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4. The Future of Science Fiction or the Legacy of Frankenstein 
Feige states that today’s science fiction is in a crisis. At least this is stated by 
confirmed fans of science fiction. Publisher houses reduce the number of 
genres, authors groan about insufficient sales revenues. So what role will 
science fiction, which always referred to future, play in the future (Feige 88)? 
A series of science fiction fans that up to now searched entertainment in 
the printed science fiction, are nowadays more attracted by offers of the film 
and game industry. As a consequence sales figures of science fiction literature 
are constantly falling. Science fiction movies belong to the steady range 
television stations and video rentals. Science fiction computer games 
experience annually three-figure rate of growth, better animations and refined 
interactions. The Science fiction head editor of the publisher house Heyne in 
Munich does not ask without reason whether the fans still have the time to 
read. He adds that the science fiction in the history of publication has never 
experienced such a collapse. Other publishers announce to reduce the 
science fiction program about one third. The question is whether the science 
fiction literature will be still the same in the future or will other forms of 
publication conquer the market? (Feige 88). 
Science fiction is everything, but not doomed. Its boom on TV proves 
that Science Fiction is capable of appealing to a large audience. Digital TV 
even offers a science fiction channel. It is obvious that science fiction has 
already left its genre boundaries because its elements are found nearly 
everywhere, whether in TV series, cartoons or info programs who take up 
science fiction themes, such as planet research, telepathy or travelling through 
time (Feige 89).
Although science fiction writers might not have thought of their stories to 
come true, it turned out that the progress of science went beyond their 
imagination. Many authors had imagined the first flight on the moon, but might 
not have expected that it will be someday broadcasted live on television. Thus, 

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17 
sometimes their speculations did not remain mere imaginations (Shippey 6). 
Shelley’s novel did not fare differently although she did not regard her work as 
prophesying the future. However, today’s state of the art makes cloning, 
artificial intelligence and robotics possible. Thus, it can be stated that Shelley’s 
novel holds a foreshadowing aspect though scientists have not succeeded in 
creating an artificial human yet (Clayton 84).
Furthermore, her novel has evoked various melodramatic launches in 
film und considerably critical interest (Rider 230). 
More than two centuries 
after the publication of Frankenstein, writers and filmmakers continued to 
produce countless remakes and sequels (Hamilton 9), such as Frankenstein 
(1931), The Curse of Frankenstein (1957) or Mary Shelley’s Frankenstein 
(1994) (on Frankenstein films, Rohrmoser). The aforementioned examples are 
closely related to Shelley’s novel. However, there are also films that are 
implicitly linked to Frankenstein. There are two types of referring to 
Frankenstein: “first, revisions that explore genetic and reproductive 
technology; second, those that reimagine Frankenstein in a world of cyborgs, 
artificial intelligence (AI), artificial life (AL), and robotics” (Clayton 85). Films, 
such as Ridley Scott’s Blade Runner (1982/1992), Shelley Jackson’s 
Patchwork Girl (1995) or Steven Spielberg’s A.I.: Artificial Intelligence (2001) 
speculate about a future encompassing artificial beings (Clayton 85).
To masterpieces, such as Animal Farm and 1984 or Clockwork Orange, 
Frankenstein and War of the Worlds, owes the science fiction its undeniably 
everlasting place in cultural society and history. The media too, i.e. television 
and cinema belong to this ambit. The latter made the aforementioned novels - 
and thus the science fiction - popular among a large audience. So it will 
presumably remain, according to Feige. Literature is a playground for the 
masterminds, howsoever it is natured, whether a printed book, an e-book or a 
simple Internet domain (Feige 89).