The Killers of Eden

When Orcas Hunted With Whalers

The name sounds like something from folklore.

The Killers of Eden.

But these weren’t pirates. Nor outlaws. Not even a forgotten cult. They were orcas.

For decades in the nineteenth century, along the southern coast of Australia, a pod of killer whales worked in co-operation with human whalers in Twofold Bay.

They didn’t merely follow the boats or scavenge from discarded carcasses. They signalled. They herded. They hunted alongside the men. And at the centre of the story was one specific individual, a male that became known as Old Tom.

The Signal in the Bay

From the 1860s until the early twentieth century, shore-based whaling was integral to the small town of Eden.

Unlike the vast industrial fleets that would later dominate the Southern Ocean, Eden’s operations were small, open-boat enterprises run, at least to start, by a single family – the Davidsons. What made their station remarkable was not its size, but its partnership.

When migrating humpback or southern right whales entered Twofold Bay, the orcas would drive them toward shore. Old Tom, recognised by his tall dorsal fin, was known to swim to the mouth of the Kiah River and slap his tail against the surface — a deliberate “flop-tail” that alerted whalers to the presence of a whale.

Men would heed this signal and scramble into their boats. The chase would begin. And a significant ritual became an anchor to the partnership.

The arrangement became known as the “Law of the Tongue.” Once a whale was harpooned and secured, the carcass would be anchored overnight. The whalers would leave the lips and tongue, which are rich in blubber, for the orcas. The rest would be processed at the try-works.

This is important, as it clarifies the partnership as not one based on sentiment. It was mutual advantage.

Old Tom

Old Tom measured around 22 feet (6.7 metres) and weighed an estimated six tons. Distinctive wear on his lower teeth suggests he frequently gripped tow ropes during hunts. This behaviour was allegedly recorded by whalers who claimed he would sometimes take the line in his mouth and help pull the boats.

At other times, he reportedly clamped onto the rope fastened to a harpooned whale and allowed himself to be dragged through the water, an act the crews described with something like affection. Yet, a later incident of what seemed like a playful tug of war notably loosened his teeth.

He also notably returned season after season.

The documented co-operative hunts largely ceased by 1901, following a series of disruptions. One member of the pod, known as Typee, was shot by a local after becoming beached in the shallows. In the aftermath, Indigenous Australian whalers who had worked with Davidson’s crew withdrew from Kiah Inlet. At the same time, global industrial whaling expanded dramatically, and baleen whale numbers began to decline.

The ecological and economic balance that had sustained the alliance fractured.

No baleen whales were recorded in Eden after 1926.

Old Tom, however, continued to return. Often alone.

On 17 September 1930, his body was found floating in the bay. His skeleton now hangs in the Eden Killer Whale Museum, suspended in quiet testimony to a strange chapter of maritime history.

The Solitary Return

Orcas are deeply social animals. They travel in stable, matrilineal pods, maintaining lifelong bonds and passing hunting traditions across generations. Despite the folklore surrounding Old Tom, males do not lead pods. Solitary individuals are rare.

The image of Old Tom returning alone to Twofold Bay has unsettled observers for decades.

Local belief holds that the rest of his pod may have been killed further north, possibly in Jervis Bay, by Norwegian whalers unaware of the cooperative history in Eden. Elsewhere along the coast, fishermen and whalers often regarded orcas as competitors and retaliated with bullets and harpoons.

The “Killers of Eden” were never universally protected. They were tolerated, while useful.

When shore-based whaling declined after 1901 and industrial fleets reduced whale populations further offshore, the ecological conditions that had enabled the cooperation disappeared. And the behaviour vanished with them.

Cooperation or Strategy?

It is tempting to romanticise the story. Man and predator working side by side. An interspecies pact honoured through ritual.

But modern research offers a quieter explanation.

We now know that orcas exhibit:

Cultural transmission of behaviour
Specialised hunting techniques within pods
Long memory and social learning
Adaptive exploitation of predictable food sources

The Eden pod was not acting out of loyalty in a human sense. Nor were they mythic collaborators. They were intelligent apex predators exploiting a reliable opportunity.

Orcas are the largest members of the dolphin family, which is significant because bottle-nosed dolphins in Laguna, Brazil, have developed a similar, near century-old partnership with local fishermen. They signal with tail slaps and head nods when the men should cast their nets, as the pod herds the fish towards shore.

The “Law of the Tongue” was not a moral contract. It was strategy.

When overhunting reduced baleen whale numbers, and when industrialisation changed the rhythm of the bay, the strategy no longer worked. And so it ended.

The Name That Lingers

“The Killers of Eden” remains a provocative phrase. We can’t but help associate the name Eden with a place of original innocence. And killer is the name we give all deliberate predators.

Yet the title reveals as much about us as it does about them. We were the ones that christened them killers, whilst we were killing too.

Perhaps what unsettles us is not that orcas hunted alongside humans but that they adapted so fluidly to our violence. That they folded themselves, briefly, into our industry.

And when that industry collapsed, they did not mourn the contract. They adapted or vanished.

There is something more grounded in that. This story isn’t about myths, monsters, or miracles. It’s just two apex species intersecting, for a moment, in a fragile ecological alignment.

And when the balance broke, the sea closed over it.

If you enjoy reflective explorations of the uneasy boundary between humans and the wild, my novels explore similar terrain, where co-operation, fear, and instinct are rarely as simple as they seem.

Monster Monday: The Beast of Exmoor

Rumour, Release, or Something Wild?

Today, we’re going to look at one of the more (or should that be moor?) well-known of Britain’s best-known cryptids. A mystery cat that’s right up my alley. But, before there was a beast, there was a landscape.

Exmoor is open, wind-cut, and exposed. Sheep move across long lines of sight as they graze, perhaps in a false sense of security that Britain’s predators are long-banished. Granite outcrops and banks of heather hold the last of the day’s light. When something crosses that horizon, it might be seen but just as quickly, it can slip back into the many shadows and hiding places on the moor.

In 1983, Devon farmer Eric Lane began losing young lambs. The predation was both serious and mysterious. Then, larger, full-grown lambs began to be taken. Ultimately, Lane reported losing more than fifty sheep. And across the region, estimates suggested over one hundred full-grown ewes were killed in what the press began calling the Beast’s “rampage”. Carcasses were found with throats torn and little meat consumed. Some reports described clean kills. Others suggested variation. No body was recovered. No animal was conclusively identified.

The police took the matter seriously enough to organise searches and vigils. And then, as the death toll of livestock mounted, they called in the army. At least one patrol involved a former Royal Marine, John Holden, who was later interviewed in the documentary Panthera Britannia: Declassified. Holden described seeing a large cat-like animal during a night patrol. A shot was reportedly taken by another member of the patrol. After that incident, sheep losses diminished. But no carcass, no blood trail, and no confirmed remains were ever found.

Absence became the defining feature of the case.

