and Don Megowan his creation. Curt Siodmak directed. The series was scrapped, largely because of the two companies' disagreement over what the basic thrust of the series would be: Hammer wanted to do a series about Baron Frankenstein involved in various misadventures, while Columbia wanted a series of science fiction stories loosely based around the idea of science gone wrong. Though unreleased at the time of its production, the episode is available on DVD from several public domain sources. Other films Depictions of the Monster have varied widely, from a savage, mindless brute to the depiction of the Monster as a kind of tragic hero (closest to the Shelley version in behavior) in Mary Shelley's Frankenstein, The Bride, and Van Helsing. Throughout the Universal series, he evolves from the latter to the former. Three films have depicted the genesis of the Frankenstein story in 1816: Gothic directed by Ken Russell (1986), Haunted Summer directed by Ivan Passer (1988), and Remando al viento (English title: Rowing with the Wind) directed by Gonzalo Suárez (1988). The opening scene of Bride of Frankenstein also dealt with this event. 1950s and 1960s     1957: American International Pictures (AIP) released the low-budget I Was a Teenage Frankenstein in November 1957, a few months after its successful I Was a Teenage Werewolf. In a desperate and vain attempt to be viewed as a great scientist, an unscrupulous professor creates a monster out of parts of teenagers killed in a car crash, then later directs his creation to kill a good-looking teenager to replace the monster's disfigured face. Whit Bissell stars as Professor Frankenstein, and Gary Conway plays the creature. A follow-up, How to Make a Monster, was released in July 1958. This film features actor Gary Conway as an actor playing the Teenage Frankenstein in a film.     1958: Another differing adaptation is the 1958 film Frankenstein 1970, which focuses on the themes of nuclear power, impotence, and the film industry. Boris Karloff stars as Baron Victor von Frankenstein, who harvests the bodies of actors to create a clone of himself using his nuclear-powered laboratory. His intention is to have this clone carry on his genes into future generations.     1958: This year also brought the bizarre Frankenstein's Daughter, in which a modern descendant of Frankenstein (Donald Murphy) experiments with a Jekyll/Hyde type of serum before stitching together a grotesque female creature. John Ashley and Sandra Knight co-starred.     1961: Frankenstein, el Vampiro y Cia ("Frankenstein, the Vampire and Company") is a Mexican remake of Abbott and Costello Meet Frankenstein.     1965: Ishirō Honda's 1965 tokusatsu kaiju film Frankenstein Conquers the World was produced by Toho Company Ltd.. The film's prologue is set in World War II; the monster's heart is stolen by Nazis from the laboratory of Dr. Reisendorf in war-torn Frankfurt, and taken to Imperial Japan. Immortal, the heart survives the atomic bombing of Hiroshima and, by 15 years later, has regenerated a new body which feeds on protein, eventually growing into a giant humanoid monster named Frankenstein that breaks loose and battles the burrowing dinosaur Baragon that was destroying villages and devouring people and animals. There is also a sequel to this film (see below).     1965: Frankenstein Meets the Space Monster. Martians come to Earth to steal Earth's women with the goal of repopulating their planet. When they cause a NASA space craft to crash, the humanoid robot pilot (Captain Frank Saunders) becomes horribly disfigured. Becoming a "Frankenstein"-like monster, he must save the women of Earth.     1966: Jesse James Meets Frankenstein's Daughter. Director William Beaudine's sci-fi\Western contribution has what would actually be Frankenstein's granddaughter, Maria Frankenstein, cobbling a monster out of Jesse James' (John Lupton) brawny partner-in-crime, Hank Tracy (Cal Bolder), after an ambush by the law. Frankenstein renames her creation Igor. Narda Onyx plays Maria Frankenstein.     1966: The War of the Gargantuas (Furankenshutain no Kaijû: Sanda tai Gaira), also directed by Honda, is a sequel to Frankenstein vs. Baragon (although this fact is obscured in the U.S. version), with samples of Frankenstein's cells growing into two giant humanoid brother monsters: Sanda (the Brown Gargantua), the strong and gentle monster raised by scientists in his youth, and Gaira (the Green Gargantua), the violent and savage monster who devours humans. The two monsters eventually battle each other in Tokyo. 1970s and 1980s     1971: Dracula vs. Frankenstein by Al Adamson is an extremely low-budget horror thriller, starring aged film stars J. Carroll Naish and Lon Chaney Jr. In the film, Count Dracula (Zandor Vorkov) has the last living descendant of Frankenstein (Naish) revive his famous ancestor's creation (played by John Bloom).     1971: The Italian La Figlia di Frankenstein ("The Daughter of Frankenstein"), released in North America as Lady Frankenstein. Joseph Cotten plays Baron Frankenstein, who is killed by his creation early in the film. Sara Bay, as the Baron's daughter, creates her own creature from a handsome young man and the brain of her homely but brilliant lover (Paul Muller).     1972: Jesús Franco contributed Dracula contra Frankenstein ("Dracula vs. Frankenstein"), which hit the North American drive-in circuit as Dracula, Prisoner of Frankenstein. Baron Frankenstein (played by Dennis Price) revives Count Dracula (Howard Vernon) in order to enslave an army of vampires to help his monster (Fred Harrison) conquer the world.     1972: Franco followed up his Dracula/Frankenstein effort with The Erotic Rites of Frankenstein (also known as The Curse of Frankenstein, but having no relation to the Hammer film of the same name). Here, Baron Frankenstein (Dennis Price again) is killed off early on by minions of the evil Count Cagliostro (Howard Vernon), who wants to use the monster in his plots to rule the world.     1972: Frankenstein '80, a film by Mario Mancini, featured a modern-day scientist named Albrechtstein (Gordon Mitchell) creating a monster called Mosaico (Xiro Papas). Mosaico is driven to homicidal mania by lust, and by his body's constant rejection of its constituent parts. The ingenue was played by Dalila Di Lazzaro (under the pseudonym "Dalila Parker"), who later appeared as the female creation in 1973's Flesh for Frankenstein (see below).     1973: Blackenstein, a low-budget blaxploitation film.     1973: Andy Warhol's Flesh for Frankenstein has Udo Kier playing the Baron, a bizarre but brilliant scientist who creates a male and a female creature in the hopes of breeding a superior race. Joe Dallesandro plays the handyman who attempts to thwart the Baron's mad dream, and Monique van Vooren is the Baron's nymphomaniac wife.     1974: Young Frankenstein, a comedy/horror film based on Boris Karloff's three Frankenstein films made by Universal.     1976: Victor Frankenstein (a.k.a. Terror of Frankenstein), a fairly faithful version of the book, starred Leon Vitali as Frankenstein. Per Oscarson played the creature.     1981: Another Japanese version, this one animated, was Kyofu Densetsu: Kaiki! Furankenshutain (called in the U.S. simply Frankenstein) was released in 1981.     1983: In Star Wars: Return of the Jedi, Palpatine's Force Lightning effects were based on the ones used in Frankenstein.     1984: Frankenstein's Great Aunt Tillie, a comedy film based in Transylvania.     1984: Frankenstein '90, a French film by Alain Jessua, with Jean Rochefort and Eddy Mitchell.     1985: The Bride was an adaptation directed by Franc Roddam. It stars Clancy Brown as the monster, with rocker Sting as Dr. Charles Frankenstein. The plot features the Monster wandering about Europe with a tragic circus midget (David Rappaport) while the doctor himself engages in a Pygmalion-inspired relationship with a female creation, the eponymous Monster's Bride played by Jennifer Beals. A love triangle between the doctor, the Monster, and the Bride provides the film's conflict.     1987: The Monster Squad is a comedy/horror film written and directed by Fred Dekker that was released by TriStar Pictures. The film features the reunion of a number of classic movie monsters, led by Count Dracula and including the Frankenstein Monster (Tom Noonan), the Wolf Man, the Mummy, and the Gill-Man. 1990s and 2000s     1990: Frankenstein Unbound is a science fiction movie based on the novel by Brian Aldiss and the last movie directed by Roger Corman. In it, a scientist (John Hurt) travels back in time to meet Victor Frankenstein (Raúl Juliá) and his Creature, as well as Mary Shelley herself.     1992: In Frankenstein, directed and written by David Wickes, the Creature was not pieced together from body parts but a clone (of sorts) of Frankenstein himself, establishing a psychic bond between Creator (Patrick Bergin) and Creature (Randy Quaid). A female creature was nearly created the same way, using Elizabeth (Fiona Gillies) as the model.     1994: Mary Shelley's Frankenstein was directed by Kenneth Branagh, who also portrayed Victor Frankenstein. It featured a star cast with Robert De Niro as the monster, Tom Hulce as Henry, John Cleese as Professor Waldman, Helena Bonham Carter as Elizabeth, and Aidan Quinn as Captain Robert Walton. Despite the title, it still diverged from Mary Shelley's original novel in many ways.     2004: Van Helsing. This film is a reinvention of the famous Universal stable of monsters of the 1930s and 1940s. Shuler Hensley plays the Monster who, contrary to usual practice, is directly referred to by the name Frankenstein in the film's publicity, but he is named mostly in the film as "the monster" or "the creature". The portrayal of the creature in this movie as intelligent, articulate, sympathetic, and as a hero who only wants to live, is somewhat close to the portrayal in the book. Physically, he is large and bulky, as opposed to his tall and thin portrayal in the classic films, and bears many physical features of Boris Karloff's portrayal, such as the bolted neck and flat head. He also has a visible brain and heart, which glow green and protected under glass casings, and a large engine in his left leg. He plays a vital role in the birth of Dracula's numerous offspring, the combination of his 'father's' machine that gave him life in the first place and the use of himself as a power source allowing the numerous stillborn children Dracula has conceived with his brides over the centuries to be brought to life, requiring Van Helsing to kill Dracula himself in order to destroy the vampires' progeny.     2004: Frankenstein A two episode mini-series that is faithful to the novel.     2005: Frankenstein vs. the Creature from Blood Cove. In this film, Frankenstein's monster is resurrected to fight terrorists along with a half-fish, half-man creature. However, the plan soon goes awry.     2006: Perfect Woman. This film, produced by Olympic Productions, is a modern spin on the tale. The plot follows a reality game show that is looking for the perfect woman to win the perfect man, played by Marcus Schenkenberg. Little do the girls know that the game show is a mask for an evil genius who is literally trying to make the perfect woman, using various body parts.     2006: Subject Two. This film, written and directed by Philip Chidel, has a modern nanotechnology spin on the tale. The plot follows a disillusioned medical student's journey to a remote snowbound mountain location where he is met by Dr. Vic.     2008: In Death Race, the Jason Statham character takes the place of a race car driver who goes by the name Frankenstein; the same character's beginnings are explored in the direct to video prequels, Death Race 2 and Death Race 3: Inferno.     2009: Army of Frankensteins, This film is directed by Richard Raaphorst; the story tells over a fight in the year 1945 between the Polish and German borderlines at the end of the Second World War.[10]     2011: "Frankenstein's Wedding – Live in Leeds": Broadcast live on BBC Three, this adaptation uses the romance between Victor and Elizabeth as a basis for a music drama portraying the rest of the story and was filmed live on 19 March 2011 at Kirkstall Abbey in Leeds. The drama used popular music, such as "Wires" by Athlete, sung by Andrew Gower, portraying the Scientist, Frankenstein. Other members of the cast included Lacey Turner as Elizabeth "Liz" Lavenza and David Harewood as the Creature     2010: Mary Shelley's Frankenhole     2011: Frankenstein: Day of the Beast is an independent American horror film directed by Ricardo Islas.     2012: In Hotel Transylvania, Frankenstein's Monster is one of the monsters to go check in at Hotel Transylvania. This film gives him the name Frank, and he is shown as the uncle of Dracula's daughter Mavis. He is voiced by Kevin James. His Bride appears as well and is given the name Eunice in the film. The Bride is voiced by Fran Drescher in the film.     2014: I, Frankenstein is a more action-based adaptation, which includes Frankenstein's monster, now named Adam, and a centuries old feud between two immortal races.     2015: Victor Frankenstein tells the story from Igor's point of view.     2015: Bernard Rose's Frankenstein is a modern-set adaptation of the novel, with an emphasis on portraying elements which have not typically been included in screen adaptations, particularly the monster's intelligence and organic (as opposed to reanimated) genesis. In the film, Victor Frankenstein and his wife Elizabeth create the monster by manipulating DNA instead of reviving corpses, and the film unfold from the monster's point of view.[11]     2019: Depraved is a modern adaptation of the novel written and directed by Larry Fessenden and centering on a soldier suffering from PTSD who creates life in a Brooklyn loft.[12] Parodies and satires     Between 1921 and 1922 HP Lovecraft wrote the serialized "Herbert West Reanimator" in six parts, as a satirical send up of Mary Shelley's original novel.     In the 1964 cartoon Dr. Devil and Mr. Hare, a Frankenstein monster robot beats up both the Tasmanian Devil and Bugs Bunny.     A 1965–1968 cartoon series featured the over-nice Milton the Monster and "Fangenstein".     In a 1968 episode of The Inspector entitled "Transylvania Mania", a smart Dracula-like character and a stupid Frankenstein-like creature try to steal the Inspector's brain to put it in a new creature that the vampire is building.     The 1968 Beatles movie, Yellow Submarine, featured a scene with the Frankenstein Monster drinking a potion and becoming John Lennon.[13]     The 1970 cartoon Groovie Goolies featured Frankie, a friendly version of the Monster. Howard Morris did the voice work.     Franken Berry (1971), the mascot of the General Mills cereal of the same name, is a friendly parody of the Monster (cartoon and movie clip versions of the actual Frankenstein Monster have appeared in some commercials).     The Mel Brooks and Gene Wilder comedy Young Frankenstein (1974) borrows heavily from the first three Universal Frankenstein films, especially Son of Frankenstein. The production used many of James Whale's original laboratory set pieces and employed the technical contributions of their original creator, Kenneth Strickfaden. Wilder portrays Dr. Frankenstein's American grandson, Frederick, while Peter Boyle plays the monster. A Turkish remake, Sevimli Frankestayn was released in 1975. Brooks later adapted his film for musical theater. The musical Young Frankenstein opened on Broadway in November 2007.     The Rocky Horror Picture Show (1975) was a musical parody of the story. In this twisted comedic tale, Dr. Frank N. Furter creates a creature for his own pleasure (named 'Rocky') and finds that his creature has heterosexual lusts as well.     In the 1976 live-action Saturday morning show, Monster Squad, three monster statues from a wax museum come to life to fight crime, Dracula, Bruce W. Wolf (a werewolf), and Frank N. Stein (Frankenstein's monster). The monster was portrayed by Michael Lane     The 1995 Disney Mickey Mouse short Runaway Brain features Mickey going to the nefarious Dr. Frankenollie and having his brain switched with a monster's.     The 1982 young adult novel Frank and Stein and Me by Kin Platt has the protagonist meet the strange Dr. Stein and his hulking creature Frank while on the run from smugglers. In the novel Frank is described as an accident victim that Dr Stein has saved from death and rebuilt. The book features a running joke with Stein being confused by references to Frankenstein, being unfamiliar with the story.     The 1985 teen comedy Weird Science stars two high school students, who are inspired by the original Universal film to create through a Memotech MTX512 home computer a virtual idealistic girlfriend, but the situation degennperates when they, hacking into a government mainframe for more power and engaging in a weird ritual, end up creating an actual girl. The film and the music video for the theme and the song of the same name by Oingo Boingo features a clip of the "It's Alive!" scene and frontman Danny Elfman doing an impression of Dr. Frankenstein in the music video.     Frankenhooker (1990) is a parody of the Universal films in which "Jeffrey Franken" gathers body parts from various streetwalkers in order to build the "perfect" woman. This same concept was borrowed for 2006's Perfect Woman (mentioned above).     The Tim Burton films Frankenweenie bear many references to the Frankenstein story.     A 2001 short film called Frankenthumb, directed by Steve Oedekerk, a parody of the 1931 film told with thumbs with superimposed faces and elaborate miniature sets.     Return of the Killer Tomatoes (1988) includes a scene in which the lead character is watching a movie called Frankenstein's Mummy (as a spoof of the 1930s sequel titles) on nighttime television. Return also features a character named Igor who parodies the "hunchbacked assistant" cliche upon his first appearance in the film.     Frank Enstein (1992) is a direct-to-video children's film about a robot named "Frank Enstein" who goes on an adventure.     The Addams Family (2019 film) features a scene where Wednesday brings the dead frogs in science class back to life a la Dr. Frankenstein in a parody of the 1931 film. Television derivatives The Frankenstein story and its elements have been adapted many times for television:     The anthology series Tales of Tomorrow (1951–53) featured a half-hour adaptation starring Lon Chaney Jr. as an atomically animated monster.     The Moosylvania episode of Rocky and His Friends showed Boris and Natasha attempting to pass off some small Western town as Washington, D.C....and the Capitol Building is topped off with a statue of Frankenstein's Monster!     A 1959 Hammer Film Productions half-hour pilot episode called Tales of Frankenstein. Anton Diffring played the Baron, and Don Megowan his creation. Curt Siodmak directed.     Boris Karloff reprised his role wearing the Frankenstein's monster makeup in a 1962 episode of Route 66 entitled Lizard's Leg and Owlet's Wing for Halloween. Also appearing in the episode were Lon Chaney Jr. as both the Wolf Man and The Mummy, and Peter Lorre.     Universal produced a television sitcom from 1964 to 1966 for CBS entitled The Munsters with Fred Gwynne as Herman Munster, a character physically resembling Universal's cinematic depiction of Frankenstein's monster, who was the patriarch of a family of kindly monsters. The rest of the family included a grandfather resembling the Universal Dracula (who may actually be Dracula), a wife that resembles one of the brides of Dracula, and a werewolf son. The Munsters' house at 1313 Mockingbird Lane can still be seen on the Universal Studios' backlot tour at Universal Studios in Universal City, California.     In the 1960s series The Addams Family, the family butler was Lurch, who looked and behaved very much like the creature. Asked about his father in an episode of The Addams Family (1992 TV series), Lurch smiled and replied, "He put me together!" His vocabulary was limited, much like Boris Karloff's creature, but he became iconic for the catchphrase, "You rang?"     The 1965 Doctor Who serial The Chase features a sequence set in what appears to be a mysterious old house where various horror film monsters, including Frankenstein's monster, menace first the Doctor and his companions and later the Daleks. The house is subsequently revealed to be a Haunted House exhibit at an event entitled the "Festival of Ghana, 1996"         A 1976 Doctor Who serial, The Brain of Morbius, has a Time Lord criminal brought back to life by a mad scientist, using the Time Lord's brain and a body composed of various alien races who had crashed onto the planet where Morbius' brain had been stored since his defeat.         The regeneration sequence of the seventh Doctor, Sylvester McCoy, into the eighth incarnation, Paul McGann, in the 1996 TV movie Doctor Who is set in a hospital morgue. The night attendant at the morgue is watching the 1931 Frankenstein in the next room, and scenes in which the monster is brought to life are intercut with images of the Doctor's "resurrection", his appearance out of the storage room then causing the attendant to pass out.     Milton the Monster (1965–67) was a cartoon character developed shortly after The Munsters about a kind-hearted Frankenstein monster who famously "flipped his lid" (emitted steam like a whale's blowhole) when angered, and who was constantly nearly kicked out of the lab by his scheming creator.     In the 1966 animated series Frankenstein Jr. and The Impossibles, a boy scientist Buzz Conroy and his father Professor Conroy fight supervillains with the aid of a powerful heroic robot named "Frankenstein Jr." who is like a mix between "Gigantor" and Frankenstein's monster.     The Gothic drama Dark Shadows featured a plotline running from April 1968 until December 1968 in which an artificial man named Adam is stitched together from corpses and reanimated using the life force of vampire Barnabas Collins.     The 1968 Thames series Mystery and Imagination featured an adaptation starring Ian Holm as both Frankenstein and his creation.     The 1970 Saturday morning cartoon series Groovie Goolies was a parody of both the Universal monsters and Rowan and Martin's Laugh-In. The leads were The Monster Trio of Drac, Wolfie, and Frankie, a friendly version of the Monster. Howard Morris did Frankie's voice.     