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It needs to be someone who is most vunerable to dracula but comes out in the end. I was thinking Mina harker because lucy becomes a vampire? Its for my coursework... not van helsing because he is a stronger character, it needs to be a vunerable character.

In Bram Stroker's Dracula, Dracula is obviously the story's antagonist, so who is the story's protagonist? My english teacher (who is a real Dracula nut) says it's Mina. But I'm not so sure that's correct, because she doesn't kill Dracula. I don't think it's Van Helsing. He's the vampire expert, but he doesn't come in until like 1/5 through the book. The protagonist is the good guy, Dracula is going around sucking blood out of the innocent so he his obviously the antagonist (bad guy)

I'm looking for an idea that represents Dracula's portrayal as a "Great Vampire". A thesis question that I thought of but seems very weak would be something like: - What characteristics does Bram Stoker use to portray Dracula as one of the most powerful vampires? - or something like... Why has Bram Stoker's portrayal of Dracula achieved such renown, and how does Dracula differ from the classic idea of a vampire? It's too straight-to-the-point, and there is no "debate", which doesn't work. Some of the topics I might cover are: - Vampire folklore, and how much of it Stoker ties in the book. - What keeps the reader interested (maybe?) - Elements like religion and sexuality, and how it is used to Dracula's advantage/disadvantage - The "obstacles" of the protagonists, and how Stoker uses these to build Dracula's character... I'd try to turn it into a debate idea. - several more, but I'm short on time right now! :P Any ideas would be appreciated! Thanks!

I'm guessing Mina and Jonathan? Jonathan as he sets the stage with his intro to Dracula and the nMina as she is the focus point later on in the novel. What about Van Helsing? What about Dr Seward? The bulk of the stroy is actually told through him. The only reason I can think of is that after page 200/250 or so, he sort of fizzles out. Arthur quincey and Jonathan are doing most of the work. You rarely saw him being addressed, even in the way like "he said to me" or "he told me to do .."

Hi Writing a novel opening for a course containing two lines of exchange with a Transylvanian man who speaks english to the protagonist. I have checked one previous post which was useful for determined the 'z' sound for 'th'. However I'm confused about other letters, I'm not going for stereotypical Dracula but a realistic portrayal of someone from the region who's become educated in English and is now a teacher. (Also word ordering would help i.e. French adjectives are usually post- rather than pre- noun) Thanks

put all of the characters and their descriptions into one paragraph? i have to have the theme main characters (with descriptions and if they are antagonist, protagonist, static, etc) examples of figurative language summary of beginning middle end favorite part favorite xharacter and if i would recommend it or not i read Dracula and there is like 8-10 main characters. i was thinking i should put the protagonists in one, the antagonists in another, and the rest of the main characters (lucy/renfield) in another paragraph does that work??

Does anyone remember the name of this vampire movie? I'm not sure when it was made, or even an idea of the name. I think it was set in california or florida, there were palm trees and a large beach. Basically this guys new next door neighbor is a vampire, with a somewhat demented lackey who has a problem with putting animals in microwaves. I can't remember much except a house party where a large amount of people are slowly being turned into vampires (including the protagonists girlfriend, a pet shop delivery guy (who came to drop off the long haired guinea pig for the lackey) and several others. I know that after a fight with the vampire the protagonist and his girlfriend walk along a beach and then fades into credits. It is not the lost boys. I am certain of that. I'm so certain i will flag any post saying "its the lost boys" There is only one real protagonist, the man character who is i'd say in his 20's though i'm not sure, only one major vampire (who somewhat resembles a representation of dracula) No. As far as i know of its not based off any books and its probably older 1980s-2001 Its hard to remember it as it was funny but not that memorable. IT IS NOT THE VAMPIRES ASSISTANT. IT. IS. NOT. NOW THAT THATS CLEAR, FUCK OFF UNLESS YOU KNOW THE MOVIE. Even more proof its not the vampires assistant: I saw it close to six years ago. on cable. ...how does being in a tropical area with fucking palm trees make you think its in brooklyn? you fail. the main character doesn't go on a fucking vacation the vampire comes to his neighborhood.

How are the protagonists and antagonists in Strange Case of Dr. Jekyll and Mr. Hyde and Dracula fundamentally similar, but rudimentary different?

