Cryptids, Monsters, Myth – The Environments of Belief

Author: Jason Lee, De Montfort University This brief article addresses the development of cryptids and their parallels historically through an examination of their cultural, biological and historical legacies in the context of conspiracy theories. The paranormal and experiences of the uncanny can be considered as personal and societal warnings. This feeds into various conspiracy theories relevant to the SMIDGE project. For example, precognition and prophetic dreams have been used in religious terms to rectify behaviours, to signal potential destruction and apocalypse if societies do not mend their ways. Media headlines today echo this approach with their dominant discourse of catastrophes that are then used paradoxically by conspiracy theories to dismiss scientific evidence. Cryptids, mythical monsters such as the popular Yetis and Big Foots, have made it into media culture through YouTube and other platforms. They inform the popular imagination and also can be seen as warnings to wider society. Another practical explanation for their current popularity is through threatened indigenous cultures who then use them and their legends to keep non-tribal people out of their zones which they do not want outsiders to desecrate further. Environmental issues are being pushed to the fore in the current environment. These mythical creatures with stories of their existence promoted on the internet guard and protect the land which is the foundation of indigenous culture and myth preventing further climate and societal catastrophe. There are early variations on this – many are familiar with ancient Christian manuscripts beautifully illustrated with strange beasts that sit at the margins protecting The Word and the world. The Loch Ness Monster, for example, has become a tourist industry all of its own with numerous documentaries that follow those in pursuit of final finding proof of Nessie. In this context it can be seen to be encouraged as an interesting local phenomenon drawing global media attention and perhaps funding a local dwindling economy which offers one explanation for the rise in both paranormal events and cryptids. The comedy film Paul (Greg Mottola, 2011)follows a pair of hapless British geeks Graeme Willy (Simon Pegg) and Clive Gollings (Nick Frost) on an American road trip, and reveals this well. They excitedly visit the main tourist sites connected to UFO phenomena befriending a “real-life” shapeshifting alien Paul (Seth Rogan) who is hunted by the government. The film encapsulates many popular conspiracies, but uses comedy to transgressively explore these beliefs rather than reassert them. How these creatures gain attention through the internet and related media can be considered part of the development of paranormal media which has spiralled. Overall, we might desire one explanation for these creatures like Big Foot but there are myriad reasons why these creatures in the context of their related stories proliferate so today. Historically, we only have to listen to the tales from the titular character in Shakespeare’s Othello who mesmerizes his listeners, and us the audience, to the point of putting a ‘spell’ on them/us, with tales of men with heads below their shoulders, to recognize that, historically, mythical creatures have for centuries not only been believed in, but have formed explanations for these beings in zones beyond our normal ken. Storytelling and narration are part of our evolutionary development. Storytelling and dreams offer a way of re-enacting threats in a safe environment, of dramatizing them. In these terms, narrative is a form of practice, a way of training us for dealing with dangers in reality, just as we are driving to doom-scrolling on the internet as way of seeing off potential threats. Language and storytelling and travel narration work here like magic, transporting listeners to other worlds. This is at the heart of storytelling, myth, and entertainment while at the same time containing certain messages such as a warning. Shakespeare shows how these tales are used to enchant, the work in his context being a ‘spell’, bringing power to the storyteller and returning traveller. When the internet was first developed scholars argued it has the potential for a new spirituality, even a way of uniting heaven and earth. For example, Margaret Wertheim’s The Pearly Gates of Cyberspace;  A History of Space from Dante to the Internet (2000) made a clear argument that the internet was a metaphysical escape from materialism, emphasizing a return to the mind beyond the laws of physics and the body. Despite monitoring and censorship, I would argue the internet in the popular imagination is still today considered a slightly lawless transgressive zone. This zone is beyond the confines of the rational, so it makes sense paranormal type cryptids would flourish and proliferate here as they did on the edges of medieval manuscripts. Wertheim in her now classic book argued that this cyber-zone was a way of retuning to a medieval dualism where the immaterial space of mind and psyche extends way beyond anything we had previously imagined. Her hopefulness was not long-lived given the internet was already a space that included the dark web and child pornography, but this also includes all manner of marvellous creatures, plus ‘evidence’, such as the video footage of Big Foot. Creatures used in early Christian manuscripts, such as unicorns informed by bizarre translations found in the King James Bible not found in modern versions, are now held up as representing sectors of the LGBTQI+ movement. The notion of difference is flagged up, and represented by a totemic animal, signifying this difference. This takes on a magical even paranormal status. Sexuality and gender are fused with these odd creatures. Just as the ancient traveller exploits their heroics when returning home through overhyping their experiences in often unplotted zones through the mention of impossible beasts, horror films, especially folk horror, play with contrasts between: the land versus sea; city versus mainland; country versus the island; Christianity versus Paganism, industry and technology versus agriculture, from classics such as The Wicker Man (Robert Hardy, 1973) to contemporary incarnations such as Lord of Misrule (William Brent Bell, 2023). Even Shakespeare’s Tempest shows how the isolated island can be the zone for transgression and magic. Despite people mocking current conspiracy belief, in reality we all need this re-enchanting and this mythologizing and it drives the push back and conspiracies against AI and conspiracies, for example those surrounding 15-minute cities which claim governments are preventing us from engaging with nature (Lee et al, 2014). In my view, early paranormal media has a biological function – through evolution we moved from homo erectus into homo sapiens gaining large brains through working together in groups. Previously, our relative homo erectus worked decidedly alone, or in pairs, and had smaller brains. Our ancestors found storytelling through various media would be part of the community process of bonding, but also functioned in creating taboos and rules. Transgression and taboos linked with death are fundamental to social norms and social structures and to development. Early on in our cultural development, these narratives concerned death which is crucial to the paranormal and conspiracy. This is where the taboos do not matter, so it is abhorrent but also fundamentally attractive. These fabricated beasts that are known as cryptids on the internet have an overlap with those from historical texts, for example those dropped into tales of navigation, but also into holy and sacred texts – think of Jonah and the whale and the Leviathan. Of course, the same sentiment could be linked to modern cryptids that proliferate on the internet but in my terms far from repelling travellers from the edge they attract them. These beasts have a huge following. Cryptids have far more of an entertainment factor, especially on the internet with storytelling part of evolution, functioning in similar ways to conspiracy theories. These tales informed by digital storytelling techniques, including digital video and all manner of online discourses, build up a bonding over narratives that then overcome postmodern fragmentation. There is an element here about the nature of internet use, paranormal media, and scrolling, in the physical and metaphysical terms. We can also discover here original new knowledge, in terms of speciesism, posthumanism, and transhumanism and different spiritual realities that break mundane reality. We know hauntology is the culmination of a range of ideas regarding the return, reclamation, and continuation of elements from the social and cultural past, reminiscent of a ghost (Brissenden, 2023). The idea that something can be formed to seem ‘beyond history’ (Fisher, 2012: 17) can be tied in to these creatures being reminiscent of past mythological. Hauntology ‘subverts the priority of being and presence’, the ghost ‘neither present nor absent’ (Partridge, 2016: 39-40), a concept which can be directly applied to the study of cryptids which straddles the line of existence in a similar manner. Hauntology and the figure of the paranormal in this instance relate to the sense that there is ‘an essential unknowing which underlies and may undermine what we think we know’ (Davis, 2005: 377). This is off-grid and as with ghosts the fact they are not fully tracked and captured is part of their ambiguous and multi-layered appeal. Social media sites are ‘a hotbed for creating, reframing, and disseminating folklore’ (Laineste, 2020: 108), and Brissenden explains (2023) provide underrepresented communities with a platform to share their culture. These creatures have become more accessible with the increase in access to technology, as well as ways in which technology and folklore are interconnected in the making of modern-day monsters. Today tourism that surrounds cryptids and cryptozoology includes ‘monster hunting’ with dark tourism and the cryptid ‘tourist gaze’ (Urry, 1990), documentary media consumption, festival attendance, and museum curation and visitation a continuation of this. If our genes demand procreation then we are slaves to DNA and often belief in things we cannot necessarily see or smell or touch wanes as we get older when scientific proof becomes the norm (Gerritsen 2004: 99). This theme of childhood and the ‘unknown’ has seemingly evolved from something to fear, as suggested in fairy tales and creature myths of the past warning of entering the woods or getting too close to the big scary wolf, to the unknown being, something mysterious and intriguing that fills the world with an enchantment akin to dreams. The internet has coined related colloquialisms like ‘meme’ and ‘troll’ with folkloric connotations. Cryptids continue to mirror societal concerns representing and delineating otherness. This connection to societal fears is evident in how they are used to articulate cultural anxieties. From Bigfoot, to Mothman, to Chupacabra, the popularity of online cryptids can be viewed as a way of engaging with and exploring these fears in a controlled manner.