A Naturalist’s Theory

Among those who treated the killings as a wildlife question rather than a ghost story was Devon-based zoologist, naturalist, and conservationist Trevor Beer (1937-2017), who investigated sightings across the region for decades.

Beer did not dismiss the accounts outright. Nor did he frame them as folklore. Based on reported behaviour and differences in sightings, he suggested that two separate large cats — possibly a puma and a leopard — might explain the variation. It was a practical hypothesis. If attacks differed in method, perhaps more than one animal was involved.

Importantly, this was not a claim of proof. It was an attempt to reconcile inconsistent details with ecological reasoning. And that matters.

Because Britain in the 1970s and early did have privately owned exotic cats. Before the Dangerous Wild Animals Act of 1976, keeping such animals was not uncommon. Archival BFI footage (also from early 1976) exists of a puma being walked in Barnstaple. After the Act tightened licensing requirements, stories began circulating that some owners released animals rather than surrender them, and this has become a fundamental and foundational part of the British big cat phenomenon.

What is documented is patchy. What is alleged is plentiful.

Release Stories and Blurred Memory

Over time, rumours became interwoven with the facts and real investigations.

A Barnstaple butcher who supposedly owned a puma and a leopard and got in trouble with the law was said to have released his pets as he fled the country. A zoo owner alleged to released animals onto Dartmoor rather than face an unknown fate. Stories of circus transfers, licence losses, and midnight liberations threatened to blend fact with fiction.

For instance, I think it’s no coincidence that there is archival BFI footage of a man walking his pet puma in Barnstable and there is a story about the supposed butcher and his ‘guard panthers’. But I think it’s a blurring of memory. In 1976, the population of Barnstable was that of a small country parish, a little over 10,000 people. It’s hard to believe there were two individuals with a pet puma. And there is no documented evidence of a butcher with two big cats – surely that would have made at least one local paper?

Benjamin Mee is the owner of Dartmoor Zoo, which became famous after the film ‘We Bought A Zoo’ put its story in the spotlight. Again, for Panthera Britannia, Mee recounts a sighting of a big cat in the village, shortly after moving to Dartmoor. There is also a reference to the former zoo operator Ellis Daw, who was alleged to have released three pumas onto Dartmoor. But again, does that conflate events and allegations surrounding Mary Chipperfield, who was also said to release three pumas, among her favourite animals, whilst transferring them from Plymouth Zoo after it closed in 1978, which was owned by the Chipperfield family at the time.

The difficulty is not that these names appear. It is that the stories begin to overlap.

Separate incidents, across counties and years, begin to compress into a single narrative mass. Exmoor and Dartmoor become interchangeable in casual retelling. A puma becomes “a black panther”. Two animals become one roaming shadow.

Memory simplifies. Landscape absorbs detail.

Could a Big Cat Survive?

Ecologically, the idea is not impossible. In fact, it’s very probable.

The Cougar is highly adaptable. In North America, it occupies deserts, forests, mountains, and the fringes of cities. It can take deer and livestock. It is solitary, elusive, and capable of travelling large distances. In turn, leopards are found from the desserts of Africa through to the Siberian plateau and are considered one of the most adaptive of the big cats.

A released animal, in theory, could survive, at least for a time. And, the sheep kills are suggestive of a released animal with limited experience taking easy prey. It is widely reported that wild big cats avoid taking sheep, as they find the wool problematic to remove, and don’t like the texture of it in the mouth. However, there is enough of an issue of pumas taking sheep in Chile for there to be a government-backed guardian livestock dog programme, documented by National Geographic’s ‘Up Close with Bertie Gregory’. So, we know sheep are on the menu, at least for some big cats.

@bertiegregory
We used military-grade thermal imaging cameras to allow us to film guardian dogs protecting sheep from pumas in the middle of the night. This strategy is good news for farmers and good news for pumas, alongside the dogs. However, it is also critical that farmers manage their land to support wild puma prey populations. 🎥: #AnimalsUpClose
♬ original sound – Bertie Gregory

But survival is not proof of presence.

And livestock predation patterns are not always straightforward. Dogs, foxes, and even corvids can complicate carcass interpretation once an animal has fallen. Bite placement, caching behaviour, feeding style… these details matter, but they are rarely preserved cleanly in open moorland.

What Remains

What is harder to dismiss is the shift in perception.

Farmers scanned ridgelines differently. Dog walkers reported silhouettes where before there had been none. The moor, already vast, felt less empty.

Whether the Beast of Exmoor was:

A released exotic
Multiple animals folded into one legend
A misidentified large dog
Or a solitary cat that came and went without leaving a body

…the story altered how people saw their landscape.

That is often how monsters begin.

Not with certainty.
Not with spectacle.
But with a disruption, a suggestion that the familiar ground may not be entirely ours.

In my own fiction, I’m often less interested in proving the beast exists than in exploring what changes in us when we believe it might.

The Beast of Exmoor remains ultimately unproven. But the space it opened, between where we live and wilderness, between rumour and ecology, still lingers across the moor. And sightings still continue, as does the mystery.

Man-Eater Monday: The Sankebetsu Brown Bear Incident

In the winter of 1915, the settlement of Sankebetsu, in northern Japan, was already under strain.

Snow lay deep across Hokkaido. Food stores were thin. Travel was difficult, sometimes impossible. For the people living at the margins of cultivated land, winter was not simply a season — it was a test of endurance.

What went largely unconsidered was that the same conditions applied to everything beyond the settlement’s boundaries.

The forests were locked in ice. Natural forage was scarce. Prey animals were weakened, dispersed, or absent altogether. The winter that pressed hardest on human communities was doing the same to the wildlife around them. But at the time, this was not a connection people were trained to make.

Ecology, as a way of thinking, had not yet entered the conversation. Hardship was viewed as a human problem, unfolding against a largely static natural backdrop. The idea that animals might also be responding — adapting, learning, and changing behaviour under pressure, was rarely entertained.

It was in this context that the Sankebetsu incident began.

A first encounter and a dangerous assumption

The bear’s first appearance was not dramatic in scale, but it was decisive in consequence. In December 1915, a large brown bear entered the settlement and attacked a woman working near her home. The encounter was sudden and close-quarters. She was killed before any effective intervention could be made.

The bear did not linger. After the attack, it retreated back into the surrounding forest.

That withdrawal shaped how the incident was understood.

Within the settlement, the prevailing belief was that the animal had been startled — that the violence was reactive, not intentional, and that the danger had passed with the bear’s departure. The incident was treated as an isolated tragedy rather than the opening stage of a larger threat.

No co-ordinated hunt followed. No sustained effort was made to track the animal’s movements or assess whether it might return.

This response was not careless so much as culturally conditioned. At the time, apex predators were often viewed as opportunistic but fundamentally avoidant of humans. An animal that fled was assumed to have learned fear.

But this assumption rested on a misunderstanding of how predators learn.

