The Social Modes Of Heroization And Vilification In Stoker's Dracula Essay

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In Batman: Ego, written by Darywn Cooke in 2000, a new category of villain fills the role left by the classic super villain. The new villain found within modern comics drastically differs from the villain found in Silver Age comics. This change in villain can be seen in other works besides the Batman comics. Ana G. Gal talks about the characterization of the hero and villain in Stoker’s Dracula in her essay “The Social Modes of Heroization and Vilification in Stoker 's Dracula, a Graphic Novel by Roy Thomas and Dick Giordano.” Within this essay, Gal addresses the change Dracula has undergone in his comic and the changing face of the protagonist, Van Helsing. By applying Gal’s analysis of the hero and villain in the Dracula comics to Batman …show more content…
With this new age of comics came a new class of villain. The villain became darker, smarter, and more human like. In the case of Batman: Ego, the villain became an extension of the hero. Ana G. Gal, in her article entitled “The Social Modes of Heroization and Vilification in Stoker 's Dracula, a Graphic Novel by Roy Thomas and Dick Giordano,” addresses the characterization of the hero and the villain found within the Dracula comics. Within this essay, Gal, while speaking about Dracula, claims, “When confronted with this decrepit vampire, the characters of the graphic novel seem to be overwhelmed by a feeling of nausea devouring all of their senses, and in this context, the nausea can be read as a sign of a profound anxiety and respect” (Gal 202). Unlike the villains of the Silver Age, villains of the Modern Age strike fear in the hearts of the public. Characters like Dracula and the evil Batman in Batman: Ego demand respect; they insist to be feared. The villains are not used as a form of comedic relief; they are solely used as a means to challenge the hero. Batman: Ego shows that villains no longer have to be tangible. The …show more content…
As the villain has gotten darker, the hero has also descended into madness. This is highly prevalent within the Batman comics. The villains of Gotham are gritty, and Batman gets subjected to the insanity. The hero, in order to stop the villain, risks becoming like the one they wish to stop. In many cases, the hero shares numerous traits with the villain. Gal addresses this when she makes the point that “The hero and the villain share certain commonalities, in that their behaviors can be disputable…” (Gal 201). For example, in the case of Batman and Bruce Wayne, both characters are one half of a bigger whole. One character cannot exist without the other, which causes the characters to have similar traits. Parts of Batman’s character bleed into Bruce Wayne, and parts of Wayne’s character merge into Batman. The hero and the villain do not differ as much as society seems to believe. Each has their own transgressions that can be argued as “appalling” traits. Like evil Batman’s blood lust or Wayne’s damage psyche. Furthermore, Gal argues that “despite their difference in status, the hero and the villain are dependent on each other and share a notoriety that is often envied” (Gal 201). If there was no villain, there could be no hero. The hero and the villain are reliant on each other. They challenge each other, and if one is darker, the other rises to that level. In early Batman comics, Batman

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