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#the other version of dr. jekyll and mr hyde could apply by i wanted to show other films so i skipped the 20s version
goryhorroor · 1 year
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earliest science fiction movies (that aren’t lost)
the mechanical butcher (1895)
a trip to the moon (1902)
the impossible voyage (1904)
under the seas (1907)
the airship destroyer (1909)
frankenstein (1910)
dr. jekyll and mr. hyde (1913)
aelita (1924)
the lost world (1925)
metropolis (1927)
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animeman08 · 3 years
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Hulk
The Hulk is a fictional superhero appearing in publications by the American publisher Marvel Comics. Created by writer Stan Lee and artist Jack Kirby, the character first appeared in the debut issue of The Incredible Hulk (May 1962). In his comic book appearances, the character is both the Hulk, a green-skinned, hulking and muscular humanoid possessing a vast degree of physical strength, and his alter ego Dr. Robert Bruce Banner, a physically weak, socially withdrawn, and emotionally reserved physicist. The two exist as independent dissociative personalities, and resent each other.
Following his accidental exposure to gamma rays saving the life of Rick Jones during the detonation of an experimental bomb, Banner is physically transformed into the Hulk when subjected to emotional stress, at or against his will, often leading to destructive rampages and conflicts that complicate Banner's civilian life. The Hulk's level of strength is normally conveyed as proportionate to his level of anger. Commonly portrayed as a raging savage, the Hulk has been represented with other personalities based on Banner's fractured psyche, from a mindless, destructive force, to a brilliant warrior, or genius scientist in his own right. Despite both Hulk and Banner's desire for solitude, the character has a large supporting cast. This includes Banner's lover Betty Ross, his best friend Rick Jones, his cousin She-Hulk, and therapist and ally Doc Samson. In addition, the Hulk alter ego has many key supporting characters like his co-founders of the superhero team the Avengers, his queen Caiera, fellow warriors Korg and Miek, and sons Skaar and Hiro-Kala. However, his uncontrollable power has brought him into conflict with his fellow heroes and others. Despite this he tries his best to do what's right while battling villains such as Leader, Abomination, Absorbing Man and more.
Lee stated that the Hulk's creation was inspired by a combination of Frankenstein and Dr. Jekyll and Mr. Hyde. Although the Hulk's coloration has varied throughout the character's publication history, the most usual color is green.
One of the most iconic characters in popular culture, the character has appeared on a variety of merchandise, such as clothing and collectable items, inspired real-world structures (such as theme park attractions), and been referenced in a number of media. Banner and the Hulk have been adapted in live-action, animated, and video game incarnations. The character was first played in a live-action feature film by Eric Bana. In the Marvel Cinematic Universe, the character was portrayed by Edward Norton in the film The Incredible Hulk (2008) and by Mark Ruffalo in the films The Avengers (2012), Iron Man 3 (2013) in a cameo, Avengers: Age of Ultron (2015), Thor: Ragnarok (2017), Avengers: Infinity War (2018), Captain Marvel (2019) in a cameo, and Avengers: Endgame (2019). Ruffalo will reprise the role in the upcoming Disney+ series What If...? (2021) and She-Hulk (2022).
> Personality
Bruce Banner During his decades of publication, Banner has been portrayed differently, but common themes persist. Banner, a physicist, is sarcastic and seemingly very self-assured when he first appears in Incredible Hulk #1, but is also emotionally withdrawn. Banner designed the gamma bomb which caused his affliction, and the ironic twist of his self-inflicted fate has been one of the most persistent common themes. Arie Kaplan describes the character thus: "Robert Bruce Banner lives in a constant state of panic, always wary that the monster inside him will erupt, and therefore he can't form meaningful bonds with anyone." As a child, Banner's father Brian often got mad and physically abused both Banner and his mother, creating the psychological complex of fear, anger, and the fear of anger and the destruction it can cause that underlies the character. Banner has been shown to be emotionally repressed, but capable of deep love for Betty Ross, and for solving problems posed to him. Under the writing of Paul Jenkins, Banner was shown to be a capable fugitive, applying deductive reasoning and observation to figure out the events transpiring around him. On the occasions that Banner has controlled the Hulk's body, he has applied principles of physics to problems and challenges and used deductive reasoning. It was shown after his ability to turn into the Hulk was taken away by the Red Hulk that Banner has been extremely versatile as well as cunning when dealing with the many situations that followed. When he was briefly separated from the Hulk by Doom, Banner became criminally insane, driven by his desire to regain the power of the Hulk, but once the two recombined he came to accept that he was a better person with the Hulk to provide something for him to focus on controlling rather than allowing his intellect to run without restraint against the world.
