Thus, Shelley criticizes the human tendency to disregard nature in favor of the pursuit of scientific discovery. .
Similarly, in Blade Runner, Scott criticises humanity's inclination to prioritise their pursuit of progress over nature, suggesting that tendencies are a constant characteristic of mankind. The structure of the Tyrell Corporation alludes to ancient Mayan temples, reflecting how economics has become the foundation of power in this new society valuing capitalism and consumerism, a shift from the Enlightenment's foundation in knowledge and science. This further indicates how Tyrell, similar to Victor, has usurped God's place as creator distorting a natural order. However, the prioritisation of progress over the natural world has created a dystopic future reinforced through hellish imagery in the opening panning shot of the city. Furthermore, while in Frankenstein nature is idealised and a counterpoint to Victor's scientific endeavours, Blade Runner is devoid of natural landscapes, and instead filled with dark and sordid urban settings. This depicts the complete exploitation and degradation of the natural world, raising contextual concerns of the ecological consequences of humanity's obsession with aggrandisement through economic domination fostered by Reaganomic policies of industrial deregulation. Thus, despite the varying values of the text's contexts, the overreaching desire for progress over the natural world remains a constant trait permeating human nature. .
The ambiguity of human identity is examined in both texts, exposing the ongoing concern of what constitutes being human. At birth, Victor's creation reflects the Lockean "blank slate" concept as he begins in a state of innocence, exemplified in the metaphor "my soul glowed with love and humanity." He develops characteristically human traits such as the understanding of values, illustrated in his use of superlatives "I felt the greatest ardor for virtue and abhorrence for vice.