Dark Horse Comics headquarters

Dark Horse Comics is the largest independent American comic book and manga publisher.

Dark Horse Comics was founded in 1986 by Mike Richardson in Milwaukie, Oregon, with the concept of establishing an ideal atmosphere for creative professionals. Richardson started out by opening his first comic book store, Pegasus Books, in Bend, Oregon, in 1980. From there he was able to use the funds from his retail operation to start his own publishing company. Dark Horse Presents and Boris the Bear were the two initial titles in 1986 and within one year of its first publication, Dark Horse Comics added nine new titles to its roster, including The American, The Mark, Trekker, and Black Cross. In 2011, Dark Horse Presents relaunched including the return of Paul Chadwick's Concrete and Steve Niles's Criminal Macabre, as well as new talent including Sanford Greene, Carla Speed McNeil, Nate Crosby and others.

Overview[link]

This section requires expansion with: History.

Dark Horse publishes many licensed comics, including comics based on Star Wars, Buffy the Vampire Slayer, Aliens, Predator, Mass Effect, Conan, and Who Wants to be a Superhero? Dark Horse also publishes creator owned comics such as Frank Miller's Sin City and 300, Mike Mignola's Hellboy, Stan Sakai's Usagi Yojimbo, Gerard Way's Umbrella Academy, and Michael Chabon's The Escapist. Today, the comic arm of the company flourishes despite no longer having its own universe of superpowered characters.^[1]

Imprints and studios[link]

Comics' Greatest World/Dark Horse Heroes (1993–1996)[link]

From 1993 to 1996, Dark Horse published a line of superhero comics under the Comics' Greatest World imprint, which was later renamed Dark Horse Heroes. After 1996, publication of this line came to a near halt, ceasing production of any books concerning the characters with the publication of the last crossover books involving Ghost, in the early 2000s.

Legend (1994–1998)[link]

Legend was a comic book imprint at Dark Horse Comics created in 1994 by Frank Miller and John Byrne as an avenue for creator-owned projects.^[2] Its logo was a moai drawn by Mike Mignola. Later on, other creators were asked to join them. The imprint ended in 1998.

Members[link]

• Art Adams
• Frank Miller
• John Byrne
• Mike Mignola
• Mike Allred
• Paul Chadwick, Dave Gibbons, and Geof Darrow were also on the initial Dark Horse Legend launch tour.

Dark Horse Manga[link]

Dark Horse Manga is an imprint for Japanese manga. Publications include Akira, Astro Boy, Berserk, Blade of the Immortal, Ghost in the Shell, Trigun and Blood Blockade Battlefront by Yasuhiro Nightow, Gantz, Hellsing and Drifters by Kouta Hirano, Blood+, MPD Psycho, and America's longest running manga series, Oh My Goddess! by Fujishima. Dark Horse also publishes a number of CLAMP titles including Clover, Chobits, Okimono Kimono, Cardcaptor Sakura, Magic Knight Rayearth, and Gate 7. A manga magazine titled Super Manga Blast was published by Dark Horse starting in the spring of 2000. It was discontinued in December 2005 after 59 issues.^[3]

Maverick (1999–2002)[link]

Maverick was an imprint for creator owned material.

DH Press[link]

The DH Press imprint publishes novelizations of Dark Horse's more popular comic book titles, including Aliens and Predator. DH Press has now been absorbed by DH Books.

M Press[link]

Quirky publications ranging from novels to film books by Leonard Maltin about John Landis, to comic related material such as a biography of Will Eisner, to health books. They have also published a series reprinting Playboy interviews. The M Press imprint was created to publish a diverse list of both literary fiction and non-fiction prose for authors with a unique voice. The newest addition to M Press is an original comic series by Tom Morello called Orchid. Issue one is due out October 12, 2011.

[edit] Dark Horse Digital

In 2011, Dark Horse launched their iOS app and online digital comics store, followed by the release of the beta version of a native Android app in 2012. Any device with a modern web browser can be used to read Dark Horse comics at their web store.

DH Deluxe[link]

Initiated in 1998, Dark Horse Deluxe rolled out a line of merchandise that included model kits, toys, apparel and collectibles. Its original purpose was to draw on Dark Horse properties but expanded to include such collectibles as Tim Burton's Tragic Toys for Girls and Boys, Joss Whedon's Serenity, and most recently, merchandise for the popular video-game franchise Mass Effect. Dark Horse, working with Big Tent Entertainment and the NHK broadcasting corporation, brought Domo-kun to the United States with a series of products ranging from Qee figurines to journals and stationery sets.

Titles[link]

Dark Horse Comics has acquired the rights to make comic book adaptations of many popular films and series. Some of these include Aliens, Army of Darkness (before Dynamite Entertainment acquired the license), Indiana Jones, Predator, Predators, RoboCop, Star Wars, The Terminator, Timecop, Buffy the Vampire Slayer (and its spin-off, Angel), Planet of the Apes, and Let Me In.