Hulk The original Hulk was shown as grey and average in intelligence who roamed aimlessly and became annoyed at "puny" humans who took him for a dangerous monster. Shortly after becoming the Hulk, his transformation continued turning him green, coinciding with him beginning to display primitive speech, and by Incredible Hulk #4 radiation treatments gave Banner's mind complete control of the Hulk's body. While Banner relished his indestructibility and power, he was quick to anger and more aggressive in his Hulk form, and, while he became known as a hero alongside the Avengers, his increasing paranoia caused him to leave the group, believing he would never be trusted.
Originally, the Hulk was shown as simple minded and quick to anger. The Hulk generally divorces his identity from Banner's, decrying Banner as "puny Banner." From his earliest stories, the Hulk has been concerned with finding sanctuary and quiet and often is shown reacting emotionally to situations quickly. Grest and Weinberg call Hulk the "dark, primordial side of Banner's psyche." Even in the earliest appearances, Hulk spoke in the third person. Hulk retains a modest intelligence, thinking and talking in full sentences, and Lee even gives the Hulk expository dialogue in issue six, allowing readers to learn just what capabilities Hulk has, when the Hulk says, "But these muscles ain't just for show! All I gotta do is spring up and just keep goin'!" In the 1970s, Hulk was shown as more prone to anger and rage, and less talkative. Writers played with the nature of his transformations, briefly giving Banner control over the change, and the ability to maintain control of his Hulk form. Artistically and conceptually, the character has become progressively more muscular and powerful in the years since his debut.
Originally, Stan Lee wanted the Hulk to be grey, but, due to ink problems, Hulk's color was changed to green. This was later changed in the story to indicate that the Grey Hulk and the Savage Hulk are separate personalities or entities fighting for control in Bruce's subconscious. The Grey Hulk incarnation can do the more unscrupulous things that Banner could not bring himself to do, with many sources comparing the Grey Hulk to the moody teenager that Banner never allowed himself to be. While the Grey Hulk still had the "madder he gets, the stronger he gets" part that is similar to the Savage Hulk, it is on a much slower rate. It is said by Leader that the Grey Hulk is stronger on nights of the new moon and weaker on nights of the full moon. Originally, the night is when Bruce Banner becomes the Grey Hulk and changes back by dawn. In later comics, willpower or stress would have Banner turn into the Grey Hulk. During one storyline where he was placed under a spell to prevent him turning back into Bruce Banner and publicly presumed dead when he was teleported away from a gamma bomb explosion that destroyed an entire town, the Grey Hulk adopted a specific name as Joe Fixit, a security guard for a Las Vegas casino owner, with the Grey Hulk often being referred to as Joe after these events.
The Gravage Hulk is the result of Banner using the Gamma Projector on himself which merged his Savage Hulk and Grey Hulk personas. This form possesses the raw power of the Savage Hulk and the cunning intellect of the Grey Hulk. While he doesn't draw on anger to empower him, the Gravage Hulk persona draws on dimensional nexus energies to increase his strength.
The Dark Hulk persona is the result of Hulk being possessed by Shanzar. This form has black skin and is viciously strong.
The Guilt Hulk is a malevolent representation of Banner's abusive father, Brian Banner, that manifests itself in Banner's childhood memories.
The Devil Hulk or Immortal Hulk is the result of Hulk needing a father figure. While the character's physical appearance varies, he is always depicted as having glowing red eyes, and reptilian traits. The new form of Devil Hulk is the result of Banner and Hulk having been through different deaths and rebirths. This incarnation is articulate, smart, and cunning, and does merciless attacks on those who do harm. Unlike the other Hulk incarnations, Devil Hulk is content with waiting inside Bruce. If Bruce is injured by sunset, the Devil Hulk will emerge with his transformation being limited to night-time. Thanks to the Devil Hulk side and Banner working together, Devil Hulk can maintain his form in sunlight.
The Green Scar persona is unleashed on Sakaar and is an enraged version of Gravage Hulk. In addition, he is an expert in armed combat like the use of swords and shields. Green Scar is also a capable leader and an expert strategist.
Doc Green is a variation of the Merged Hulk persona that is the result of Extremis fixing Hulk's brain. This persona is powerful enough to destroy Tony Stark's mansion with one thunderclap.
> Powers and Abilities
Banner is considered one of the greatest scientific minds on Earth, possessing "a mind so brilliant it cannot be measured on any known intelligence test." Norman Osborn estimates that he is the fourth most-intelligent person on Earth. Banner holds expertise in biology, chemistry, engineering, medicine, physiology, and nuclear physics. Using this knowledge, he creates advanced technology dubbed "Bannertech", which is on par with technological development from Tony Stark or Doctor Doom. Some of these technologies include a force field that can protect him from the attacks of Hulk-level entities, and a teleporter.
