In the words of Wired magazine writer Thomas Langley, “There’s much more to our continued interest in supervillains than meets the eye” (par. 1). He goes on to assert that there are a number of factors that make supervillains so attractive to us. He claims that in many ways, we are envious of villains. They are powerful, they do what they want, and they don’t answer to anybody. Additionally, a good villain will highlight the hero, showcasing his or her power, wisdom, and desire for good. Dracula fits quite readily into these categories. He has an immense amount of power. Dracula gets to rampage around London controlling the minds of beautiful women and drinking their blood. Additionally, despite his aristocratic good manners, it is quite evident that Dracula doesn’t take no for an answer. It seems that he always gets what he wants. The more we explore the concept of Dracula’s villainy, the more apparent it becomes that, if productions fail to draw a large audience, the blame cannot be assigned to the writer for failing to create an appealing malefactor. I believe Steven Dietz best captures the potency of Stoker’s Dracula when he
In the words of Wired magazine writer Thomas Langley, “There’s much more to our continued interest in supervillains than meets the eye” (par. 1). He goes on to assert that there are a number of factors that make supervillains so attractive to us. He claims that in many ways, we are envious of villains. They are powerful, they do what they want, and they don’t answer to anybody. Additionally, a good villain will highlight the hero, showcasing his or her power, wisdom, and desire for good. Dracula fits quite readily into these categories. He has an immense amount of power. Dracula gets to rampage around London controlling the minds of beautiful women and drinking their blood. Additionally, despite his aristocratic good manners, it is quite evident that Dracula doesn’t take no for an answer. It seems that he always gets what he wants. The more we explore the concept of Dracula’s villainy, the more apparent it becomes that, if productions fail to draw a large audience, the blame cannot be assigned to the writer for failing to create an appealing malefactor. I believe Steven Dietz best captures the potency of Stoker’s Dracula when he