Dark Horse Entertainment[link]

Dark Horse's production studio arm, Dark Horse Entertainment, produces films and television shows based on Dark Horse Comics. Established by Richardson in 1992, Dark Horse Entertainment set up shop on the lot at Twentieth Century Fox through a first-look deal with Larry Gordon and Largo Entertainment. Dark Horse Entertainment has produced over two dozen films and television projects.^[4]

Television[link]

The following are TV projects based on Dark Horse comic books:^[5]

• The Mask (1995–1997 animated series)
• Timecop (1997 series)
• Big Guy and Rusty the Boy Robot (1999–2001 animated series)
• The B.P.R.D. Declassified (2004 special)
• The Amazing Screw-On Head (2006 pilot)

Films[link]

The following are feature films based on series from Dark Horse Comics:^[6]

• The Mask (1994)
• Timecop (1994)
• Barb Wire (1996)
• Mystery Men (1999)
• Virus (1999)
• Alien vs. Predator (2004)
• Hellboy (2004)
• Sin City (2005)
• Son of the Mask (2005)
• Hellboy: Sword of Storms (2006, animated, direct-to-video)
• 300 (2007)
• Hellboy: Blood and Iron (2007, animated, direct-to-video)
• Aliens vs. Predator: Requiem (2007)
• Hellboy II: The Golden Army (2008)
• El Zombo Fantasma (2010)
• R.I.P.D. (2013)
• Beasts of Burden (2013)
• The Umbrella Academy

References[link]

Further reading[link]

• Richardson, Mike; Frank Miller, et al. (March 2008). Dark Horse Comics: The First Twenty Years. Dark Horse Comics. ISBN 1-59307-608-8. 

External links[link]

Wikimedia Commons has media related to: Dark Horse Comics

	Comics portal
	Anime and manga portal
	Oregon portal
	Companies portal

• Official website
• Things From Another World Online retailer of comics and collectibles; sister company of Dark Horse Comics.
• Dark Horse Comics at the Grand Comics Database
• Dark Horse Comics at the Big Comic Book DataBase
• Dark Horse Comics at the Comic Book DB
• Dark Horse Comics at the INDUCKS
• Dark Horse Comics in the Oregon Encyclopedia

Interviews[link]

This section includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (April 2009)

• From the Editor's Desk: Tim Ervin. Comic Book Resources. January 8, 2009.
• From the Editor's Desk: Chris Warner. Comic Book Resources. January 14, 2009.
• From the Editor's Desk: Diana Schutz, Part I. Comic Book Resources. January 20, 2009.
  • From the Editor's Desk: Diana Schutz, Part II. Comic Book Resources. January 22, 2009.
• From the Editor's Desk: Randy Stradley. Comic Book Resources. February 25, 2009.
• From the Editor's Desk: Shawna Gore. Comic Book Resources. March 16, 2009.

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2011)

Dark horse is a term used to describe a little-known person or thing that emerges to prominence, especially in a competition of some sort^[1] or a contestant that seems unlikely to succeed.^[2]

Origin[link]

The term began as horse racing parlance. A dark horse is a race horse that is not known to gamblers and thus is difficult to place betting odds on.

The earliest-known use of the phrase is in Benjamin Disraeli's novel The Young Duke (1831). Disraeli's protagonist, the Duke of St. James, attends a horse race with a surprise finish: "A dark horse which had never been thought of, and which the careless St. James had never even observed in the list, rushed past the grandstand in sweeping triumph."^[3]

Use in the political arena[link]

The term has been used politically in such countries as Peru, Philippines^[4] and United States.

Politically, the term reached America in the nineteenth century when it was first applied to James K. Polk, a relatively unknown Tennessee Democrat who won the Democratic Party's 1844 presidential nomination over a host of better-known candidates. Polk won the nomination on the ninth ballot, and went on to win the presidential election.

Other famous dark horse candidates for the United States presidency include:

• Franklin Pierce, chosen as the Democratic nominee and later elected the 14th president in 1852.
• Abraham Lincoln, chosen as the Republican nominee and elected as the 16th president in 1860.
• Rutherford B. Hayes, elected the 19th president in 1876.
• James A. Garfield, elected the 20th president in 1880.
• Warren G. Harding, elected the 29th president in 1920 after his surprise nomination.
• Jimmy Carter, elected the 39th president in 1976; in the beginning of that same year, Carter was a relative unknown outside his home state of Georgia.

Outside of the United States, the term was also applied to Alberto Fujimori, who rose to the Presidency in Peru and Jejomar Binay, who rose to the Vice Presidency in the Philippines.^{[citation needed]}

Recently Sarah Grainger for the BBC News website, used the term to refer to former army officer Diosdado Cabello, who helped Hugo Chávez to stage a failed coup in 1992, in an article about possible successors for Hugo Chávez.^[5]

Use in film[link]

The term dark horse is also used outside the political context. Surprising or unlikely nominations for such prizes as the Academy Award (awarded by the Academy of Motion Picture Arts and Sciences) are referred to as dark horses.