The Hulk possesses the potential for seemingly limitless physical strength which is influenced by his emotional state, particularly his anger. This has been reflected in the repeated comment, "The madder Hulk gets, the stronger Hulk gets." The cosmically-powerful entity known as the Beyonder once analyzed the Hulk's physiology, and claimed that the Hulk's potential strength had "no finite element inside." Hulk's strength has been depicted as sometimes limited by Banner's subconscious influence; when Jean Grey psionically "shut Banner off", Hulk became strong enough to overpower and destroy the physical form of the villain Onslaught. Writer Greg Pak described the Worldbreaker Hulk shown during World War Hulk as having a level of physical power where "Hulk was stronger than any mortal—and most immortals—who ever walked the Earth", and depicted the character as powerful enough to completely destroy entire planets. His strength allows him to leap into lower Earth orbit or across continents, and he has displayed superhuman speed. Exposure to radiation has also been shown to make the Hulk stronger. It is unknown how he gains biomass during transformation but it may be linked to One-Below-All.
His durability, regeneration, and endurance also increase in proportion to his temper. Hulk is resistant to injury or damage, though the degree to which varies between interpretations, but he has withstood the equivalent of solar temperatures, nuclear explosions, and planet-shattering impacts. Despite his remarkable resiliency, continuous barrages of high-caliber gunfire can hinder his movement to some degree while he can be temporarily subdued by intense attacks with chemical weapons such as anesthetic gases, although any interruption of such dosages will allow him to quickly recover. He has been shown to have both regenerative and adaptive healing abilities, including growing tissues to allow him to breathe underwater, surviving unprotected in space for extended periods, and when injured, healing from most wounds within seconds, including, on one occasion, the complete destruction of most of his body mass. His future self, "Maestro", was even eventually able to recover from being blown to pieces. As an effect, he has an extremely prolonged lifespan.
He also possesses less commonly described powers, including abilities allowing him to "home in" to his place of origin in New Mexico; resist psychic control, or unwilling transformation; grow stronger from radiation or dark magic; punch his way between separate temporal or spatial dimensions; and to see and interact with astral forms. Some of these abilities were in later years explained as being related; his ability to home in on the New Mexico bomb site was due to his latent ability to sense astral forms and spirits, since the bomb site was also the place where the Maestro's skeleton was and Maestro's spirit was calling out to him in order to absorb his radiation.
In the first Hulk comic series, "massive" doses of gamma rays would cause the Hulk to transform back to Banner, although this ability was written out of the character by the 1970s.
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awesomecvworldblog · 4 years
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bakechochin · 6 years
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The Book Ramblings of March
In place of book reviews, I will be writing these ‘book ramblings’. A lot of the texts I’ve been reading (or plan to read) in recent times are well-known classics, meaning I can’t really write book reviews as I’m used to. I’m reading books that either have already been read by everyone else (and so any attempt to give novel or insightful criticisms would be a tad pointless), or are so convoluted and odd that they defy being analysed as I would do a simpler text. These ramblings are pretty unorganised and hardly anything revolutionary, but I felt the need to write something review-related this year. I’ll upload a rambling compiling all my read books on a monthly basis.
The Princess Bride - William Goldman When I purchased this book immediately after having finished watching the film (which is amazing, as everyone other than me already knew), I was certain I’d be giving it a book review instead of a book rambling. But this book honestly surprised me with its interesting approach to storytelling, so I’m going to ramble about it. That being said, it would be remiss of me to not quickly summarise my opinions on the book by, before getting into the more academic thoughts, saying that this book is really fucking good; amazing characters, amazing story, quality humour, all the rest of it. The book employs a frame narrative of sorts; the book that you hold in your hands is presented as an abridged edition of a pre-existing text by some bloke called Morgenstern, altered to include only the ‘best bits’ by Goldman. The original text was said to be a satirical piece on royalty, and the few comments from the author reveal that this omitted text was often made up of hilarious hyperbole. This story, on account of these omissions, is transformed into a fairy tale, where simplistic plots are expected and accepted; I do find it awe-inspiring that Goldman has managed to essentially get away with only writing what he wanted to write about, and yet his methods of doing so are equally as interesting as the story’s content. I am somewhat torn on what I think on Goldman’s additions to the text, describing his own experiences and memories of his first read-through of the book. On the one hand, it does a great job at centralising the book in Goldman’s fabricated backstory, and it emphasises the way that the book ought to be read, as a delightful childhood memory that you get attached to and enthralled in. (As a quick side note, this book emphasises this perspective a hell of a lot better than the film did). On the other hand, Goldman is essentially interrupting the reading experience every now and then to give away plot points and tell you how you ought to be feeling. This book is oddly more meta (as much as I hate the term) than I was expecting; when I went into the book I assumed that it would be a standalone fantasy fairy tale with a few real world bits thrown in just to give the book’s existence context (an assumption which perhaps stemmed from my observing that, unlike The Neverending Story, the 'real world' and the fiction world in this book didn’t appear to be intrinsically linked, and could probably function well enough on their own). But this book is pretty much defined by Goldman’s ‘own’ experiences with the book, and constantly refers to the real world goings-on regarding the making/editing of this book. This is employed to justify certain edits in the text; for example, there is a scene in which Westley and Buttercup reunite, but the actual scene is not included in the book because Morgenstern supposedly didn’t write it. And so instead of that scene, we are given an address of a publishing company to send a letter to requesting Goldman’s supposed newly-written version of that scene. I find it all good fun, if a tad baffling regarding why it is here (other than centralising the story in Goldman’s version of reality, as said above). It seems like it could be construed as attempting to streamline the story, because obviously in a story about true loves getting repeatedly separated, there will no doubt be a veritable fuck tonne of reunion scenes filled with tears and heartfelt confessions of love, of which it may be wise to skip; however, this explanation for not writing this scene is somewhat juxtaposed by the fact that you spend just as long reading Goldman’s explanation for the absence of the scene as you would have done reading the scene. This ties in to another aspect of this book’s storytelling that I quite like; Goldman’s opposition with Morgenstern. The obvious example of this is the whole existence of this ‘abridged’ book, edited down as a response to the preponderance of dense satire in Morgenstern’s original work, but it continues in other aspects; the book is full of daft parentheses, seemingly to elucidate where and when the book is set but in reality muddying the waters even further, and Goldman frankly admits that he doesn’t know why they are there and that if you don’t like them, you don’t have to read them. Whatever Goldman’s reasoning for putting in these bizarre and constant parentheses, be it an actual literary device or as a whimsical fancy as befitting the genre, I do have respect for him for not only not explaining why he includes them, but flat out denying having any knowledge of said information. The ending toys with two different versions; Morgenstern’s version, in which things start going wrong and everything is left uncertain, and Goldman’s version, where everything is left happily ever after. I can appreciate both endings, and find them very interesting for the purpose of analysis, but I’m going with Goldman’s ending. Call me a reductionist if you must, but I want the happy fairy tale ending, because that’s how I want to think of this book when I’m talking about it casually. There’s even entire extracts from a supposed sequel to this book, but to tell the truth I didn’t even bother to read them, because said snippets are deliberately written to seem like fragments of a lost manuscript, and I want to read this book as a fairy tale, not as a text for literary analysis or criticism. Maybe I should have just given this book a normal book review after all.
The Murders in the Rue Morgue and Other Stories - Edgar Allan Poe I was biased going into this, as I’ve read Poe before and was already a firm believer that he is the master of the short story, but after having read pretty much all of his well-known short fiction collected in this anthology, I can’t say my opinion’s changed all that much. I think it was Huxley who described Poe’s writings as being shitty because it was ‘too poetical - the equivalent of wearing a diamond ring on every finger’, and though this is delightfully eloquent, I consider myself better than Huxley so here’s my take; Poe’s stories are some of my absolute favourite writings, eloquent without being too pretentious and grandiloquent without being too dense (for the most part). Poe is the indisputable master of writing stories that deal with the contrasting themes of the fantastic and the real (I’ve gone on enough about Todorov’s definition of the fantastic for you to know what I’m on about here), and his fantastic stories are absolutely fucking brilliant. There isn’t much to be said about the storytelling other than that it balances its inclusion of the fantastic and the real excellently (so as to allow the reader to make up their own minds as to if the events of the stories are actually supernatural or just the result of madness), it is excellent at building up tension, and the twists are always amazing (if occasionally a tad variable in how predictable they are). My favourite stories, by the way, are ‘The Tell-Tale Heart’ and ‘William Wilson', both of which epitomise my aforementioned praise excellently. I also absolutely love Poe’s versatility to apply the fantastic to other settings and to interesting subject materials (even some subjects contemporary to the times Poe was writing); I was expecting an abundance of settings similar to ‘The Fall of the House of Usher’, with gothic mansions and the like, but we get Italian carnivals and the Inquisition and incorporation of themes such as mesmerism, which keep the stories continually fresh and interesting if you were to read them one after the other, as I did. I do believe that Poe’s writing style is best suited to his fantastic stories. This collection sheds light on the fact that Poe has written a fair amount of diverse stuff, despite the fact that he is best known for ‘The Fall of the House of Usher’ or ‘William Wilson’, the generic ‘Poe’ stories. ‘The Murders in the Rue Morgue’, for example, is a detective story (admittedly a very fun one), but Poe’s grandiloquent verbosity does not lend itself well to quick snappy deductions and conversations; instead, we get long streams of dialogue from our detective character, followed  by a very fast and somewhat anticlimactic resolution of events that really ought to have been staggered throughout the story a tad. (I am willing to cut the story some slack, since it is among the earliest detective stories and, as mentioned above, it is great fun). There are some of Poe’s stories that tackle the theme of love, like ‘Ligeia’ or ‘Eleanora’, but then the language seems at odds with the tone of the story, as its incessant formality makes the love seem rather disingenuous. Of course I wouldn’t want to devalue how Poe’s work has inspired some other excellent genre pieces - for that they deserve some praise - but, whilst not saying that they are terrible, said stories, with the possible exception of ‘The Murders in the Rue Morgue’, are not very memorable when placed alongside Poe’s short stories that are more obviously recognisable as Poe. No one’s favourite Poe story is 'The Golden Bug’. And that’s not just because it’s quite racist.
