Sunday, February 13, 2011

Why Dracula?



He is the lord of the undead.

The king of the vampires.

The count with the curse. (I made that one up to satisfy the rule of three. Sue me.)

He needs no introduction.

The only question is... which Drac will you choose?

Will it be the classic Wolfman / Colan Tomb Of Dracula character...


The sartorially-challenged Drac recently murdered and resurrected in Victor Gischler's X-Men...


The DC Dracula...


Vampirella's Great Uncle Vlad...


The less-than-inspiring Buffy Dracula...


Dell's short-lived Count Superhero...


The pain in Ash's neck...


IDW's "Osama Bin Laden" of vampires...


Or something else entirely?

The choice is yours... as long as there's no Twilight.

Seriously.


Have fun... and if you can't have fun, drink blood. Lots of blood.









11 comments:

  1. Haha "The less-than-inspiring Buffy Dracula" :)

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  2. Dracula – Do Vampires Dream of Undead Sheep? - Dr. Ludwig Von Helsinger - As told to MK Stangeland Jr.

    (7 Panels)

    Panel 1: The coloring of the panel should be a black and white tone to give the same feel as the original Dracula movies, in order to help indicate that this is happening in DRACULA’s dream.

    DRACULA is strapped down to a hospital bed. While it is still clearly DRACULA himself, his appearance makes it clear that he is no longer a vampire. Rather, he is now a normal human being. While DRACULA doesn’t quite realize this yet, he knows that something is wrong, and is
    very upset about it.

    The shadows of three individuals can be seen hanging over him to indicate the people around him.


    DRACULA: What have you DONE to me?!

    Panel 2: Coloring should match that of Panel 1.

    Panel looks up at the three individuals standing around DRACULA’s hospital bed. These three individuals are a SCIENTIST, a MIB-type government AGENT, and a DOCTOR. However, the lighting makes them appear as nothing more than silhouettes.


    SCIENTIST: There’s no need to panic, Count Dracula. Why, you should be thanking us.

    AGENT: We’ve just accomplished a miracle of both medical science and the mystical arts.

    DOCTOR: Your body is now free of all traces of your former curse. For the first time in centuries…

    Panel 3: Coloring matches that of Panels 1 and 2.

    Close up of DRACULA’s face. It’s full of terror as he shouts out in horror at the news he’s being presented with.


    DOCTOR: (From off-panel.) …you are completely human.

    DRACULA: (Stretching across the bottom edge of the panel – use as many ‘O’s as are necessary to make it work.) NOOOOOO...

    Panel 4: Panel should look similar to that of Panel 3. However, the coloring should change to a more ‘real world’ or ‘comic book’ style consistent with the rest of the comic, indicating that DRACULA is no longer dreaming, and we are instead looking at him inside his coffin as he wakes up from a nightmare.

    DRACULA: (Stretching across the bottom edge of the panel, having continued from the previous panel. Again, use as many ‘O’s as necessary to make it work.) NOOOOOO...

    Panel 5: Exterior view of DRACULA’s closed coffin as it lays in his castle. Impact lines should come from around near where DRACULA’s head would be, indicating that while he normally would have sat up as might be expected in this sort of situation from someone waking up from a terrible nightmare, he has instead hit his head on the inside of his coffin.

    SFX: (From where DRACULA hits his head on the inside of his coffin.) bonk!

    Panel 6 Beat panel. Similar to Panel 5, but lacking the impact lines as to indicate that there’s nothing happening that we can see.

    Panel 7 Panel looks the same as Panel 6, except that DRACULA is saying something from inside his coffin.

    DRACULA: Ow…

    END PAGE

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  4. This script came out of a twofold attempt to stretch myself by writing a dialogue-less script and to reestablish Dracula as a truly effective and affecting monster. So, without further ado:

    Happy Birthday

    Final page of the issue. Five panels in three rows. Rows one and two have two panels each. Panel Five is its own row.