An animal that kills and escapes unharmed has not seen that behaviour punished. It has been reinforced. The boundary between human and prey does not harden, it weakens.

In retrospect, the bear’s retreat was not a conclusion. It was a pause.

Escalation isn’t chaos, it’s pattern

When the bear returned, it did not behave erratically.

It came back into the settlement repeatedly, moving with increasing confidence through spaces that had already been shaped by human presence. Homes were entered. People were taken from places that should have been safe.

One of the most disturbing moments came shortly after the initial attack, when the bear returned during a funeral held for the first victim. Drawn by human activity and the presence of food, it entered the area and killed mourners gathered there.

The violence was no longer confined to a single encounter. Over the course of one night, multiple people were killed in separate attacks. By the time the bear was finally stopped, five lives had been lost, several of them within hours of one another.

What is striking, in retrospect, is not the scale of the violence, but its consistency.

The bear did not flee after these encounters. It did not act randomly. It returned to the same settlement, exploited moments of vulnerability, and withdrew only when challenged. Each successful attack reinforced the same lesson: humans were accessible, and resistance was minimal.

This is the point at which many retellings introduce the language of madness or bloodlust. But escalation, in cases like this, is rarely chaotic. It is patterned.

Under conditions of prolonged scarcity, the bear’s behaviour reflected learning rather than frenzy. What appeared to the community as senseless violence followed a grim internal logic shaped by hunger, opportunity, and success.

Human hesitation, and a belated resolution

As fear spread through the settlement, so did uncertainty.

There was disagreement over whether the same bear was responsible for each attack. Some believed the animal would eventually move on. Others feared that a co-ordinated response might provoke further violence. Time was lost to debate, hesitation, and the difficulty of acting decisively in extreme winter conditions.

When a concerted effort was finally made to track the bear, it revealed just how unprepared the community was for such a task. Weather obscured trails. Knowledge of bear behaviour was inconsistent, drawn from folklore, fragments of experience, and assumption rather than strategy.

Eventually, a group of hunters succeeded in locating and killing the animal. The bear was identified as a large male brown bear, in poor physical condition. Its body showed signs consistent with prolonged scarcity. With its death, the attacks stopped.

The immediate danger to Sankebetsu was over.

But the resolution came only after multiple lives had been lost, and only once the cost of inaction had become undeniable. The bear’s death did not mark the defeat of a monster, but the delayed recognition of a threat that had been misunderstood from the outset.

Then, and now

More than a century after the Sankebetsu incident, it is tempting to look for repetition — to imagine the same landscape quietly replaying its past.

That is not what the evidence suggests.

Brown bears still inhabit Hokkaido today. The species persists across much of the island’s forests and mountain ranges, and in some areas populations are thought to be stable or recovering after decades of decline. The region where Sankebetsu once stood is no longer a permanent settlement, and there is no indication that it has become a modern centre for serious bear attacks.

History, in this sense, is not repeating itself geographically.

What has changed is the broader context in which people and bears now coexist.

In 2025, Japan recorded 13 human fatalities and more than 100 injuries resulting from bear encounters, involving both Asiatic brown bears and Asiatic black bears. These incidents were spread across multiple prefectures and environments — from rural settlements to the edges of towns — rather than concentrated in any single location.

The pressures behind them are familiar: reduced natural food availability, changing land use, and expanding human presence in areas once less frequently occupied. Bears range more widely when resources are scarce, and humans now occupy landscapes that were once seasonal or marginal.

The relevance of Sankebetsu, then, is not that it is happening again in the same place. It is that the same ecological forces – scarcity, overlap, and hesitation, all continue to shape encounters between people and large predators, wherever clear boundaries erode.

The quieter truth of man-eater stories

The Sankebetsu bear was not a creature of myth, nor a symbol of evil. It was an animal responding to scarcity, learning from success, and moving through a landscape that no longer offered clear separation between forest and home.

Man-eater stories endure not because they reveal something monstrous about animals, but because they expose a recurring human blind spot: the tendency to see nature as static, until it reacts.

When prey disappears, boundaries blur. When boundaries blur, conflict follows.

The question is not whether such stories will happen again, but whether we recognise the conditions early enough to change the outcome.

From Villain to Witness: How Modern Cinema Rewrites the Monster

Introduction: Monsters, Reconsidered

For much of cinema’s history, the monster served a simple narrative function. It arrived from the margins, disrupted order, embodied fear, and was ultimately removed so that normality could be restored. Whether giant ape, prehistoric reptile, or nameless creature lurking in the dark, the monster existed primarily as an obstacle. It did not need interiority. It did not need explanation. Its presence alone was justification enough.

That simplicity made monsters effective. Fear thrives on clarity, and early cinema rarely asked audiences to question where the creature came from or why it behaved as it did. The monster was the problem.

But in recent years, that framing has begun to feel increasingly inadequate.

Modern monster films still deliver spectacle and danger, but they are far less comfortable presenting creatures as purely evil forces. Behaviour is contextualised. Motivation is explored. In some cases, the monster is no longer even positioned as the antagonist.

It remains frightening, but it is no longer disposable.

The Classic Monster: Threat Without Context

Early cinematic monsters were designed to simplify fear rather than interrogate it.

In King Kong, Kong is awe-inspiring and tragic, but he is never truly allowed to exist beyond symbolism. He represents the unknown, the primitive, the uncontrollable. His capture and eventual death restore order, and the film closes without seriously questioning whether that outcome was inevitable or just.

This structure repeats across decades of monster cinema. The creature is framed as abnormal, its presence an intrusion into civilisation. Little attention is paid to ecology, displacement, or cause. The monster’s destruction functions as narrative closure.

That approach worked for its time. Monsters were metaphors first and beings second. Fear was externalised and contained.

The Modern Shift: Behaviour Over Villainy

Contemporary monster narratives are far less willing to accept that kind of moral shorthand.

In the MonsterVerse, Kong is no longer portrayed as a rampaging aberration. He is territorial, reactive, and increasingly isolated — a powerful animal responding to confinement, intrusion, and displacement. The destruction he causes is not denied, but it is contextualised. The question is no longer simply how to stop him, but why he is there at all.

A similar approach appears in Damsel, where the creature’s violence is rooted in history and betrayal rather than innate malice. The monster is not softened or turned into a companion figure. It remains a dangerous, direct threat. What changes is the framing. Its behaviour is shown to be a response rather than a pathology.

This distinction matters. Explanation does not neutralise threat. It replaces laziness with honesty.

Monsters, Instinct, and the Conservation Lens

This narrative evolution mirrors a broader shift in how we understand real animals.

In conservation and human–wildlife conflict, the language of “rogue” animals and “evil” predators has largely been abandoned. Serious discussion now centres on habitat loss, injury, food scarcity, and human expansion into contested spaces. When a tiger or lion attacks, the focus is not on moral failure but on circumstance and pressure.

The animal is not absolved of danger — but it is removed from moral judgement.

