Bruno Lüdke was wrongly labeled as the greatest mass murderer in criminal history. The case, kept secret during the National Socialist regime, has provided material for exposés and cinematic fictions since the 1950s. The actors referred to the truth of the archival documents: medical reports, police protocols, photographs, body casts, and Lüdke's death certificate. This book outlines a media and knowledge history of evil from the 19th century to the present, addressing scientific and popular imaginations. It analyzes stereotypical and racist images of people, visualizations of the criminal as a type, truth and trophy productions, and the historical-political dimensions of media practice. The fabrication of a criminal demonstrates scientific thinking closely tied to the material, with theoretical and methodological transparency.