The 1971 Canadian series The Hilarious House of Frightenstein included a failed Frankenstein's-monster-like creation named Brucie who needed to be revived by Count Frightenstein in order to return from exile to Transylvania.     Frankenstein's monster was one of the monster trio from various skits on The Electric Company, portrayed by Skip Hinnant.     Dan Curtis' 1973 adaptation had Robert Foxworth as Frankenstein and Bo Svenson as the Creature.     A 1973 Universal production, Frankenstein: The True Story, was more an amalgamation of various concepts from previous films than a direct adaptation of the novel. It starred Leonard Whiting as Frankenstein and Michael Sarrazin as the Creature, with a star supporting cast including James Mason, David McCallum, John Gielgud, Ralph Richardson, Agnes Moorehead and Jane Seymour.     "Dr. What's-his-name", an episode of the 1975 live-action series The Ghost Busters, features a long-suffering Doctor Frankenstein whose goal is to make his gigantic, childlike Creature more obedient with the brain of "the world's most gullible fool". Spenser (Larry Storch), of course, is the world's most gullible fool...     In the 1976 live-action Saturday morning show, Monster Squad, three monster statues from a wax museum come to life to fight crime, Dracula, Bruce W. Wolf (a werewolf), and Frank N. Stein (Frankenstein's monster). The monster was portrayed by Michael Lane.     In an episode of Fantasy Island, Dr. Anne Frankenstein, a descendant of Dr. Frankenstein, visits the island to try to find out about her ancestor. A being created by the elder scientist appears, and Anne is determined to take the being with her, naively believing that it will be treated with proper care in the 1980s.     CBS Television aired a 1979 series starring Jack Elam as Frank (The Monster) and Jeffrey Kramer as Ted Stein, a descendant of Dr. Frankenstein, called Struck by Lightning.[14]     In an episode of The World's Greatest Super Friends, the Super Friends battle Dr. Victor Frankenstein and three of his monsters, one with all of the powers of Superman, Wonder Woman and Batman.     The 1980s cartoon Drak Pack featured Frankie, a descendant of the Monster who could assume his form as a superhero guise.     One of Arale's classmates in Dr. Slump was named Monsuta (aka Frank).     A 1984 Yorkshire Television version starring Robert Powell as Victor, David Warner as his creature, and Carrie Fisher as the doomed Elizabeth.     An episode of The Catillac Cats has Riff Raff as a mad scientist about to be beaten up by Mungo/Frankenstein's monster.     In Dragonball, young Goku befriends a cyborg named Number 8 (whom he nicknames Ha-chan) who was similar in appearance to Frankenstein's monster.     (1987) In The Comic Strip, he has a son named Franky who attends Camp Mini Mon.     In the Scooby-Doo television movie Scooby-Doo and the Ghoul School, Scooby, Shaggy and Scrappy-Doo meet the daughters of several monsters at "Miss Grimwood's School for Girls". One of the 'girl ghouls' (as they are called in the movie) is named Elsa Frankenteen, her father being Frankenteen Sr. Frankenteen Sr. is the best representation of Boris Karloff's creature, with his daughter more closely resembling Elsa Lanchester's interpretation of the Bride of Frankenstein. 'Frankenteen' is also a portmanteau of 'Frankenstein' and 'teen' because Elsa is a teenager.     The New Adventures of Winnie the Pooh episode "Frankenpooh" is a parody in which Pooh is the monster and Piglet is the scientist who made him.     In The Simpsons 2003 installment of the Treehouse of Horror series, Treehouse of Horror XIV, there is a segment entitled "Frinkenstein", whereby Professor Frink uses his universal multi-tool to resurrect his dead father, who then goes on a rampage stealing organs from others until his son is forced to kill him. In Treehouse of Horror XVIII, Bart wears a costume resembling the monster. In Treehouse of Horror XX, he appears as one of the monsters at Homer and Marge's Halloween party and in Treehouse of Horror XXI as the monster Frink created in his lab. Also in Treehouse of Horror III, Lewis is wearing a Halloween costume of the monster at the Halloween party with Bart and Lisa.     As played by Phil Hartman, The Monster was also a popular recurring comedic character on Saturday Night Live in the early 1990s, often delivering the line, "Fire bad!"     The 1995 Fox "Tiny Toon Adventures" special Tiny Toons' Night Ghoulery offers about a dozen shorts introduced in the style of the 1970s program Night Gallery, with Babs Bunny stepping in for Rod Serling. One of the segments, "Frankenmyra & Dizzigor", is a parody of Frankenstein.     An episode of Darkwing Duck had a spoof called "Steerminator" in which dead supervillain Taurus Bulba is rebuilt into a cyborg.     A 1992 production for the American TNT cable network, with Patrick Bergin as Victor and Randy Quaid as his hapless creation.     An episode of Goof Troop had a spoof called "Frankengoof"; despite the title, the monster is a mirror image of Black Pete.     There were two instances where the concept of Frankenstein's monster was used in the Super Sentai and Power Rangers series. In Kyōryū Sentai Zyuranger, the monster Dora Frank was an obvious nod to the monster, as well as its Mighty Morphin Power Rangers counterpart, which was simply referred to as the "Frankenstein Monster". Then in Mahou Sentai Magiranger one of the main villains, Victory General Branken, was inspired by Frankenstein's Monster. Branken's Power Rangers: Mystic Force counterpart was Morticon.     In a 1993 episode of Mighty Morphin Power Rangers, Frankenstein's Monster was created by Rita Repulsa to destroy the rangers.     A season five episode of The X-Files, "The Post-Modern Prometheus" retold the Frankenstein legend updated with genetic engineering technology. The episode, the only one of the series filmed exclusively in black and white, was inspired by the film adaptations of the legend; the creature, shunned by the mad scientist who created him, seeks a mate in a small town.     In the 1994 animated series Monster Force, Frankenstein's monster alias "Frankenstein" or "the Monster" becomes humanity's ally in a desperate fight against evil Creatures of the Night.     The comedy series called Weird Science (1994–98) was inspired by the Frankenstein storyline (just as the 1985 film of the same name). The series follows the adventures of two high school students who design their "perfect" woman simulation by filling their computer with various forms of data and images, which is accidentally turned into life after a freak lightning storm.     "Frankenbone", a 1995 episode of the PBS children's series Wishbone, had an adaptation of Shelley's novel that stayed true to the original story with the canine star in the role of Victor and Matthew Tompkins as the Monster.     The Animaniacs episode "Phranken-Runt", featuring Rita and Runt, parodied both the overall Frankenstein plot and elements of The Rocky Horror Picture Show.     The 1996-98 Fox Kids series Big Bad Beetleborgs (later Beetleborgs Metallix) featured a "hulking stitched-up" character named Frankenbeans, "brought to life" by David Fletcher. The zany character owes a great debt to Herman Munster and Peter Boyle in Young Frankenstein. Strangely, the character is celebrated every year on the Thursday before the last Friday of October on a day called Frankenbeans Thursday.[15]     The children's animated series Arthur has an episode depicting a reenactment of the night the novel was created. Titled Fernkenstein's Monster, it was described as: "Inspired by Mary Shelley's Frankenstein, Fern tells a tale so scary that Arthur and the gang become afraid of her. Can Fern prove her skills as a writer and create a different story that's fun instead of frightening?"     "Nightmare! The Birth of Horror (U.S. title: Nightmare! The Birth of Victorian Horror)" was a BBC miniseries with Professor Christopher Frayling. There were four episodes on classic horror tales: Dracula, Frankenstein, Dr. Jekyll and Mr. Hyde, and The Hound of the Baskervilles. Each episode began on looking at the author's nightmares or encounters with the nightmarish and how it inspired their novel.     Buffy the Vampire Slayer has also faced "Frankensteinian" creations. In the season two episode "Some Assembly Required, the creation was Darryl Epps, a reanimated high school jock whose brother reanimated him after an accident, but after his brother refused to complete a project to create a bride for him as the rapid decay rate of brain tissue would have required him to actually kill someone, Darryl allowed himself to die in a fire rather than have to live alone. The season four Big Bad was Adam, a conglomeration of robot, human, and demon parts created by a government scientist in charge of a demon research facility who rebelled against his creator, who he referred to as 'Mother', mirroring the statements of the Creature, who believed that Frankenstein should have been a better father, and tried to create a new society of creatures like him before he was destroyed.     In the Histeria! episode "Super Writers", at the end of a sketch about Edgar Allan Poe publishing "The Raven", Mary Shelley appears (portrayed by Charity Bazaar dressed as the Bride of Frankenstein) to pitch the book to Sammy Melman.     An episode of SpongeBob SquarePants called "Frankendoodle" involves SpongeBob using a human artist's "magic pencil" to create a living, evil doodle of himself.     The 2000 anime television series Argento Soma draws a large amount of inspiration from Frankenstein. The series' plotline revolves around an ambitious scientist assembling a giant silver creature from scattered components. The giant (aptly nicknamed "Frank") possesses a tender and compassionate nature but has a bizarre and hideous exterior and the potential to inflict death and destruction.     In the Halloween special of another Nickelodeon series, The Adventures of Jimmy Neutron: Boy Genius, Jimmy's father, Hugh, mistakes an invention for a game he calls "Name that Monster" and is transformed into a Frankenstein's monster-like being.     The Duck Dodgers episode "Castle High" revolved around the main character explaining to I.Q. High what had happened to his castle, the flashback based on the story.     A 2004 production titled Frankenstein for the American USA Network starred Thomas Kretschmann as Victor and Vincent Pérez as his original creature, named "Deucalion" (because he was the "son" of the "Modern Prometheus". It was not a direct adaptation but a postmodern gothic reinvention set in present-day New Orleans.     The Monster was a recurring character on Late Night with Conan O'Brien (played by Brian Stack), mainly in the segment "Frankenstein Wastes a Minute of Our Time" and as a Jewish character.     The Cartoon Network series Robot Chicken featured a Frankenstein parody character called "Frank Enstein".     In Ben 10, Transylians are a race of electrokinetic aliens from Anur Transyl that resemble Frankenstein's monster, with Frankenstrike (formerly known as Benvicktor) as their DNA sample for the Omnitrix.     In the series Kamen Rider Kiva, Dogga's race, the Franken, is an obvious nod to the monster, along with Kiva's Dogga form.     In the original Transformers episode "Autobot Spike", Sparkplug Witwicky creates an Autobot using mismatched robot parts that he names Autobot X, but the robot is a mindless monster and goes berserk. Later, Spike Witwicky is injured and his consciousness is transferred to the giant robot body. Spike makes several direct references to the invention as a "robot Frankenstein monster".         Also, the character of Rampage in the Transformers: Beast Wars series has a great many similarities to Frankenstein's monster, especially his origins as a product of science gone horribly wrong; the main differences are his status as an irredeemable psychopath and that his body wasn't created by piecing others together. In a later episode, Megatron's cloning of Dinobot bears a strong resemblance to the creation of the monster.     In an episode of Time Warp Trio entitled Nightmare on Joe's Street, Mary Shelley accidentally draws her first impression of the monster in The Book, causing her dream to become a reality. Unlike typical versions of the creature, which have one-colored complexions, this render of the monster is seen with patchwork-colored skin, signifying his construction from various corpse parts.     In The Super Mario Bros. Super Show! episode "Koopenstein", Bowser (under the guise of Dr. Koopenstein) plans to use Mario and Luigi's brains for a robotic Koopa Troopa he has made, but through the result of a horrific accident, he mutates into a Frankenstein's Monster-esque version of himself and proceeds to rampage through a nearby village. A live action segment from another episode, titled "The Mario Monster Mash", features Mario and Luigi meeting Dr. Frankenstein (played by Eugene Liebowitz) and his monster, where a laboratory mishap causes Mario's brain to be switched with the monster's.     In a 15-minute episode of Sonic the Hedgehog, Rotor the Walrus, assisted by Antoine, creates a robot named Ro-Becca. Antoine accidentally activates Ro-Becca and she falls in love with him.     Two segments from Braingames showed Frankenstein's monster. One was "Splatnarnt", in which two scientists assembling a Frankenstein's-monster-like creature using interior body parts whose names were scrambled; the idea was for the viewer to unscramble the names. The other was "Whosamawhatchamacallits", in which Frankenstein's monster was the last character portrayed in the game.     An animated segment on Sesame Street showed a mad doctor bringing to life a Frankenstein's monster-like creature that was actually a capital letter H.     Dr. Frankenstein and Frankenstein's Monster appeared in Mad Monster Party?, Mad Mad Mad Monsters and Alvin and the Chipmunks Meet Frankenstein, while Frankenstein's Monster appeared in Scooby-Doo and the Reluctant Werewolf.     An ITV modern adaptation simply titled Frankenstein was aired on 24 October 2007, where a mother uses lab equipment to try to create a "body of organs" for her dying eight-year-old son.     The fifth-season episode of Highlander: The Series titled The Modern Prometheus has Mary Shelley draw her inspiration from two immortals battling during the long winter in the Swiss Alps. Upon seeing Byron (in the series secretly an Immortal) restored to life by lightning, she asks Methos why her child rots in her grave while Byron simply gets up and walks away. Methos admonishes her to pity their kind, for life can go on when it should not. The isolation he describes enables Shelley to write her classic.     In Star Trek:The Next Generation Thine Own Self android Lt Commander Data suffers amnesia as a result of a power surge and is misunderstood as a monster by natives of a Primitive society.     Two animated segments from Sesame Street teaching basic geography were hosted by Dr. Geo and his Frankenstein-like unnamed assistant who would mimic everything Geo said behind his back. One segment talked about the concept of a globe and the other about mountains.     In a season 3 episode of the NBC television series Chuck, Chuck refers to John Casey as "Trank-enstein", due to the NSA colonel's love of weaponry (in this case, tranquilizer darts) and typical brutish mannerisms.     In the Adult Swim animated series Minoriteam, the title characters frequently fought an opponent named Racist Frankenstein.     Frankenstein's monster and the Bride of Frankenstein's monster are the father and mother of Frankie Stein in Monster High.     Frankenstein's Wedding was a live television adaptation broadcast on BBC Three on 19 March 2011.     2009: Wizards of Waverly Place, episode 1 season 3 "Franken Girl", Justin's monster.     In an episode of the cartoon series The Venture Bros., entitled "¡Viva los Muertos!", Dr. Venture reanimates the corpse of a Monarch henchman killed by Brock Samson, naming the creature "Venturestein".     In the television series Once Upon a Time, David Anders plays the mysterious Dr. Whale who is revealed to be the "real life" counterpart of Dr. Victor Frankenstein in season two.     Episode 7x07 of Criminal Minds deals with a serial killer who murders young men and removes their body parts in an attempt to build a new body for his deceased brother.     In the anime/manga Soul Eater, Professor Frank N. Stein is a teacher and meister at the DWMA (Death Weapon Meister Academy).     In 2014, PBS and Pemberley Digital created a webseries based on the original novel, called Frankenstein, M.D.; the series brings the story to modern days, following the medical student who subsequently becomes Doctor Victoria Frankenstein.[16]     In the Supernatural season 10 episode Dark Dynasty, Eldon Styne reveals that his family, the Styne Family and the main enemies of Book of the Damned, Dark Dynasty and The Prisoner are in actuality members of the House of Frankenstein, one of the oldest families in Europe.     Victor Frankenstein, the Creature and the Bride are major characters of the Showtime series Penny Dreadful.     In the television series Grimm, the sixth season episode "The Son Also Rises" features a group of scientists attempting to bring the son of one of their number back to life in a Frankenstein-esque experiment, but their work goes wrong when the reanimated body was created using the body parts taken from dead wesen, causing an extreme reaction that provokes the scientists to try and kill him, prompting the boy to go after them in revenge.     In the first episode of the animated television series VeggieTales, "Where's God When I'm Scared?", the plot of the first story revolves around Junior Asparagus's fear of an in-universe version of Frankenstein's Monster called "Frankencelery."     The Halloween episode of Animaniacs (2020 TV series) had a segment parodying Frankenstein called "Bride of Pinky", in which Dr. Brainenstein builds a female monster in a plan to take over his village, only for Pee-Gor to fall in love with her.     Phineas and Ferb had a Frankenstein parody in "The Monster of Phineas-and-Ferbenstein" in which the boys' ancestors build a giant monster version of Perry. Also, the episodes "One Good Scare Ought to Do It!" and "That's the Spirit!" both feature Ferb dressed as Frankenstein's monster, with Phineas dressed as Dr. Frankenstein in the former.     In the Mickey Mouse (TV series) Halloween special "The Scariest Story Ever!", the first story Mickey tries to scare his and Donald's nephews with is a parody of Frankenstein, with Goofy, Donald and Mickey as Dr. Goofenstein, Duckor and the monster, respectively.     Both the shows Mister Magoo and The Famous Adventures of Mr. Magoo had adaptations of Frankenstein.     In the Cloudy with a Chance of Meatballs (TV series), there is an episode called “Flintenstein” when Flint Lockwood and the class watch the original Frankenstein movie. However, Flint is disappointed as he considers it to be “Hollywood science”, as Flint believes that Dr. Victor Frankenstein in the movie doesn't behave the way normal scientists would and says he makes other inventors look bad. However, to prove it's actual science, he just grabs whatever junk he can find in the lab and then Flint's creation comes to life after the lab is struck by a lightning bolt. However, Flint's monster is really kind and friendly and calls him “Daddy”, despite Flint trying his best to prove that this monster is not his son. After hanging out though, Flint feels close to his creation until the citizens of Swallow Falls form a mob and try to get rid of him. By the end however, Flint has to transport his creation into another universe with a portal machine and finds a lover.     Both versions of Wacky Races have a parody of the monster as half of the Gruesome Twosome. Other derivatives Music     The 1962 novelty song "Monster Mash" is narrated by a Dr. Frankenstein-like character, who talks about his monster learning a new dance.     "Frankenstein" is a 1973 instrumental by the Edgar Winter Group - so named because it was constructed from bits and pieces of several different takes.     The video for Yazoo's song "Don't Go" featured a Frankenstein theme.     In the video for her 1983 song "Telephone (Long Distance Love Affair)", Sheena Easton is pursued through a haunted house by Frankenstein's monster.     In The Dead Milkmen video "Big Time Operator" lead singer Rodney is depicted as FrankenElvis.     For their 1987 single, "Doin' It All for My Baby", Huey Lewis and the News used a Frankenstein theme in a video performance.     The lyrics of T'Pau's 1987 song "China in Your Hand" reference Frankenstein.[17]     "Frankenstein" is a song by funk metal band Clutch from Pure Rock Fury.     "Dr. Stein", a song produced by the power metal band Helloween for their 1988 album Keeper of the Seven Keys, Pt. 2, is based on Victor Frankenstein and his monster.     Hillbilly Frankenstein was the name of a band formed in 1988 in Athens, Georgia.     Rock musician Alice Cooper recorded a song titled "Teenage Frankenstein" for his 1986 album Constrictor, and recorded "Feed My Frankenstein" for his 1991 album Hey Stoopid. The latter song was also featured in the 1992 film Wayne's World.     Electric Frankenstein is an American punk rock band from New Jersey.     Frankenstein Drag Queens From Planet 13, a horror punk band formed in North Carolina in 1996.     How I Made This, the multimedia musical composition of Ukrainian born Russian composer Evgeni Kostitsyn, won first place at the First International Competition for Composers in the Ukraine in 1998.     Sam Cooke's song "Another Saturday Night" includes a verse that goes: "Another fellow told me / He had a sister who looked just fine. / Instead of being my deliverance, she had a strange resemblance / To a cat [guy] named Frankenstein."     Frankenstein Girls Will Seem Strangely Sexy is the title of a 2000 album by the band Mindless Self Indulgence.     "Frankenstein" is a song by American Metal band Iced Earth from their 2001 album Horror Show, which features songs themed after classic movie monsters.     "Some Kind of Monster" is a 2004 song by Metallica which uses themes from Frankenstein.     "Jesse James meets Frankenstein's Daughter" is a song by American Folk musician Space Mandino.     