Use in music[link]

Guitarist and singer-songwriter George Harrison was nicknamed the "dark horse" of The Beatles, as his visibility as a songwriter and vocalist increased later in the Beatles' career, particularly on Abbey Road. Harrison went on to name his solo label Dark Horse Records, and to release both an album and a song named Dark Horse.

The blues band Savoy Brown have been called the "Dark Horse" band before, because of how under-appreciated they were.

The rock bands Crazy Town and Nickelback have albums titled Darkhorse and Dark Horse, respectively.

American Idol season 8 winner Kris Allen was coined as the "dark horse" of the competition as he went on to win the competition and defeat the crowd favorite and front-runner Adam Lambert.

Jai McDowall was described as a "dark horse" of the show before beating hot favourite Ronan Parke in Britain's Got Talent.

Switchfoot's first single off album Vice Verses is called Dark Horses.

Independent guitarist and singer-songwriter Don Amero produced a song based on the end of a relationship titled "Dark Horse", similar to George Harrison's idea of Dark Horse

Use in publishing[link]

Dark Horse Comics is an American comic book publisher.

See also[link]

• Stalking horse
• Underdog (competition)

References[link]

External links[link]

• Experts Say Philippines is Dark Horse of Asia
• Jan 2012 - Philippine Market continue its charging rush to be Asia's Dark horse

Look up dark horse in Wiktionary, the free dictionary.

Dark Horse may refer to:

• Dark horse, a political candidate who is nominated unexpectedly, or an underdog in other fields who achieves unprecedented success

Music[link]

• Dark Horse (George Harrison album)
  • "Dark Horse" (song), the title song
• The Dark Horse (album), a 2005 album by Achilles
• Dark Horse – A Live Collection, a 2006 album by Ryan Star
• Darkhorse, a 2002 album by Crazy Town
• Dark Horse, an unreleased album by Caitlin & Will
• Dark Horse (Nickelback album), 2008
• Dark Horse, an album and book by John Fischer
• "Dark Horse" (Amanda Marshall song), a 1996 song by Amanda Marshall from her self-titled album, also recorded by Mila Mason
• Dark Horse Recording Studio, a studio complex in Franklin, Tennessee, U.S.
• Dark Horse Records, a recording company owned by George Harrison

Film and television[link]

• The Dark Horse (film), a 1932 American film directed by Alfred E. Green
• Dark Horse (1992 film), an American film directed by David Hemmings
• Dark Horse (2005 film), a Danish-Icelandic film directed by Dagur Kári
• Dark Horse (2011 film), an American film
• Dark Horse Entertainment, a film and TV production arm of Dark Horse Comics (see below)
• "The Dark Horse" (Tanner '88), an episode of Tanner '88

Literature[link]

• Dark Horse (novel), a 2008 novel by Ralph Reed
• Dark Horse (Knebel novel), a novel by Fletcher Knebel
• The Dark Horse (novel), a children's novel by Marcus Sedgwick
• The Dark Horse (magazine), a magazine published in Scotland
• The Dark Horse, a novel by Craig Johnson
• Dark Horse Comics, a comic book publisher

Other uses[link]

• Dark Horse (astronomy), a large dark nebula
• Dark Horse Brewery, a brewpub in Marshall, Michigan, U.S.
• 3rd Battalion 5th Marines, nicknamed "Dark Horse", an infantry battalion in the U.S. Marine Corps
• IBM Roadrunner, a hybrid 3D system proposed by Los Alamos National Laboratory prior to RoadRunner, DarkHorse

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

This article's factual accuracy may be compromised due to out-of-date information. Please help improve the article by updating it. There may be additional information on the talk page. (March 2012)

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (October 2007)

Guillermo del Toro
Guillermo del Toro in September 2011.
Born	Guillermo del Toro (1964-10-09) October 9, 1964 (age 47) Guadalajara, Jalisco, Mexico
Residence	Agoura Hills, California, United States
Nationality	Mexican
Occupation	Director, producer, screenwriter
Years active	1984–present
Spouse	Lorenza Newton (?-present)

Guillermo del Toro (Spanish pronunciation: [ɡiˈʎermo ðel ˈtoɾo]; born October 9, 1964) is a Mexican director, producer, screenwriter, novelist and designer. He is mostly known for his acclaimed films, Blade II, Pan's Labyrinth and the Hellboy film franchise. He is a frequent collaborator with Ron Perlman, Federico Luppi and Doug Jones. His films draw heavily on sources as diverse as weird fiction, fantasy and war.

