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 booklet convey to lifestyles 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 was once a real devil-a relentless torturer, a brutal assassin, and a paranoid chief whose megalomania will be his personal undoing.

answerable for the cruel deaths of hundreds of thousands, 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. notwithstanding that loved bloodsucker doesn't carry a candle to the real-life fiend whose brutal treachery has made him immortal.

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Now look at the background: the environment surrounds the character and complements it, showcasing the power of the scene. Now let’s look at an opposing angle:  Here we have a character looking upward at something imposing, but this time we’re viewing reaction and a comparison point. In this shot, our character looks miniscule, even weak, with the background complementing the shot. It feels as if the viewer is looking down upon the scene, putting the showcased character in the visual stance of disadvantage.

When viewing something like this, in which the action is supposed to feel like it’s getting closer, line weight adds a level of proximity to a piece or structure, while foreshortening that element of mass and substance behind.

If the two points meet at a spot where the bend is less than 90 degrees, your vanishing points are too close together and your image will look warped. Finally, two-point perspective is useful beyond just the horizontal plane and can help enhance a one-point perspective piece. Say, for example, we have 24 Set the Action! Creating Backgrounds for Compelling Storytelling in Animation, Comics, and Games a shot from above ground that represents one point in the horizon (even if the horizon itself is not in full view within the scene), but due to the angle at which we are engaging this particular scene, there are diagonal slants at the sides of a particular structure, as if implying a second vanishing point under the image itself.

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