The Rammstein song "Mutter" is about a monster that kills its creator or mom in this case.     The musical The Rocky Horror Picture Show includes a song called "There's A Light (Over at the Frankenstein Place)"     The Abby Travis music video for her 2011 single Lightning Squared is a cartoon parody of the Frankenstein story, with the monster and his Bride as doomed lovers forever on the run from an angry mob.     The punk band Crass referenced Frankenstein in the song "Reject of Society".     Dr. Frankenstein a concept album/rock opera written by Cuban/Mexican musician José Fors, was based on both the original novel and James Whale's films. It was released in 2009.     East Bay hardcore punk band The Nerve Agents included a song called "Planet Frankenstein" on a split EP they released in collaboration with New York hardcore punk band Kill Your Idols in 2000.     Toy Love released a 1980 single, "Bride of Frankenstein".     The German band Oomph!'s song "Brennende Liebe" details a sort of Frankenstein scenario, and the video features Frankenstein, his wife, and the scientist and his associates.     The rock band Glass Wave included a song about Frankenstein's monster (entitled "Creature") on their 2010 album. The lyrics are sung through the creature's voice.     Kevin Max's song "Jumpstart Your Electric Heart", from his 2005 album The Imposter is a modern-day retelling of Shelley's Frankenstein.     In the "Weird Al" Yankovic song parody, "Perform This Way", Frankenstein was mentioned on the lyrics.     Pop singer Chisu released a single titled "Frankenstein" in 2012 with Finnish lyrics. It was also used as the theme song for a dark comedy TV series in Finland, Helsingin herra, in 2012.[3]     Bob Dylan's 2020 song "My Own Version of You", featuring a narrator who wants to "bring someone to life" using the body parts of disparate corpses, was inspired by Shelley's novel and makes several explicit references to it in the lyrics.[18] Radio     On August 3, 1931, Alonzo Dean Cole adapted the novel as a 30-minute episode of his program The Witch's Tale. It was redone on March 7, 1932 and July 17, 1935.     In 1932, George Edwards produced a 13-part, 3-hour series for radio. It follows the structure and spirit of the novel closely.     On January 8, 1944 it was adapted as a 30-minute drama on the syndicated program The Weird Circle.     On December 13, 1947 it was adapted as a 30-minute drama on the program Favorite Story.     In 1952, an adaptation was broadcast on NBC Presents: Short Story.     A 30-minute drama version was broadcast on Suspense on November 3, 1952 starring Herbert Marshall and again on June 7, 1955 starring Stacy Harris.     In 1994, BBC Radio 4 broadcast a two-part adaptation written by Nick Stafford and directed by Claire Grove, with Michael Maloney as Frankenstein and John Wood as The Creature.[19]     In 1999, the Radio Tales drama series presented an adaptation of Mary Shelley's novel for National Public Radio.     In 2012, BBC Radio 4 broadcast a two-part adaptation as part of their Gothic Imagination series written by Lucy Catherine and directed by Marc Beeby, with Jamie Parker as Frankenstein, Shaun Dooley as The Monster and Susie Riddell as Elizabeth.[20]     In 2014, Big Finish Productions released an audio version by Jonathan Barnes directed by Scott Handcock[21] starring Arthur Darvill as Victor Frankenstein, Nicholas Briggs as Waldman/The Creature, Geoffrey Beevers as Alphonse Frankenstein/DeLacey, Georgia Tennant as Elizabeth and Terry Molloy. Parodies have been broadcast on radio:     On January 12, 1945 Boris Karloff guest-starred on Duffy's Tavern and appeared in a parody of Frankenstein.     On January 27, 1957 The Goon Show broadcast The Curse of Frankenstein (which actually had nothing to do with the "Frankenstein" story except for the title).     On March 10, 1968 the BBC Radio comedy series Round the Horne broadcast as part of its "Movies Gone Wrong" segment "Frankenstein's Monster". Stage     Presumption; or, the Fate of Frankenstein, written by Richard Brinsley Peake, was produced at the English Opera House in London in 1823.     Frankenstein, or The Vampire's Victim is an 1887 musical burlesque composed by Meyer Lutz and written by Richard Henry.     Frankenstein is an experimental theatre play created by The Living Theater, a company founded in 1947 and originally based in New York, but mainly touring in Europe in the late 1960s.     A Broadway adaptation of the story by Victor Gialanella played for one performance on January 4, 1981 (after 29 previews) and was considered the most expensive non-musical flop ever produced to that date.[22] However, the New York Times writer Carol Lawson observed that "critics have remarked that Mr. (Bran) Ferren's work on this play (the special effects & sound designer), which included the spectacular destruction of Dr. Frankenstein's laboratory by his monster, had the lavishness that audiences have come to expect in films, but have never before seen in the theater." It is noteworthy for John Carradine's playing the part of the blind "DeLacey". Also starring were David Dukes as "Victor Frankenstein", Dianne Wiest as "Elizabeth", John Glover as "Henry Clervel", and Keith Joachim as "The Creature".[23][24]     The Guthrie Theater in Minneapolis commissioned Barbara Field to write a response/adaptation to Shelley's novel. The play, called "Frankenstein - Playing with Fire," went on a national tour in early 1988[25] before playing at the Guthrie during the summer of 1988.[26] The Guthrie restaged the play in September–October 2018.[27][28]     FRANKENSTEIN, a musical theatre adaptation by Eric B. Sirota (book, music & lyrics) opened at St. Luke's Theatre, an Off-Broadway venue in NYC on Oct. 9 2017, and continues its open run there. It is described as "a sweeping romantic musical about the human need for love and companionship." www.TheFrankensteinMusical.com     Joined At The Heart is a musical with music & lyrics by Graham Brown & Geoff Meads, book by Frances Anne Bartam and directed by Frances Brownlie. It tells the love story of Victor Frankenstein and his step sister Elizabeth, a young orphan girl taken in by Victor's parents and cared for as if she were their own daughter. When Victor's mother dies, he vows to end the suffering that death brings by pursuing eternal life. Joined At The Heart reached the final of the Worldwide Search for Musicals competition. The show was produced at The Junction 2 in Cambridge, UK from 1–4 August 2007 and at the Edinburgh Fringe in Scotland from 12–18 August 2007.     Young Frankenstein, a musical theatre adaptation of Mel Brooks' Young Frankenstein, opened in November 2007 and closed in January 2009.[29]     Frankenstein - A New Musical, a pop-opera adaptation which adhered closely to the original novel, opened at 37 Arts Theatre, New York, in Autumn 2007 and closed in December 2007. The first UK performance was at The Stables Theatre Hastings in May 2009. Music was by Mark Baron, book by Jefferey Jackson and Gary P Cohen.[30]     A performance storytelling production of Frankenstein is currently touring both in the UK and internationally. It is performed by storyteller Ben Haggarty and the composer, singer and musician Sianed Jones.[31]     Frankenstein, a play adapted by Nick Dear from the original novel, premiered at the Royal National Theatre in 2011. This production originally starred Benedict Cumberbatch and Jonny Lee Miller alternating in the roles of Victor Frankenstein and the Creature. A recording of the performance was broadcast live in cinemas worldwide in March 2011. It was later produced in the Sydney Opera House and the Denver Center for the Performing Arts.     A Korean musical adaptation of the book, written and directed by Wang Yong-beom and songs by Lee Seong-joon, premiered on March 11, 2014.[32] The show achieved unprecedented level of success for an original domestic production, and future Japanese and Chinese productions are on the way,[33]     The Royal Ballet's production of 'Frankenstein' in collaboration with San Francisco Ballet was produced and choreographed by Liam Scarlett, score by Lowell Liebermann and costume and set by John Macfarlane, with Federico Bonelli as Victor, Laura Morera as Elizabeth and Steven Mcrae as 'The Creature' on opening night. It was also broadcast live to cinemas on 18 May 2016. The production premiered 4 May 2016 and the run lasted until 24 May 2016. The ballet is being revived for the first time in the 2018/2019 season from the 5–23 March 2019 with a run of 9 shows.[34] Novels The story of Frankenstein and "Frankenstein's monster", has formed the basis of many original novels over the years, some of which were considered sequels to Shelley's original work, and some of which were based more upon the character as portrayed in the Universal films. Yet others were completely new tales inspired by Frankenstein.     1913: Edgar Rice Burroughs' The Monster Men features a scientist going to a remote Indonesian island, there to try to create an artificial human being. He actually creates no less than thirteen of them - but there are many problems.     1957: French screenwriter Jean-Claude Carrière wrote six Frankenstein novels in 1957 and 1958 for Angoisse, the horror imprint of publisher Fleuve Noir, under the house pseudonym of Benoît Becker (with plotting assistance from Guy Bechtel for the first novel).         1. La Tour de Frankenstein [The Tower of Frankenstein] (FNA No. 30, 1957)         2. Le Pas de Frankenstein [The Step of Frankenstein] (FNA No. 32, 1957)         3. La Nuit de Frankenstein [The Night of Frankenstein] (FNA No. 34, 1957)         4. Le Sceau de Frankenstein [The Seal of Frankenstein] (FNA No. 36, 1957)         5. Frankenstein Rôde [Frankenstein Prowls] (FNA No. 41, 1958)         6. La Cave de Frankenstein [The Cellar of Frankenstein] (FNA No. 50, 1959)     Carrière followed the footsteps of the Monster, christened Gouroull, as he made his way back from Iceland, to Scotland, and then Germany and Switzerland, from the late 1800s to the 1920s. The plots have the Monster pursuing his own, evil agenda, unafraid of the weaker humans. Even people who try to help or reason with him are just as likely to be killed by the inhuman fiend. Two further novels were published in the series by Black Coat Press. The books, The Quest of Frankenstein and The Triumph of Frankenstein, were written by Frank Schildiner.     1972: Popular Library published a series of nine novels called The Frankenstein Horror Series. Despite the title of the series, only the first book, The Frankenstein Wheel (catalog #01544), by Paul W. Fairman, actually concerns the further exploits of Frankenstein's creation. The remaining eight books were unrelated stories using different horror themes.     1973: Frankenstein Unbound, by Brian Aldiss, combining the titles of Mary Shelley's novel with Percy Bysshe Shelley's Prometheus Unbound (1820), sends a time traveler from the 21st century back to Geneva in 1816, when Mary Wollstonecraft Godwin (as she was known then) was engaged in writing the original Frankenstein story.     1975: Robert J. Myers wrote a sequel to Shelley's novel called The Cross of Frankenstein (ISBN 0-397-01086-9), in which the illegitimate son of Victor Frankenstein finds the creature alive and well and plotting the destruction of mankind in the wilds of America in 1816. Myers followed up the novel in 1976 with a second novel called The Slave of Frankenstein (ISBN 0-397-01126-1), where racism is added to the creature's long list of sins as Frankenstein's son again thwarts his plans to create a race of perfect slaves in the pre-Civil War America of 1859. A third novel in the series was announced, but never published.     1978: Allan Rune Pettersson wrote two novels in 1978 and 1989         Frankenstein's Aunt         Frankenstein's Aunt Returns     1986: In The Frankenstein Papers, Fred Saberhagen retells Shelley's story (with significant modifications) from the monster's point of view. It is revealed that the novel had actually taken place during the American Revolution and Benjamin Franklin and his son play a major role in the novel. It is revealed through a series of letters, as well as the monster's journal, that the monster is actually an amnesiac humanoid alien who was disfigured by the electric explosion used in Victor's experiments, and that the creature that Victor had stitched together never in fact came to life. It is also revealed that Victor had performed the experiments under the behest of the sinister British nobleman Roger Seville, who had wished to create a race of supermen so as to form a colony of slaves and to defeat the American rebels. It is also implied that Seville and his hunchbacked assistant Small had murdered Victor's family in order to blackmail him, and that the novel was actually written by Robert Walton (who wanted to profit from the slave business) as a means to spread distrust to the monster. However, Benjamin rescues the alien and helps him regain his memory with the help of Cagliostro; the book ends with the alien departing Earth, and deciding that despite the cruelty men like Seville are capable of, men like Benjamin Franklin are the true examples of the human race.     1986: In Stephen King's It, the monster "It" takes the form of Frankenstein's monster.     1986: Margaret Tarner wrote an adaptation of the novel for elementary students as part of the Macmillan Readers series from Macmillan Publishers (ISBN 978-0435271060). An audiobook of this version was published in 1992 (ISBN 978-0435272876).     1994: Leonore Fleischer wrote a novelization of the Kenneth Branagh film.     1997: Frankenstein According to Spike Milligan is one of a series of parody novels by Spike Milligan. In this, Milligan crafts a bizarre story, with many gags based on specific moments and instances from the text of the novel, such as "I am self-educated: for the first fourteen years of my life I ran wild on the common. At the end of that time I fell exhausted to the ground."     2003: Jim Benton has written a series of children's chapter books about a female mad scientist that goes by the name Franny K. Stein     2004: Dean Koontz has written a series of Frankenstein novels: Dean Koontz's Frankenstein. These stories are set in modern-day New Orleans, looking at Victor Frankenstein and his monster (now known as Deucalion) having survived to the present day, with Deucalion recruiting a pair of New Orleans detectives to oppose the plans of Victor Helios (Frankenstein's modern alias) to destroy humanity and replace them with his 'New Race'.     2005: Joseph Covino Jr. wrote the first novel to a planned trilogy adapting and combining the characters and scenarios of the horror classics Frankenstein and Dracula, preserving the original stories of both perfectly intact without corrupting or distorting either: Frankenstein Resurrected.     2008: Peter Ackroyd's The Casebook of Victor Frankenstein is a postmodern retelling of the original story in which Victor Frankenstein encounters Percy Bysshe Shelley while studying in London. (ISBN 978-0-7011-8295-3)     2012: The Fear Index by Robert Harris uses artificial intelligence as a metaphor for Frankenstein's monster.     2017: William A. Chanler's Son of Terror: Frankenstein Continued, a direct sequel to Frankenstein that begins in the Arctic shortly after Victor's death. (ISBN 978-1541343085)     2017: The Strange Case of the Alchemist's Daughter by Theodora Goss depicts Adam as an antagonist to a group of "monstrous" women, each of whom "must contend with the monstrous bodies they've been given, in most cases against their will, by men acting on ideological impulse."[35] Comics Main article: Frankenstein (comics) The Monster has also been the subject of many comic book adaptations, ranging from the ridiculous (a 1960s series portraying The Monster as a superhero; see below), to more straightforward interpretations of Shelley's work. Dick Briefer's Frankenstein (1940–1954) Main article: Frankenstein (Prize Comics) In 1940, cartoonist Dick Briefer wrote and drew a Frankenstein's-monster comic book title for Crestwood Publications's Prize Comics, beginning with a standard horrific version, updated to contemporary America, but then in 1945 crafting an acclaimed and well-remembered comedic version that spun off into his own title, Frankenstein Comics. The series ended with issue #17 (Jan.-Feb. 1949, but was revived as a horror title from #18-33 (March 1952 - Oct.-Nov. 1954). The original Prize version served as catalyst for an intra-company crossover, where all characters starring in Prize Comics at the time teamed up to fight Frankenstein.[36][37] DC Comics Main article: Frankenstein (DC Comics) DC Comics' Movie Comics #1 (April 1939) featured an eight-page fumetti adaptation of the film Son of Frankenstein. The Monster appeared in Superman No. 143 (February 1961), in a story entitled "Bizarro Meets Frankenstein!" In 1973 the "Spawn of Frankenstein" appeared in the Phantom Stranger comic, written by Len Wein. The portrayal of the monster was as a reclusive, sympathetic character who had been living alone in the Arctic since the death of his creator. A 1995 Batman special called Batman: Castle of the Bat by Jack C. Harris and Bo Hampton amalgamates Batman and Frankenstein. Bruce Wayne fills the role of Victor Frankenstein, wishing to revive his deceased father. Having successfully done so, his creation becomes the monstrous "Bat-Man", a hulking figure in a rough analogue of the Batman costume who preys upon highwaymen, similar to the one who took the lives of the (this story's) parents of Bruce Wayne. Batman's butler Alfred Pennyworth is changed to a hunchbacked dwarf named Alfredo, filling the "Igor" role. In The Superman Monster (1999), Lex Luthor is Viktor Luther, the creator. He discovers the spacecraft that would have carried the infant Superman to Earth. Inside, however, is only the skeleton of a child. Using the Kryptonian technology, he is able to animate his (unintentionally) super-powered creature, which initially resembles Bizarro. The creature flees and is raised by the kindly couple Johann and Marta Kant. They name the creature Klaus, after their dead son. The story features the Lois Lane character becoming "the Bride" to Superman's Creature. DC Comics and Roy Thomas revived the character "The Spawn of Frankenstein" in Young All-Stars; he then appeared in Grant Morrison's Seven Soldiers of Victory. Here, Frankenstein is a Milton-quoting, gun-toting warrior battling to prevent the end of the world. In addition, DC's team of movie monster-esque soldiers known as the Creature Commandos featured a character that resembled the Universal Pictures version of Frankenstein's monster; Private Elliot "Lucky" Taylor was nearly killed after stepping on a land mine, but was grotesquely reconstructed into a "Patchwork Creature" (as designated by the Who's Who in the DC Universe entry on the Creature Commandos), and later rendered mute by a suicide attempt. Later, DC Comics debuted an unrelated superhero (and member of the Teen Titans) called "Young Frankenstein." In Warren Ellis and John Cassaday's Planetary, the protagonist, Elijah Snow, discovers an abandoned laboratory, filled with patchwork undead monsters. It is heavily implied that the lab belonged to Victor Frankenstein, and that, alongside Count Dracula, the Invisible Man, and Sherlock Holmes, Frankenstein had been part of a covert, 19th century conspiracy to shape the direction of the future. In the comic book Major Bummer, Louie defends the common misnaming of the monster as "Frankenstein": Dr. Frankenstein is, so to speak, the monster's "father", and it is only right that a son should have his father's family name. This is also the argument taken by the Seven Soldiers incarnation. In September 2011, The New 52 rebooted DC's continuity. In this new timeline, the Seven Soldiers' version of the character is re-established in the ongoing series Frankenstein, Agent of S.H.A.D.E.. Marvel Comics Main article: Frankenstein's Monster (Marvel Comics) The monster appeared as a foe to Marvel Comics' X-Men in issue #40 of their eponymous series (January 1968). In the story, written by Roy Thomas, the monster had various powers, including incredible strength, optic beams, and magnetized feet. He was an ambassador sent to Earth by aliens in the 1850s, but upon arrival, he went berserk. His fellow aliens followed him to the North Pole, where he was frozen. In the present, he was discovered by scientists and thawed. According to Professor X, this android was the inspiration for Shelley's novel. The Monster of Frankenstein, the first five issues of which (Jan.-September 1973) contained a faithful (in spirit at least) retelling of Shelley's tale before transferring the Monster into the present day and pitting him against James Bond-inspired evil organizations. The artist, Mike Ploog, recalled, "I really enjoyed doing Frankenstein because I related to that naive monster wandering around a world he had no knowledge of — an outsider seeing everything through the eyes of a child."