Early life[link]

Del Toro was born in Guadalajara, Jalisco, Mexico. He was raised in a strict Catholic household.^[1] Del Toro studied at the Centro de Investigación y Estudios Cinematográficos, in Guadalajara.^[2] He first got involved in filmmaking when he was about eight years old and studied special effects and make-up with SFX artist Dick Smith.^[3] Del Toro participated in the cult series La Hora Marcada with other renowned Mexican filmmakers such as Emmanuel Lubezki and Alfonso Cuarón.

He spent ten years as a special effects make-up designer and formed his own company, Necropia. He also co-founded the Guadalajara International Film Festival. Later on in his directing career, he formed his own production company, the Tequila Gang.

In 1998, at the age of 34, Guillermo was given a $30 million budget from Miramax studios to shoot his second film, Mimic. During this time, his father, automotive entrepreneur Federico del Toro, was kidnapped in Guadalajara, Mexico. Although Federico was eventually released safely, there was intense economic pressure from his captors, to the point that del Toro's family had to pay twice the amount originally asked. The event prompted Del Toro, his parents and his siblings to move abroad. In an interview with Time magazine, he said this about the kidnapping of his father: "Every day, every week, something happens that reminds me that I am in involuntary exile [from my country]."^[4][5]

Career[link]

Guillermo del Toro has directed a wide variety of films, from action hero comic book adaptations (Blade II, Hellboy and Hellboy II: The Golden Army) to historical fantasy and horror films, two of which are set in Spain in the context of the Spanish Civil War under the authoritarian rule of Francisco Franco. These two films, El Espinazo Del Diablo (The Devil's Backbone) and El Laberinto Del Fauno (Pan's Labyrinth), are among his most critically acclaimed works. They share similar settings, protagonists (young children), and themes (including the relationship between fantasy/horror and the struggle to live under authoritarian or dictatorial rule) with the 1973 Spanish film The Spirit of the Beehive, widely considered to be the finest Spanish film of the 1970s.^[6]

Del Toro views the horror genre as inherently political, explaining, "Much like fairy tales, there are two facets of horror. One is pro-institution, which is the most reprehensible type of fairy tale: Don't wander into the woods, and always obey your parents. The other type of fairy tale is completely anarchic and antiestablishment."^[5]

He is close friends with two other prominent and critically praised Mexican filmmakers, Alfonso Cuarón and Alejandro González Iñárritu.^[7] The three often influence each other's directorial decisions, and have been interviewed together by Charlie Rose. Cuarón was one of the producers of Pan's Labyrinth. After Blade II, Del Toro turned down many directing jobs for other films to do some of his other projects, he turned down directing jobs for Blade: Trinity and Resident Evil: Apocalypse to write/direct Hellboy. He also turned down The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe to do Pan's Labyrinth, for which he also received a Nebula Award for Best Script. He also turned down Resident Evil: Extinction, Harry Potter and the Order of the Phoenix, and Halo to do Hellboy II: The Golden Army. ^[8]

Del Toro has also contributed to the web series Trailers From Hell.^[9]

On December 9, 2010, Guillermo del Toro launched Mirada with partners Guillermo Navarro (his long-time cinematographer), director Mathew Cullen and Executive Producer Javier Jimenez. Mirada was formed in Los Angeles, CA to be a collaborative space where they and other filmmakers can work with Mirada’s artists to create and produce projects that span digital production and content for film, television, advertising, interactive and other media. Mirada launched as a sister company to production company Motion Theory.^[10]

Future projects[link]

In April 2008, Del Toro was hired to direct the live action film adaptation of The Hobbit. On May 30, 2010, Del Toro stepped down from the project due to an extended delay brought on by MGM's financial troubles. Although he removed himself from directing the film, he continued co-writing the screenplays.^[11]

Del Toro is scheduled to direct four films for Universal; Frankenstein; a remake of Slaughterhouse-Five; and Drood, an adaptation of a Dan Simmons novel published in February 2009.^[12] Drood was expected to be his first project after the two films set in Middle-earth. These projects would have filled up his schedule until 2017.^[13] Part of the Universal deal entails continuing research and development for the creatures in At the Mountains of Madness.^[14] In June 2009, Del Toro said he would only direct Frankenstein .^[15] Del Toro is also in the early stages of development of Saturn and the End of Days.^[16]

