Humanity and Inhumanity in Frankenstein and Blade Runner Essay Sample

How do you define the word Humanity? Most people would associate the meaning with being “humane”, as in the act of showing qualities of kindness and benevolence. It’s even thought to have originated, based on the Latin root of the word humanitas, which means “human nature, civilization, and kindness.” The question is raised though, can only humans represent this aspect of humanity? Or at least, can only humans act “humane”? When different types of media such as Frankenstein and Blade Runner tackle this topic, creations like Frankenstein’s monster and the replicants may show more “humane” traits then even the humans in both of these stories.

Frankenstein written by Mary Shelley in 1818 is a novel set around the 18th century telling the story of an ambitious scientist named Victor Frankenstein. Throughout Victor’s efforts of trying to recreate human life in this story, he constructs what he perceives to be a “monster”. This “monster” in retrospect is depicted as an innocent and benevolent creature at first, despite humanity shunning his creation due to his hideous appearance. The creature eventually turns to malicious routes because of a fervent hatred of his creator and his own existence. 

The depiction of Frankenstein’s monster in the 1931 film

The perspective of Victor presented in this novel makes it clear that science and technology can perhaps replicate the physicality of a human at the expense of its mentality. This highlights an even more flawed side to humanity, where a human or creature in this case may be driven to abandon their morals. “A new species would bless me as its creator and source… No father could claim the gratitude of his child so completely as I should deserve theirs.” 

Before Victor makes the monster, he addresses how his relationship with the creature should be. He enforces this with positive language such as “being” and “gratitude”, convinced that such a creature would owe its existence to him. This shows Victor’s awareness of his attachment to human life, and the foreshadowing later in the book. The consequences of replicating human life may far outweigh any positives it has for society. The mere creation of Frankenstein’s monster shows a “playing god” motif. “His limbs were nearly frozen and his body dreadfully emaciated by fatigue and suffering. I never saw a man in so wretched a condition”. 

Victor’s use of language such as ‘wretched’ truly shows how disgusted he is with the creation of his monster. In his journey to contribute something to scientific advancement, he truly did create something that could have possibly helped and perhaps even idealistically, joined humankind, but was instead blinded by his overwhelming hubris and ambitions. Realistically, Frankenstein’s monster did act “monstrous”, but that immoral and corrupt nature was not a part of his nature, only how he was nurtured.  This trait is not only exclusive to “monsters” but to humankind as seen by his creator. Victor’s neglect of the monster (his ‘creation’, his ‘child’ in a sense) would be viewed as negligent, especially in juxtaposition with his relationships to other close people such as Elizabeth. Victor alternatively refers to her in intimate and emotive language like ‘sweet and beloved…’. In comparison to the monster, Victor admits how his creation of the monster may have led to his dark path, but continues to divert blame to the creature. “As the memory of past misfortunes pressed upon me, I began to reflect upon their cause—the monster whom I had created, the miserable daemon whom I had sent abroad into the world.” 

The monster later on is shown to be well-spoken, even capable of understanding and quoting literature such as Milton’s Paradise Lost. He understands it to such an extent, that he uses the epochal poem as a parallel to his lone suffering and alienation. The creature clarifies that his creation could be referred to Adam and his creator, Victor as Satan from the poem. 

“You must create a female for me, with whom I can live in the interchange of those sympathies necessary for my being.” (The monster). The creature here justifies how isolated he is, and the need to “interchange those sympathies” for his “being” shows a real sense for belonging in a loving, human relationship. This can obviously be seen as a twisted parallel to Victor’s relationships, such as his intimate ties to Elizabeth (who his monster ends up killing later by strangling). 

Even despite all of Victor’s flaws, he still shows his ‘humanity’ through his overwhelming pride and hubris. ‘Some softened feelings stole into my heart’ (Victor Frankenstein referring to his monster). The language of “stole” represents how these kind of feelings sneaked into his heart.

Blade Runner, directed by Ridley Scott in 1982 is a movie set in the future, around the year 2020. Rick Deckard is a retired law enforcement officer (referred to as a “Blade Runner” in-universe) who is coerced back into service for a mission, regarding a group of replicants (human-like robotic creatures) that have revolted on another planet.  

Rick Deckard, a Blade Runner

Throughout the movie, a reoccurring motif of “more human than human” (coined by the creator, Eldon Tyrell) is mentioned. While this motto may seem straightforward at surface-level, the implication it has regarding the replicant’s nature is interesting. The replicants in this movie make it clear that they are a recreation of life, or more specifically ‘human life’. They’re evolved, superior species with stronger speed, strength, agility and intelligence capabilities that no normal human being could replicate. This adds context to the statement “more human than human” as a reference to their superior human abilities. In reality, the replicants represent more humane aspects that you may not otherwise interpret at a glance. When Rachael and Deckard first meet, Deckard makes an off-handed remark about Rachael regarding her replicant nature.

“…O.K., bad joke... I made a bad joke. You're not a replicant. Go home, O.K.? No, really - I'm sorry, go home.” (Deckard when he implies that Rachael is a replicant).

When Rachael hears this revelation, she’s shattered at the fact that Deckard had been implying she may have been a “replicant”. Something that she perceives as entirely inhuman and robotic. Deckard even finds himself in that moment to try and backtrack, due to how realistically distraught Rachael acts. His use of emotive language such as “I’m sorry, go home” and the fast-paced way he starts to backtrack shows the sudden regret. In that moment, he treats Rachael like an equal despite his reclusive nature. Later on, in the movie, Deckard even develops romantic interest in her, this is another example of how the replicants represent this “more human than human” aspect. 

Another example would be the deviant replicant, Roy Batty. Roy Batty throughout the movie, is looking for any way to extend his lifespan. As a more advanced and sentient variant, his goals feel less robotic and more human in desire. Death is seen as a very realistic human fear, considering how Roy’s lifespan is only a miniscule 4 years.    In his journeys, Roy finds his creator, Tyrell and demands more life from his maker. Tyrell tells him that it is impossible and dismisses him as his own creation, praising elements of the advanced model he created. Roy then kisses Tyrell in a sort of twisted “sign of love”, then kills him.

While Roy views Deckard as a nemesis for the majority of the movie, he comes to the realisation that Deckard’s life is just as important as his own, which is why he saves him. 

Roy Batty and his symbolic dove 

In his final moments, Roy releases a replicant dove and says with his last breaths, “...All those moments will be lost in time, like tears in rain... Time to die.”  This symbolic gesture is clearly meant as parallel to the genetically human characters throughout the story of Blade Runner. 

While these stories are both written from different perspectives, the point that remains relative is the theme of humanity. In the periods when technology and science had full reign, the distinct line between what can be defined as “human” and what cannot have blurred. The monster in Frankenstein and the replicants in Blade Runner represent this aspect truly. Humanity true to its base root can not only reference a physical trait, but also an emotional one.