[38] In Invaders #31, the Invaders, searching for the Human Torch and Toro, disappear in Switzerland. The Invaders’ investigation brings them face to fist with Frankenstein. A wheelchair-bound Nazi scientist and Japanese doctor plan to transplant said Nazi scientist's brain into Captain America's body. The Invaders have to fight Frankenstein in the issue (Frankenstein is dressed as a Nazi officer) Other publishers Classic Comics #27 (December 1945), reprinted in Classics Illustrated #26, had versions of the Shelley novel. Dell Comics published a superhero version of the character in the comic book series Frankenstein #2-4 (September 1966 - March 1967; issue #1, published Oct. 1964, featured a very loose adaptation/update of the 1931 Universal Pictures movie). In 1972, French comics publisher Aredit devoted seven issues of its digest-sized Hallucinations horror comic magazine to adapt Jean-Claude Carrière's Frankenstein novels. In 1991, Dark Horse Comics issued an adaptation of the 1931 Universal film. The Monster is Monster in My Pocket #13. He appears among the good monsters in the comic book (1991), the video game (1991), the animated special (1992), and the 2003 animated series. In the comics, he was relatively inarticulate, represented by hyphens between each syllable he spoke, but possessed of simple wisdom and strong morals. This characterization was essentially characterized in the video game, where he was a playable character, and his only line of dialogue in the cut scenes was "Yeah..." In the animated special, he was known as "Big Ed" and was essentially a comic simpleton. Junji Ito serialized a manga adaptation of the novel, which was collected and published by Asahi Sonorama as the last tankōbon volume of The Junji Ito Horror Comic Collection in 1999. In 2001, Curtis Jobling released a picture book titled Frankenstein's Cat, which focused on Frankenstein's first creation; a cat named Nine (due to being made up of nine different cats). A television adaption aired in 2008 on CBBC. 2004 saw the debut of Doc Frankenstein, written by the Wachowskis, the writer-director team of The Matrix), and drawn by Steve Skroce. The book tells the continuing adventures of Frankenstein's monster, who has since adopted his creator's name and became a hero through the ages. In 2004, manga artist Atsushi Ōkubo produced the manga Soul Eater; in the fifth chapter a character known as Franken Stein made his debut, much of his design was referenced from the novel "Frankenstein" including his body being covered in dozens of self-inflicted stitches. Like his namesake Franken Stein is both a skilled doctor and scientist, actually accomplishing in resurrecting another character into a zombie. But otherwise the rest of Victor Frankentsin's character was mostly tossed aside (the character was obsessed with taking things apart, usually with scalpels, and he was also a skilled fighter, especially in hand-to-hand combat). the major difference between Franken Stein and Mary Shelley's Victor Frankenstein is the fact that Franken Stein has the classic personality of a psychopath or serial killer. In 2005, Dead Dog Comics produced a sequel to the Frankenstein mythos with Frankenstein: Monster Mayhem, written by R. D. Hall with art by Jerry Beck. In Dead Dog's version, the monster sets out to create his own Necropolis. Also in 2005, Speakeasy Comics put out their sequel, The Living and the Dead, written by Todd Livingston and Robert Tinnell, with art by Micah Farritor. In it, Victor, now calling himself Hans, must create a new body for his first cousin who wants her syphilitic son to remain alive after a vicious beating, and she coerces him to do so under fear of exposing him for who he really is. Half-crazed due to the disease, the newly born monster proceeds to start a Grand Guignol theater in Ingolstadt until Victor puts him down with the help of the first monster he ever created. As thanks, Victor begins work on the last attempt he will make at playing God, and begins to build the original creature a mate. In 2005, Puffin Books released a graphic novel adaptation adapted by Gary Reed with art from Frazer Irving. The 2006 Beckett Entertainment/Image comics graphic novel The Cobbler's Monster: A Tale of Gepetto's Frankenstein features an amalgamation between Gepetto and Victor Frankenstein, who reanimates his dead son. In 2006, Eros Comix published Adult Frankenstein, a comic book with Frankenstein X-rated stories (featuring also other classic monsters) all written by Enrico Teodorani (creator of Djustine), with cover by Joe Vigil and interior art by some of the best Italian authors in the erotic comics field. Also in 2006, Big Bang Comics published an issue of Big Bang Presents featuring a superhero incarnation of the Monster called Super Frankenstein. Manga artist Mitsukazu Mihara published a collection of six short stories entitled Beautiful People on October 20, 2001. The main story, also titled "Beautiful People", follows a woman who had plastic surgery done hoping to become beautiful and loved, but after she meets a young girl stitched together from corpses, she realizes that girl was the truly beautiful one because of the love that she gave. The 2007 manga series Embalming-The Another Tale of Frankenstein-, published by Shueisha, is based on the idea that Victor Frankenstein actually existed and created an artificial human from bodyparts of dead people and that 150 years after this event, numerous doctors across Europe are using what is left of his notes to try and create their own monsters. The series also features characters reading Frankenstein; or, The Modern Prometheus. In 2009 Papercutz published a Classics Illustrated Deluxe Graphic Novel adaptation of Frankenstein by French cartoonist Marion Mousse. His adaptation was originally published in French in three volumes, and was all collected and translated into English for the Papercutz version. Of all the comic book adaptations, this one is probably the most faithful to the original book. Toys and games     This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2016) (Learn how and when to remove this template message) Frankenstein's monster appears in the Konami video game series Castlevania numerous times, with its name being "The Monster" or "The Creature", often as a major boss, but sometimes as a regular enemy. The monster usually has the appearance of the Karloff/Universal version; however, the 2010 series reboot Castlevania: Lords of Shadow features a completely different-looking boss known as the "Mechanical Monstrosity", created some time prior to 1047 by "Friedrich von Frankenstein". Several other video game version are also available, including Bride of Frankenstein (Commodore 64 and ZX Spectrum), Frankenstein: Through the Eyes of the Monster - A Cinematic Adventure Starring Tim Curry (PC CD-ROM) and Mary Shelley's Frankenstein, (Super NES, Genesis, Sega CD) based on the 1994 film of the same name. Other games featuring the monster include Frankenstein: The Monster Returns for the original Nintendo Entertainment System and Frankenstein's Monster for the Atari 2600. In the 1995 Super NES game Donkey Kong Country 3: Dixie Kong's Double Trouble!, Kong's archenemy, King K. Rool, assumes the persona of Baron K. Roolenstein. A Frankenstein-like monster called Victor von Gerdenheim is a playable character in the fighting game series Darkstalkers, along with many other monsters from popular culture. Frankenstein's monster also appears in the video game adaptation of the film Van Helsing. He only appears as a non-playable character. The role-playing game Promethean: The Created by White Wolf Publishing, focuses on beings created from human remains and animated by "the Divine Fire" who seek to attain humanity. One of the "Lineages" (groupings) of said creatures is that of the Frankensteins, who, like their namesake, are crafted from the best parts of multiple corpses and brought to life by lightning. The monster himself, going by the name John Verney, appears in some of the book's fiction and illustrations. In 1989, the line of action figures for The Real Ghostbusters featured figures of several Universal Monsters, including Frankenstein's Monster. In 2002, LEGO released a Dr. Frankenstein and monster set as part of the LEGO Studios toy line. In 2011, a new green skinned Minifigure called Monster resembles the creature. The 2008 video game Fable II contains a quest in which a man named Victor is attempting to reanimate the body of a deceased woman, both homages to the book. Upon completion of the quest, if the player buys the house, it unlocks an area known as "The Shelley Tomb", a reference to the author of the novel. In the 2009 Wii game MadWorld, Frankenstein's monster appears as a boss battle at the base of a dungeon, and is simply called "Frank" with bolts in his back, rather than his neck as common stereotypes depict. He is also shown as being regenerative when connected to an electric chair, and his size well exceeds the usually large 7'0" to go as much as 20'0". In Atlus' popular Persona series, the residents of the "Velvet Room", a supernatural room that is "Between mind and matter", are named after characters from the Frankenstein series, namely Igor, Elizabeth, Margret, Theodore, Marie, Lavenza, Caroline, and Justine. In 2019, Plaid Hat Games released Abomination: The Heir of Frankenstein, a board game sequel to Mary Shelley's Frankenstein; or, The Modern Prometheus, taking place 20 years after the events of the novel. In Abomination, the Creature lives and recruits scientists in Paris (the role of the players) to carry on the work of Victor Frankenstein, while Captain Walton seeks to stop the competition and fulfill his vow.[39] Frankenstein's Monster is set to appear in the horror fighting game Terrordrome 2: Reign of the Legends. The creature of Dr. Frankenstein appears as the main character in the 2019 video game 'The Wanderer: Frankenstein's Creature' (Nintendo Switch, PC, iOS/Android). The game was co-produced by La Belle Games and Arte and is a point-and-click narrative adventure which features a story based more closely on Mary Shelley's novel than a number of modern popular culture references to Frankenstein.[40] Other usages In the 1920s, carbon monoxide was regarded as the Frankenstein of civilization in the context of humankinds industrial production of the gas and widespread problems with carbon monoxide poisoning leading to the notion of carbon monoxide as "the automaton that turns on its maker, pursues him to the ends of the earth and finally destroys him”.[41] Science fiction author Isaac Asimov coined the term Frankenstein complex for the fear of robots. Frankensteining is a term used by abusers of crystal methamphetamine to calm themselves by diassembling and reassembling objects. The term is used in that subculture and is recently gaining wider currency: it has been used in an episode of CSI: Miami and has four different definitions in Urban Dictionary, all with the same meaning of assembling parts from diverse sources. It is especially common when discussing assembling bicycles from parts stripped from others, illegally or otherwise, as can be seen from a Google search of frankensteining bicycles. Frankenstein or Franken- is sometimes used as a prefix to imply artificial monstrosity as in "frankenfood", a politically charged name, coined by the American academic Paul Lewis, for genetically manipulated foodstuffs. The Franken- prefix can also mean anything assembled haphazardly from originally disparate elements, especially if those parts were previously discarded by others—for example, a car built from parts salvaged from many other cars. For many years Eddie Van Halen played a guitar built in such a manner which he called the "Frankenstrat". In 1971, General Mills introduced "Franken Berry", a strawberry-flavored corn cereal whose mascot is a variation of the monster from the 1931 movie. "Frankenstein" is the name of a character in the 1975 movie Death Race 2000 and its 2008 remake Death Race. The first incarnation was portrayed by veteran actor David Carradine and the second by Jason Statham. George A. Romero's 1985 film Day of the Dead features a scientist conducting experiments on zombies nicknamed "Frankenstein". The hit song China in Your Hand by the British rock band T'Pau employs the story of Frankenstein, and Mary Shelley's writing of it, in its role as a classic cautionary tale. In David Brin's science fiction novel Kiln People, defective golems that become autonomous are called "frankies". Mewtwo of the Pokémon franchise has been likened to Frankenstein's monster in regards to being born through an artificial means and discontent with the fact.[42][43] Stitch, the main protagonist of Disney's Lilo & Stitch franchise, was somewhat influenced by the monster, as he was created by a scientist from miscellaneous alien DNA. Unlike Shelley's monster, however, his intentions were initially evil until he discovered an inner loneliness, causing him, and eventually his creator, to turn from crime to justice. Throughout the franchise, Stitch also demonstrates the monster's herculean strength and childlike curiosity. In season 3 of Beast Wars Megatron clones Dinobot, making a Frankenstein's monster out of the clone by transmetallizing him with the Transmetal Driver and adding the half of Rampage's mutant spark he cut out earlier. The result was an extremely mutated Transmetal II minion under the influence of his "half-brother's" evil. In 2006, the book The 101 Most Influential People Who Never Lived listed Dr. Frankenstein's Monster (sic) at #6.[44][45] The California Medical Association, in a rather humorous gesture, chose Halloween 2006 to announce that Dr. Richard Frankenstein had been elected president of the organization.[46][47] He had previously been president of the Orange County Medical Association in 1995-1996.[48] Frankenstein is a character in the Korean web-comic manhwa Noblesse. He, like that of the actual character Frankenstein, is a scientist, but the similarities end there. Through his research he has gained immortality and immense power. He now serves the most powerful of all vampires, the Noblesse. Pop artist Eric Millikin created a large mosaic portrait of Frankenstein's monster out of Halloween candy and spiders as part of his "Totally Sweet" series in 2013.[49][50] The character Professor Franken Stein from Soul Eater is a composite of Victor Frankenstein and the monster, covered in stitches with a screw through his head as the result of self-experimentation. In Hellsing, Alexander Anderson is based on Frankenstein's monster, given that his name came from a song that has a reference about Frankenstein's monster, his abilities are similar and he is referred to as God's Monster after using the nail of Helena. Frankenstein's Monster appears as the Berserker class Servant of the Black Faction in the Fate/stay night spin-off Fate/Apocrypha. This depiction of the monster is a young female homunculus in a wedding gown. The 2015 film Ex Machina is a film noir retelling of the Frankenstein story with a 21st-century femme fatale android." (wikipedia.org) "Frankenstein's monster or Frankenstein's creature, often erroneously referred to as simply "Frankenstein", is a fictional character who first appeared in Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus. Shelley's title thus compares the monster's creator, Victor Frankenstein, to the mythological character Prometheus, who fashioned humans out of clay and gave them fire. In Shelley's Gothic story, Victor Frankenstein builds the creature in his laboratory through an ambiguous method based on a scientific principle he discovered. Shelley describes the monster as 8 feet (240 cm) tall and terribly hideous, but emotional. The monster attempts to fit into human society but is shunned, which leads him to seek revenge against Frankenstein. According to the scholar Joseph Carroll, the monster occupies "a border territory between the characteristics that typically define protagonists and antagonists".[1] Frankenstein's monster became iconic in popular culture, and has been featured in various forms of media, including films, television series, merchandise and video games. His most iconic version is his portrayal by Boris Karloff in the 1931 film Frankenstein, the 1935 sequel Bride of Frankenstein, and the 1939 sequel Son of Frankenstein.... Names The actor T. P. Cooke as the monster in an 1823 stage production of Shelley's novel Mary Shelley's original novel never gives the monster a name, although when speaking to his creator, Victor Frankenstein, the monster does say "I ought to be thy Adam" (in reference to the first man created in the Bible). Frankenstein refers to his creation as "creature", "fiend", "spectre", "the dæmon", "wretch", "devil", "thing", "being", and "ogre".[2] Frankenstein's creation referred to himself as a "monster" at least once, as did the residents of a hamlet who saw the creature towards the end of the novel. As in Shelley's story, the creature's namelessness became a central part of the stage adaptations in London and Paris during the decades after the novel's first appearance. In 1823, Shelley herself attended a performance of Richard Brinsley Peake's Presumption, the first successful stage adaptation of her novel. "The play bill amused me extremely, for in the list of dramatis personae came _________, by Mr T. Cooke," she wrote to her friend Leigh Hunt. "This nameless mode of naming the unnameable is rather good."[3] Within a decade of publication, the name of the creator—Frankenstein—was used to refer to the creature, but it did not become firmly established until much later. The story was adapted for the stage in 1927 by Peggy Webling,[4] and Webling's Victor Frankenstein does give the creature his name. However, the creature has no name in the Universal film series starring Boris Karloff during the 1930s, which was largely based upon Webling's play.[5] The 1931 Universal film treated the creature's identity in a similar way as Shelley's novel: in the opening credits, the character is referred to merely as "The Monster" (the actor's name is replaced by a question mark, but Karloff is listed in the closing credits).[6] However, in the sequel Bride of Frankenstein (1935), the frame narration by a character representing Shelley's friend Lord Byron does refer to the monster as Frankenstein, although this scene takes place not quite in-universe. Nevertheless, the creature soon enough became best known in the popular imagination as "Frankenstein". This usage is sometimes considered erroneous, but some usage commentators regard the monster sense of "Frankenstein" as well-established and not an error.[7][8] Modern practice varies somewhat. For example, in Dean Koontz's Frankenstein, first published in 2004, the creature is named "Deucalion", after the character from Greek mythology, who is the son of the Titan Prometheus, a reference to the original novel's title. Another example is the second episode of Showtime's Penny Dreadful, which first aired in 2014; Victor Frankenstein briefly considers naming his creation "Adam", before deciding instead to let the monster "pick his own name". Thumbing through a book of the works of William Shakespeare, the monster chooses "Proteus" from The Two Gentlemen of Verona. It is later revealed that Proteus is actually the second monster Frankenstein has created, with the first, abandoned creation having been named "Caliban", from The Tempest, by the theatre actor who took him in and later, after leaving the theatre, named himself after the English poet John Clare.[9] Another example is an attempt by Randall Munroe of webcomic xkcd to make "Frankenstein" the canonical name of the monster, by publishing a short derivative version which directly states that it is.[10] In The Strange Case of the Alchemist's Daughter , the 2017 novel by Theodora Goss, the creature is named Adam.[11] Shelley's plot Charles Stanton Ogle in the 1910 film version Close-up of Charles Ogle as the monster in Thomas Edison's Frankenstein (1910) Main article: Frankenstein Victor Frankenstein builds the creature in the attic of his boarding house in Ingolstadt after discovering a scientific principle which allows him to create life from non-living matter. Frankenstein is disgusted by his creation, however, and flees from it in horror. Frightened, and unaware of his own identity, the monster wanders through the wilderness. He finds solace beside a remote cottage inhabited by an older, blind man and his two children. Eavesdropping, the creature familiarizes himself with their lives and learns to speak, whereby he becomes an eloquent, educated, and well-mannered individual. During this time, he also finds Frankenstein's journal in the pocket of the jacket he found in the laboratory and learns how he was created. The creature eventually introduces himself to the family's blind father, who treats him with kindness. When the rest of the family returns, however, they are frightened of him and drive him away. Enraged, the creature feels that humankind is his enemy and begins to hate his creator for abandoning him. However, although he despises Frankenstein, he sets out to find him, believing that he is the only person who will help him. On his journey, the creature rescues a young girl from a river but is shot in the shoulder by the child's father, believing the creature intended to harm his child. Enraged by this final act of cruelty, the creature swears revenge on humankind for the suffering they have caused him. He seeks revenge against his creator in particular for leaving him alone in a world where he is hated. Using the information in Frankenstein's notes, the creature resolves to find him. The monster kills Victor's younger brother William upon learning of the boy's relation to his creator and makes it appear as if Justine Moritz, a young woman who lives with the Frankensteins, is responsible. When Frankenstein retreats to the Alps, the monster approaches him at the summit, recounts his experiences, and asks his creator to build him a female mate. He promises, in return, to disappear with his mate and never trouble humankind again, but threatens to destroy everything Frankenstein holds dear should he fail or refuse. Frankenstein agrees, and eventually constructs a female creature on a remote island in Orkney, but aghast at the possibility of creating a race of monsters, destroys the female creature before it is complete. Horrified and enraged, the creature immediately appears, and gives Frankenstein a final threat: "I will be with you on your wedding night." After leaving his creator, the creature goes on to kill Victor's best friend, Henry Clerval, and later kills Frankenstein's bride, Elizabeth Lavenza, on their wedding night, whereupon Frankenstein's father dies of grief. With nothing left to live for but revenge, Frankenstein dedicates himself to destroying his creation, and the creature goads him into pursuing him north, through Scandinavia and into Russia, staying ahead of him the entire way. As they reach the Arctic Circle and travel over the pack ice of the Arctic Ocean, Frankenstein, suffering from severe exhaustion and hypothermia, comes within a mile of the creature, but is separated from him when the ice he is traveling over splits. A ship exploring the region encounters the dying Frankenstein, who relates his story to the ship's captain, Robert Walton. Later, the monster boards the ship, but upon finding Frankenstein dead, is overcome by grief and pledges to incinerate himself at "the Northernmost extremity of the globe". He then departs, never to be seen again. Appearance Boris Karloff in Bride of Frankenstein (1935) in a variation of the classic 1931 film version with an assist from make-up artist Jack Pierce. Karloff had gained weight since the original iteration and much of the monster's hair has been burned off to indicate having been caught in a fire. Frankenstein's monster in an editorial cartoon, 1896, an allegory on the Silverite movement displacing other progressive factions in late 19th century U.S. Shelley described Frankenstein's monster as an 8-foot-tall (2.4 m) creature of hideous contrasts:     His limbs were in proportion, and I had selected his features as beautiful. Beautiful! Great God! His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun-white sockets in which they were set, his shrivelled complexion and straight black lips. A picture of the creature appeared in the 1831 edition. Early stage portrayals dressed him in a toga, shaded, along with the monster's skin, a pale blue. Throughout the 19th century, the monster's image remained variable according to the artist. Portrayals in film The best-known image of Frankenstein's monster in popular culture derives from Boris Karloff's portrayal in the 1931 movie Frankenstein, in which he wore makeup applied and designed by Jack P. Pierce.