Del Toro said his Frankenstein would be a faithful "Miltonian tragedy", citing Frank Darabont's "near perfect" script, which evolved into Kenneth Branagh's Frankenstein.^[17] Del Toro said of his vision, "What I’m trying to do is take the myth and do something with it, but combining elements of Frankenstein and Bride of Frankenstein without making it just a classical myth of the monster. The best moments in my mind of Frankenstein, of the novel, are yet to be filmed [...] The only guy that has ever nailed for me the emptiness, not the tragic, not the Miltonian dimension of the monster, but the emptiness is Christopher Lee in the Hammer films, where he really looks like something obscenely alive. Boris Karloff has the tragedy element nailed down but there are so many versions, including that great screenplay by Frank Darabont that was ultimately not really filmed."^[18] He has also cited Bernie Wrightson's illustrations as inspiration, and said the film will not focus on the monster's creation, but be an adventure film featuring the character.^[19] Del Toro said he would like Wrightson to design his version of the creature. The film will also focus on the religious aspects of Shelley's tale.^[20] Del Toro has stated that production on Frankenstein most likely will not begin for at least four years.^[21] Despite this, he has already cast frequent collaborator Doug Jones in the role of Frankenstein's monster. In an interview with Sci Fi Wire, Jones stated that he learned of the news the same day as everybody else; that "Guillermo did say to the press that he’s already cast me as his monster, but we’ve yet to talk about it. But in his mind, if that’s what he’s decided, then it's done ... It would be a dream come true."^[22] The film will be a period piece.^[23]

He has also expressed interest in video games after the Hobbit project, and hopes to be able to create a "Citizen Kane of games."^[24] In an MTV News interview in late July 2010, he further clarified that his video game ambitions were a reality, stating that: "One of the things we're announcing in the next few weeks is a big deal with a big company. We're going to do games that are going to be technically and narratively very interesting. It's not a development deal. We're going to do it. We're doing them. And we're going to announce it soon enough."^[25]

As of September 11, 2009 it has been made known that Guillermo del Toro has signed on with The Walt Disney Company to create a new label known as Disney Double Dare You. This new label will seek to create family friendly, all-ages animated projects that still manage to thrill and frighten.^[26] But as of 2012 it is not known if he's still involved with Disney as he currently moved on to DreamWorks Animation since 2010.

In June 2010 news came that Del Toro would be writing and producing a brand new take on the story of Van Helsing. There is no word yet on if he will direct or not.^[27]

At Comic Con 2010, del Toro made the surprise announcement that he will co-write, produce, and likely direct a 3D remake of The Haunted Mansion for Disney. Del Toro says the film will stray away from the comedic nature of the 2003 film and will revolve around the Hatbox Ghost from the ride.^[28]

On 28 July 2010 it was announced that he would direct At the Mountains of Madness by H. P. Lovecraft for Universal Pictures, with James Cameron as producer. The movie was originally set up as a project at DreamWorks in 2004.^[29] Just a month earlier, del Toro said that the Lovecraft adaptation probably wouldn't happen at all; "It doesn't look like I can do it. It's very difficult for the studios to take the step of doing a period-set, R-rated, tentpole movie with a tough ending and no love story. Lovecraft has a readership as big as any best-seller, but it's tough to quantify because his works are in the public domain." Not long after, he was approached by Cameron who asked him if he still wanted to do the movie. When del Toro confirmed he did, Cameron said “Let’s do it.” Both of them put forward the idea for Universal, which then greenlighted it.^[30] Earlier the same year, del Toro also asked S. T. Joshi if he wanted to be a consultant if and when the movie got into motion.^[31] It was rumored that del Toro was approached to direct the new Godzilla movie produced by Legendary Pictures, which he later denied.

Mountains of Madness did not receive the greenlight by Universal Studios, so del Toro's next directorial effort will be the giant monster film Pacific Rim, based on a screenplay by Travis Beacham, which was mistakenly rumored to be the basis for Legendary Pictures' Godzilla reboot, which del Toro was rumored to have been was approached to direct but later denied. Del Toro described the monsters in the film to be "Huge". The film involves giant monsters traveling through a vortex in the pacific rim where they attack major cities and humans must battle them by using mecha suits called Jaegers. He comments,"This is my most un-modest film, this has everything. The scale is enormous and I'm just a big kid having fun."^[32]

Guillermo del Toro has also acquired the rights to produce the movie adaption of David Moody's novel "Hater"

On 18th August 2011 it was announced del Toro is going to be developing a new film version of Beauty and the Beast, with Emma Watson in mind to star. Crazy, Stupid, Love producer Denise Di Novi confirmed the filmmaker’s involvement, and said that she would be co-producing the movie with him.^[33]

On June 2, 2009 Del Toro released his debut novel, The Strain, which he co-authored with Chuck Hogan. It is the first part of a vampire trilogy. The second part, The Fall, was released on Sept. 21, 2010, co-authored by Chuck Hogan as well. October of 2011 the last novel of the trilogy was released, Night Eternal with a possible future series release or movie for the trilogy.

At the 2010 Spike Video Game Awards, Del Toro announced that he is working on his first video game titled Insane, which is planned for release in 2013.

Del Toro also wants to direct a segment for an upcoming Heavy Metal 3.