Modern monster cinema increasingly reflects this ecological thinking. These creatures are frightening not because they are wicked, but because they are powerful, stressed, territorial, or reacting exactly as their biology dictates. Instinct replaces intention. Context replaces caricature.

Importantly, this approach does not anthropomorphise the monster. It does the opposite. By stripping away human moral projection, the creature is allowed to exist as something fundamentally other — governed by its own rules, indifferent to ours.

That indifference is often more unsettling than evil ever was.It strips away human moral projection and allows the creature to exist on its own terms.

Why This Change Matters Now

This shift in monster storytelling is not happening in isolation.

We live in an era defined by systems rather than single causes. Climate change, ecological collapse, geopolitical instability — none of these can be explained through simple villains. Audiences have become increasingly attuned to complexity, and stories built on clear moral binaries often feel dishonest.

What unsettles us now is not the presence of danger, but the recognition that harm can be understandable. That violence can emerge from pressure rather than cruelty. That systems, not monsters, are often the true antagonists.

Modern monster films reflect this discomfort. They resist easy answers. They allow fear to coexist with recognition.

The Monster as Witness, Not Enemy

In many contemporary narratives, the monster has become something closer to a witness than an enemy.

Not a punishment sent to restore balance. Not a curse to be eradicated. But a presence shaped by what has been taken, altered, or ignored.

The creature remains dangerous. The threat is real. Yet the story no longer ends with its removal as moral necessity. Instead, the monster exposes the fragility of human systems and the consequences of interference.

The monster has not disappeared. It has become more truthful.

Closing Reflection

We still call them monsters, but we have quietly stopped treating them as villains.

That change does not make these stories gentler. If anything, it makes them more unsettling. A monster driven by instinct and circumstance cannot be reasoned with or redeemed in simple terms. It can only be understood — and sometimes endured.

Perhaps this shift says less about cinema than it does about us. About a growing awareness that fear does not require evil, and that the most frightening stories are often the ones that refuse to offer clean resolutions.

If you enjoy this kind of storytelling, my fiction explores similar territory — where monsters and animals are shaped by instinct, history, and human pressure rather than simple evil.

Movie Monday: Primate, Killer Apes, and the Stories We Tell About Animals

Welcome back to Movie Monday.

This is only the second entry in the series, but the intention is already clear: this isn’t about quick reviews or ranking creature features by body count. It’s about looking at animal-led horror films through a wider lens… asking what they borrow from reality, what they distort, and what impact those stories have beyond the screen.

This week, the focus is a brand new film – Primate, directed by Johannes Roberts. It’s a deliberately confrontational piece of horror: graphic, tense, and unflinching in its depiction of violence. On the surface, it fits comfortably within the long tradition of “killer animal” cinema. But beneath that familiar framework, I think Primate is doing something more thoughtful, and more troubling.

Intelligence as Horror, Not Gimmick

There is a particular kind of discomfort that lingers after watching Primate. Not the fleeting unease of jump scares or gore, but something quieter and more persistent. A sense that what you’ve just watched isn’t entirely fictional and that the true horror sits uncomfortably close to reality.

The film centres on a chimpanzee capable of communicating through sign language. When the animal contracts rabies, its behaviour becomes violently unstable. What makes this premise effective is not the novelty of intelligence, but how seriously the film treats it.

The chimp’s cognition is not there to make it sympathetic, nor to humanise it for easy emotional manipulation. Instead, intelligence becomes an amplifier. The violence is more disturbing precisely because the audience understands this is not a mindless creature lashing out, but a thinking being whose perception of the world has been catastrophically altered.

Rabies matters here. The film resists framing the chimp as evil, possessed, or monstrous by nature. This is disease, not malice. Pathology, not punishment. That distinction shifts the moral weight of the story away from the animal and back toward the conditions that made such an outcome possible in the first place.

The Horror Isn’t the Chimp

This is where Primate brushes up against an uncomfortable truth that horror cinema has often avoided.

The horror isn’t the chimp. The horror is the belief that we can safely domesticate something that was never meant to be ours.

Highly intelligent animals do not become safer through proximity to humans. If anything, intelligence increases unpredictability when an animal is denied its natural social structures, environmental cues, and physical autonomy. Familiarity does not override biology.

Viewed through this lens, Primate stops being a simple killer-ape film. It becomes a story about misplaced control and the human tendency to mistake access for understanding.

Real-world cases have already shown how fragile this illusion is. In 2009, Travis the chimp — raised in a domestic setting and long treated as a familiar presence rather than a wild animal, violently attacked a woman in his owner’s home. The incident was not the result of cruelty or neglect in any simple sense, but of a far more uncomfortable truth: a highly intelligent, powerful animal had been placed in an environment it was never designed to navigate. When something went wrong, the consequences were catastrophic.

Love did not cancel instinct. Intelligence did not equal compliance.

Primate fictionalises this reality, but it does not exaggerate it. The film’s horror grows from the same fault line: the human insistence that proximity and affection can neutralise biology.

Killer Apes and Cinematic Inheritance

Cinema has a long, complicated relationship with apes. From the earliest monster films through to modern horror, they occupy an uneasy space: strong enough to threaten us, intelligent enough to unsettle us, and similar enough to us to provoke discomfort.

Films like King Kong established a template where apes became symbols of chaos, domination, or fear of the “other”. Too often, those stories leaned on spectacle rather than context, asking audiences to fear the animal without interrogating why it was placed in conflict with humans at all.

Primate inherits that cinematic lineage, but it doesn’t fully repeat its mistakes. The chimp is dangerous, yes, but the film never lets the audience forget that the danger is engineered. Captivity, experimentation, disease, and human arrogance form the backdrop to every violent act.

The animal is not framed as a natural villain. The system surrounding it is.

Misrepresentation, Responsibility, and Modern Horror

This raises a broader question, one that modern creature features can maybe no longer avoid. Can we still make effective animal-led horror without slandering a species?

The answer may lie in perspective rather than restraint. Horror does not lose its power when animals are portrayed honestly; if anything, it becomes more unsettling. When behaviour is grounded in biology, instinct, stress, and environment, violence stops feeling arbitrary and starts feeling inevitable.

Too many older films treated animals as symbols — metaphors for chaos, punishment, or nature “striking back”. In doing so, they often stripped creatures of context, reducing complex species to simple villains. The result was fear without understanding, and spectacle without consequence.

Primate largely avoids that trap. The chimp’s actions are horrifying, but they are never divorced from cause. Captivity, experimentation, disease, and human interference form the framework within which the violence unfolds. The animal is not behaving “out of character”. It is behaving exactly as a compromised, intelligent animal might.

This is an approach I’ve deliberately taken in my own fiction. When I write from the point of view of the creature, it isn’t to humanise or excuse its actions, but to clarify them. To show how instinct, territory, stress, and survival pressures shape behaviour, and how easily human presence destabilises that balance. Horror, in this context, doesn’t come from malice. It comes from collision.

