Humans have an intrinsic fascination with contravening the innate principles of existence, as the tendency of the human condition to surpass our natural world leads to destruction. This innate human desire to increase our knowledge through the conquest of science and the secrets of life has transcended time, denoting a literature that presupposes the corruption of humanity. These pieces are reflected in Mary Shelley's Frankenstein and Ridley Scott's film Blade Runner, perpetuating this assertion that man's unnatural desire to deduce reality is precarious. Thus both composers postulate a bleak future resulting from man's predilection for aberrant behavior, as the commonalities reinforce this desire for opportunity to cause destruction. Paranormal creation and humanity's emotional detachment are explored in both pieces, as their respective contexts have shaped conceptualizations of man's desires that lead to destruction. Humanity possesses an innate desire to conquer the science and secrets of life, a notion exemplified by Shelley through creation and its propensity for destruction, contextually shaped by Luigi Galvani's theories of galvanization. Shelley thus reshaped the axiom of the Promethean myth that man overcomes his biblical passivity by playing God, and his response serves as a cautionary tale for scientists during the Industrial Revolution. The monster's belief that "I should be your Adam but instead I am your fallen angel" is a literary allusion to Milton's Paradise Lost, perpetuating Shelley's warning about man's desires since Victor's monster and Satan are " irrevocably excluded" from compassion, unlike their creators. . In comparison, Roy is the "meteor from the sky", which metaphorically aligns him with Milton's Satan and thus develops a similar ideology, pre-eminent to the paper medium, that neglecting nature due to man's desires is destructive. Yet Scott presents nature as a status symbol, the serpent of Zhora who "once corrupted man" with biblical allusions to man's expulsion from the Garden of Eden. Scott then further develops Shelley's principle as the ironic title of the "City of Angels" reflects our pessimistic future, presupposing the capitalist degeneration of our world due to the desires of man since the Romantic Enlightenment in Shelley's period. In conclusion, Shelley's gothic piece accentuates a cautionary tale of man's destructive desires to conquer science and the secrets of life. Scott extends Shelley's premise by presenting our possible future, completely devoid of nature due to man's destructive activities. The Bible states that “he who increases knowledge increases pain,” reflected in man's destructive desires in both pieces.