On 21st September 2010, del Toro announced that he wanted to direct new adaptations of the Stephen King novels It and Pet Sematary, but stated that he is very busy and unlikely to be able to make the films any time soon.^[34]

Personal life[link]

Guillermo del Toro is married to his high school sweetheart Lorenza Newton, cousin of Mexican singer Guadalupe Pineda. He fell in love with Lorenza when both were studying at the Guadalajara School of Sciences. He currently lives in Agoura Hills, California with his wife and two daughters, Mariana and Marisa.^[4] In addition to home in which he lives with his family, he owns a separate house exclusively to house his books, posters artwork and other belongings pertaining to his work, explaining, "As a kid, I dreamed of having a house with secret passages and a room where it rained 24 hours a day. The point of being over 40 is to fulfill the desires you've been harboring since you were 7."^[5]

In a 2007 interview, del Toro described his political position as "a little too liberal". He pointed out that the villains in most of his films, such as the industrialist in Cronos, the Nazis in Hellboy, and the Francoists in Pan's Labyrinth, are united by the common attribute of authoritarianism. "I hate structure. I'm completely anti-structural in terms of believing in institutions. I hate them. I hate any institutionalised social, religious, or economic holding."^[35]

In 2009, in an interview with Charlie Rose, del Toro described his Roman Catholic upbringing as excessively "morbid," saying "I mercifully lapsed as a Catholic, I say, but as Buñuel used to say, "I'm an atheist, thank God." Though insisting he's spiritually "not with Buñuel" and that "once a Catholic, always a Catholic, in a way," he followed by saying, "I believe in man. I believe in mankind, as the worst and the best that has happened to this world."^[36] He has also responded to the observation that he views his art as his religion by saying, "It is. To me, art and storytelling serve primal, spiritual functions in my daily life. Whether I'm telling a bedtime story to my kids or trying to mount a movie or write a short story or a novel, I take it very seriously."^[5]

In a Q&A, del Toro said that he was a fan of first-person shooter video games, citing games like Half-Life, Call of Duty and BioShock and stating that "video games are the comic books of our time... It's a medium that gains no respect among the intelligentsia".^[37] However, del Toro has stated that there are only two games he considers to be true masterpieces: Ico and Shadow of the Colossus.^[38]

Filmography[link]

Awards and nominations[link]

See also[link]

• Cha Cha Cha Films

References[link]

External links[link]

Wikimedia Commons has media related to: Guillermo del Toro

Wikiquote has a collection of quotations related to: Guillermo del Toro

• DelToroFilms.com – Guillermo del Toro's official message board
• Guillermo del Toro at the Internet Movie Database
• Guillermo del Toro at AllRovi
• Del Toro Webcast on BAFTA.org
• Premiere Magazine: Inside Del Toro's Sketchbook

Frankenstein's Monster
Frankenstein; or, The Modern Prometheus character
Created by	Mary Shelley
Portrayed by	Charles Stanton Ogle, Boris Karloff, Christopher Lee, Peter Boyle, Robert De Niro and others
Information
Nickname(s)	"The Monster", "The Creature", "The Wretch", "The Devil" and others
Gender	Male
Family	Victor Frankenstein (creator)

Frankenstein's monster (also called the monster or Frankenstein's creature) is a fictional character that first appeared in Mary Shelley's novel, Frankenstein, or The Modern Prometheus. The creature is often referred to as "Frankenstein", but in the novel the creature has no name. He does call himself, when speaking to his creator, Victor Frankenstein, the "Adam of your labours". He is also variously referred to as a "creature", "fiend", "the demon", "wretch", "devil", "thing", "being" and "ogre" in the novel.^[1]

The monster's namelessness became part of the stage tradition as Mary Shelley's story was adapted into serious and comic plays in London and Paris during the decades after the novel's first appearance. Mary Shelley herself attended a performance of Presumption, the first successful stage adaptation of her novel. "The play bill amused me extremely, for in the list of dramatic personae came _________, by Mr T. Cooke,” she wrote to her friend Leigh Hunt. "This nameless mode of naming the unnameable is rather good."^[2]

The name of the creator—Frankenstein—soon came to be used to name the creation. That happened within the first decade after the novel was published, but it became firmly established after the story was popularized in the famous 1930s Universal film series starring Boris Karloff. The film was based largely on a play by Peggy Webling, performed in London in 1927.^[3] Webling's Frankenstein actually does give his creature his name. The Universal film treated the Monster's identity in a manner that reflects its resemblance to Mary Shelley's novel: the name of the actor, not the character, is hidden by a question mark. Nevertheless, the creature soon enough became best known in the popular imagination as "Frankenstein". This usage is sometimes considered erroneous, but usage commentators regard the monster sense of "Frankenstein" as well-established and not an error ^{[4] [5] [6]}.

In Shelley's novel[link]

Victor Frankenstein, eldest son of Alphonse and Caroline Beaufort Frankenstein, builds the creature in his laboratory through methods of science (he was a chemistry student at University of Ingolstadt) and alchemy (largely based on the writings of Paracelsus, Albertus Magnus, and Cornelius Agrippa) which are not clearly described. Immediately upon bringing the creature to life, Frankenstein flees from it in horror and disavows his experiment. Abandoned, frightened, and completely unaware of his own identity, the monster wanders through the wilderness searching for someone who would understand and shelter him.