When animals are depicted honestly, the question shifts. The fear is no longer what is the creature capable of? It becomes why did we put it in this position at all?

That, perhaps, is where modern creature-feature horror finds its real responsibility, not in softening its monsters, but in telling the truth about them.

Looking Ahead

Slandering a species has consequences, as Peter Benchley discovered after the unprecedented success of Jaws.

Hot off its 50th anniversary year in 2025, Jaws offers a powerful case study in how fiction can shape fear and how those fears can ripple outward into real-world destruction. In a future Movie Monday, we’ll look at how that film and book sounded a death knell for millions of sharks in the decades that followed, and how Benchley himself later became a vocal champion for their protection.

Because stories about animals don’t end when the credits roll. They linger. And sometimes, they bite far deeper than intended.

Monster Monday: The Yeti — Footprints in the Snow

Footprints are powerful things.

They suggest presence without confrontation — a body that was there, but no longer is. In high mountain places, where weather erases evidence quickly and distances distort scale, a single line of tracks can feel profoundly unsettling. It is no surprise that the Yeti, more than almost any other cryptid, has been defined not by clear sightings, but by impressions left behind.

The Yeti does not announce itself. It lingers at the edge of vision, half-formed in snow, mist, and memory.

The First Western Encounter

The modern Western story of the Yeti is often traced to 1921, during a British reconnaissance expedition to Mount Everest led by Charles Kenneth Howard-Bury. While crossing the Lhakpa-La pass at around 20,000 feet, members of the party observed dark figures moving across a distant snowfield. They also noted a trail of large footprints, unlike those of any animal they recognised.

Local guides described the tracks as belonging to something known in regional folklore. Through mistranslation and embellishment, this was rendered in Western newspapers as the “Abominable Snowman” — a phrase that would stick, despite being at odds with the more nuanced local descriptions. Some researchers have since suggested that elements of the original terminology may have referred more generally to wild or bear-like creatures, an ambiguity that would echo through later attempts to categorise what was seen.

What is striking about these early reports is how restrained they were. There was no claim of attack, no dramatic encounter. Just distance, scale, and uncertainty. Something large had crossed the snow.

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One Name, Many Creatures

One of the enduring problems in Yeti research is the assumption that it refers to a single, clearly defined animal.

Across the Himalayan region, different cultures describe different beings: some tall and upright, others smaller and more animal-like; some solitary, others encountered in pairs; some associated with high snowfields, others with dense forest. Hair colour, gait, and behaviour vary widely between accounts.

Rather than weakening the Yeti legend, this diversity strengthens it.

It suggests that “Yeti” may be a category rather than a creature, a name applied to unfamiliar encounters in extreme environments. In this sense, the Yeti functions much like other global wild-man traditions: a boundary figure, occupying the blurred edge between known animals and imagined ones.

Where the Yeti Really Lives

Popular imagery places the Yeti high on frozen ridgelines, silhouetted against endless snow. In reality, this is one of the least likely places for a large, undiscovered mammal to live year-round.

Modern thinking increasingly suggests that if a Yeti-like animal exists at all, it would spend most of its life below the snowline, in remote forests and rugged valleys where cover, food, and shelter are more reliable. Seasonal crossings of high passes could account for the famous footprints, while keeping the creature largely hidden for the rest of the year.

This reframing does not make the Yeti less mysterious, it makes it more plausible.

Footprints, Photographs, and the Problem of Proof

The most famous Yeti evidence remains the footprint photographs: oversized impressions in snow, often distorted by melt, refreeze, and shadow. These images have been endlessly reproduced, debated, and dismissed.

But footprints are inherently deceptive. Snow stretches, collapses, and reshapes under weight. Familiar animal tracks can appear enormous under the right conditions. Perspective plays tricks in featureless landscapes.

It is also worth noting that some famous Yeti evidence has been questioned long after the fact. In a handful of cases, relatives or associates of expedition members later suggested that footprints may have been exaggerated, staged, or misinterpreted. Claims that emerged decades after the original events, often when those involved were no longer alive to respond.

Whether these retrospective doubts reflect new information, fading memory, or a desire to impose rational order on unresolved stories is difficult to say. What they do illustrate is how cryptid encounters rarely end when the expedition does. They continue to evolve, shaped by cultural pressure, reputation, and our collective discomfort with uncertainty.

The footprints endure not because they are conclusive, but because they resist tidy explanation.

From Mystery to Caricature

Once the phrase “Abominable Snowman” entered Western culture, the Yeti’s fate was largely sealed. It became a creature of novelty and spectacle, sometimes threatening, often comic.

Films and television leaned into this transformation, from light-hearted moments in One of Our Dinosaurs Is Missing, to outright creature features like Abominable, and later family-friendly reimaginings such as Smallfoot.

Entertainment keeps the Yeti visible, but it also flattens it. Complexity gives way to costume. Mystery becomes marketing.

Modern adventure shows, including series like Expedition Unknown, walk a sometimes not-so-careful line between curiosity and spectacle. They undoubtedly keep public interest alive but in doing so, they risk turning genuine mystery into a checklist of expected outcomes.

A Monster That Refuses to Settle

Perhaps the Yeti’s greatest strength is its refusal to be pinned down.

It does not fit neatly into zoology, folklore, or fiction. It shifts between categories depending on who is looking, and from where. In this way, the Yeti mirrors the landscapes it is said to inhabit. Places where maps end, weather dominates, and certainty is a luxury.

The Yeti endures not because it has been proven, but because it remains unresolved. A set of footprints leading out of sight. A shape moving where nothing should be. A reminder that even in the modern world, there are still edges we do not fully understand.

If you enjoy this kind of grounded monster storytelling, my novels explore similar themes of wilderness, fear, and folklore, where the line between the known and the unknown is rarely clear.

Maneater Monday: The Wolves of World War I — When Nature Stopped the War

In the winter of 1916, on the frozen Eastern Front, German and Russian soldiers discovered that the greatest danger they faced was no longer each other.

The Howling in No Man’s Land

The snow fell thick and soundless over the forests of Eastern Europe.
It swallowed roads, softened the edges of trenches, and buried the dead where they lay.

Along the front lines separating German and Russian forces, sentries stood in rigid silence, rifles stiff with ice, breath frosting the air in pale clouds. The wind carried the smell of rot from the fields beyond the wire — thousands of bodies left unburied after weeks of fighting, locked in the ground by frost.

And then, at night, came the howling.

At first it was distant. Mournful. Easy to dismiss as imagination or exhaustion.
But as the weeks passed, it grew closer.

Men began to vanish from the edges of camps. Lone runners failed to return. Wounded soldiers, dragged away from shell holes and shallow graves, left only streaks of dark red in the snow.

The Eastern Front had acquired a new predator.

A Perfect Storm for Wolves

The First World War created conditions unlike anything Europe had seen.