[12] Universal Studios, which released the film, was quick to secure ownership of the copyright for the makeup format. Karloff played the monster in two more Universal films, Bride of Frankenstein and Son of Frankenstein; Lon Chaney Jr. took over the part from Karloff in The Ghost of Frankenstein; Bela Lugosi portrayed the role in Frankenstein Meets the Wolf Man; and Glenn Strange played the monster in the last three Universal Studios films to feature the character – House of Frankenstein, House of Dracula, and Abbott and Costello Meet Frankenstein. But their makeup replicated the iconic look first worn by Karloff. In modern times the image of Karloff's face is owned by his daughter's company, Karloff Enterprises, secured for her in a lawsuit for which she was represented by attorney Bela G. Lugosi (Bela Lugosi's son), after which Universal replaced Karloff's features with Glenn Strange's in most of their marketing. The New York Times mistakenly ran a photograph of Strange for Karloff's obituary. Since Karloff's portrayal, the creature almost always appears as a towering, undead-like figure, often with a flat-topped angular head and bolts on his neck to serve as electrical connectors or grotesque electrodes. He wears a dark, usually tattered, suit having shortened coat sleeves and thick, heavy boots, causing him to walk with an awkward, stiff-legged gait (as opposed to the novel, in which he is described as much more flexible than a human). The tone of his skin varies (although shades of green or gray are common), and his body appears stitched together at certain parts (such as around the neck and joints). This image has influenced the creation of other fictional characters, such as the Hulk.[13] In the 1965 Toho film Frankenstein Conquers the World, the heart of Frankenstein's Monster was transported from Germany to Hiroshima as World War II neared its end, only to be irradiated during the atomic bombing of the city, granting it miraculous regenerative capabilities. Over the ensuing 20 years, it grows into a complete human child, who then rapidly matures into a giant, 20-metre-tall man. After escaping a laboratory in the city, he is blamed for the crimes of the burrowing Kaiju Baragon, and the two monsters face off in a showdown that ends with Frankenstein victorious, though he falls into the depths of the Earth after the ground collapses beneath his feet. In the 1973 TV miniseries Frankenstein: The True Story, a different approach was taken in depicting the monster: Michael Sarrazin appears as a strikingly handsome man who later degenerates into a grotesque monster due to a flaw in the creation process. In the 1994 film Mary Shelley's Frankenstein, the creature is played by Robert De Niro in a nearer approach to the original source, except this version gives the creature balding grey hair and a body covered in bloody stitches. He is, as in the novel, motivated by pain and loneliness. In this version, Frankenstein gives the monster the brain of his mentor, Doctor Waldman, while his body is made from a man who killed Waldman while resisting a vaccination. The monster retains Waldman's "trace memories" that apparently help him quickly learn to speak and read. In the 2004 film Van Helsing, the monster is shown in a modernized version of the Karloff design. He is 8 to 9 feet (240–270 cm) tall, has a square bald head, gruesome scars, and pale green skin. The electricity is emphasized with one electrified dome in the back of his head and another over his heart. It also has hydraulic pistons in its legs, essentially rendering the design as a steam-punk cyborg. Although not as eloquent as in the novel, this version of the creature is intelligent and relatively nonviolent. In 2004, a TV miniseries adaptation of Frankenstein was made by Hallmark. Luke Goss plays The Creature. This adaptation more closely resembles the monster as described in the novel: intelligent and articulate, with flowing, dark hair and watery eyes. The 2005 film Frankenstein Reborn portrays the Creature as a paraplegic man who tries to regain the ability to walk by having a computer chip implanted. Instead, the surgeon kills him and resurrects his corpse as a reanimated zombie creature. he has stitches on his face where he was shot. with strains of brown hair black pants a dark hoodie and black jacket with brown fur collar. The 2014 TV series Penny Dreadful also rejects the Karloff design in favour of Shelley's description. This version of the creature has the flowing dark hair described by Shelley, although he departs from her description by having pale grey skin and obvious scars along the right side of his face. Additionally, he is of average height, being even shorter than other characters in the series. In this series, the monster names himself "Caliban", after the character in William Shakespeare's The Tempest. In the series, Victor Frankenstein makes a second and third creature, each more indistinguishable from normal human beings. Personality Lon Chaney Jr. as the monster and Bela Lugosi as Ygor in The Ghost of Frankenstein (1942) Glenn Strange as Frankenstein's monster with Boris Karloff, this time playing another character, in the 1944 film The House of Frankenstein Christopher Lee as the creature in the Hammer's The Curse of Frankenstein (1957) As depicted by Shelley, the monster is a sensitive, emotional creature whose only aim is to share his life with another sentient being like himself. The novel portrayed him as versed in Paradise Lost, Plutarch's Lives, and The Sorrows of Young Werther. From the beginning, the monster is rejected by everyone he meets. He realizes from the moment of his "birth" that even his own creator cannot stand the sight of him; this is obvious when Frankenstein says "…one hand was stretched out, seemingly to detain me, but I escaped…".[14]: Ch.5  Upon seeing his own reflection, he realizes that he too is repulsed by his appearance. His greatest desire is to find love and acceptance; but when that desire is denied, he swears revenge on his creator. The monster is a vegetarian. While speaking to Frankenstein, he tells him, "My food is not that of man; I do not destroy the lamb and the kid to glut my appetite; acorns and berries afford me sufficient nourishment...The picture I present to you is peaceful and human."[15] At the time the novel was written, many writers, including Percy Shelley in A Vindication of Natural Diet,[16] argued that practicing vegetarianism was the morally right thing to do.[17] Contrary to many film versions, the creature in the novel is very articulate and eloquent in his speech. Almost immediately after his creation, he dresses himself; and within 11 months, he can speak and read German and French. By the end of the novel, the creature is able to speak English fluently as well. The Van Helsing and Penny Dreadful interpretations of the character have similar personalities to the literary original, although the latter version is the only one to retain the character's violent reactions to rejection. In the 1931 film adaptation, the monster is depicted as mute and bestial; it is implied that this is because he is accidentally implanted with a criminal's "abnormal" brain. In the subsequent sequel, Bride of Frankenstein, the monster learns to speak, albeit in short, stunted sentences. In the second sequel, Son of Frankenstein, the creature is again rendered inarticulate. Following a brain transplant in the third sequel, The Ghost of Frankenstein, the monster speaks with the voice and personality of the brain donor. This was continued after a fashion in the scripting for the fourth sequel, Frankenstein Meets the Wolf Man, but the dialogue was excised before release. The monster was effectively mute in later sequels, although he refers to Count Dracula as his "master" in Abbott and Costello Meet Frankenstein. The monster is often portrayed as being afraid of fire, although he is not afraid of it in the novel. The monster as a metaphor Frankenstein's monster's bust, based on Boris Karloff, in the National Museum of Cinema of Turin, Italy Scholars sometimes look for deeper meaning in Shelley's story, and have drawn an analogy between the monster and a motherless child; Shelley's own mother died while giving birth to her.[18] The monster has also been analogized to an oppressed class; Shelley wrote that the monster recognized "the division of property, of immense wealth and squalid poverty".[18] Others see in the monster the dangers of uncontrolled scientific progress,[19] especially as at the time of publishing; Galvanism had convinced many scientists that raising the dead through use of electrical currents was a scientific possibility. Another proposal is that the Frankenstein was based on a real scientist who had a similar name, and who had been called a modern Prometheus – Benjamin Franklin. Accordingly, the monster would represent the new nation that Franklin helped to create out of remnants left by England.[20] Victor Frankenstein's father "made also a kite, with a wire and string, which drew down that fluid from the clouds," wrote Shelley, similar to Franklin's famous kite experiment.[20] Racial Interpretations In discussing the physical description of the monster, there has been some speculation about the potential his design is rooted in common perceptions of race during the 18th century. Three scholars have noted that Shelley's description of the monster seems to be racially coded; one argues that, "Shelley's portrayal of her monster drew upon contemporary attitudes towards non-whites, in particular on fears and hopes of the abolition of slavery in the West Indies."[21] Of course, there is no evidence to suggest that the Monster's depiction is meant to mimic any race, and such interpretations are based in personal conjectural interpretations of Shelley's text rather than remarks from herself or any known intentions of the author. In her article "Frankenstein, Racial Science, and the Yellow Peril,"[22] Anne Mellor claims that the monster's features share a lot in common with the Mongoloid race. This term, now out of fashion and carrying some negative connotations, is used to describe the "yellow" races of Asia as distinct from the Caucasian or white races. To support her claim, Mellor points out that both Mary and Percy Shelley were friends with William Lawrence, an early proponent of racial science and someone who Mary "continued to consult on medical matters and [met with] socially until his death in 1830."[22] While Mellor points out to allusions to Orientalism and the Yellow Peril, John Malchow in his article "Frankenstein's Monster and Images of Race in Nineteenth-Century Britain"[21] explores the possibility of the monster either being intentionally or unintentionally coded as black. Malchow argues that the Monster's depiction is based in an 18th century understanding of "popular racial discourse [which] managed to conflate such descriptions of particular ethnic characteristics into a general image of the "Negro" body in which repulsive features, brute-like strength and size of limbs featured prominently."[21] Malchow makes it clear that it is difficult to tell if this alleged racial allegory was intentional on Shelley's part or if it was inspired by the society she lived in (or if it exists in the text at all outside of his interpretation), and he states that "There is no clear proof that Mary Shelley consciously set out to create a monster which suggested, explicitly, the Jamaican escaped slave or maroon, or that she drew directly from any person knowledge of either planter or abolitionist propaganda."[21] In addition to the previous interpretations, Karen Lynnea Piper argues in her article, "Inuit Diasporas: Frankenstein and the Inuit in England” that the symbolism surrounding Frankenstein’s monster could stem from the Inuit people of the arctic. Piper argues that the monster accounts for the “missing presence" of any indigenous people during Waldon's expedition, and that he represents the fear of the savage, lurking on the outskirts of civilization.[23] Portrayals Actor     Year     Production Thomas Cooke     1823     Presumption; or, the Fate of Frankenstein Charles Stanton Ogle     1910     Frankenstein Percy Standing     1915     Life Without Soul Umberto Guarracino     1920     The Monster of Frankenstein Boris Karloff     1931     Frankenstein 1935     Bride of Frankenstein 1939     Son of Frankenstein 1962     Route 66': "Lizard's Leg and Owlet's Wing" (TV series episode) Dale Van Sickel     1941     Hellzapoppin Lon Chaney Jr.     1942     The Ghost of Frankenstein[24] 1952     Tales of Tomorrow: "Frankenstein" (TV series episode) Bela Lugosi     1943     Frankenstein Meets the Wolf Man Glenn Strange     1944     The House of Frankenstein 1945     House of Dracula 1948     Abbott and Costello Meet Frankenstein Gary Conway     1957     I Was a Teenage Frankenstein Christopher Lee     The Curse of Frankenstein Gary Conway     1958     How to Make a Monster Michael Gwynn     The Revenge of Frankenstein Mike Lane     Frankenstein 1970 Harry Wilson     Frankenstein's Daughter Don Megowan     Tales of Frankenstein (TV pilot) Danny Dayton     1963     Mack and Myer for Hire: "Monstrous Merriment" (TV series episode) Kiwi Kingston     1964     The Evil of Frankenstein Fred Gwynne     The Munsters (as "Herman Munster") Koji Furuhata     1965     Frankenstein Conquers the World John Maxim     Doctor Who: "The Chase" (TV series episode) Yû Sekida and Haruo Nakajima     1966     The War of the Gargantuas Allen Swift     1967     Mad Monster Party? 1972     Mad Mad Mad Monsters Susan Denberg     1967     Frankenstein Created Woman Robert Rodan     Dark Shadows David Prowse     1967     Casino Royale 1970     The Horror of Frankenstein 1974     Frankenstein and the Monster from Hell Freddie Jones     1969     Frankenstein Must Be Destroyed Manuel Leal     Santo y Blue Demon contra los monstruos (as "Franquestain") Howard Morris     1970     Groovie Goolies (as "Frankie") John Bloom and Shelley Weiss     1971     Dracula vs. Frankenstein Xiro Papas     1972     Frankenstein 80 Bo Svenson     1973     The Wide World of Mystery "Frankenstein" (TV series episode) José Villasante     The Spirit of the Beehive Michael Sarrazin     Frankenstein: The True Story Srdjan Zelenovic     1974     Flesh for Frankenstein Peter Boyle     Young Frankenstein Per Oscarsson     1976     Terror of Frankenstein Peter Cullen     1984     The Transformers David Warner     Frankenstein (TV movie) Clancy Brown     1985     The Bride 2020     DuckTales Tom Noonan     1987     The Monster Squad Paul Naschy     El Aullido del Diablo Chris Sarandon     Frankenstein (TV movie) Phil Hartman     1987–1996     Saturday Night Live[25][26] Zale Kessler     1988     Scooby-Doo and the Ghoul School Jim Cummings     Scooby-Doo! and the Reluctant Werewolf Craig Armstrong     1989     The Super Mario Bros. Super Show! Nick Brimble     1990     Frankenstein Unbound Randy Quaid     1992     Frankenstein Robert De Niro     1994     Mary Shelley's Frankenstein Deron McBee     1995     Monster Mash: The Movie Peter Crombie     1997     House of Frankenstein Thomas Wellington     The Creeps Frank Welker     1999     Alvin and the Chipmunks Meet Frankenstein Shuler Hensley     2004     Van Helsing Luke Goss     Frankenstein Vincent Perez     Frankenstein Joel Hebner     2005     Frankenstein Reborn Julian Bleach     2007     Frankenstein Shuler Hensley     Young Frankenstein Scott Adsit     2010     Mary Shelley's Frankenhole Benedict Cumberbatch     2011     Frankenstein Jonny Lee Miller Tim Krueger     Frankenstein: Day of the Beast David Harewood     Frankenstein's Wedding Kevin James     2012     Hotel Transylvania David Gest     A Nightmare on Lime Street[27] Mark Hamill     Uncle Grandpa Roger Morrissey     2013     The Frankenstein Theory Chad Michael Collins     Once Upon a Time Aaron Eckhart     2014     I, Frankenstein Rory Kinnear     Penny Dreadful Dee Bradley Baker     Winx Club (in "A Monstrous Crush") Kevin James     2015     Hotel Transylvania 2 Michael Gladis     The Librarians (in "And the Broken Staff") Spencer Wilding     Victor Frankenstein Xavier Samuel     Frankenstein Kevin Michael Richardson     Rick and Morty Brad Garrett     2016     Apple holiday commercial John DeSantis     2017     Escape from Mr. Lemoncello's Library Ai Nonaka     Fate/Apocrypha Grant Moninger     Teenage Mutant Ninja Turtles Kevin James     2018     Hotel Transylvania 3: Summer Vacation Skylar Astin     2019     Vampirina Will Ferrell     Drunk History Brad Abrell[28]     2021     Hotel Transylvania: Transformania (Replacing Kevin James)" (wikipedia.org) "Candy, also called sweets (British English) or lollies (Australian English, New Zealand English),[a] is a confection that features sugar as a principal ingredient. The category, called sugar confectionery, encompasses any sweet confection, including chocolate, chewing gum, and sugar candy. Vegetables, fruit, or nuts which have been glazed and coated with sugar are said to be candied. Physically, candy is characterized by the use of a significant amount of sugar or sugar substitutes. Unlike a cake or loaf of bread that would be shared among many people, candies are usually made in smaller pieces. However, the definition of candy also depends upon how people treat the food. Unlike sweet pastries served for a dessert course at the end of a meal, candies are normally eaten casually, often with the fingers, as a snack between meals. Each culture has its own ideas of what constitutes candy rather than dessert. The same food may be a candy in one culture and a dessert in another.... History A Japanese vendor selling sweets in "The Great Buddha Sweet Shop" from the Miyako meisho zue (1787) Candy has its origins mainly in Ancient India. Between the 6th and 4th centuries BCE, the Persians, followed by the Greeks, discovered the people in India and their "reeds that produce honey without bees". They adopted and then spread sugar and sugarcane agriculture.[3] Sugarcane is indigenous to tropical South and Southeast Asia, while the word sugar is derived from the Sanskrit word sharkara.[4] Pieces of sugar were produced by boiling sugarcane juice in ancient India and consumed as khanda, dubbed as the original candy and the etymology of the word.[5][6][7][8][9] Before sugar was readily available, candy was based on honey.[10] Honey was used in Ancient China, the Middle East, Egypt, Greece and the Roman Empire to coat fruits and flowers to preserve them or to create forms of candy.[11] Candy is still served in this form today, though now it is more typically seen as a type of garnish. Before the Industrial Revolution, candy was often considered a form of medicine, either used to calm the digestive system or cool a sore throat. In the Middle Ages candy appeared on the tables of only the most wealthy at first. At that time, it began as a combination of spices and sugar that was used as an aid to digestive problems. Digestive problems were very common during this time due to the constant consumption of food that was neither fresh nor well balanced. Banquet hosts would typically serve these types of 'candies' at banquets for their guests. One of these candies, sometimes called chamber spice, was made with cloves, ginger, aniseed, juniper berries, almonds and pine kernels dipped in melted sugar.[11] The Middle English word candy began to be used in the late 13th century.[12][13] The first candy came to America in the early 18th century from Britain and France. Only a few of the early colonists were proficient in sugar work and sugary treats were generally only enjoyed by the very wealthy. Even the simplest form of candy – rock candy, made from crystallized sugar – was considered a luxury.[14] Industrial Revolution The candy business underwent a drastic change in the 1830s when technological advances and the availability of sugar opened up the market. The new market was not only for the enjoyment of the rich but also for the pleasure of the working class. There was also an increasing market for children. While some fine confectioners remained, the candy store became a staple of the child of the American working class. Penny candies epitomized this transformation of candy. Penny candy became the first material good that children spent their own money on. For this reason, candy store-owners relied almost entirely on the business of children to keep them running. Even penny candies were directly descended from medicated lozenges that held bitter medicine in a hard sugar coating.[15] In 1847, the invention of the candy press (also known under the surprising name of a toy machine) made it possible to produce multiple shapes and sizes of candy at once. In 1851, confectioners began to use a revolving steam pan to assist in boiling sugar. This transformation meant that the candy maker was no longer required to continuously stir the boiling sugar. The heat from the surface of the pan was also much more evenly distributed and made it less likely the sugar would burn. These innovations made it possible for only one or two people to successfully run a candy business.