Happy Birthday, Mary Shelley.

I first came across your Frankenstein five years ago. I was captivated by the creature's rich emotions and sensitive nature, and at the same time, deeply moved by his loneliness.

Even 200 years later, both you and your creature are still deeply loved. It’s my favorite novel of all time.

It's been about 2 weeks since I really picked up my stylus to draw (doesn't really matter "why" in the end, does it, I still didn't do anything with my time), so I'm posting this progress from last night/this morning to foce my own had getting back into being even remotely "productive." I'm struggling to keep characters consistent between depictions, and still practicing/exploring what my "manga style" will look like, but I'll get into it more when I actually start making some real progress.

There was at least one other Frankenstein update I saw, I think, but I listened to the final saga of the Demeter instead.

Text in the background is taken from chapter 11

35MM trailer reel for Mary Shelley’s Frankenstein (1994). I have no way to project it but it definitely looks cool.

Here is my final version of my Frankenstein Creature Diorama with many new additions such as an additional table with specimen jars filled with water and coloring and extra electrical equipment and a fully functional miniature candle stick! Also some fun outdoor shots at a waterfall where I live.

He’s my favorite piece of beef jerky. I also can’t resist that autopsy scar!

This is probably my favorite version of all time, which includes Bernie's version.

There’s no mention of it in the book, but I’ve always imagined him with a collapsing nasal bridge, like several mummies have. Something about it strikes me as very ghoulish yet elegant at the same time.

Why do so many people use the "Viktor" spelling when the novel only ever uses "Victor"? The Frankensteins are from the predominantly French-speaking city of Geneva, so if people are trying to de-anglicize the spelling wouldn't "Victoire” be a better choice?

i love my new tattoo

Drew this big badass bastard back in 2013 when I still had a computer and Photoshop. Tried to make him over the top like a video game boss. Hope you dig.

So I just finished the book (in German btw).

And I have to say: it was okay. Not bad or horrible but also not life changing

Before you attack or downvote me pls just hear me out which things bothered me and why

I myself only give my critique point only like half the weight bc I know that as someone from the 21st century I will obviously perceive the book much differently than a early 19th century person

• dialogue: I actually had no problem with the general writing style, it was actually very easy and clear to understand. But the dialogue just was EXTREMELY unnatural to me and it sometimes took me out of the reading experience

• 'genre': maybe it is bc of a misunderstanding with how the book nowadays is portrayed and sold. But to me the book wasn’t actually that scary. For that I have to defend the book bc nowadays people are much more often exposed to scary and horrific elements in books, comics or movies. While the average 18th/19th century person wasn’t so I can in fact imagine them being more horrified with what they just read. To me it didn’t came of as that scary, especially when like every page Viktor describes how beautiful and colourful nature and the weather is: „oh again another sunny day with beautiful mountains and the beautiful lake and oh everything is so beautiful and oh let’s take another walk in the beautiful mountains again and I feel so peaceful“. I mean yes the idea of creating a living monster mad wig dead body parts IS scary, and there’s snug theme of love, loss, guilt and consequences and abandonment, but that’s kind of it what I would consider scary

The novel is also often described as being science fiction but I guess I can’t see it? Like yes the connection of science and nature and humans facing the consequences when they play god and when they play with nature. But the actual science part of building the monster just wasn’t there

• Inconsistent writing?: I think there are multiple moments where it is clear that the story wasn’t a completely thought through planned story but instead many things just came in spontaneously. Perfect example is Justine Moritz who apparently is a good friend of the Frankensteins and also lived with them for a few years but we as the reader don’t know about her existence until when it comes to her imprisonment and death sentence. When Elizabeth writes a letter to Viktor she just randomly drops Justine’s entire background story despite realistically Viktor already would’ve known about it. Or how Viktor and Gervalt arrive in England (I think England) in December but then only like five pages later it says they arrived like in October or sth

Overall it was not a bad experience, I can say that I have read it and I like the gain more understanding of the deeper meanings of course

Again pls don’t attack or immediately downvote me, I’m just a casual reader and I myself give my critique points only half the weight

I hope we can have civil discussions about it :)

We recently cataloged this original Universal production photograph from Flash Gordon, taken on January 20, 1936, and what caught our attention was how much of the laboratory equipment looked familiar.

Kenneth Strickfaden created the electrical machinery used in Frankenstein and Bride of Frankenstein, and Universal reused a surprising amount of that equipment from picture to picture. Here, only a year after Bride of Frankenstein, some of those same shapes and pieces show up again on the Flash Gordon set.

The photograph shows the laboratory used in Chapter 2, “The Tunnel of Terror.” The production slate is still visible at the bottom of the frame, marked PARAGON-153 / STEPHANI / ASH / LITE-EFFECT, so we are looking at the set before the scene was buried under actors, movement, lighting and effects.

The large suspended apparatus is the piece that really jumps out once you know what you're looking for. It has the same unmistakable Strickfaden look as the machinery in the Frankenstein films, and there are other electrical towers and control pieces around the room that reward a closer look too.

What we like about this photograph is that nobody is posing in it. You can just study the room. The staircase, cables, control panels and machinery are all sitting there waiting to become science fiction.

It is a great example of how Universal’s physical movie history carried over from one production to another. Equipment built to help create Frankenstein’s lab world could be hauled back onto a soundstage, rearranged, relit, and suddenly it belonged in Flash Gordon.

This photograph came through a collection we recently cataloged at Britannic Auctions, and we have been comparing some of these production images with the finished films to see exactly what was reused and where.