The Eastern Front, stretching across Poland, Belarus, and the Baltic regions, became a landscape of mass death and logistical collapse. Entire villages were abandoned. Supply lines broke down. Corpses lay uncollected for weeks or months at a time.

For wolves, already struggling under centuries of persecution and habitat loss, this was catastrophe and opportunity combined.

Winter drove them out of the deep forests. Starvation pushed them closer to human settlements. And war provided something unprecedented: endless carrion.

Thousands of human bodies lay exposed in fields and forests, frozen solid in the snow. For scavengers, it was a banquet that never ended.

At first, the wolves fed on the dead.

Then they began testing the living.

When the Dead Were No Longer Enough

Contemporary reports and later memoirs describe a shift in behaviour as the winter deepened.

Wolves began approaching camps at night, circling trenches, and following patrols at a distance.

Isolated soldiers were attacked while collecting firewood or running messages between positions. Sentries disappeared from their posts. Wounded men, unable to move, were taken from the margins of the battlefield.

The attacks were not frenzied. They were methodical.

These were not mythical monsters or supernatural beasts. They were animals responding to an extreme ecological shock, losing their fear as hunger and opportunity rewired their instincts.

For soldiers already broken by cold, starvation, and artillery, the effect was devastating. The war had stripped them of shelter, warmth, and food. Now it was stripping them of the illusion that humans were still in control.

The Truth of the “Wolf Truce”

As the attacks increased, something extraordinary happened.

According to multiple historical accounts, both German and Russian units found themselves under such sustained pressure from wolves that hostilities between the two sides were temporarily suspended.

Joint patrols were formed. Coordinated hunts were organised. Weapons that had been aimed at enemy soldiers were turned outward, into the forests.

For a brief moment, the front line dissolved. The enemy was no longer the man in the opposite trench. It was the unseen presence moving through the trees.

The episode became known later, and somewhat romantically, as the “wolf truce.”

https://historica.fandom.com/wiki/Wolf_truce

https://www.military.com/military-life/soldiers-world-war-eastern-front-fought-common-enemy-wolves.html

https://historyandthings.com/2021/09/28/the-wolf-truce-1917/?utm_source=chatgpt.com

Fact, Folklore, and Embellishment

As with many stories that sit at the boundary of history and horror, the details are tangled.

There is credible evidence that wolf attacks did occur on the Eastern Front during the winters of 1916–1917. Military records and memoirs reference problems with wolves and describe organised culls.

There is also evidence of temporary cooperation between opposing forces to deal with shared threats. Not just wolves, but disease, flooding, and other environmental hazards.

But the scale of the attacks has almost certainly been exaggerated in later retellings. The idea of thousands of wolves overwhelming entire regiments is almost certainly folklore.

What remains clear is this:

The wolves were real. The attacks were real. And for a brief winter, nature forced a pause in a human war.

Why This Story Endures

The wolves of World War I were not evil. They were not monsters. They were opportunists in a broken ecosystem.

War dismantled the structures that kept humans safe; shelter, food, burial, borders, order. In that vacuum, predators did what predators have always done. They filled the gap.

What terrified soldiers was not just the physical danger. It was what the wolves represented. They were proof that civilisation had collapsed far enough for humans to become prey again.

Fear is rarely about death alone. It is about the loss of control.

When Humans Stop Being the Apex Predator

The label “maneater” has always said more about us than about the animal.

Wolves have hunted people before. So have tigers, lions, leopards, bears, and sharks.

But they only become legends when they cross an invisible line, when they stop behaving like background wildlife and start behaving like participants in human history.

On the Eastern Front, the wolves did exactly that. They stepped into a war zone and claimed their share of it.

After the Snow Melted

Eventually, the wolves were driven back. Hundreds were shot, trapped, or poisoned.

As spring came, the snow thawed, and the bodies were buried. The carrion vanished. The front stabilised.

The wolves retreated into the forests. And the armies resumed killing each other. The moment passed, almost forgotten.

But for a brief winter, the war remembered something it had tried to deny: It was not the only deadly force shaping that front.

Closing Reflection

The wolves of World War I were not supernatural. They were not sent by fate or divine punishment. They were simply animals responding to human catastrophe.

And in doing so, they exposed a truth that sits beneath every maneater story: When the structures of civilisation collapse, the food chain rearranges itself.

And humans are not always at the top.

Executioner Elephants and the Machinery of Power

There are moments in history that feel almost implausible. Not because they are exaggerated, but because they are so deliberately cruel.

For centuries, across parts of South and Southeast Asia, elephants were used as executioners (known as Gunga Rao in India). Not in myth or allegory, but as instruments of state punishment: trained, directed, and deployed to kill human beings in public displays of authority.

This was not a curiosity or an isolated practice. It was a system, and one that relied on the intelligence and obedience of an animal capable of learning complex commands, and on the psychological impact of seeing power made flesh.

What makes this history unsettling is not simply what happened, but how intentional it was. Elephants were not acting on instinct. They were taught. And they were used.

Where and why executioner elephants were used

The use of elephants as instruments of execution was most prevalent across parts of South and Southeast Asia, particularly in regions where elephants already occupied a central role in warfare, labour, and royal symbolism. Historical accounts describe the practice in areas including the Indian subcontinent, Sri Lanka, Burma, Siam, and parts of what is now Vietnam and Indonesia, spanning several centuries and multiple ruling dynasties.

This was not an improvisation born of cruelty alone. Elephants were already embedded within the infrastructure of power. They hauled timber, carried kings into battle, and featured prominently in court ceremony and spectacle. Their size, intelligence, and visibility made them ideal symbols of authority; living embodiments of the state’s reach and control.

Public punishment in these societies was rarely private. Executions were designed to be seen and remembered as spectacles. They functioned as warnings as much as penalties, reinforcing social order through fear and inevitability. An elephant, towering over a crowd, calm and obedient, communicated something more potent than a blade or a rope: that resistance was futile not only because the state was powerful, but because it appeared absolute.

Beyond fear, the elephant also carried a deeper symbolic weight. It represented the futility of resistance itself. If the state could command and subdue one of the largest and most powerful animals on Earth, a creature capable of tearing apart structures and killing with ease, then the control of people was rendered almost trivial by comparison. Authority was not merely enforced; it was naturalised.

In this context, the elephant became part of a broader political language. Its presence transformed punishment into theatre, merging justice, domination, and spectacle into a single event. The animal itself did not represent chaos or savagery, but discipline… an impression carefully cultivated by those who wielded it.

How the system worked

Elephants were not used as executioners through instinct or provocation. They were trained deliberately, responding to commands issued by a mahout who controlled the animal throughout the process. Contemporary accounts describe elephants being taught a range of actions, from restraining a condemned person to killing them outright, depending on the sentence imposed.

The methods varied by region and period. In some cases, executions were swift. In others, they were prolonged, calibrated to heighten public impact rather than efficiency. What united these practices was control. The elephant did not act independently. It waited, received instruction, and carried out the act as trained, sometimes stopping short, sometimes proceeding fully, all according to command.

