Plush toys modeled after the monster from Mary Shelley's Frankenstein form a strange cross-reference that inhabits a space of inconsistent logic. This grotesque hybrid, merging a symbol of social anxiety with a symbol of emotional attachment, resembles a survival strategy chosen by the monster himself. It is a strategy to secure affection and achieve coexistence. That, indeed, is the strategy.

The monster seems to have adopted two distinct survival tactics. One is fabricated cuteness, a transgressive strategy for coexistence. The other is symbolized monstrosity, a hereditary strategy that preserves minimal archetypal traits to signify otherness. He chooses to be cute to obscure the ontological antagonism rooted in his own alterity, yet never stops reminding us that his body is a patchwork embodiment of otherness. Through tactics learned from popular culture and commercialization, he borrows mutative imagery such as green skin, sutured incisions, and screws in the neck to emphasize that he is fundamentally different in origin. Ultimately, however, he seeks to disarm us with an almost predictable charm.

Reborn in plush form, the monster reveals his fluidity within binary structures while embodying contradiction. His strategized otherness does not remain neutral. It compels us to confront the logic of boundaries and the instability of fixed categories. While his mutations may be read as gestures of reconciliation, they are not without consequence. In the process of negotiating survival, many of his most antagonistic traits have been deliberately censored. Through this hybrid, I aim to explore the mechanisms of othering and to analyze the fractures embedded within the language of binary opposition.