The Strange Case of Dr Jekyll and Mr Hyde and The Bottle Imp - Robert Louis Stevenson I probably ought to have read this story aeons ago, considering how prevalent it is in modern media due to its creation of one of the archetypal British literary ‘icons’; because of this aforementioned prevalence, I went into this book with an abundance of preconceptions as to what to expect from this book, and I was surprised by how few of said ideas were actually involved in the book. Most of the things I have to say about this book revolve around how it went against what I would have expected. Everyone knows the character(s) of Jekyll and Hyde, and so I was surprised as to how, for the most part, the narrative was told from the perspective of someone else entirely; it honestly really helps the building of mystery, and if it wasn’t for the fact that a) everyone knows the twist of this story, and b) even if you didn’t know the twist, the fucking blurb spoils it, I would have absolutely been taken by this story’s enigmatic plot - convinced by its posited rationality to justify the weird goings-on, and surprised by the ending twist. This does, however, raise concerns of mine regarding how this novella is structured; obviously the grand reveal that Jekyll and Hyde are the same person needed to wait until the end of the book, but consequently this results in one incredibly lengthy explanatory chapter from Jekyll right at the end to elucidate matters. Considering that a lot of this book’s themes revolve around this final chapter, I wonder if the novella would have been better suited as a narrative entirely told by Jekyll. Arguably the main theme of this novel, the duality of man, is of course told excellently, and unlike other stories which revolve around the theme of ’the double’, the explicit explanation of where this double comes from and how it ties in with Jekyll’s own character makes for, in my opinion, a more compelling read (especially since this explanation revolves around pseudoscience, and I love the whole ‘man playing God’ malarkey that comes with said subject). For a story that is essentially gothic, featuring a character like Hyde who has been depicted as a vile little villain in many different adaptations, I was expecting a tad more penny dreadful-esque gore and violence; instead, the violence that Hyde carries out is often described matter-of-factly and succinctly, which seems at odds with the hysterical eyewitness accounts from which these events are reported from, but certainly makes sense when considering the professional detached perspectives of the narrative voices Utterson and Jekyll, law and medical professionals respectively. However, I am less inclined to believe that this was a deliberate decision in the writing style than I would be with something like A Clockwork Orange, wherein that’s the whole point; I reckon it’s just Stevenson’s own writing style, which is, don’t get me wrong, bloody great. The Penguin English Library edition of this story (i.e. the one that I read) also comes with Stevenson’s short story ‘The Bottle Imp’, which I very much enjoyed for its amazing titular concept and for its somewhat anticlimactic and yet still satisfying ending, but, despite what others have said to me, it’s not as good as Jekyll and Hyde.
Autobiography of a Corpse - Sigizmund Krzhizhanovsky The blurb of this book described Krzhizhanovsky’s stories as ‘mind-bending’, and I cynically assumed that this was nothing more than a hyperbolic marketing ploy, like when people call 1984 a ‘masterpiece’ when in reality it’s a bit shit. But by fuck is this book legitimately mind-bending. I bought this thinking it sounded reminiscent of Gogol, who I love, but I also had it recommended to me by a pretentious friend who reads all the Booker Prize nominations just so he can have contentious opinions about them, which should have probably notified me of the Mieville-esque air of self-satisfied pretentiousness that this book has with its very clever and very wanky themes. Though used for roughly the same ends, there is a difference between cryptic writing and abstract  writing, and this book is certainly more of an abstract read. The stories take seemingly mundane or simple concepts from fields of study like philosophy or geography or what have you, and adapts these simple principles into complex ideas to reflect the story’s fantastic elements. In some cases this makes for some absolutely genius writing, with such simple ideas being utilised with such versatility to create some truly fascinating and amazing stuff, but in other cases it comes across really quite annoying, jumping sporadically from subject to subject and taking away from the mystery of the story’s fantastic elements with its constant need to explain said elements (often poorly and with a heavy reliance on tenuous links). This is especially evident in the stories that aren’t so much stories as they are a compilation of unrelated ideas, the main example being the story ‘Seams’. The few stories in the anthology that do not rely on long-winded verbose ramblings about abstract philosophical content (musings on the ‘I’ being an especially prolific example in the collection) were in most cases my favourite, indeed putting to mind Gogol to some extent as I had first hoped when I bought the book. All of the stories from ‘The Runaway Fingers’ to ‘Thirty Pieces of Silver’ are absolutely amazing, because they had a base concept that Krzhizhanovsky excellently built upon; it’s a great sign when an already great concept that I wouldn’t have thought of is then elaborated on in interesting directions that I wouldn’t have thought of. These stories are amazing not just because they aren’t entirely reliant on abstract wankiness, but that certainly helps their case. The eponymous story ‘Autobiography of a Corpse’ has its base concept, and doesn’t really elaborate on said base concept as much as it does add on additional abstract ideas, but arguably this works well enough because said abstract ideas link, in a weird and abstract way, to the original concept. Honestly I can’t keep on attempting to explain this; I’ve written the word ‘abstract’ too many times and it’s starting to lose meaning.