I've been looking for a good book to read and so far I haven't found anything that appealing. I've tried Yahoo answers for any good suggestions, but everything I've found has either been a classic (i.e. Pride and Prejudice, Dracula, ect.) or for a thirteen year old. I'm not thirteen and I went through high school and two years of college. I've read all of the classics. I'm a huge fan of Irvine Welsh (I've read all of his work). I can tolerate Chuck Palahniuk (I find his stories too similar with each other). I like Etgar Keret's short stories. I don't like Anne Rice, Stephen King, Dean Koontz, or James Patterson. I like horror/psychedelic thrillers, but I'm not a big fan of their work. I also don't like mysteries or crime novels. My biggest pet peeve is the protagonist (especially the females) decide to have sex with another character because they haven't have sex in a while so they throw themselves at the first guy that has a working penis. I don't mind romance novels and I don't mind sex scenes- if they're not forced or tacky. Again, I'm not thirteen. Don't recommend Twilight or anything else that makes you tingle in your special spot.

Sorry about the length, but I'm actually making my original question shorter...Y!A doesn't tell you there is a limit for the question details... (Most was just ranting that real Gothics do not fit the stupid stereotypes and certainly are not those annoying teenagers who wear dark hoodies with hair over their faces who call themselves "Goths" and "Satanists" just to scare their parents. Most Gothics are even Satanists! >.<) I'm writing a Gothic psychological/fantasy/romance story, and I need the protagonists to be completely helpless. Anything could help spark an idea, but it would be great if it fits to the storyline... An introverted psychic boy (the hero) is cast out from his adoptive family, and he moves to a old, creepy town and meets the ghost of a murder victim that has been appearing in his nightmares. She wants him to expose her killer, who is still alive and holding her soul captive, but she can only give vague details. It's later revealed that her family ditched her to take in the hero. After that she went to live with a female friend whose psychic brother (the villain) who frequently visited became obsessed with the heroine and murders her so that she could never get away. …And I don’t know the ending yet… T_T Although the ingénue heroine wears Gothic clothing, Gothic literature does not necessarily need to include Gothic fashion. This kind of literature usually includes a creepy setting, a powerful villain, and powerless heroes. And anything taboo! Good examples would be Dracula, Shutter Island, The Phantom of the Opera, Interview with the Vampire, and anything by Edgar Allan Poe. My villain is influenced by Arnold Friend from Joyce Carol Oates’ short story “Where Are You Going, Where Have You Been?” because they both act so normal and charming at first but start to get more evil and threatening. (If you can, please read his character description on SparkNotes.) Thank you for your time! ^_~ Not for your trolling! >_<