This distinction matters. The violence was not the result of an enraged animal, nor of a moment slipping beyond human control. It was structured, rehearsed, and repeatable. The elephant functioned as an extension of the judicial system, its immense physical force made precise through obedience.

That precision was itself part of the message. The spectacle lay not only in the act of killing, but in the demonstration that such a powerful animal could be rendered compliant, predictable, and exact. Authority was displayed not through chaos, but through order.

Power, punishment, and political messaging

Public execution has always been as much about those who watch as those who die. In societies that employed executioner elephants, punishment functioned as a form of political communication, a demonstration of authority designed to be remembered long after the event itself had passed.

The elephant’s role intensified that message. Unlike mechanical devices or edged weapons, the animal was visibly alive, responsive, and controlled. Its obedience transformed violence into a display of governance rather than brutality. Order was not imposed through chaos, but through precision. The state did not merely kill; it commanded.

By outsourcing the act of execution to a trained animal, rulers distanced themselves from the physical act of violence while simultaneously magnifying its psychological impact. The elephant became a proxy through which power could be exercised without appearing impulsive or uncontrolled. Responsibility was diffused, even as authority was reinforced.

There was also an element of humiliation embedded in the practice. To be killed by an elephant, an animal associated with royal processions, warfare, and ceremony, inverted the natural order of dignity. The condemned were rendered small, powerless, and publicly subordinate, their fate enacted by a creature that symbolised the state itself.

In this way, executioner elephants functioned not simply as tools of punishment, but as instruments of political theatre. They collapsed justice, domination, and symbolism into a single act, reinforcing a hierarchy in which resistance appeared not only dangerous, but futile.

Methods of punishment and execution

Historical accounts make clear that executioner elephants were not employed in a single, uniform way. Methods varied by region, period, and political intent, and the elephant’s role could be adjusted accordingly. This flexibility was part of the practice’s power.

In some instances, elephants were trained to kill quickly. A single, forceful action, often involving the animal’s foot (the crushing of a victim’s head against a stone or wooden block was typical), was enough to end a life almost immediately. In others, the process was deliberately staged. The elephant might restrain a condemned person first, holding them in place while commands were issued, before carrying out the final act. The presence of choice and delay was itself a form of intimidation, reinforcing the idea that punishment was not only inevitable, but controlled.

More elaborate methods are recorded in certain historical sources. Elephants could be trained to tear apart bodies using their tusks, or to crush limbs before delivering a fatal blow. In some regions, blades or spikes were affixed to tusks to increase lethality. These were not improvisations, but planned variations and evidence of a system refined over time.

What distinguishes these accounts is not brutality alone, but intentionality. The elephant did not act unpredictably. Each movement followed instruction. Each execution demonstrated not rage, but discipline. Violence was administered as a process, not an outburst.

For spectators, this mattered. The horror lay not only in the outcome, but in the calmness with which it was achieved. The animal’s obedience underscored the message that punishment was procedural, sanctioned, and absolute, making it a function of governance rather than cruelty in the abstract.

The animal caught in the system

Elephants are not indifferent instruments. They are highly intelligent, social animals, capable of learning complex behaviours, forming long-term bonds, and responding to subtle cues from those they trust. That capacity and the very trait that made them so valuable to human societies, is what allowed them to be absorbed into systems of punishment in the first place.

The elephant did not choose its role. It did not understand the politics of justice, crime, or authority. It responded to training, repetition, and command. Responsibility for the violence enacted through it does not sit with the animal, but with the structures that shaped its behaviour and put it to use.

This distinction matters, because it forces the focus back where it belongs. Executioner elephants were not expressions of nature’s savagery, nor examples of animals turned monstrous. They were evidence of human ingenuity applied without restraint, of power seeking spectacle, obedience, and inevitability, regardless of the cost.

In many historical accounts, the elephant’s calmness is remarked upon as much as its strength. That calmness was not natural. It was cultivated. And in that cultivation lies the deeper unease of the practice: the transformation of a sentient being into a mechanism, valued not for what it was, but for what it could be made to do.

That this history still unsettles is not surprising. It sits at the intersection of dominance and delegation, where violence is made orderly and responsibility is diffused. The elephant becomes a mirror, reflecting not animal brutality, but human willingness to externalise cruelty, to embed it within systems until it feels inevitable, even justifiable.

With what is now known about elephant intelligence, it is difficult not to wonder what such roles may have cost the animals themselves. Elephants are capable of recognising individuals, remembering past events, and responding to distress in others. They are not unthinking tools, but sentient beings with emotional and social complexity.

Whether executioner elephants experienced fear, confusion, or psychological harm as a result of these acts cannot be known with certainty. Historical records do not concern themselves with the inner lives of animals. Yet the very qualities that made elephants so effective within these systems; memory, responsiveness, trust in human handlers, are the same qualities that, today, are recognised as leaving animals vulnerable to long-term stress and trauma.

If nothing else, this absence is telling. The suffering of the animal was neither recorded nor considered relevant. The elephant’s role ended when its usefulness did. That silence, viewed through a modern understanding of animal cognition, is itself a form of indictment.

This research surfaced while working on a piece of fiction, but it refused to remain there. Some histories resist containment. They linger, precisely because they reveal how thin the line can be between authority and abuse, and how readily intelligence (animal or human) can be bent to serve power.

🎬 Movie Monday: When Real Animals Became Movie Monsters

Stories have always borrowed from the natural world, sometimes consciously, sometimes not.

Movie Monday is a new, occasional series exploring where cinema, wildlife, and myth overlap: the real animals, behaviours, and biological truths hiding behind some of our most enduring screen monsters.

It sits alongside Monster Monday and Maneater Monday — different lenses on the same question: why certain creatures, real or imagined, refuse to loosen their grip on us.

We like to believe that cinema monsters are born from imagination alone… nightmares made flesh, conjured by writers staring into the dark.

But again and again, the truth is stranger.

Some of the most iconic creatures in film and fiction didn’t come from myth at all. They came from nature, from animals whose behaviours were already so efficient, alien, or unsettling that they barely needed exaggeration.

Filmmakers didn’t invent these monsters.
They recognised them.

👹 Predator: insects, instinct, and a moment at 30,000 feet

The creature in Predator is often remembered for its technology: cloaking devices, shoulder cannons, thermal vision, ritualised hunting codes.

But strip all of that away and you’re left with something far older.

During early development, legendary creature designer Stan Winston was struggling to finalise the Predator’s look. While flying with James Cameron, he talked through the problem, and it was Cameron who suggested a simple, unsettling solution: give it mandibles.

That single idea changed everything.

Designers have since acknowledged the influence of insects, particularly praying mantises, in the Predator’s face and posture. Forward-facing eyes. Mandible-like jaws. A head shaped for tracking and striking rather than expression or empathy.

