Vlad the Impaler: The Man Who Was Dracula by Sid Jacobson

By Sid Jacobson

Read Sid Jaconson's posts at the Penguin Blog

legends of the comedian publication deliver to existence the tale of gore and lust that encouraged Dracula.

Vlad the guy had a devilish streak-a vicious mood, a fondness for ladies, and a thirst for revenge.

Vlad the ruler used to be a real devil-a relentless torturer, a brutal assassin, and a paranoid chief whose megalomania will be his personal undoing.

accountable for the cruel deaths of millions, this savage fifteenth century ruler earned himself the moniker Vlad the Impaler. His bloody reign struck terror into the hearts of his disciples and encouraged generations of vampire myths-most famously Bram Stoker's ghoulish protagonist, Dracula. even if that loved bloodsucker doesn't carry a candle to the real-life fiend whose brutal treachery has made him immortal.

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9. 2. Pascal Lefevre and Charles Dierick, “Introduction” in Forging a New Medium: The Comic Strip in the Nineteenth Century (Brussels: VUB University Press, 1998), pp. 12–13. 3. Thierry Groensteen, “Topffer, the Originator of the Modern Comic Strip” in Forging a New Medium: The Comic Strip in the Nineteenth Century (Brussels: VUB University Press, 1998), p. 108. 4. David Kunzle, History of the Comic Strip: Vol. : University of California Press, 1973), pp. 2–3. 5. : Macmillan, 1947), p. 14. 6. Quoted in E.

Or is it “comics is art”? Or are comics stand-up comedians? The confusion inherent in the word comics has been apparent to those writing in the field for years. The word has a plural form but is singular in application. And in its singular form, comic, it can be an adjective for something humorous or another name for a comedian. In short, comics lacks the precision it ought to have for ordinary communication let alone serious philosophical deliberations. ) ought to have a name that can be readily understood.

And company, the commanding illusion of reality of the pictures in Alex Raymond’s Flash Gordon, or the masterful blend of vaudeville, allegory, satire, and caricature in Walt Kelly’s Pogo. A thorough-going analysis of any representatives of the medium must consider these aspects of a cartoonist’s work as well as basic visual-verbal blending. ” For the sweet sake of intellectual precision, let us call it something else. Let me submit an alternative. Let us derive a usage from the history of the medium.

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