![]() Made the exit to the mansion disappear), Reality Warping ( Shown here), Memory Manipulation (Made Faust forget her identity, reset Valentine's memory multiple times), Mind Manipulation ( Seemingly deleted Faust's personality and will to leave in one of the endings), Avatar Creation and Cloth Manipulation (Mephistopheles' humanoid form is simply just an avatar for the real self, which is just a doll. This darkness also appears at various other points of the game implying that this is the default state of the mansion and not something Mephisto is actively warping it into), Spatial Manipulation (Warps the rooms and corridors of the mantion, completely changing their architecture or making them bigger/smaller. Surrounded Faust with darkness), Sleep Manipulation ( Almost put Faust to sleep in one of the endings), Nigh- Omnipresence within the house ( Mephistopheles is the mansion it resides in, shown when it turned a corridor into the darkness that Mephisto is composed of. ![]() Even as his true form, survived being stabbed in the belly), Darkness Manipulation ( Makes darkness appear all around itself when angry, can create shadowy hands. Powers and Abilities: Superhuman Physical Characteristics, Immortality (Type 2, Managed to chase Faust and overpower her despite being too damaged to stand. Gender: Likely none, referred to as "it" by the game's narration Name: Mephistopheles, sometimes called Mephisto It is actually the girl's old doll, who she eventually manages to part with at the end of the game.ĭriven to desperation, Mephistopheles attacks Faust, chasing her down throughout the mansion, warping reality around the two, but just as it catches her, she attacks it with a large pair of scissors, seemingly killing it on the spot, although a post-credits scene reveals its survival. I conclude that the synergy of the literary gothic, stage melodrama, and Expressionism that characterises Gothic film now finds its purest form in the films of Tim Burton and Guillermo del Toro.Mephistopheles is a demon who traps a young girl named Faust into his mansion, seeking to convince her to stay there forever. The paper also considers period revivals such as Coppola’s Bram Stoker’s Dracula (1992) and Mary Shelley’s Frankenstein by Kenneth Branagh (1994), as well as more contemporary Gothic film, in particular the current trend for franchised vampires. Murnau’s Nosferatu, eine Symphonie des Grauens (1922), and James Whale’s Bride of Frankenstein (1935). The full entry includes close readings of Robert Weine’s influential and often imitated Das Cabinet des Dr. Ainsworth Thomas De Quincey John Polidori Regency Tales of Terror Monster Movies Richard Matheson.) This is an historical overview of the form from early European and American silent adaptations of Gothic novels and Victorian theatre to the hyper-real twenty-first century Hollywood product, via Expressionism, Universal Studios, Hammer Films, Mario Bava, and Roger Corman’s ‘Poe Cycle’ for American International. (Other entries: David Cronenberg Hammer Films W.H. Smith eds, Wiley-Blackwell Encyclopedia of the Gothic 2 vols. Accordingly, Marvel’s depiction of the Frankenstein monster leads to a self-reflexive probing of comic books’ forms of narrative and visual medial- ity, ultimately problematizing the very building blocks of comics as a medium-the textual and graphic framings that, together, narrate comics’ serialized stories.ĥ000 word essay in: W. Though narrative continuity may be lacking be- tween the repeated stagings of serial figures, non-diegetic traces of previous incarnations accu- mulate on such characters, allowing them to move between and reflect upon medial forms, never wholly contained in a given diegetic world. Furthermore, I contend that this process sheds light on the medial dynamics of serial figures-that is, characters such as the monster (but also superheroes like Batman and Superman or other figures like Tarzan and Sherlock Holmes) that are adapted again and again in a wide variety of forms, contexts, and media. ![]() Distinguishing between linear and non-linear forms of narrative seriality-each of which correlates with two distinct types of series-inhabiting characters-I argue that Marvel’s staging of the Frankenstein monster mixes the two modes, resulting in a self-reflexive exploration and interrogation of the comics’ story- telling techniques. This essay argues that Marvel’s Frankenstein comics of the 1960s and 1970s offer a useful case study in the dynamics of serial narration, both as it pertains to comics in particular and to the larger plurimedial domain of popular culture in general.
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