In this regard, online interaction is even more controlled and user friendly than the cinema (Lee, 2023). Cryptids like Bigfoot and the Yeti have become prominent figures in popular culture, largely driven by internet storytelling. One explanation we saw for their popularity is their role in indigenous cultures, where they serve as symbols to protect sacred lands from exploitation. These mythical creatures have gained prominence as guardians of the environment, their stories helping raise awareness of pressing climate issues. This ties into how creatures like the Loch Ness Monster have evolved into lucrative tourism industries, fuelling documentaries and global interest. Paranormal tourism, as discussed earlier, plays a role in attracting attention to these myths, contributing to the fusion of capitalism and local folklore. The proliferation of cryptids online reflects the development of paranormal media, where these creatures spark curiosity and imagination. While some, like Bigfoot, have become iconic, the variety of cryptids suggests that their narratives serve many functions. Historically, mythical creatures have always been part of human culture, functioning as stories that enchant and warn. In Shakespeare's Othello, for example, tales of strange creatures like the anthropophagi were used to captivate and control the audience. Similarly, these stories have been used to create taboos and moral boundaries, warning against transgressions, such as venturing too far into the unknown. While less obvious than comparisons with folk lore beasts or Native American beliefs, an interesting comparison can be made between cryptids and Pokémon highlighting differences and similarities in terms of cultural significance. Both are often shrouded in mystery, with their existence and characteristics subject to speculation and debate.

