Weird monsters and monstrous media: The adaptation of Annihilation.

This article analyzes Jeff VanderMeer's 2015 novel *Annihilation* and its 2018 film adaptation directed by Alex Garland to explore how the concept of the "weird" and the monstrous is expressed through their respective media. It argues that both works render their media monstrous—language in the novel and digital imagery in the film—thereby articulating a more-than-human, anti-anthropocentric ontology rooted in Gilles Deleuze and Félix Guattari's philosophy of becoming. VanderMeer's novel uses evocative, non-representational language to convey the incommensurability of Area X's ecological mutations, while Garland's film employs computer-generated imagery to visualize molecular, trans-species hybridizations within the Shimmer, sustaining a tension between visibility and imperceptibility. Together, the novel and film open a space for understanding environmental and existential transformations beyond human-centered perspectives, reflecting contemporary concerns of the Anthropocene through the aesthetics of the New Weird.