[14] Our Mutual Friend, January 7, 1885, satirical cartoon by Joseph Keppler, warning of the dangers of color additives used in candy. As the path from producer to market became increasingly complicated, many foods were affected by adulteration and the addition of additives which ranged from relatively harmless ingredients, such as cheap cornstarch and corn syrup, to poisonous ones. Some manufacturers produced bright colors in candy by the addition of hazardous substances for which there was no legal regulation: green (chromium oxide and copper acetate), red (lead oxide and mercury sulfide), yellow (lead chromate) and white (chalk, arsenic trioxide).[16] In an 1885 cover cartoon for Puck, Joseph Keppler satirized the dangers of additives in candy by depicting the "mutual friendship" between striped candy, doctors, and gravediggers. By 1906, research into the dangers of additives, exposés of the food industry, and public pressure led to the passage of the Pure Food and Drug Act, the first federal United States law to regulate food and drugs, including candy.[16] Karl Fazer (1866–1932) founded the successful Fazer company in the 1890s, which at the time specialized exclusively in the candy and confectionery industry.[17] Classification Sugar candies include hard candies, soft candies, caramels, marshmallows, taffy, and other candies whose principal ingredient is sugar. Commercially, sugar candies are often divided into groups according to the amount of sugar they contain and their chemical structure.[18] Hard-boiled candies made by the vacuum cooking process include stick candy, lemon drops and horehound drops. Open-fire candy, like molasses taffy and cream taffy, is cooked in open kettles and then pulled. Pan work candies include nuts and other candies like jelly beans and sugar-coated almonds, made by coating with sugar in revolving copper kettles. Gum work candy is cooked in large kettles fashioned for melting and molded, dried and sugared like gum drops. They are soaked for a time in sugar syrup to allow crystals to form.... History Prior to the 1900s, candy was commonly sold unwrapped from carts in the street, where it was exposed to dirt and insects. By 1914, there were some machines to wrap gum and stick candies, but this was not the common practice. After the polio outbreak in 1916, unwrapped candies garnered widespread censure because of the dirt and germs. At the time, only upscale candy stores used glass jars. With advancements in technology, wax paper was adopted, and foil and cellophane were imported to the U.S. from France by DuPont in 1925. Necco packagers were one of the first companies to package without human touch.[26] Candy packaging played a role in its adoption as the most popular treat given away during trick-or-treating for Halloween in the US. In the 1940s, most treats were homemade. During the 1950s, small, individually wrapped candies were recognized as convenient and inexpensive. By the 1970s, after widely publicized but largely false stories of poisoned candy myths circulating in the popular press, factory-sealed packaging with a recognizable name brand on it became a sign of safety.[27] Marketing and design Packaging helps market the product as well. Manufacturers know that candy must be hygienic and attractive to customers. In the children's market quantity, novelty, large size and bright colors are the top sellers.[26] Many companies redesign the packaging to maintain consumer appeal.... Cultural significance Candy is the source of several cultural themes. Adults worry that other people will use candy to poison or entice children into harmful situations. Stranger danger warnings include telling children not to take candy from strangers, for fear of the child being abducted. Poisoned candy myths persist in popular culture, especially around trick-or-treating at Halloween, despite the rarity of actual incidents.[40] The phrase like taking candy from a baby is a common simile, and means that something is very easy to do.[40] A 1959 Swedish dental health campaign encouraged people to reduce the risk of dental problems by limiting consumption of candy to once a week. The slogan, "All the sweets you want, but only once a week", started a tradition of buying candy every Saturday, called lördagsgodis (literally "Saturday candy")." (wikipedia.org) "A bucket is typically a watertight, vertical cylinder or truncated cone or square, with an open top and a flat bottom, attached to a semicircular carrying handle called the bail.[1][2] A bucket is usually an open-top container. In contrast, a pail can have a top or lid and is a shipping container. In common usage, the two terms are often used interchangeably.... Types and uses A number of bucket types exist, used for a variety of purposes. Though most of these are functional purposes, a number, including those constructed from precious metals, are used for ceremonial purposes. Common types of bucket and their adjoining purposes include:     Water buckets used to carry water     Household and garden buckets used for carrying liquids and granular products     Elaborate ceremonial or ritual buckets constructed of bronze, ivory or other materials, found in several ancient or medieval cultures, sometimes known by the Latin for bucket, situla     Large scoops or buckets attached to loaders and telehandlers for landscaping agricultural and purposes     Crusher buckets attached to excavators used for crushing and recycling material in the construction industry     Buckets shaped like castles often used as children's toys to shape and carry sand on a beach or in a sandpit     Buckets in special shapes such as cast iron buckets or smelting buckets to hold liquid metal at high temperatures. Though not always bucket shaped, lunch boxes are sometimes known as lunch pails or a lunch bucket. Buckets can be repurposed as seats, tool caddies, hydroponic gardens, chamber pots, "street" drums, or livestock feeders, amongst other uses. Buckets are also repurposed for the use of long term food storage by survivalists." (wikipedia.org) "Trick-or-treating is a traditional Halloween custom for children and adults in some countries. In the evening before All Saints' Day (1 November), children in costumes travel from house to house, asking for treats with the phrase "Trick or treat". The "treat" is usually some form of candy, although in some cultures money is given instead. The "trick" refers to a threat, usually idle, to perform mischief on the homeowner(s) or their property if no treat is given. Trick-or-treating usually occurs on the evening of October 31. Some homeowners signal that they are willing to hand out treats by putting up Halloween decorations outside their doors; others simply leave treats available on their porches for the children to take freely. Houses may also leave their porch light on as a universal indicator that they have candy. In Scotland and other parts of Britain and Ireland, the tradition of going house to house collecting food at Halloween goes back at least as far as the 16th century, as does the tradition of people wearing costumes at Halloween. There are many accounts from 19th-century Scotland and Ireland of people going house to house in costume at Halloween, reciting verses in exchange for food, and sometimes warning of misfortune if they were not welcomed.[1] In North America, trick-or-treating has been a Halloween tradition since the 1920s. The earliest known occurrence there of the Scottish Halloween custom of "guising" – children going from house to house for food or money while disguised in costume[2] – is from 1911, when children were recorded as having done this in Ontario, Canada.[3] While going house to house in costume has long been popular among the Scots and Irish, it is only in the 2000s that saying "Trick or treat" has become common in Scotland and Ireland.[4] Prior to this, children in Ireland would commonly say "Help the Halloween Party" at the doors of homeowners.[4] The activity is prevalent in the United States, Canada, the United Kingdom, the Republic of Ireland, Australia, Puerto Rico, and northwestern and central Mexico. In the last, this practice is called calaverita (Spanish diminutive for calavera, "skull" in English), and instead of "Trick or treat", the children ask, "¿Me da mi calaverita?" ("Can you give me my little skull?"), where a calaverita is a small skull made of sugar or chocolate.... History Ancient precursors Traditions similar to the modern custom of trick-or-treating extend all the way back to classical antiquity, although it is extremely unlikely that any of them are directly related to the modern custom. The ancient Greek writer Athenaeus of Naucratis records in his book The Deipnosophists that, in ancient times, the Greek island of Rhodes had a custom in which children would go from door-to-door dressed as swallows, singing a song, which demanded the owners of the house to give them food and threatened to cause mischief if the owners of the house refused.[5][6][7] This tradition was claimed to have been started by the Rhodian lawgiver Cleobulus.[8] Origins Since the Middle Ages, a tradition of mumming on a certain holiday has existed in parts of Britain and Ireland. It involved going door-to-door in costume, performing short scenes or parts of plays in exchange for food or drink. The custom of trick-or-treating on Halloween may come from the belief that supernatural beings, or the souls of the dead, roamed the earth at this time and needed to be appeased. It may otherwise have originated in a Celtic festival, held on 31 October–1 November, to mark the beginning of winter. It was Samhain in Ireland, Scotland and the Isle of Man, and Calan Gaeaf in Wales, Cornwall, and Brittany. The festival is believed to have pre-Christian roots. In the 9th century, the Catholic Church made 1 November All Saints' Day. Among Celtic-speaking peoples, it was seen as a liminal time, when the spirits or fairies (the Aos Sí), and the souls of the dead, came into our world and were appeased with offerings of food and drink. Similar beliefs and customs were found in other parts of Europe. It is suggested that trick-or-treating evolved from a tradition whereby people impersonated the spirits, or the souls of the dead, and received offerings on their behalf. S. V. Peddle suggests they "personify the old spirits of the winter, who demanded reward in exchange for good fortune".[9] Impersonating these spirits or souls was also believed to protect oneself from them.[10] "A soul-cake, a soul-cake, have mercy on all Christian souls for a soul-cake." — a popular English souling rhyme[11] At least as far back as the 15th century, among Christians, there had been a custom of sharing soul-cakes at Allhallowtide (October 31 through November 2).[12][13] People would visit houses and take soul-cakes, either as representatives of the dead, or in return for praying for their souls.[14] Later, people went "from parish to parish at Halloween, begging soul-cakes by singing under the windows some such verse as this: 'Soul, souls, for a soul-cake; Pray you good mistress, a soul-cake!'"[15] They typically asked for "mercy on all Christian souls for a soul-cake".[16] It was known as 'Souling' and was recorded in parts of Britain, Flanders, southern Germany, and Austria.[17] Shakespeare mentions the practice in his comedy The Two Gentlemen of Verona (1593), when Speed accuses his master of "puling [whimpering or whining] like a beggar at Hallowmas".[18] The wearing of costumes, or "guising", at Hallowmas, had been recorded in Scotland in the 16th century[19] and was later recorded in other parts of Britain and Ireland.[20] There are many references to mumming, guising or souling at Halloween in Britain and Ireland during the late 18th century and the 19th century. In parts of southern Ireland, a man dressed as a Láir Bhán (white mare) led youths house to house reciting verses—some of which had pagan overtones—in exchange for food. If the household donated food it could expect good fortune from the 'Muck Olla', but if they refused to do so, it would bring misfortune.[21] In Scotland, youths went house to house in white with masked, painted or blackened faces, reciting rhymes and often threatening to do mischief if they were not welcomed.[20][22][23] In parts of Wales, peasant men went house to house dressed as fearsome beings called gwrachod, or presenting themselves as the cenhadon y meirw (representatives of the dead).[20] In western England, mostly in the counties bordering Wales, souling was common.[13] According to one 19th century English writer "parties of children, dressed up in fantastic costume […] went round to the farm houses and cottages, singing a song, and begging for cakes (spoken of as "soal-cakes"), apples, money, or anything that the goodwives would give them".[24] Girl in a Halloween costume in 1928 in Ontario, Canada, the same province where the Scottish Halloween custom of "guising" is first recorded in North America A contemporary account of guising at Halloween in Scotland is recorded in 1895, where masqueraders in disguise carrying lanterns made out of scooped out turnips, visit homes to be rewarded with cakes, fruit, and money.[25] The earliest known occurrence of the practice of guising at Halloween in North America is from 1911, when a newspaper in Kingston, Ontario, Canada reported on children going "guising" around the neighborhood.[3] American historian and author Ruth Edna Kelley of Massachusetts wrote the first book length history of the holiday in the US; The Book of Hallowe'en (1919), and references souling in the chapter "Hallowe'en in America"; "The taste in Hallowe'en festivities now is to study old traditions, and hold a Scotch party, using Burn's poem Hallowe'en as a guide; or to go a-souling as the English used. In short, no custom that was once honored at Hallowe'en is out of fashion now."[26] Kelley lived in Lynn, Massachusetts, a town with 4,500 Irish immigrants, 1,900 English immigrants, and 700 Scottish immigrants in 1920.[27] In her book, Kelley touches on customs that arrived from across the Atlantic; "Americans have fostered them, and are making this an occasion something like what it must have been in its best days overseas. All Hallowe'en customs in the United States are borrowed directly or adapted from those of other countries".[28] While the first reference to "guising" in North America occurs in 1911, another reference to ritual begging on Halloween appears, place unknown, in 1915, with a third reference in Chicago in 1920.[29] The earliest known use in print of the term "trick or treat" appears in 1927, from Blackie, Alberta:     Hallowe’en provided an opportunity for real strenuous fun. No real damage was done except to the temper of some who had to hunt for wagon wheels, gates, wagons, barrels, etc., much of which decorated the front street. The youthful tormentors were at back door and front demanding edible plunder by the word “trick or treat” to which the inmates gladly responded and sent the robbers away rejoicing.[30] The thousands of Halloween postcards produced between the start of the 20th century and the 1920s commonly show children but do not depict trick-or-treating.[31] The editor of a collection of over 3,000 vintage Halloween postcards writes, "There are cards which mention the custom [of trick-or-treating] or show children in costumes at the doors, but as far as we can tell they were printed later than the 1920s and more than likely even the 1930s. Tricksters of various sorts are shown on the early postcards, but not the means of appeasing them".[32] Trick-or-treating does not seem to have become a widespread practice until the 1930s, with the first U.S. appearance of the term in 1932,[33] and the first use in a national publication occurring in 1939.[34] Behavior similar to trick-or-treating was more commonly associated with Thanksgiving from 1870 (shortly after that holiday's formalization) until the 1930s. In New York City, a Thanksgiving ritual known as Ragamuffin Day involved children dressing up as beggars and asking for treats, which later evolved into dressing up in more diverse costumes.[35][36] Increasing hostility toward the practice in the 1930s eventually led to the begging aspects being dropped, and by the 1950s, the tradition as a whole had ceased. Increased popularity Almost all pre-1940 uses of the term "trick-or-treat" are from the United States and Canada. Trick-or-treating spread throughout the United States, stalled only by World War II sugar rationing that began in April, 1942 and lasted until June, 1947.[37][38] Magazine advertisement in 1962 Early national attention to trick-or-treating was given in October, 1947 issues of the children's magazines Jack and Jill and Children's Activities,[39] and by Halloween episodes of the network radio programs The Baby Snooks Show in 1946 and The Jack Benny Show and The Adventures of Ozzie and Harriet in 1948.[40] Trick-or-treating was depicted in the Peanuts comic strip in 1951.[41] The custom had become firmly established in popular culture by 1952, when Walt Disney portrayed it in the cartoon Trick or Treat, and Ozzie and Harriet were besieged by trick-or-treaters on an episode of their television show.[42] In 1953 UNICEF first conducted a national campaign for children to raise funds for the charity while trick-or-treating.[43] Although some popular histories of Halloween have characterized trick-or-treating as an adult invention to re-channel Halloween activities away from Mischief Night vandalism, there are very few records supporting this. Des Moines, Iowa is the only area known to have a record of trick-or-treating being used to deter crime.[44] Elsewhere, adults, as reported in newspapers from the mid-1930s to the mid-1950s, typically saw it as a form of extortion, with reactions ranging from bemused indulgence to anger.[45] Likewise, as portrayed on radio shows, children would have to explain what trick-or-treating was to puzzled adults, and not the other way around. Sometimes even the children protested: for Halloween 1948, members of the Madison Square Boys Club in New York City carried a parade banner that read "American Boys Don't Beg."[46] The National Confectioners Association reported in 2005 that 80 percent of adults in the United States planned to give out confectionery to trick-or-treaters,[47] and that 93 percent of children, teenagers, and young adults planned to go trick-or-treating or participating in other Halloween activities.[48] Phrase introduction to the UK and Ireland Despite the concept of trick-or-treating originating in Britain and Ireland in the form of souling and guising, the use of the term "trick or treat" at the doors of homeowners was not common until the 1980s, with its popularisation in part through the release of the film E.T.[49] Guising requires those going door-to-door to perform a song or poem without any jocular threat,[50] and according to one BBC journalist, in the 1980s, "trick or treat" was still often viewed as an exotic and not particularly welcome import, with the BBC referring to it as "the Japanese knotweed of festivals" and "making demands with menaces".[51] In Ireland before the phrase "trick or treat" became common in the 2000s, children would say "Help the Halloween Party".[4] Very often, the phrase "trick or treat" is simply said and the revellers are given sweets, with the choice of a trick or a treat having been discarded. Etiquette Two children trick-or-treating on Halloween in Arkansas, United States Trick-or-treating typically begins at dusk which can vary according to region on October 31. It can range between 5:30PM–9:00PM. Some municipalities specify times that can be found on city/town sites. Some municipalities choose other dates.[52] Homeowners wishing to participate sometimes decorate their homes with artificial spider webs, plastic skeletons and jack-o-lanterns. While not every residence may be decorated for the holiday, those participating in the handing out of candy will opt to leave a porch light on to signify that the opportunity for candy is available. Some homeowners may go as far as asking trick-or-treaters for a "trick" before providing them with candy, while others simply leave the candy in bowls on the porch. In more recent years,[when?] participation has spread through whole neighborhoods, with children even visiting senior residences and condominiums. The nonprofit Food Allergy Research & Education says on its website that in 2014 it started the practice of teal pumpkins as decorations to indicate that a house is giving out items other than food. This inspired Alicia Plumer, the mother of an autistic son, to start the blue bucket movement in 2018. Plumer's son carried a blue bucket, and National Autism Association president Wendy Fournier encouraged the use of blue buckets by other autistic children, to indicate that they might not have the abilities of other children but still deserved to be included.[53] Local variants Guising "Guising" redirects here. For other uses, see Guising (disambiguation). Halloween shop in Derry, Northern Ireland. Halloween masks are called ‘false faces’ in Ireland.[54] In Scotland and Ireland, "guising" – children going from door to door in disguise – is traditional, and a gift in the form of food, coins or "apples or nuts for the Halloween party" (in more recent times chocolate) is given out to the children.[4][55][56] The tradition is called "guising" because of the disguises or costumes worn by the children.[2][57] In the West Mid Scots dialect, guising is known as "galoshans".[58] Halloween masks are referred to as ‘false faces’ in Ireland and Scotland.[54] While guising has been recorded in Scotland in the 16th century, a more contemporary record of guising at Halloween in Scotland is in 1895, where masqueraders in disguise carrying lanterns made out of scooped out turnips, visit homes to be rewarded with cakes, fruit, and money.[25] Guising also involved going to wealthy homes, and in the 1920s, boys went guising at Halloween up to the affluent Thorntonhall, South Lanarkshire.[59] An account of guising in the 1950s in Ardrossan, North Ayrshire, records a child receiving 12 shillings and sixpence, having knocked on doors throughout the neighbourhood and performed.[50] In Ireland, kids in their masks and costumes would commonly say "Help the Halloween Party" at the doors of homeowners.[4][60] Growing up in Derry, Northern Ireland in the 1960s, Michael Bradley recalls kids asking, “Any nuts or apples?”.