Cryptids like Bigfoot and the Loch Ness Monster have roots in folklore and mythology, while Pokémon are inspired by various mythological creatures from around the world. Cryptids are often said to inhabit specific, remote areas (e.g., the Himalayas for the Yeti), while Pokémon are frequently tied to particular environments or ecosystems (e.g., water-type Pokémon in oceans). Both cryptids and Pokémon have captured the public’s imagination, inspiring numerous books, movies, TV shows, and other forms of media. Cryptids are (or are claimed to be) real-world entities, while Pokémon are fictional creatures. Cryptids are often the subject of scientific investigation and debate, whereas Pokémon exist solely within the realm of fantasy. Cryptids often symbolize the unknown, the mysterious, or the feared, while Pokémon frequently represent specific values, emotions, or characteristics (e.g., Pikachu representing electricity and energy). Cryptids typically originate from local folklore, myths, and legends, whereas Pokémon were created by Satoshi Tajiri and Ken Sugimori, drawing inspiration from various cultural and mythological sources. There are interesting parallels. Some cryptids are said to be hybrids of different animals (e.g., the Mothman), while Pokémon can evolve into new forms or hybridize with other Pokémon. Both cryptids and Pokémon are often adapted to specific habitats, with unique characteristics that enable them to thrive in those environments. Cryptids are sometimes said to interact with humans, while Pokémon frequently interact with their human trainers and the environment around them. In summary, both cryptids and paranormal events involve unexplained phenomena that challenge scientific understanding. They are often shrouded in mystery, with sightings and encounters frequently reported but rarely substantiated and yet they have enough traction to continue debate. Both cryptids and paranormal event captivate the public imagination, inspiring numerous books, movies, TV shows, and other forms of media which then become part of paranormal media. Both involve dedicated researchers and investigators, seeking to uncover evidence and understand the underlying phenomena.

Some cryptid sightings, like the Mothman or the Chupacabra, have been linked to UFO sightings, or alien encounters. Certain cryptids, such as the Dogman or the Wendigo, have been associated with ghostly or supernatural entities. There are cryptid-paranormal crossover cases. For example, the Dover Demon, a 1977 case in Dover, Massachusetts, that involved a creature with glowing eyes, which some attributed to a UFO or alien encounter. Secondly, the Thunderbird, which is a legendary bird said to create thunder and lightning, often associated with Native American folklore and paranormal events. Thirdly, the Skunk Ape, a Bigfoot-like creature reportedly seen in the swamps of Florida, with some accounts involving UFO sightings or supernatural phenomena. Some researchers and witnesses report psychic or intuitive experiences related to cryptid encounters, such as precognitive dreams or telepathic connections. A few theories suggest that cryptids might be interdimensional beings, existing outside the conventional bounds of space and time. The internet serves as a liminal space, transcending traditional borders of space and time, known for the proliferation of cryptids, where rationality is often suspended, making it the perfect environment for paranormal creatures to thrive. The internet’s lawless nature allows for the spread of cryptid stories, much like the magical storytelling of the past plus there is a propensity for ludic myth building. Cryptids, through their portrayal online, have also become symbols for various movements, such as the LGBTQ+ community, with creatures like unicorns representing difference and subverting traditional societal norms. This connection between cryptids and modern identity politics illustrates the broader cultural relevance of these mythical beings. Cryptids, much like folklore, represent a yearning for a lost past and serve as a bridge to a more enchanting, less rational time. Paradoxically, this playfulness of cryptids can also be understood as a mechanism for social control. Historically, cryptids were used to warn against overstepping boundaries. In the digital age, these creatures continue to serve as a metaphor for transgression and taboo. They help to define the limits of acceptable knowledge and behaviour. Cryptids are both a reflection of societal anxieties and a method of social bonding through shared narratives. Moreover, the rise of paranormal media and online cryptid culture highlights the intersection between folklore and modern technology. Overall, the paranormal and the internet allow for new forms of storytelling, with cryptids acting here as a vehicle for exploring cultural fears re-enchanting the world, and creating virtual communities centred around shared beliefs. As cryptids continue to evolve in the digital age they serve as a means for individuals to grapple with the unknown, bringing together entertainment, societal concerns, and personal identity in a unique and powerful way. Through this, cryptids offer a space for imagination and reflection on the mysteries that continue to shape our often-chaotic world.

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