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drpaladin

drpaladin 112,142
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Some places are real abominations with no redeeming qualities

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Bill W

Bill W 62,832
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Abomination entered the English language in the 14th century via Old French.  It traces back to the Latin abōminārī, meaning "to shun as an ill omen".  This root combines ab- ("away from") and ōmen ("omen"), literally translating to "turning away from something because it is a bad omen. 

Original Meaning: Initially, it described things that were detestable or ritually impure, later taking on a broader meaning of extreme disgust or moral loathing.  
Shakespearean Era: In early English, it was frequently misspelled and pronounced abhominable due to a false folk etymology—people assumed it came from the Latin ab homine, meaning "away from man" (implying something so foul it was no longer human). William Shakespeare famously poked fun at this linguistic error in his play Love's Labour's Lost.  
Biblical Translations: The English word was heavily cemented into our vocabulary to translate various Hebrew words in the Bible—such as to'ebah (detestable acts or idolatry) and shiqquts (unclean animals or abominable idols). 

According to the Oxford English Dictionary (OED), the noun "abomination" was first recorded in English around 1350.  The earliest known usage appears in a Middle English text called the Midland Prose Psalter  (a translation of the Psalms), where it was used to describe things considered deeply offensive or loathsome.  If you are curious about its earlier forms, the adjective "abominable" actually predates the noun, making its first appearance in English texts around 1340. 
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Bill W

Bill W 62,832
Caffeinated

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The phrase "Abomination first" in storytelling refers to a specific structural technique where a narrative is propelled by an initial, shocking, or world-shattering reveal.  It establishes the ultimate stakes, consequence, or villain up front, setting the narrative tone immediately.  In fiction—most notably exemplified by the use of classic "Eldritch Abominations" or characters like Marvel's Abomination—this storytelling choice carries immense weight. 

Establishes the Ultimate Stakes (The Show, Don't Tell Method: 
Instead of slowly building up to a threat, introducing the "Abomination" first allows the audience to instantly understand what the protagonist is up against.
By showing the devastating power of the antagonist immediately, every subsequent action taken by your hero feels much more urgent and meaningful.  
It sets an indelible baseline of horror, awe, or scale right out of the gate.  

Defines the Hero's Journey: 
As seen with the classic dynamic between the Hulk and The Abomination in Marvel.com comics, introducing the negative mirror first shapes the hero's development.  
When a protagonist must confront an entity that has the same powers but is stronger and purely destructive, they are forced to evolve.  
The hero's internal battle—learning to control their abilities and find their humanity—is highlighted by the fact that the "Abomination" has already given into the monstrous nature.  

Deepens Character Nuance: 
When an overwhelming threat or evil is introduced first, the story then has room to dive into the how and why it got that way.  
For example, exploring Emil Blonsky's past on Script Magazine shifts the perception of a monster into a tragic study of ambition and trauma. 
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