[61] There is a significant difference from the way the practice has developed in North America with the jocular threat. In Scotland and Ireland, the children are only supposed to receive treats if they perform a party trick for the households they go to. This normally takes the form of singing a song or reciting a joke or a funny poem which the child has memorised before setting out.[50] Occasionally a more talented child may do card tricks, play the mouth organ, or something even more impressive, but most children will earn plenty of treats even with something very simple. Often they won't even need to perform.[55] While going from door to door in disguise has remained popular among Scots and Irish at Halloween, the North American saying "trick-or-treat" has become common in the 2000s.[4][60] Trunk-or-treat Trunk-or-treating event held at St. John Lutheran Church & Early Learning Center in Darien, Illinois Some organizations around the United States and Canada sponsor a "trunk-or-treat" on Halloween night (or on occasion, a day immediately preceding Halloween or a few days from it on a weekend, depending on what is convenient), where trick-or-treating is done from parked car to parked car in a local parking lot, often at a school or church. This annual event began in the mid-1990s as a "Fall Festival" for an alternative to trick-or-treating, but became "trunk-or-treat" two decades later. The activity involves the open trunk of a car, displaying candy, and often games and decorations. Some parents regard trunk-or-treating as a safer alternative to trick-or-treating;[62] while other parents see it as an easier alternative to walking the neighborhood with their children. Some have called for more city or community group-sponsored trunk-or-treats, so they can be more inclusive.[63] These have become increasingly popular in recent years.[64] Other Children of the St. Louis, Missouri area are expected to perform a joke, usually a simple Halloween-themed pun or riddle, before receiving any candy; this "trick" earns the "treat".[65] Children in Des Moines, Iowa also tell jokes or otherwise perform before receiving their treat. In most areas where trick-or-treating is practiced, it is strictly meant for children. In fact, there are a diversity of opinions regarding when to end trick or treating, the most restrictive of which is age 12, the least restrictive at any age, and a common rule of thumb being "if you are old enough to drive a car you are too old to beg strangers for candy".[66] It is generally expected that a teenager will transition into more mature expressions of celebrating the holiday, such as fancy dress, games, and diversions like bonfires and bobbing for apples, and sweets like caramel apples, and teenagers will often attend school or community events with a Halloween theme where there will be dancing and music.[67] Dressing up is common at all ages, adults will often dress up to accompany their children, and young adults may dress up to go out and ask for gifts for a charity. In some parts of Canada, children sometimes say "Halloween apples" instead of "trick or treat". This probably originated when the toffee apple was a popular type of candy. Apple-giving in much of Canada, however, has been taboo since the 1960s when stories (of almost certainly questionable authenticity) appeared of razors hidden inside Halloween apples; parents began to check over their children's "loot" for safety before allowing them to eat it. In Quebec, children also go door to door on Halloween. However, in French-speaking neighbourhoods, instead of "Trick or treat", they will simply say "Halloween", though it traditionally used to be "La charité, s'il-vous-plaît" ("Charity, please").[68] In Portugal, children go from house to house in All Saints Day and All Souls Day, carrying pumpkin carved lanterns called coca,[69] asking everyone they see for Pão-por-Deus singing rhymes where they remind people why they are begging, saying "...It is for me and for you, and to give to the deceased who are dead and buried"[70] or "It is to share with your deceased"[71] If a door is not open or the children don't get anything, they end their singing saying "In this house smells like lard, here must live someone deceased". In the Azores the bread given to the children takes the shape of the top of a skull.[72] The tradition of pão-por-Deus was already recorded in the 15th century.[73] After this ritual begging, takes place the Magusto and big bonfires are lit with the "firewood of the souls". The young people play around smothering their faces with the ashes. The ritual begging for the deceased used to take place all over the year as in several regions the dead, those who were dear, were expected to arrive and take part in the major celebrations like Christmas and a plate with food or a seat at the table was always left for them.[74] In Sweden, children dress up as witches and monsters when they go trick-or-treating on Maundy Thursday (the Thursday before Easter) while Danish children dress up in various attires and go trick-or-treating on Fastelavn (or the next day, Shrove Monday). In Norway, "trick-or-treat" is called "knask eller knep", which means almost the same thing, although with the word order reversed, and the practice is quite common among children, who come dressed up to people's doors asking for, mainly, candy. Many Norwegians prepare for the event by consciously buying a small stock of sweets prior to it, to come in handy should any kids come knocking on the door, which is very probable in most areas. The Easter witch tradition is done on Palm Sunday in Finland (virvonta). In parts of Flanders and some parts of the Netherlands and most areas of Germany, Switzerland, and Austria, children go to houses with homemade beet lanterns or with paper lanterns (which can hold a candle or electronic light), singing songs about St. Martin on St. Martin's Day (the 11th of November), in return for treats.[75] In Northern Germany and Southern Denmark, children dress up in costumes and go trick-or-treating on New Year's Eve in a tradition called "Rummelpott [de]".[76] Trick or Treat for Charity UNICEF started a program in 1950 called Trick-or-Treat for UNICEF in which trick-or-treaters ask people to give money for the organization, usually instead of collecting candy. Participating trick-or-treaters say when they knock at doors "Trick-or-treat for UNICEF!"[77] This program started as an alternative to candy. The organization has long produced disposable collection boxes that state on the back what the money can be used for in developing countries. In Canada, students from the local high schools, colleges, and universities dress up to collect food donations for the local Food Banks as a form of trick-or-treating. This is sometimes called "Trick-or-Eat"." (wikipedia.org) "The distinction between horror and terror is a standard literary and psychological concept applied especially to Gothic and horror fiction.[1] Terror is usually described as the feeling of dread and anticipation that precedes the horrifying experience. By contrast, horror is the feeling of revulsion that usually follows a frightening sight, sound, or otherwise experience. Horror has also been defined by Noel Carroll as a combination of terror and revulsion.... Literary Gothic Figure 20 from Charles Darwin's The Expression of the Emotions in Man and Animals (1872). Caption reads "FIG. 20.—Terror, from a photograph by Dr. Duchenne." The distinction between terror and horror was first characterized by the Gothic writer Ann Radcliffe (1764–1823), horror being more related to being shocked or scared (being horrified) at an awful realization or a deeply unpleasant occurrence, while terror is more related to being anxious or fearful.[3] Radcliffe considered that terror is characterized by "obscurity" or indeterminacy in its treatment of potentially horrible events, something which leads to the sublime. She says in an essay published posthumously in 1826, 'On the Supernatural in Poetry', that terror "expands the soul and awakens the faculties to a high degree of life". Horror, in contrast, "freezes and nearly annihilates them" with its unambiguous displays of atrocity. She goes on: "I apprehend that neither Shakespeare nor Milton by their fictions, nor Mr Burke by his reasoning, anywhere looked to positive horror as a source of the sublime, though they all agree that terror is a very high one; and where lies the great difference between horror and terror, but in uncertainty and obscurity, that accompany the first, respecting the dreader evil."[4] According to Devendra Varma in The Gothic Flame (1966):     The difference between Terror and Horror is the difference between awful apprehension and sickening realization: between the smell of death and stumbling against a corpse. Horror fiction Horror is also a genre of film and fiction that relies on horrifying images or situations to tell stories and prompt reactions or jump scares to put their audiences on edge. In these films the moment of horrifying revelation is usually preceded by a terrifying build up, often using the medium of scary music.[5] In his non-fiction book Danse Macabre, Stephen King stressed how horror tales normally chart the outbreak of madness/the terrible within an everyday setting.[6] He also elaborated on the twin themes of terror and horror, adding a third element which he referred to as "revulsion". He describes terror as "the finest element" of the three, and the one he strives hardest to maintain in his own writing. Citing many examples, he defines "terror" as the suspenseful moment in horror before the actual monster is revealed. "Horror," King writes, is that moment at which one sees the creature/aberration that causes the terror or suspense, a "shock value". King finally compares "revulsion" with the gag-reflex, a bottom-level, cheap gimmick which he admits he often resorts to in his own fiction if necessary, confessing:     I recognize terror as the finest emotion and so I will try to terrorize the reader. But if I find that I cannot terrify, I will try to horrify, and if I find that I cannot horrify, I'll go for the gross-out. I'm not proud.[7] Psychoanalytic views Freud likened the experience of horror to that of the uncanny.[8] In his wake, Georges Bataille saw horror as akin to ecstasy in its transcendence of the everyday;[9] as opening a way to go beyond rational social consciousness.[10] Julia Kristeva in turn considered horror as evoking experience of the primitive, the infantile, and the demoniacal aspects of unmediated femininity.[11] Horror, helplessness and trauma The paradox of pleasure experienced through horror films/books can be explained partly as stemming from relief from real-life horror in the experience of horror in play, partly as a safe way to return in adult life to the paralysing feelings of infantile helplessness.[12] Helplessness is also a factor in the overwhelming experience of real horror in psychological trauma.[13] Playing at re-experiencing the trauma may be a helpful way of overcoming it." (wikipedia.org) "A candle is an ignitable wick embedded in wax, or another flammable solid substance such as tallow, that provides light, and in some cases, a fragrance. A candle can also provide heat or a method of keeping time. A person who makes candles is traditionally known as a chandler.[1] Various devices have been invented to hold candles, from simple tabletop candlesticks, also known as candle holders, to elaborate candelabra and chandeliers.[2] For a candle to burn, a heat source (commonly a naked flame from a match or lighter) is used to light the candle's wick, which melts and vaporizes a small amount of fuel (the wax). Once vaporized, the fuel combines with oxygen in the atmosphere to ignite and form a constant flame. This flame provides sufficient heat to keep the candle burning via a self-sustaining chain of events: the heat of the flame melts the top of the mass of solid fuel; the liquefied fuel then moves upward through the wick via capillary action; the liquefied fuel finally vaporizes to burn within the candle's flame. As the fuel (wax) is melted and burned, the candle becomes shorter. Portions of the wick that are not emitting vaporized fuel are consumed in the flame. The incineration of the wick limits the length of the exposed portion of the wick, thus maintaining a constant burning temperature and rate of fuel consumption. Some wicks require regular trimming with scissors (or a specialized wick trimmer), usually to about one-quarter inch (~0.7 cm), to promote slower, steady burning, and also to prevent smoking. Special candle-scissors called "snuffers" were produced for this purpose in the 20th century and were often combined with an extinguisher. In modern candles, the wick is constructed so that it curves over as it burns. This ensures that the end of the wick gets oxygen and is then consumed by fire—a self-trimming wick.... Etymology The word candle comes from Middle English candel, from Old English and from Anglo-Norman candele, both from Latin candēla, from candēre, to shine.[4] History Main article: History of candle making Roman oil lamp Prior to the candle, people used oil lamps in which a lit wick rested in a container of liquid oil. Romans began making true dipped candles from tallow, beginning around 500 BC.[5] European candles of antiquity were made from various forms of natural fat, tallow, and wax. In Ancient Rome, candles were made of tallow due to the prohibitive cost of beeswax.[6] They may have also existed in Ancient Greece, but imprecise terminology makes it difficult to determine.[6] The earliest surviving candles originated in Han China around 200 BC. These early Chinese candles were made from whale fat. During the Middle Ages, tallow candles were most commonly used. By the 13th century, candle making had become a guild craft in England and France. The candle makers (chandlers) went from house to house making candles from the kitchen fats saved for that purpose, or made and sold their own candles from small candle shops.[7] Beeswax, compared to animal-based tallow, burned cleanly, without smoky flame. Beeswax candles were expensive, and relatively few people could afford to burn them in their homes in medieval Europe. However, they were widely used for church ceremonies.[8] In the 18th and 19th centuries, spermaceti, a waxy substance produced by the sperm whale, was used to produce a superior candle that burned longer, brighter and gave off no offensive smell.[9] Later in the 18th century, colza oil and rapeseed oil came into use as much cheaper substitutes. Modern era Price's Candles had become the largest candle manufacturer in the world by the end of the 19th century The manufacture of candles became an industrialized mass market in the mid 19th century. In 1834, Joseph Morgan,[10] a pewterer from Manchester, England, patented a machine that revolutionised candle making. It allowed for continuous production of molded candles by using a cylinder with a moveable piston to eject candles as they solidified. This more efficient mechanized production produced about 1,500 candles per hour. This allowed candles to be an affordable commodity for the masses.[11] Candlemakers also began to fashion wicks out of tightly braided (rather than simply twisted) strands of cotton. This technique makes wicks curl over as they burn, maintaining the height of the wick and therefore the flame. Because much of the excess wick is incinerated, these are referred to as "self-trimming" or "self-consuming" wicks.[12] In the mid-1850s, James Young succeeded in distilling paraffin wax from coal and oil shales at Bathgate in West Lothian and developed a commercially viable method of production.[13] Paraffin could be used to make inexpensive candles of high quality. It was a bluish-white wax, which burned cleanly and left no unpleasant odor, unlike tallow candles. By the end of the 19th century, candles were made from paraffin wax and stearic acid. By the late 19th century, Price's Candles, based in London, was the largest candle manufacturer in the world.[14] Founded by William Wilson in 1830,[15] the company pioneered the implementation of the technique of steam distillation, and was thus able to manufacture candles from a wide range of raw materials, including skin fat, bone fat, fish oil and industrial greases. Despite advances in candle making, the candle industry declined rapidly upon the introduction of superior methods of lighting, including kerosene and lamps and the 1879 invention of the incandescent light bulb. From this point on, candles came to be marketed as more of a decorative item.[16] Use See also: Ceremonial use of lights § Candles Candle lighting in the Visoki Dečani monastery Closeup view of candle at night Before the invention of electric lighting, candles and oil lamps were commonly used for illumination. In areas without electricity, they are still used routinely. Until the 20th century, candles were more common in northern Europe. In southern Europe and the Mediterranean, oil lamps predominated. In the developed world today, candles are used mainly for their aesthetic value and scent, particularly to set a soft, warm, or romantic ambiance, for emergency lighting during electrical power failures, and for religious or ritual purposes.[17] In the 21st century, there has been a huge spike in sales of scented candles in recent years.[18] [17] The pandemic and the ensuring lockdowns led to a dramatic increase in the sales of scented candles, diffusers and room sprays. [19] Other uses With the fairly consistent and measurable burning of a candle, a common use of candles was to tell the time. The candle designed for this purpose might have time measurements, usually in hours, marked along the wax. The Song dynasty in China (960–1279) used candle clocks.[20] By the 18th century, candle clocks were being made with weights set into the sides of the candle. As the candle melted, the weights fell off and made a noise as they fell into a bowl. In the days leading to Christmas, some people burn a candle a set amount to represent each day, as marked on the candle. The type of candle used in this way is called the Advent candle,[21] although this term is also used to refer to a candle that are used in an Advent wreath. Components Wax The hydrocarbon C31H64 is a typical component of paraffin wax, from which most modern candles are produced. Unlit candles Candles for Christmas. For most of recorded history candles were made from tallow (rendered from beef or mutton-fat) or beeswax. From the mid 1800s they were also made from spermaceti, a waxy substance derived from the Sperm whale, which in turn spurred demand for the substance. Candles were also made from stearin (initially manufactured from animal fats but now produced almost exclusively from palm waxes).[22][23] Today, most candles are made from paraffin wax, a byproduct of petroleum refining.[24] Candles can also be made from microcrystalline wax, beeswax (a byproduct of honey collection), gel (a mixture of polymer and mineral oil),[25] or some plant waxes (generally palm, carnauba, bayberry, or soybean wax). The size of the flame and corresponding rate of burning is controlled largely by the candle wick. The kind of wax also affects the burn rate, with beeswax and coconut wax burning longer than paraffin or soy wax.[26] Production methods utilize extrusion moulding.[24] More traditional production methods entail melting the solid fuel by the controlled application of heat. The liquid is then poured into a mould, or a wick is repeatedly immersed in the liquid to create a dipped tapered candle. Often fragrance oils, essential oils or aniline-based dye is added. Wick Main article: Candle wick A candle wick works by capillary action, drawing ("wicking") the melted wax or fuel up to the flame. When the liquid fuel reaches the flame, it vaporizes and combusts. The candle wick influences how the candle burns. Important characteristics of the wick include diameter, stiffness, fire resistance, and tethering. A candle wick is a piece of string or cord that holds the flame of a candle. Commercial wicks are made from braided cotton. The wick's capillarity determines the rate at which the melted hydrocarbon is conveyed to the flame. If the capillarity is too great, the molten wax streams down the side of the candle. Wicks are often infused with a variety of chemicals to modify their burning characteristics. For example, it is usually desirable that the wick not glow after the flame is extinguished. Typical agents are ammonium nitrate and ammonium sulfate.[24] Characteristics     This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2021) (Learn how and when to remove this template message) A small ornamental candle with a gold stand Light A room lit by the glow of many candles Based on measurements of a taper-type, paraffin wax candle, a modern candle typically burns at a steady rate of about 0.1 g/min, releasing heat at roughly 80 W.[27] The light produced is about 13 lumens, for a luminous efficacy of about 0.16 lumens per watt (luminous efficacy of a source) – almost a hundred times lower than an incandescent light bulb. The luminous intensity of a typical candle is approximately one candela. The SI unit, candela, was in fact based on an older unit called the candlepower, which represented the luminous intensity emitted by a candle made to particular specifications (a "standard candle"). The modern unit is defined in a more precise and repeatable way, but was chosen such that a candle's luminous intensity is still about one candela. Temperature See also: Combustion The hottest part of a candle flame is just above the very dull blue part to one side of the flame, at the base. At this point, the flame is about 1,400 °C (2,550 °F). However note that this part of the flame is very small and releases little heat energy. The blue color is due to chemiluminescence, while the visible yellow color is due to radiative emission from hot soot particles. The soot is formed through a series of complex chemical reactions, leading from the fuel molecule through molecular growth, until multi-carbon ring compounds are formed. The thermal structure of a flame is complex, hundreds of degrees over very short distances leading to extremely steep temperature gradients. On average, the flame temperature is about 1,000 °C (1,830 °F).