The Picture of Dorian Grey - Oscar Wilde Yet again have I been tricked into reading a novel that I thought would be gothic but instead just has one central vaguely gothic plot device. Indeed, a brief Google search describes this book as a ‘philosophical’ novel, which is certainly not my usual fare, but because I’m a fan of Wilde and needed an actual novel to read instead of another short story collection and am vulnerable to chicanery regarding what constitutes a gothic piece, I picked it up. I didn’t really read this novel as being especially reflective of Wilde’s own sexuality, because whilst there is something of paiderastia to be seen in some of the relationships between the male characters, such relationships hardly persist through the entirety of the book and end up being somewhat forgotten as relationships move past first meetings or characters change their standpoints on certain matters. What I did see in the book was some excellent commentary on the fin de siecle, aestheticism, and of course the theme of appearance versus reality; I’ve realised that I’ll happily read a philosophical novel so long as the philosophies it is spouting are interesting enough to read (although an interesting premise and plot also really helps, which is all well and good because this book possesses that too). I am for the most part a fan of Wilde’s wit. I’ve heard it criticised because a lot of it is just Wilde reversing statements of common wisdom or perverting cliches, and when you realise this, you see it absolutely fucking everywhere. Lord Henry is basically a mouthpiece for every melodramatic stereotypically ‘Wilde' quote you can think of, and I do think that the fact that we even have a preconception of what a stereotypical ‘Wilde’ quote ought to be is part of the problem. Despite Wilde's statement (in this book, even) that ’there is only one thing in life worse than being talked about, and that is not being talked about’, exactly how prolific and prevalent Wilde’s witticisms are in modern culture, with bags and mugs and little tiny books full of his most well-known wit and all that shit, is part of the reason why it seems so saturated and perhaps even a little bit stale. We know all of his wit, we can see the common trends behind it, and that somewhat diminishes it’s worth. Despite that big fuck-off rant, I still really enjoy Wilde’s wit, and even if you are aware of how he comes up with this shit, it’s still a great joy to read. Hell, even if you’re tired of that, there’s still some great banter from Wilde about aristocratic haughtiness to enjoy, so take your fill of that. There’s a lot to enjoy about this book. I like it a lot.
Stuff I read this month that I couldn’t be arsed to ramble about: Fantastic Tales (edited by Italo Calvino) and John Milton’s Paradise Lost. In it’s fucking entirety. Fuck you Milton.
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jekyllandhydemk2 · 7 years
Text
Week 9
The murder of Danvers Carew 2.0
The street was silent, with only the sounds of my footsteps to fill it. The frost stuck to my coat, my misty breathe mixed with the smoke from my cigar. I felt each draw sent a warm current flowing through my body, forcing a cracking smile onto my face as if it wasn’t my own.
I’m searching for something, someone. I need to see them, our sort of meetings were frowned upon by my others, the ones that knew. It seen as a taboo, done only in secret, in hidden dark rooms where no one could see or hear, always at risk.
As moon became the center of the sky, I searched the streets, finally catching a glance of someone, standing in the moonlight looking up. It wasn’t who I was looking for, their tall board appearance was different but still alluring, his body was of a man in his mid 20’s but his hair that of older gentlemen. I hid from his sight, I felt my starting to race heart as I saw but I didn’t move to greet him. I moved to call him again but my body still wouldn’t move, I stayed still, hunched over, grunting quietly, watching.
The man ahead of me seemed lost in his own mind as I moved slowly towards him. I feel a crooked grin appearing across my face as I approached. My hand grips tightly around the body of my cane, I feel my pulse start to race faster. My body approaching him from behind, I straighten my back and raise hand.
He turns around and looks at me in the eye, I realise it’s him.
Time pauses as I stare into his eyes, the days we spent together, the long nights we spent embraced hidden away. High society would have us locked up with real monsters or worse if it ever went public of what we were. I feel something struggling against me as I try to drop my cane my grip only gets tighter, my face starts to hurt as I feel the smile on my face get larger, the skin around my lips starting to tear, as the pain gets worse I feel myself getting weaker and lose the battle for control.
My cane strikes down, crashing against his head. Blood spraying against my coat as body continues to bash against my will and break the body below me. A monstrous laugh breaks from my lips, a cigar falling from my mouth onto the mangled body below me. The cane is thrown to my side, my hands wrap around his head, squeezing, crushing, cracking his skull, for the one final scream.
