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* Dr. Noonien Soong from [[Star Trek: The Next Generation]]
* Dr. Noonien Soong from [[Star Trek: The Next Generation]]
* [[Dr. Carl Stoner]], in the film ''[[Sssssss]]'' (1973)
* [[Dr. Carl Stoner]], in the film ''[[Sssssss]]'' (1973)
* [[Dr. Strangelove or, How I Learned to Stop Worrying and Love the Bomb|Dr. Strangelove]]
* [[Dr. Strangelove or, How I Learned to Stop Worrying and Love the Bomb|Dr. Strangelove]]
* Professor Wendland, in the film ''[[Superargo]]'' (1968)
* Professor Wendland, in the film ''[[Superargo]]'' (1968)
* Dr. Herbert West, in the film ''[[Re-Animator]]'' (1985)
* Dr. Herbert West, in the film ''[[Re-Animator]]'' (1985)

Revision as of 11:16, 30 April 2004

A mad scientist is a stock character--typically, but not exclusively villianous-- who usually appears in fiction, usually depicted as a scientist who is insane or at the least very eccentric. He is usually working with some utterly fictional technology in order to forward his evil schemes. Recent Mad Scientists depictions are often satirical and humorous.


"They LAUGHED at my theories at the institute! Fools! I'll destroy them all!" - A stereotypical Mad Scientist caricature.

Common Defining Characteristics

Mad scientists are typically characterized by obsessive behaviour and the employment of extremely dangerous methods. They often are motivated by revenge , seeking to settle real or imagined slights, typically related to their unorthodox studies.

Their laboratories often hum with Tesla coils, Van de Graaff generators, perpetual motion machines, and other visually impressive electrical oddments, or are decorated with test tubes and complicated distillation apparatus containing strangely-coloured liquids - often without regard for the actual use of such equiptment. The general rule to follow when you encounter mad scientist experiments is 'do not attempt this at home!'

Other Traits:

  • pursuit of science without regard to its ethical implications such as violating the Nuremberg Code,
  • self experimentation,
  • playing God,
  • lack of normal relationships,

History

Template:Spoiler

Before 1945

The stereotype originated in literary works in the nineteenth century to depict the dangers of science. The perceived conflict between science and religion during this period informed the earliest depictions of the stereotype.

The prototypical mad scientist was Doctor Frankenstein, creator of Frankenstein's monster, who made his first appearance in 1818, in the novel Frankenstein, or the Modern Prometheus by Mary Shelley. Though Dr. Frankenstein is a character of some sympathy in his first appearance, the critical elements of conducting forbidden experiments that cross "boundaries that ought not to be crossed," heedless of the consequences, are present in Shelley's novel.

  • H. G. Wells' The Island of Doctor Moreau (1896) carried Frankesteinian experimentation a step further, contrasted with an idyllic 'natural' South Sea island setting. The film is The Island of Lost Souls (1933) ("From his house of pain they came remade... "What is the law? Not to spill blood; not to chase other men; not to go on all fours; not to eat flesh. This is the law. Are we not men?"")
  • Dr. Frankenstein in several movie versions.
  • Dr. Jack Griffin, in the film The Invisible Man (1933). Dr. Griffin makes a discovery on how to become invisible but in the process is sent into murderous insanity.
  • Dr. Janos Rukh, in the film The Invisible Ray (1936). Dr Rukh discovers a radioactive ray that cures blindness but causes him to develop a murderous paranoid rage against other scientists accused of stealing his discovery.
  • Dr. Throkel, in the film Dr. Cyclops (1940). Dr. Throkel shrinks opponents of his unorthodox experimentation with radium.
  • Phor Tak, the discoverer of invisibility in Edgar Rice Burrough's 1930 science-fiction novel, A Fighting Man of Mars.

Nevertheless, the essentially benign and progressive nature of science in the public imagination continued without a check, exemplified by the optimistic 'Century of Progress' exhibition in Chicago, 1933, and the 'World of Tomorrow' at the New York World's Fair of 1939.

Since 1945

Mad scientists had their heyday in popular culture in the period after World War II. The sadistic medical experiments of the Nazis and the atomic bomb gave rise in this period to genuine fears that science and technology had become forces out of control. Mad scientists frequently figure in science fiction and motion pictures from the period. The movie Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, in which Peter Sellers plays the title Dr. Strangelove, is perhaps the ultimate expression of this fear of science out of control.

In more recent years, the mad scientist as a lone searcher of the forbidden unknown has tended to be replaced by mad corporate executives who plan to profit from defying the laws of nature and humanity regardless of who suffers; these people hire a salaried scientific staff to pursue their twisted dreams. This shift is typified by the revised history of Superman's archenemy, Lex Luthor: originally conceived in the 1930s as a mad scientist in the lone-searcher-of-the-forbidden-unknown, a major retcon of the character's origins in the early 1980s made him the head of a mega corporation who also plays a leading role in his R & D Department. Still, the pose has been used whimsically by popular science writers to attract readers (things are more interesting if they are somehow dangerous).

Fictional Mad Scientists since 1945

See also: Cranks

Fields of Research

Untouched Fields

Fields that are largely untapped by mad scientists include:


Contrast: List of heroic fictional scientists

Real-life Prototypes

Some real-life scientists, not necessarily madmen, whose personalities have contributed to the stereotype:

Related: List of notable eccentrics

References

  • Haynes, Roslynn Doris (1994). From Faust to Strangelove: Representations of the Scientist in Western Literature. Baltimore: Johns Hopkins University Press. ISBN 0-8018-4801-6.
  • Tudor, Andrew (1989). Monsters and Mad Scientists: A Cultural History of the Horror Movie. Oxford: Blackwell. ISBN 0-631-15279-2.