    Panel 1: Top-down view of VALERIE (New character, no reference) lying across blood-stained cobblestones. She’s in her late twenties, but she looks older. Weathered. She’s wearing an ankle-length skirt, grey and tattered, and her hair is wrapped in a scarf, although a good amount has spilled out. Her traditional domestic dress ends there. Hobnailed boots and an old military jacket complete her outfit, and a rifle is slung around her back. Various vampire-hunting weapons are stored on her person, such as crossbows, cross-inscribed pistols, and vials of holy water. Her stomach is swollen, pregnant, and part of an umbilical cord snakes out from under her dress, the end torn violently, as if someone bit it off. Her entire body is dirty and battered, covered in cuts and bruises, and her hands are tied together and leashed to a metal stake that’s been pounded into the cobblestones. The rope has rubbed her wrists raw. Her eyes are open, staring, unseeing, as if she’s somewhere in between alive and dead.

    Panel 2: Low angle, ominous shot of DRACULA standing over VALERIE. He’s wearing a snow-white vest, and a ruby-red broach fastens his matching cloak. His skin is alabaster white, his eyes bright green, his hair black as pitch, slicked back in classic DRACULA style. His face is masculine, blunt, as if someone carved it into stone. However, any possible attractiveness is negated by his expression. His face is dispassionate, almost thoughtless. Shark-like. He radiates power and purity of nature that has gone untouched by his eons of existence, transcending the grime and gore that lies beneath him. A ray of sunlight from a crack in the heavy wooden shutters behind him falls across his back. The lit area smolders. He doesn’t even notice. In the crook of one of his arms he holds a small, cloth bundle, shielding its contents from the reader. The other end of the umbilical cord dangles over the edge.

    Panel 3: Close-up on the baby within the bundle. It’s covered in blood, contrasting with the child’s blue, vein-shot skit. It would look dead, if it weren’t reaching up towards DRACULA (and the reader). It wears the same detached, hungry expression that DRACULA does. It has his eyes.

    Panel 4: Pull back to a side-long view of DRACULA as he sets the child down in a small, black cradle. His expression shows no trace of tenderness. The sun has almost set, and although the slit of light still falls on his sleeve, DRACULA’s skin now steams only slightly.

    Panel 5: Zoom out to a wide shot. The room is darker now, and the rapidly descending twilight gives it an ethereal quality. Around DRACULA are rows and rows of identical cradles, stretching out as far as the eye can see. He’s standing straight, his head turned toward the reader, his eyes gleaming out of the dusky haze.

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  5. Dracula – be mine

    Panel 1. Int Restaurant. We see a pleasant restaurant filled with people.

    Panel 2. Restaurant host. Looking at someone off panel.

    Host – I'm Sorry Mr Tepes. Your date hasn’t arrived yet.

    Panel 3. We see Dracula in his classic cape and Medallion standing next to the Host podium, there is a closet door to his left and a bell boy standing next to the door fixing a drink tray.

    Host – You are more than welcome to partake in the house hors d'oeuvres..

    Panel 4. Same Panel. Host is looking down at the guest log in book. Dracula is now looking at the bell boy to his left and licking his lips.

    Dracula – Don t mine if I do...

    Panel 5. Same Panel. Dracula and the bell boy have vanished but we hear the closet door click closed. The host has looked up from his desk with curiosity.

    Host – hmm

    Panel 6. Same Panel Dracula is now sneaking out of the Closet wiping blood from his mouth.

    Girl off panel – VLAD!!!

    Panel 7. Dracula and a women are walking past the Host into the restaurant.

    Girl – I'm sorry I'm late babe.

    Dracula – it is no Problem my dear...

    Host – would you like to see a Wine list sir..

    Panel 8. Panoramic view of the restaurant. We see Dracula the women and the Host standing on the stairs looking over the floor of the Restaurant.

    Dracula – No thank you, I think I will find something to drink eventually...

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  7. A lighter script this week. Basic panel layout of three rows of two panels per row. I realize that Frankenstein is the doctor and not the monster, so if you are offended at my blatant disregard for this fact, please read FRANKENSTEIN as a shorthand for simplicity's sake.

    1 – Outside shot. The panel is focused on a bar. It is nighttime. The parking lot is not terribly full, just a few cars. The sign outside reads “The Devil's Due”. The speech bubble comes from the building, hinting at those within.

    FRANKENSTEIN: ME HEAR YOU BUY TAN PALOR.