[28] The color temperature is approximately 1000 K. Candle flame Five zones of a standard domestic candle flame A candle flame is formed because wax vaporizes on burning. A candle flame is widely recognized as having between three and five regions or "zones":     Zone I - this is the non-luminous, lowest, and coolest part of the candle flame. It is located around the base of the wick where there is insufficient oxygen for fuel to burn. Temperatures are around 600 °C (1,112 °F).     Zone II - this is the blue zone which surrounds the base of the flame. Here the supply of oxygen is plentiful, and the fuel burns clean and blue. It is heat from this zone which causes the wax to melt. Temperatures are around 800 °C (1,470 °F)     Zone III - the dark zone is a region directly above the wick containing unburnt wax. Pyrolysis takes place here. Temperature is around 1,000 °C (1,830 °F)     Zone IV - the middle or luminous zone is yellow/ white and is located above the dark zone. It is the brightest zone, but not the hottest. It is an oxygen-depleted zone with insufficient oxygen to burn all of the wax vapor rising from below it resulting in only partial combustion. The zone also contains unburnt carbon particles. Temperature is around 1,200 °C (2,190 °F).     Zone V - The non-luminous outer zone or veil surrounds Zone IV. Here the flame is at its hottest, at around 1,400 °C (2,550 °F), and complete combustion occurs. It is light blue in color though most of it is invisible.[29][30] The main determinant of the height of a candle flame is the diameter of the wick. This is evidenced in tealights where the wick is very thin and the flame is very small. Candles whose main purpose is illumination use a much thicker wick.[31] History of study One of Michael Faraday's significant works was The Chemical History of a Candle, where he gives an in-depth analysis of the evolutionary development, workings and science of candles.... Candle holders Decorative candleholders, especially those shaped as a pedestal, are called candlesticks; if multiple candle tapers are held, the term candelabrum is also used. The root form of chandelier is from the word for candle, but now usually refers to an electric fixture. The word chandelier is sometimes now used to describe a hanging fixture designed to hold multiple tapers. Many candle holders use a friction-tight socket to keep the candle upright. In this case, a candle that is slightly too wide will not fit in the holder, and a candle that is slightly too narrow will wobble. Candles that are too big can be trimmed to fit with a knife; candles that are too small can be fitted with aluminium foil. Traditionally, the candle and candle holders were made in the same place, so they were appropriately sized, but international trade has combined the modern candle with existing holders, which makes the ill-fitting candle more common. This friction tight socket is only needed for the federals and the tapers. For tea light candles, there is a variety of candle holders, including small glass holders and elaborate multi-candle stands. The same is true for votives. Wall sconces are available for tea light and votive candles. For pillar-type candles, the assortment of candle holders is broad. A fireproof plate, such as a glass plate or small mirror, can be a candle holder for a pillar-style candle. A pedestal of any kind, with the appropriate-sized fireproof top, is another option. A large glass bowl with a large flat bottom and tall mostly vertical curved sides is called a hurricane. The pillar-style candle is placed at the bottom center of the hurricane. A hurricane on a pedestal is sometimes sold as a unit. A bobèche is a drip-catching ring, which may also be affixed to a candle holder, or used independently of one. Bobèches can range from ornate metal or glass to simple plastic, cardboard, or wax paper. Use of paper or plastic bobèches is common at events where candles are distributed to a crowd or audience, such as Christmas carolers or people at other concerts/festivals. Candle followers These are glass or metal tubes with an internal stricture partway along, which sit around the top of a lit candle. As the candle burns, the wax melts and the follower holds the melted wax in, whilst the stricture rests on the topmost solid portion of wax. Candle followers are often deliberately heavy or weighted to ensure they move down as the candle burns lower, maintaining a seal and preventing wax escape. The purpose of a candle follower is threefold:     To contain the melted wax, making the candle more efficient, avoiding mess, and producing a more even burn.     As a decoration, either due to the ornate nature of the device, or (in the case of a glass follower) through light dispersion or colouration.     If necessary, to shield the flame from wind. Candle followers are often found in churches on altar candles." (wikipedia.org) "A tealight (also tea-light, tea light, tea candle, or informally tea lite, t-lite or t-candle) is a candle in a thin metal or plastic cup so that the candle can liquefy completely while lit. They are typically small, circular, usually wider than their height,[1] and inexpensive. Tealights derive their name from their use in teapot warmers, but are also used as food warmers in general, e.g. fondue. Tealights are a popular choice for accent lighting and for heating scented oil. A benefit that they have over taper candles is that they do not drip. [2] Tealights may be set afloat on water for decorative effect. Because of their small size and low level of light, multiple tealights are often burned simultaneously. Longer-burning tealights may be called nightlights. They are also lit for religious purposes.... Varieties Cretan style Advent labyrinth made with 2500 burning tealights in the Holy Cross - Centre for Christian Meditation and Spirituality of the Roman Catholic Diocese of Limburg at the Holy Cross Church in Frankfurt am Main-Bornheim Tealights can come in many different shapes and sizes, small and large, as well as burn times and scents. However, tealights are commonly short and cylindrical, approximately 38 mm (1.5 in) in diameter by 16 mm (0.63 in) high, with white unscented wax. A standard tealight has a power output of around 32 watts, depending on the wax used.[3] When used in batches of fifty or more, such as at a party, the two criteria most desired are "least amount of smoke" and being long-lasting. [4] Cup design The wick is tethered to a piece of metal to stop it from floating to the top of the molten wax and burning out before the wax does. Tealights have been protected under several patented designs. In some cases, the standard tea light metal cup has been replaced with a clear plastic cup, sometimes made out of polycarbonate plastic. The clear cup allows more light to escape the holder. However, the metal cups are much more common. Holders Heart-shaped tealight candle holder from Himalayan salt When not placed on a tray, tealights are placed in a special holder, which may be pierced[5] or have partly clear walls to allow light to pass through. From small pockets of glass, metal, ceramic, and other materials to larger, more elaborate tea light lamps, holders come in a wide range of styles, colours, and shapes. They have an appropriately sized cup to use a tealight candle, either scented or unscented. Discount stores, gift stores, and home decor stores often carry an array of holders for these small candles. Electrical Electric tealights have become increasingly popular as newer technology becomes available. They can feature incandescent or LED bulbs, the latter becoming the preferred format as LEDs become more-efficient and brighter. They can come in many different colours to set a mood, match a decor or augment the container's design. Some can also simulate a moving flame with various mechanical or electronic animations." (wikipedia.org) "A votive candle or prayer candle is a small candle, typically white or beeswax yellow, intended to be burnt as a votive offering in an act of Christian prayer, especially within the Anglican, Lutheran, and Roman Catholic Christian denominations, among others.[1][2][3][4] In Christianity, votive candles are commonplace in many churches, as well as home altars, and symbolize the "prayers the worshipper is offering for him or herself, or for other people."[5][3][4] The size of a votive candle is often two inches tall by one and a half inches diameter, although other votive candles can be significantly taller and wider. In other religions, such as Hinduism and Buddhism, similar offerings exist, which include diyas and butter lamps.... Use by Christian denomination Votive candles at a small Roman Catholic Christian grotto in the American state of Texas Votive candles on sale for Halloween in a Midwestern department store Candles are lit for prayer intentions. To "light a candle for someone" indicates one's intention to say a prayer for another person, and the candle symbolizes that prayer. Many times, "a board is placed nearby with names of those for whom prayer is requested."[1] A donation box is usually placed near a votive candle rack in order that Christians lighting the votive candles can help defray the cost of votive candles, and make a votive offering to the church. Anglicanism Some Anglican churches, especially those that worship in the High Church or Anglo-Catholic tradition, have votive candles for purposes of praying for the dead as well as asking for saintly intercession. Catholicism In the Roman Catholic Church, candles are at times placed before a statue of Jesus, of the Blessed Virgin Mary, or of some other saint. Often, in older or traditional churches, this will be before a bye-altar. A votive candle signifies literally that the lighting is done in fulfillment of a vow (Latin, votum), although in most cases the intention is to give honor and to seek help from the saint before whose images the candle is lit and to pray for the dead.[6] Candles used may vary from long, taper-type candles to tealight candles. Tealight candles are either placed in holders or just on a platform in front of the statue. Long candles may be placed in a special holder.[7] Eastern Orthodoxy Orthodox churches use long, thin candles, which are placed in round containers. In the Eastern Orthodox Church, candles are lit before icons, usually of Jesus Christ or the Theotokos. Usually Orthodox churches only use long, thin candles. These are usually placed in round containers, having either various sockets to hold the candles, or in a container filled with sand in which the worshipers place their candles. Orthodox churches will usually have a separate place to put candles lit for the departed; Anglican and Roman Catholic churches make no such distinction. Lutheranism Lutheran churches may use votive candles which may be lit at home, as a part of personal or family devotions, or at the church. They are usually lit on the altar rails, or in front of the altar cross. They are also often lit during the liturgy of Good Friday. Votive candle holder stands before an icon of Christ in a Church of Sweden parish church in Skellefteå, Sweden. Within the Nordic Lutheran churches of Sweden, Norway, Denmark and Finland, all High Church Lutheran denominations, the use of votive candles is commonplace and most, if not all, churches and chapels will have a votive candle holder (Swedish: Ljusbärare). These are somewhat similar to the Eastern Orthodox type, usually a round metal frame with several sockets surrounding a central, larger candle on which to light the votive candles. As in Eastern Orthodox Churches, Nordic Lutheran votive candles are also long and thin. Methodism In the United Methodist Church, those churches which worship in the High Church tradition make use of votive candles. During the liturgical celebration of Allhallowtide, especially on All Saints' Day (All Hallows' Day), votive candles are lit and a prayer is said for each person of the congregation who has died that year.[8] Composition Votive candles are made from different types of waxes including paraffin, soy wax or beeswax. There are different grades of wax with different melting points. Paraffin is often mixed with other types of waxes, such as beeswax or vegetable wax. This is done to obtain the rigidity necessary for the type of candle being made. The speed at which the candle burns depends on the composition of the wax. A taper candle that sits in a ring-shaped candle holder may have a low melting point and produce little to no oil, whereas a votive candle set in a glass cup may have a very low melting point and turn to oil. Pillar candles, large candles often with multiple wicks, have their own formula. Soy jar candles tend to have a lower melting point than pillars and votive candles. Candle quality also varies widely depending on the candle maker. The aroma of a lighted scented candle is released through the evaporation of the fragrance from the hot wax pool and from the solid candle itself. Lead wicks are unlikely to be found in any candle sold in the U.S. today: lead-core wicks have been banned from the U.S. since 2003, and members of the National Candle Association – which account for more than 90% of candles made in the U.S. – have not used lead wicks for more than 30 years. Reputable manufacturers use cotton, cotton-paper, zinc-core or tin-core wicks, all of which are known to be safe." (wikipedia.org) "Universal Classic Monsters (also known as Universal Monsters and Universal Studios Monsters) is a media franchise based on a series of horror films primarily produced by Universal Pictures from the 1930s to the 1950s. Although not initially conceived as a franchise, the enduring popularity and legacy of the films and the characters featured in them has led the studio to market them under the collective brand name of Universal Studios Monsters.[1] Steve Jones of USA Today described Universal's most famous monsters as "pop culture icons", specifically Dracula, Frankenstein, the Mummy and The Wolf Man.... Merchandizing After the Universal horror films were syndicated to television, this led to a rise in the popularity of merchandise based on Frankenstein's monster and Dracula.[4] Throughout the 1960s and into the 1970s, the Universal monsters were promoted via merchandizing which included: Halloween costumes, Aurora model kits, paperback novelizations, makeup how-to manuals, T-shirt iron-ons, posters, trading cards, and more.[5] Since 1991, Halloween Horror Nights at Universal Parks & Resorts have featured characters from the Universal Classic Monsters franchise. From 2006 to 2014, the characters also appeared in the year-round walk-through attraction, Universal's House of Horrors, at Universal Studios Hollywood. The franchise is also the central theme of Universal's Horror Make-Up Show. The live show opened in 1990 at Universal Studios Florida and is still in operation.[6] Merchandizing of the characters in formats such as clothing and board games has continued into the 21st century.[7][8] Home video line Louis Feola was the head of Worldwide Home Video for Universal Studios and said in 1999 that "a couple of years ago" he decided to "reinvigorate and re-market" Universal's Classic Monsters catalog which included the series Dracula, Frankenstein, The Invisible Man, The Phantom of the Opera, The Wolf Man, and The Mummy.[1] In 1992, in an interview with Billboard, Feola stated that to market and sell home video, the most important thing was the packaging of their sales which was "probably our single biggest priority and has been for a number of years", and that it was key to make the series of films "look like a line".[9] In 1995, MCA/Universal released a collection of the film on home video under the title "The Universal Studios Monsters Classic Collection".[10] This series included Frankenstein, Dracula, The Mummy, The Invisible Man, and The Creature From the Black Lagoon series."[10] A collection of stamps featuring Universal Classic Monsters were also released in September 1997 titled "Universal Classic Movie Monsters series".[11] Other characters included in the series included The Mummy, Frankenstein's monster (Boris Karloff), Phantom of the Opera (Lon Chaney) and the Wolf Man (Lon Chaney Jr.).[12] Films Universal Studios Monsters films Year     Title     The Classic Collection (1991–94)     Classic Monster Collection (1999)     The Legacy Collection (2004)     Universal Classic Monsters     Ref(s) Essential Collection (2012)     Complete Collection (2018) 1931     Dracula     Yes     Yes     Yes     Yes     Yes     [13][14][15][16][17][18] Dracula     Yes     Yes     Yes     Yes     Yes     [13][14][15][16][17][19] Frankenstein     Yes     Yes     Yes     Yes     Yes     [20][21][22][16][17][23] 1932     Murders in the Rue Morgue     Yes     No     No     No     No     [24][25] The Mummy     Yes     Yes     Yes     Yes     Yes     [26][27][28][16][17][29] Island of Lost Souls[a]     Yes     No     No     No     No     [31][32] 1933     The Invisible Man     Yes     Yes     Yes     Yes     Yes     [33][34][35][16][17][36] 1934     The Black Cat     Yes     No     No     No     No     [37][36] 1935     The Bride of Frankenstein     Yes     Yes     Yes     Yes     Yes     [38][39][22][16][17][40] Werewolf of London     Yes     No     Yes     No     Yes     [41][42][17][43] The Raven     Yes     No     No     No     No     [44][45] 1936     Dracula's Daughter     Yes     No     Yes     No     Yes     [46][15][17][47] 1939     Son of Frankenstein     Yes     No     Yes     No     Yes     [48][22][17][49] Tower of London     Yes     No     No     No     No     [50][51] 1940     The Invisible Man Returns     Yes     No     Yes     No     Yes     [52][35][17][53] The Mummy's Hand     Yes     No     Yes     No     Yes     [54][28][17][55] The Invisible Woman     Yes     No     Yes     No     Yes     [56][35][17][57] 1941     The Monster and the Girl[a]     Yes     No     No     No     No     [58][59] Man-Made Monster     Yes     No     No     No     No     [60][61] The Wolf Man     Yes     Yes     Yes     Yes     Yes     [62][63][42][16][17][64] 1942     The Ghost of Frankenstein     Yes     No     Yes     No     Yes     [65][22][17][66] Invisible Agent     Yes     No     Yes     No     Yes     [67][35][17][68] The Mummy's Tomb     Yes     No     Yes     No     Yes     [69][28][17][70] 1943     Frankenstein Meets the Wolf Man     Yes     No     Yes     No     Yes     [71][42][17][72] Captive Wild Woman     Yes     No     No     No     No     [73][74] Phantom of the Opera     Yes     Yes     No     Yes     Yes     [75][76][16][17][77] Son of Dracula     Yes     No     Yes     No     Yes     [78][15][17][79] The Mad Ghoul     Yes     No     No     No     No     [80][81] 1944     The Invisible Man's Revenge     Yes     No     Yes     No     Yes     [82][35][17][83] The Mummy's Ghost     Yes     No     Yes     No     Yes     [84][28][17][85] House of Frankenstein     Yes     No     Yes     No     Yes     [86][22][17][87] The Mummy's Curse     Yes     No     Yes     No     Yes     [88][28][17][89] 1945     House of Dracula     Yes     No     Yes     No     Yes     [90][15][17][91] 1946     House of Horrors     Yes     No     No     No     No     [92][93] She-Wolf of London     No     No     Yes     No     Yes     [42][17][94] 1948     Abbott and Costello Meet Frankenstein     No     No     No     No     Yes     [17][95] 1951     Abbott and Costello Meet the Invisible Man     No     No     No     No     Yes     [17][96] 1954     Creature from the Black Lagoon     Yes     Yes     Yes     Yes     Yes     [97][98][99][16][17][100] 1955     Revenge of the Creature     Yes     No     Yes     No     Yes     [101][99][17][102] Abbott and Costello Meet the Mummy     No     No     No     No     Yes     [17][103] 1956     The Creature Walks Among Us     Yes     No     Yes     No     Yes     [104][99][17][105]     Although originally produced and released by Paramount Pictures, Universal obtained the rights to the film in 1958 and branded it with Universal Studios Monsters in its 1991 home video release.[30] Legacy After the success of the 1999 film The Mummy, Universal spent the next decade attempting to reboot their classic monsters with films such as Van Helsing (2004), The Wolfman (2010), Dracula Untold (2014). The Mummy (2017) was initially set-out to create a series similar to Marvel's Avengers type series.[106] The success of popular cross-over series had led to later reasssments of the series to be among the earliest "cinematic universes" starting with Frankenstein Meets the Wolf Man.[106][107][108][109] Recurring cast and characters     This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2021) (Learn how and when to remove this template message)     List indicator(s)         This table only includes characters which have appeared in multiple films.         A dark grey cell indicates the character was not in the film.         A G Cedric Hardwicke played the son of Henry Frankenstein, he also played the ghost of Henry Frankenstein.         A P indicates the character was mentioned and shown in a photograph.         A U indicates a uncredited role.         A V indicates a voice-only role. Character     Films Dracula     Frankenstein     The Invisible Man     Bride of Frankenstein     Dracula's Daughter     Son of Frankenstein     The Invisible Man Returns     The Wolf Man     The Ghost of Frankenstein     Frankenstein Meets the Wolf Man     Son of Dracula     House of Frankenstein     House of Dracula     Abbott and Costello Meet Frankenstein     Abbott and Costello Meet the Invisible Man The Frankenstein Monster         Boris Karloff         Boris Karloff         Boris Karloff         Lon Chaney, Jr.     Bela Lugosi         Glenn Strange     Count Dracula     Bela Lugosi         Lon Chaney, Jr.     John Carradine     Bela Lugosi     The Wolf Man Larry Talbot         Lon Chaney, Jr.         Lon Chaney, Jr.         Lon Chaney, Jr.     Van Helsing     Edward Van Sloan         Edward Van Sloan     Henry Frankenstein         Colin Clive         Colin Clive         Cedric HardwickeG     The Invisible Man Jack Griffin         Claude Rains         Claude RainsP         Claude RainsP Elizabeth         Mae Clarke         Valerie Hobson     Ygor         Bela Lugosi         Bela Lugosi     The Invisible Man Geoffrey Radcliffe         Vincent Price         Vincent PriceUV     Maleva         Maria Ouspenskaya           Maria Ouspenskaya     Elsa Frankenstein         Evelyn Ankers     Ilona Massey" (wikipedia.org)
  • Condition: New
  • Occasion: Halloween
  • Country/Region of Manufacture: China
  • Handmade: No

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