He finds brief solace by hiding out in the woodshed of a remote cottage inhabited by the DeLaceys, a family of peasants. While they are unaware of his existence, he learns every part of their lives by eavesdropping on their conversations and comes to think of them as his own family, calling them his 'protectors'. He develops the power of speech from listening to the family teach their language (French) to an Arabian daughter-in-law, and very quickly becomes eloquent, educated, and well-mannered.

One day, the creature musters the courage to finally make his presence known. He introduces himself to the family's patriarch, their blind father, and experiences kindness and acceptance for the first (and last) time. The blind man cannot see his "accursed ugliness" and so treats him as a friend. When the rest of the family returns, they are terrified of the creature and drive him away. Bewildered but still hopeful, he rescues a peasant girl from a river, but is shot in the shoulder by a man who claims her. Heartbroken, the creature renounces all of humankind and swears revenge on his creator, Frankenstein, for bringing him into the world.

The monster searches for Frankenstein relentlessly, guided by some papers which were in the pocket of the clothing he took from his creator's rooms. From these he discovers Frankenstein's whereabouts, but also discovers the horrific details of his own birth. Upon arriving near Frankenstein's village, he meets and tries to befriend a small boy, William, hoping that the innocent youth will not be prejudiced against him. The boy is instantly frightened and threatens to call for his father, Monsieur Frankenstein, revealing to the creature that the boy is related to his enemy. The creature kills him, and, in a further gesture of hatred against humanity, frames for the murder a girl named Justine Moritz, who is the Frankensteins' maid servant. Justine Moritz is sent to the gallows because Frankenstein decides it would be futile to confess his experiment, as no one would believe him.

Full of grief and despair, Frankenstein retreats to the mountains to find peace within himself. The monster approaches Frankenstein on top of the mountain and insists that Frankenstein hear his plight. Here, the monster tells Frankenstein his story and pleads with him to create a female equivalent to himself so that he can hide from humanity with one of his own kind. Frankenstein agrees, but relents just before finishing the mate, aghast at the possibility of creating a race of monsters. Enraged, the creature threatens to destroy everything Frankenstein holds dear. Before fleeing into the night, the creature swears to Frankenstein that "I will be with you on your wedding night!"

He later makes good on his threat by killing Frankenstein's best friend, Henry Clerval, and his bride, Elizabeth Lavenza. Victor Frankenstein's father, Alphonse, then dies of grief. With nothing left to live for, Frankenstein dedicates his life to hunting his creation down and destroying him. His life’s work consumed him and in the end the creature destroys everyone dear to him ultimately leaving him orphaned from happiness or any kind of companionship. The search ends in the Arctic Circle when Frankenstein loses control of his dogsled and falls into ice-cold water, contracting severe pneumonia. He is rescued by a ship exploring the region and relates the entire story to its captain, Robert Walton, before succumbing to his illness and dying. The creature later boards the ship, intent on taking his final revenge, but is overcome with grief upon finding Frankenstein dead, having lost the only family he has ever known. He pledges to travel to "the Northernmost extremity of the globe" and there burn his body to ashes, so that no man can ever create another like him. He leaps from the boat and is never seen again.

Appearance[link]

Charles Stanton Ogle in the 1910 film version.

Boris Karloff as the classic film version and Jack Pierce's interpretation of Frankenstein's monster

Shelley described Frankenstein's monster as an 8-foot-tall (2.4 m), hideously ugly creation, with translucent yellowish skin pulled so taut over the body that it "barely disguised the workings of the vessels and muscles underneath"; watery, glowing eyes, flowing black hair, black lips, and prominent white teeth. The monster attempts to integrate himself into human social patterns, but is shunned by all that see him. This feeling of abandonment compels him to seek revenge against his creator. A picture of the creature appeared in the 1831 edition. By the time the 1831 edition came out, however, several stage renditions of the story had popularized the monster. Early stage portrayals dressed him in a toga, shaded, along with the monster's skin, a pale blue. Throughout the 19th century, the monster's image remained variable according to the artist.

The most well-known image of Frankenstein's monster in popular culture derives from Boris Karloff's portrayal in the 1931 movie Frankenstein, with makeup created by Jack Pierce. Karloff played the monster in two more Universal films, Bride of Frankenstein and Son of Frankenstein. Lon Chaney, Jr. took over the part from Karloff in The Ghost of Frankenstein, Bela Lugosi portrayed the role in Frankenstein Meets the Wolf Man, and Glenn Strange played the monster in the last three Universal Studios films to feature the character (House of Frankenstein, House of Dracula, and Abbott and Costello Meet Frankenstein); but their makeup replicated the iconic look first worn by Karloff. To this day, the image of Karloff's face is owned by his daughter's company, Karloff Enterprises, which is the reason Universal replaced Karloff's features with Glenn Strange's in most of their marketing.