I awoke, sweat coating my body, I’m shaking. It takes me a minute to realise, I’m in not in my own room
This is not the first time I’ve woken up here.
I feel cramped, it feels like the low ceiling and the dark red walls enclosing on me. Blood covered my clothes and hands, I wiped my face to find even more gore, my stomach wrenches as last night's events force themselves into my mind, as if by another.
The man I killed, his face still fresh in my mind, Danvers, an old lover, and friend. We were supposed to meet and talk about the past. We missed it, and wanted to live it again, even for a night but Mr Hyde didn’t approve.
---
The analysis of Short Story inspired by Dr Jekyll and Mr Hyde
This is essay I will be analysing my own adaption of Dr Jekyll and Mr Hyde in the form of a 500 word short story. I after reading the book, I took a short few pages from the book, the murder of Mr Danvers swapped to the view of another, Dr Jekyll instead of the maid.
When reading the book, I found a few chapters which gave me a interesting view into the characters which might not have been perceived at the time by the author or his wife. These few modern views of the story lead to me write an adaptation where Dr Jekyll is homosexual but must hide it due to victorian society's view of homosexuals, while Mr Hyde is Dr Jekyll’s want and need to be straight so he can fit in with said society and be happy while doing it, since it wasn’t only frowned upon but a prisonable offence. I touch on this subject in my writing, “It seen as a taboo, done only in secret, in hidden dark rooms where no one could see or hear, always at risk” and “High society would have us locked up with real monsters or worse if it ever went public of what we were”
One of the most known cases that showed victorian society’s  view of homosexuality and how it was treated in the era, Mason(2015) states that...
“...The famous imprisonment of author Oscar Wilde in 1895 for being a homosexual paints a picture of sexual repression and hostility towards same-sex relationships in 19th-century England.”
This quote I believe helps paint a picture party what it was like to be homosexual in the victorian era. If man was caught doing “buggary” or homosexual intercourse, that person would be taken to trial, then either locked up, forced to undergo a series of medieval conversion therapies or in a worse case scenario sentenced to death.
One of the lines that gave me the idea for the homosexual themes in my adaption, was one by Mr Utterson when he describes Dr Jekyll with such dedicated detail, Stevenson, R.(1886, P.23) states that-
“Dr. Jekyll was no exception; and as he now sat on the opposite side of the fire — a large, well-made, smooth-faced man of fifty, with something of a slyish cast perhaps, but every mark of capacity and kindness”
This loving detail gave me my first piece of inspiration, in my mind, Mr Utterson seems to adore the man more than anything, more than a friend would. This set the idea in my mind about some of the characters being homosexual or apart of the LGBTQ+ spectrum. Another line by Mr utterson dreams about Dr Jekyll, Stevenson, R.(1886, P.15) states that-
“...Or else he would see a room in a rich house, where his friend lay asleep, dreaming and smiling at his dreams”
Taking inspiration from another media and take on Dr Jekyll and Mr Hyde in more of a Bruce Banner and the Hulk way was League of Extraordinary Gentlemen by Alan Moore and Illustrated by Kevin O’Neill. During a Dinner party scene between Hyde, Captain Nemo and the coachman, William Samson Sr, Hyde brings up his origins stemming from Jekyll wanting to “purge” himself of sin and upon the coachman’s comment on how a doctor mustn't have many sins to purge, Hyde reveals his alter-ego (and possible by extension his own) sexuality in relation to men, Moore, A. O’Neill.(2002) states that
“...Oh and he played with himself, sometimes while he thought about other men…”
Even though the writing Alan Moore is a bit eccentric, He also adds to my own idea of Hyde being created to make Jekyll straight or that Hyde was his need/want to be straight, Moore, A. O’Neill.(2002) states that-
“Anyway, what that silly bastard did, he thought he quarantined all these bad parts, what left would be a ****ing ANGEL…”
I believe the Mr Hyde from League is stemming from Jekyll’s repressed sexuality, and his history of violence against women which is shown in volume 1 of the book. When looking for a murderer, Wilhemina Murray and Allan Quatermain are sent to find Hyde--at this point a man they believe to be just Dr. Jekyll who has been murdering prostitutes in Paris. With Alan Moore’s flare for dramatic violence this could be seen as his way of demonstrating Jekyll’s frustrations with women, sexuality and his own urges for the same sex. If I chose to continue this adaption, I’d like to incorporate this, I would turn down the abuse of women for my own version, Alan Moore writes abuse of women, like it’s as normal as breathing.
Between reading the book and writing my own adaptation to the story I started thinking of the types of animation that could be applied to a the original story and my own, since the original has already been shown and retold so many times using live action while it has only been told a few times via animation.
