Frankenstein — MinaLima releases stunning presentation of the novel that started it all

Review by C.J. Bunce

“Unable to endure the aspect of the being I had created, I rushed out of the room…”

In 1818 the world changed forever when Mary Wollstonecraft Shelley introduced a doctor and his creation who ushered in a new era for fiction novels. Two hundred and seven years later the design duo MinaLima has created an exquisite edition of the novel, a hardcover with a gold foil cover interspersed with their signature artwork style, incorporating fold-out ephemera, tipped-in paper prop creations and pop-up art like those in their ground-breaking library of fairy tale novels reviewed here at borg. From Harper (an imprint of HarperCollins Publishers), Frankenstein or The Modern Prometheus Illustrated by MinaLima (available for the first time this month here at Amazon) is the ultimate, stunning presentation of the novel that launched the science fiction and horror genres, the spark that started all things cyborg.

Just take a look inside at the art design in this book from the designers who brought the Harry Potter movies to life…

Readers flock to every new MinaLima book release because their interactive elements enhance the enjoyment of your favorite classics, or in this case and for this writer, the presentation made the unique delivery of the story more fun and more accessible. The book is a carefully built story layered with letters–letters from a sea captain at the North Pole writing to his sister, letters from Victor Frankenstein’s betrothed cousin professing her concern for the frequently emotional Victor. Parts are told from Victor’s perspective, another section is told from his creation. Instead of reading this story from a plain old paperback edition, this format breaks up the story into something you’d think Mary Shelley would have admired.

It’s more than a pop-up book, too. Every chapter, every page, the end papers, the footers all feature a Gothic touch. Artwork highlights key scenes and dialogue. Interactive elements include a locket, a view of the creature’s eye, a 3D fold-out of the creature venturing away through the woods, another look at the creature, an envelope including Victor’s designs for the creature, a map of Europe, and an invitation to Victor and Elizabeth’s wedding.

Shelley’s story of course is a singular piece of history. Framed by the letters between the sea captain and his sister, the main narrative is an autobiography of Victor, first a boy of privileged parents, later a college student aspiring to learn the natural sciences. Once he moves past a poor advisor for one interested in him, he shifts his pursuits to the growing science of chemistry along with philosophy. Those captain’s letters recount the end of the tale, when Victor arrives in the Arctic and meets up with the vessel. Victor is in essence telling the entire novel to this man. But despite the many popular movies adapting the story, none have yet come close to reflecting what really happens in the original.

The creature becomes a fully realized man, not the mute, shambling monstrosity. As vengeance for not getting the love and attention a son might get from his father, the creature kills everyone Victor ever loved–a brother, two friends, and finally his new wife. The creature then actually frames Victor for the crimes. The bride of Frankenstein is not realized (nor made from Elizabeth), but destroyed once Victor reflects on what a bad idea it is to make a second creature. Why doesn’t this version ever get adapted? Guillermo de Toro and Kenneth Branagh both get many elements right, and Mel Brooks has just as many faithful scenes. But key, critical elements have never made it to the mainstream cinema. The Universal Studios classic gave the public some of the most memorable images of the monster, and yet they were created entirely for the film–everything from the “it is ALIVE!” bit to the detailed laboratory table and creation via a lightning bolt.

The little girl that the creature throws into the river? That’s from the movies. In the novel a girl drowns, but the creature is falsely accused of killing her. The switches and changes from the novel go on and on. It’s very much like reading the novel Jaws then watching Steven Spielberg’s movie–all of the memorable dialogue and key moments of the movie are nowhere to be found in the novel. The difference there is the movie Jaws runs circles around the novel. Here, the novel and its many film adaptations are just different. Who knows why we have yet to see a truly faithful adaptation of this novel.

Mary Wollstonecraft Godwin was greatly influenced by noted authors of her era, beginning with her parents, William Godwin and Mary Wollstonecraft (through her writings), and her long-time companion and eventual husband, the noted author and political thinker Percy Bysshe Shelley. Mary Shelley lived in a world of scientific improvements, while also at only the barest beginnings of modern chemistry, biology, and medicine.

Whether it’s your first or fifth re-read of the novel, what jumps out is Shelley’s ability to incorporate and synthesize the scientific and technological improvements of her day to envision how they could all come together one day. She is a brilliant science writer. You won’t find any errors at all jumping off the page despite two centuries of intervening improvements in scientific knowledge. It is also the original cautionary tale–just because we can make something doesn’t mean we should–it all started right here.

MinaLima is the design studio combining the imaginations of two artists that gained notoriety for creating the entire ten-year run of graphic art and graphic props for the Harry Potter film series. British design artist Miraphora Mina and Brazilian design artist Eduardo Lima also provided imagery for The Golden Compass, Sweeney Todd, and The Imitation Game.

A stunning presentation of Frankenstein or The Modern Prometheus from MinaLima and Harper, order it now for yourself or your favorite sci-fi and cyborg fan, it’s available now here at Amazon. Then dig further and check out Making the Monster: The Science Behind Mary Shelley’s Frankenstein, reviewed here.