Since Karloff's portrayal, the creature almost always appears as a towering, gruesome figure, often with a flat square-shaped head and bolts to serve as electrical connectors or grotesque electrodes on his neck. He wears a dark suit having shortened coat sleeves and thick, heavy boots, causing him to walk with an awkward, stiff-legged, crude gait (as opposed to the novel, in which he is described as much more flexible than a mortal). This image has been used as the basis for other fictional characters.

In recent filmmaking, Mary Shelley's Frankenstein, the creature is interpreted by Robert De Niro in a nearer approach to the original source, even to the point of showing him as a talented flautist, and motivated by pain and loneliness in its murdeous journey. In the other hand, the 2004 film Van Helsing, the monster is shown in a rather somewhat modernized version of the Karloff design. He is 8 to 9 feet (240–270 cm) tall, has square bald head, gruesome scars, and pale blue skin. The electricity is emphasized with one electrified crystal in the back of his head and another over his heart.

Personality[link]

As depicted by Shelley, the monster is a sensitive, emotional creature whose only aim is to share his life with another sentient being like himself. The novel portrays him as intelligent and literate, having read Paradise Lost, Plutarch's Lives, and The Sorrows of Young Werther. He is driven by despair and loneliness to acts of cruelty and murder.

From the beginning the monster is rejected by everyone he meets. He realizes from the moment of his "birth" that even his own creator could not be around him; this is obvious when Frankenstein says "…one hand was stretched out, seeming to detain me, but I escaped…"^[7] Upon seeing his own reflection, he realizes that he too cannot stand to see himself.

Yet, in the 1931 film adaptation, the creature is depicted as mute and bestial, unlike Shelly's original character which is very intelligent. In the subsequent sequel, Bride of Frankenstein, the creature learns to speak and discover his feelings, although his intelligence and capacity of speech remains limited. In the second sequel, Son of Frankenstein, the creature is again rendered inarticulate. Following a brain transplant in the third sequel The Ghost of Frankenstein, the Monster speaks with the voice and personality of the brain donor. This was continued after a fashion in the scripting for the fourth sequel Frankenstein Meets The Wolf Man, but the dialogue was excised before release. The monster was effectively mute in later sequels, though he is heard to refer to Count Dracula as his 'Master' in Abbott and Costello Meet Frankenstein.

In Alvin and the Chipmunks Meet Frankenstein he is first depicted as mute, clumsy, childish, and nothing more than a servant of the 'evil' Dr. Frankenstein until he befriends the Chipmunks. They teach him how to be a friend and how to be kind to people. At the end of the film, Alvin mentions that they taught him how to talk, and after almost being run over by a tourist bus, Simon says "Too bad you also taught him how to drive."

The creature has often been seen to be a pyrophobic (afraid of fire).

The creature's name[link]

Mary Shelley's original novel never ascribed an actual name to the monster; although he does call himself, when speaking to his creator, Victor Frankenstein, the "Adam of your labours". It has become common vernacular to refer to the creature by the actual name "Frankenstein", though this actually happens only rarely on screen.

A joke about the name became the subject of a sketch on Conan. On his various shows over the years, Conan O'Brien has featured a character named "Frankenstein", played by Brian Stack, who is a genial version of the classic Universal appearance of the character. In the March 23, 2011, of O'Brien's TBS show, a viewer criticized O'Brien for calling the character "Frankenstein", when in the original book the creature had no name and Frankenstein was the name of the creator. In response, O'Brien showed a clip of the monster coming to America through Ellis Island in the 1920s. An immigration official reviewing the creature's paperwork tells him that "Frankenstein's Monster" is too cumbersome a name, so he shortens it to Frankenstein. Thus, Conan declares that referring to the monster simply as "Frankenstein" is correct.

In Dean Koontz's Frankenstein series, the monster goes by the name "Deucalion", which he presumably chose sometime in his 200 year existence. The name is a reference to the son of Prometheus in Greek mythology, as his "father", Victor Frankenstein, is presumably the being whom the novel referred to as "The Modern Prometheus". The Universal film series generally refers to the character on screen as the Monster, the Creature or Frankenstein's Monster, although this practice wasn't always carried over into the film titles, such as Abbott and Costello Meet Frankenstein (in which no human character by the name Frankenstein actually appears and the title refers to the monster). The 2004 film Van Helsing, a Universal production that reimagined several characters including the Monster, directly assigns the name Frankenstein to the monster.

Many people^[who?] blame marketing for the mistake of the creature's name. There are movie posters featuring a picture of the monster with FRANKENSTEIN written in bold letters across the neck, which logically leads people to believe that the name of the creature depicted on the poster is named Frankenstein. Due largely to this, the monster is now generally known as Frankenstein.

Portrayals[link]