    2 – Interior. The panel focuses on the bar itself. Dracula sits at the bar, sipping on a tumbler full of a crimson red liquid. Frankenstein is bartender, standing on the other side and slowly cleaning a glass. Frankenstein stands on the left, Dracula sits on the right. In the background a few other monsters could be visible (such as a wolfman or a mummy, if desired).

    DRACULA: Yes, that is indeed the case. I've already come to terms with the irony of it. Feel free to laugh if you must, however.

    DRACULA (2) (quieter): The salesman certainly did.

    3 – Frankenstein does not laugh. Perhaps he is too polite, perhaps he doesn't find it terribly funny. Instead, he puts down the glass he is cleaning and begins to question Dracula in earnest. Dracula responds frankly to the inquiries, enjoying his drink.

    FRANKENSTEIN: BUT WHY YOU WANT?

    DRACULA: Times are tough. Everyone has felt the impact and Counts are, unfortunately, no exception. There simply is not any demand for the skillset of a centuries old lord of the vampyr at the moment.

    4 – Dracula continues his explanation. As he expands on the reasoning behind it, he takes on a more resigned expression: he's doing his best with a bad situation.

    DRACULA: I examined numerous alternatives, but in the end, it was the salon or that garlic and crucifix shop down on Fourth.

    FRANKENSTEIN: ME LOVE THAT PLACE.

    DRACULA: Everyone does. However, despite the healthy profits, I do not believe purchasing that store would be profitable to my health.

    5 – Same panel as before. Dracula wears a small smile, enjoying his word play. Frankenstein looks on, his expression unchanged.

    6 – Frankenstein furrows his brow.

    FRANKENSTEIN: ME NO GET IT.

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  8. @MK - you, sir, are a goofball. Goof. Ball. I guess you were going for the Leslie Neilsen undead, ha. Funny little page but ilove the title.

    @Aryeh - holy crap, that's one spooky page. It trundles along just nicely (with plenty of purple prose filling the panels like Alan Moore trapped in molasses) but then you drop the bomb at the end. Fantastic ending. Made all the better by making the page silent. Great work.

    @Michael - I like your command of the pace of the action. Nicely put together but the ending fell a little flat with me. I get what you were going for and it was good but not great.

    @Grant - Ah, let's see. My answers are: The set up premise. The character choices. The dialogue. The overall humour. The question: What things did you nail in this script. I love it man, it's goofy but doesn't descent into outright parody. I really love this script. I can't even express exactly why, but this one is my favourtie.

    Now, a general word to our PAHs. Damn you all. I am sick of being made to feel useless because you're nailing your scripts every week. It's killing and hurting me in equal measures. Stop. Just suck for once. It would make me feel better. My script is due in the next few hours. I now have it ready, but I also now think it's nowhere near good enough. I might try to review/revise it. Or I might just suck and hope for better next week...

    In summation, you guys are awesome. Thank you. You make this site a better place and you make me (want to be) a better writer.

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  9. What can I say, I like my humor. :-)

    I can't say I was aiming for any Dracula in particular, but considering the idea of 'Dracula becoming human' started out serious (it was Marvel centric, involved this new group called 'SPEARR', etc) and eventually turned into a comedy piece (I sold myself on the Dracula hitting his head on the top of his coffin with a 'bonk'), I should probably stop expecting that anything I plan out as a serious piece will remain as such by the time I'm ready to post it.

    @Grant - I'm also of the mindset that I really like what you've written despite not being able to point to anything in particular.

    Though for some reason, I'm picturing the bar in question as looking like 'Moe's' from The Simpsons on the inside.

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  10. MK - I loved the opening panels so much that I was hugely disappointed to discover you'd chosen to go down the comedy "it was all a dream" route. There was so much potential there...

    Aryeh - excellent. Dramatic, frightening and gripping. Some excellent description there... almost too good for a comic script that wouldn't be read by anyone but the artist & editor. You should write that up as prose.

    Michael & Grant - perhaps because it's my character choice this week, I'm feeling all sulky that so many people are choosing to treat Drac as a joke. Nothing at all wrong with your scripts, guys, I just wanted a little more HORROR...

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  11. Rol- i feel like i treated him less as a joke, and more as being the only one who's in on the joke, and by joke i mean the fact that he can kill, eat or turn into a vampire anyone he sees.Hes smarter then everyone else that's why he's the king of vampires. That and i cant write horror..

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