All forms of animation could work well, we have the classic traditional 2D which has been done before in 1986 by Maricia Hatfield and by Warner Brothers during 1955 in the Bugs Bunny short Hyde and Hare but I think how both Dr Jekyll and Mr Hyde are animated could be taken a lot further with some hybrid animation to show how each of the different sides view the world around them, and how they are viewed as well. Since Jekyll and Hyde are shown to be such different characters, and from my view even the way they see the world of Jekyll and Hyde could be different which leads me to the idea of hybrid animation.
My story relies on Hyde being Jekyll’s want/need to be straight, which in my mind could make Hyde almost the distorted version of Dr Jekyll to himself, translating from Jekyll and his worlds type of animation to a different one. This could be shown by Dr Jekyll being a in CG world which would be quite shiny, clean going along with how others see him, while Mr Hyde could be in a stop motion puppet based around Jekyll’s cg model but made out of plasticine allowing the constant change of Mr Hyde’s appearance as he gets ‘stronger’ taking on more of Jekyll’s physical traits as Jekyll believes he’s becoming straight while Jekyll himself is becoming more like Hyde, shorter, more deformed similar to what Hyde explains happened to himself in ‘The League of Extraordinary Gentlemen Volume 2, Moore, A. O’Neill.(2002, P.22) states that-
“I mean, when I started out, good GOD, I was practically a ****ing dwarf. Jekyll, on the other hand, a Great big strapping fellow.”
While also being a call back to the original lecture of Jekyll and Hyde, in the book ‘The League of Extraordinary Gentlemen’ which is set a good few years after the original book, Hyde is now a giant of a man, while Jekyll is average size but extremely un well as shown by O’Neill.(2002, P.7 V1, P11 V2) illustrations below left (P.11 , right) (page 7, chapter 2, volume 1)
To show the passage of Jekyll to Hyde, using shape theory in these animations, Jekyll in this version would be made up of mostly circles with a few squares spotted about at the start, while Hyde would take on more equal mixture of triangles and squares showing off his strength and evil by being what Jekyll needs him to be. Near the end of the animation it would end with Hyde becoming the ‘straight’ Jekyll taking on the more circles into this design, while Jekyll would have lost his parts of his circles in his shape for having lost such a big part of himself, making himself and Hyde more similar unlike what happened in League of Extraordinary Gentlemen.
In conclusion I believe I established the scene well and informed the viewer of the story and background of the time, all while trying to keep the viewer involved.
The backup for my inspiration could have had more behind it, I based it off the short parts of the main text, influences from previous writing and a modern look on it. I really like the concept of Jekyll behind a homosexual and Hyde being his side of himself he created to make himself straight, but I also like how Alan Moore writes Jekyll and Hyde, Moore, A (2002) states that -
“...Separating us in the first place, all because he wanted to be pure. ****ing Idiot”
While for the League, it was to separate Jekyll’s good and evil side, which explained why Mr Hyde was described as young, dwarf-like, since Jekyll was meant to be mostly good, and his evil in that story was new and hadn’t existed for long. My story had a version where Hyde was all of Jekyll’s want/need to be straight, leaving Jekyll completely gay until Hyde destroys everything and everyone that he believes make him gay.
Bibliography
Dr Jekyll and Mr Hyde.1986.http://www.imdb.com/title/tt0821767/ .[Online]
Emma Mason.07/04/15.The Victorians’ surprisingly liberal attitude towards gay men.[ONLINE].http://www.historyextra.com/article/sex-and-love/victorians%E2%80%99-surprisingly-liberal-attitude-towards-gay-men.[Accessed-01/02/2017]
Moore, A. O’Neill.(2002).The League of Extraordinary Gentlemen Volume 1.New York City, Vertigo Comics.(P.7)
Moore, A. O’Neill.(2002).The League of Extraordinary Gentlemen Volume 2.New York City, Vertigo Comics.(P.11, 22)
O’Neill.(2002).League of Extraordinary Gentlemen, Volume 1.[Book].http://www.comicsrecommended.com/images/others/loeg1_002_earshot.jpg. 2002.[Accessed - 01/01/2017]
O’Neill.(2002).League of Extraordinary Gentlemen, Volume 2.[Book].http://www.comicsrecommended.com/images/others/loeg1_002_earshot.jpg. 2002.[Accessed - 01/01/2017]
Stevenson, R.(1886).Strange Case of Dr Jekyll and Mr Hyde. London, PlaneteBook [online].http://www.planetebook.com/ebooks/The-Strange-Case-of-Dr-Jekyll.pdf.[Accessed-28/11/2016].(P.15, 23,
Timeline of LGBT history in the United Kingdom.NDF.https://en.wikipedia.org/wiki/Timeline_of_LGBT_history_in_the_United_Kingdom.[Online]
YOUTUBE.(11/05/2014).Hyde And Hare 1955.[Online].https://www.youtube.com/watch?v=nA7b1fuMTSQ.[Accessed-01/02/2017]
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