Mantises already look extraterrestrial to us. They rotate their heads. They calculate distance. They dismember prey with methodical calm.

Even the creature’s voice reinforces this lineage. The distinctive clicking and chittering sounds were created by Peter Cullen, deliberately leaning into insect-like vocalisations rather than anything recognisably mammalian or humanoid.

The Predator doesn’t invent that fear.
It scales it up, arms it, and releases it into a jungle.

What remains, beneath the tech, is an apex ambush hunter — something we instinctively recognise, even if we can’t quite place why.

👽 Alien: nature’s most efficient horror machine

The creature in Alien remains one of cinema’s most disturbing designs because it feels biological. Every stage of its life cycle obeys a logic — parasitic, efficient, and utterly indifferent.

That’s because it draws from multiple real-world inspirations.

One is the deep-sea amphipod Phronima sedentaria, sometimes called the “monster in a barrel.” This tiny crustacean hollows out gelatinous animals, lives inside their emptied bodies, and uses them as both shelter and nursery. It’s parasitism turned architectura.

Then there’s the Alien’s inner jaw, eerily similar to the pharyngeal jaws of moray eels, a second set of jaws that shoot forward from the throat to drag prey deeper inside the body. Watching one in action feels like watching a design error, until you realise how brutally effective it is.

The acid blood? That has uncomfortable echoes of the bombardier beetle, which stores volatile chemicals in separate chambers and mixes them only when threatened, releasing a boiling, corrosive spray with startling precision.

Even the facehugger carries a lineage. Its spidery grip, tail wrap, and underside anatomy closely resemble the ancient horseshoe crab, a creature so old it predates dinosaurs, and so alien it barely seems terrestrial at all.

Alien isn’t fantasy biology.
It’s biology… refined.

🧛 Dracula: when bats became monsters

While working on Dracula, Bram Stoker encountered a New York newspaper clipping describing vampire bats – small, blood-feeding mammals that had been newly “discovered” by Western science and already framed as unnatural horrors.

They didn’t drain victims dry, as legend claimed. But they did feed silently, painlessly, and in the dark. They made small incisions, returned night after night, and relied on anticoagulants to keep blood flowing.

That was enough.

Stoker fused this real behaviour with Eastern European folklore, and suddenly vampirism became biological as well as supernatural. Dracula wasn’t just cursed — he fed, adapted, survived.

Once again, fear took root because it had a foothold in reality.

🦈 Jaws: the predator we misunderstood

Jaws didn’t invent the fear of sharks, but it magnified it catastrophically.

The great white shark is a powerful apex predator, yes. But it is also cautious, energy-efficient, and rarely interested in humans. Most bites are investigative, unfortunate cases of mistaken identity.

In Jaws, however, the shark becomes something else entirely: territorial, vengeful, strategic. It stalks specific individuals. It understands fear.

The exaggeration worked, all too well. The film permanently altered public perception of sharks, contributing to fear-driven culls and a legacy of misunderstanding that conservationists are still trying to undo.

It’s a reminder that when cinema borrows from nature, it doesn’t always give back responsibly. I am working on my own shark-based story, and will have to try and be as respectful as I can with the subject matter.

🍄 The Last of Us and the zombie ant fungus

The monsters of The Last of Us, from the video game and then brought chillingly to life in the HBO series, feel plausible because they already exist.

Ophiocordyceps unilateralis infects carpenter ants across tropical forests. Once inside, the fungus alters the ant’s behaviour, compelling it to climb vegetation and clamp down with its mandibles.

Then it kills the host.

A fungal stalk erupts from the ant’s head, releasing spores onto the forest floor below, perfectly positioned to infect the next generation.

There’s no rage. No hunger. No malice.

Just control.

The horror of The Last of Us lies not in the fantasy of zombies, but in the quiet realisation that free will is not as secure as we think.

🪱 Tremors: ambush predators beneath our feet

The graboids in Tremors feel absurd, until you consider how many real animals hunt exactly this way.

Trapdoor spiders wait motionless beneath the soil, sensing vibrations before exploding upward to seize prey. Bobbit worms bury themselves in sand, striking with astonishing speed, sometimes slicing fish clean in half.

Both rely on:

Vibration detection
Ambush rather than pursuit
Minimal exposure

The genius of Tremors is that it makes the ground itself hostile. The monsters don’t chase — they wait.

Which, biologically speaking, is often far more efficient.

🟢 Slime moulds and The Blob

Slime moulds aren’t fungi. They aren’t animals. They’re something else entirely, capable of learning, problem-solving, and forming efficient networks without a brain.

They flow. They engulf. They adapt.

The creature in The Blob exaggerates this into apocalyptic form, but the unease is justified. Slime moulds already challenge our definitions of intelligence and individuality.

They don’t hunt.
They spread.

Why these monsters endure

The most effective movie monsters don’t break the rules of nature.

They obey them too well.

They feed, reproduce, adapt, and survive. They don’t hate us, they don’t even notice us! And that’s what makes them frightening.

Nature doesn’t need motivation.
Only opportunity.

Wherever possible, I use freely available images sourced from platforms such as Unsplash and Pexels, or other royalty-free image libraries, in accordance with their respective licences. In cases where images are not sourced from these platforms, I make every effort to credit the original photographer, artist, or rights holder where attribution information is available. Some imagery may be used under fair use principles for the purposes of commentary, critique, education, or illustration, particularly in relation to wildlife, history, film, folklore, or cultural discussion. No copyright infringement is intended. If you are the rights holder of an image used on this site and have any concerns, or would like an image to be credited differently or removed, please get in touch and I will address the issue promptly.

Why Black Beast Books Exists

There are places where stories refuse to die.

Forests that remember what passed through them.
Landscapes shaped as much by fear and folklore as by history.
Animals that slip between fact and myth, never fully explained, never fully forgotten.

Black Beast Books exists in that space.

This blog, and the work behind it, has always been about the meeting point between wildlife, folklore, fear, and storytelling. About the creatures we fear, the ones we misunderstand, and the ones we invent to make sense of the world around us. Sometimes those creatures are real. Sometimes they’re not. Often, they’re something in between.

As I move into 2026, I wanted to pause — not to reinvent this space, but to recommit to it.

Going forward, Black Beast Books will be a home for regular, thoughtful writing and storytelling, built around a few recurring threads:

Long-form essays exploring beasts, monsters, and man-eaters
Reflections on horror, folklore, and creature cinema
Monthly deep dives into UK big cat sightings
Behind-the-scenes insight into research, writing, and place
Occasional updates on my novels — because these stories feed directly into the fiction I write

This isn’t about chasing trends or shouting into the void. It’s about building something slowly, consistently, and honestly, creating a body of work that grows over time, shaped by curiosity rather than urgency.

If you’re drawn to strange animals, half-remembered legends, the uneasy relationship between humans and the wild, or stories that linger longer than they should — you’re in the right place.

Thank you for being here.
The beasts aren’t going anywhere.