Sorry about the length, but I’ll try to keep you entertained. But I’m NOT sorry about the long rant at the end…It’s about atrocious discrimination that few people even notice. It’s something that needs to be heard. Anyway… I'm writing a Gothic psychological/fantasy/romance story, but I'm not quite sure how the plot should progress. So whenever plagued writers-block, the writer needs to find the worst (but fitting) thing that could ever happen to the protagonists and use it to create conflict (a.k.a. torture the characters :P). Please give me suggestions! AND DON’T YOU DARE TROLL ME!! >.< Summary: A kind but introverted psychic boy (the hero), who has been having nightmares of a girl (the heroine) being murdered for years but can only see the girl not the murderer, is cast out from his adoptive family, and he moves to a older, creepy town, with a disturbingly high infant mortality rate (later revealed that the villain is very sadistic so he does that to make the heroine feel like it’s her fault.) He meets the ghost of the victim in his nightmares. She wants him to expose her killer’s identity but can only give vague details like “I thought he was my friend.” (He originally thought she was a ghost from long ago because of her old-fashioned clothes until she says that the murderer is still alive and holding her captive. It turns out that a little after she turned eighteen, her family ditched her to take in the hero. After that she went to live with a female friend. The friend’s psychic brother (the villain) who frequently and increasingly visited became obsessed with the heroine and murders her so that she could never get away. …And I don’t know the ending yet… About Gothic literature… Although my story has a kind and pure ingénue character (the heroine) who wears Gothic clothing, Gothic literature does not necessarily need to include Gothic fashion. It often has horror characteristics, such as vampires, but it is not always a “horror” story. And just because Twilight has vampires, it is not technically “Gothic.” This kind of literature tends to take place in a creepy, mysterious setting, the heroes/victims are powerless against the powerful, tyrannical, often supernatural villain, and just about anything taboo fits in nicely. Ah, and damsels in distress… A few good examples would be Dracula, Shutter Island, The Phantom of the Opera, Interview with the Vampire, and anything by Edgar Allan Poe. My story’s setting is very similar to the manga “Le Portrait de Petit Cossette,” because of the girl being killed and trapped by the villain. (I rarely read manga and never ever watch anime, so don’t call me a nerd!) The villain in the story is influenced by the character Arnold Friend from Joyce Carol Oates’ Gothic short story “Where Are You Going, Where Have You Been?” A story I highly recommend! My villain is similar to Arnold Friend, because he acts so nice and charming but starts to get more evil and threatening. From "I wanta introduce myself, I'm Arnold Friend and that's my real name and I'm gonna be your friend, honey,” to "This is how it is, honey: you come out and we'll drive away, have a nice ride. But if you don't come out we're gonna wait till your people come home and then they're all going to get it." (Please read his character description at http://www.sparknotes.com/short-stories/where-are-you-going-where-have-you-been/characters.html) By the way, don't listen to all the crappy stereotypes about Gothic fashion... -The style reemerged through classic rock and is about the centuries-old dark romanticism with old-fashion aspects typically from Medieval, Rococo, Victorian, and Edwardian fashions, so the mall-goth teenagers who wear plain, completely modern dark clothes, wear their hair over their faces, and call themselves "Goths" and "Satanists" just to scare their parents really are NOT Gothic! -Also, most of us are not Satanists---and most Satanists dress in normal clothing. In a way, Gothic fashion is less of a disturbing, Satanist cult than the popular clothing nowadays, because Gothic came from times when almost everybody was Christian and evil was very much frowned upon. Crosses are also many a Gothic's favourite accessories! (My dorm roommates thought I was a Satanist for the whole semester, WHEN I HAD A LARGE CROSS ON MY DESK THE WHOLE TIME. T_T) - Black, grey, and red aren’t the only Gothic colours. White and blue are especially lovely if worn right! (Example of blue Gothic: http://img19.imageshack.us/i/dsc04309h.jpg/) (Example of white Gothic: http://media.photobucket.com/image/hnaoto/Psychoscutter/Gothic%20Lolita/hnaoto94.jpg?o=63) - And every few years Gothic influences (e.g. frilly blouses) will appear in popular trends, so I guess that makes just about everybody a Satanist! :P - We're not trying to "copy" or "imitate" each other. (If you say you think we are, I say y Wow... I actually exceeded the maximum amount of characters...lol. And, The Canadian, I said NO TROLLING.

Splice is a science fiction thriller with grand ambitions, not of the special effects variety, but of the thinking kind. It arrives at the right time. With mankind perpetually on the brink of amazing genetic scientific discovery it seems wise to ask whether these are the kinds of discoveries we should make. And Splice wants to ask that question, it really does. But it never quite gets there and instead ends up examining a far less interesting possibility. Splice wonders not if we should make these advancements but whether or not we’ll screw them up. This is the kind of movie in which the plot relies on people making the wrong decision. If Splice were a horror film, Sarah Polley’s Elsa character would be the kind of girl who insists on walking home alone at night, even though her friends have warned her there’s a serial killer on the loose. Adrien Brody’s Clive would be the sensible friend who tries, to no avail, to stop her and in the process finds himself sucked into her web of error. Where Splice diverges from the standard, horror movie formula is in the later act when, instead of immediately punishing the players stupidity by killing them, it keeps going and lets us watch when the protagonists are forced to deal with their incredibly stupid choices. Their mistakes change them and by the end of the movie Clive and Elsa are almost unrecognizable as the people we knew at the beginning, a beginning in which they were simply two scientists overeager to make a climactic breakthrough. It’s the change in Clive and Elsa that makes Splice worth your time, watching them unravel as they try desperately to justify their decisions, find a way through what they’re doing, and ultimately just get out of it alive. Eventually both of them lose their moral compass and one foolish decision after another leads them into a world where right and wrong no longer seem to apply. Once you start playing god, ethics seem like just a word. As interesting as that is, Clive and Elsa’s experiment gone awry is far less so. On a whim, they create a new lifeform, a lifeform who grows up into a very unpredictable, partially human girl. They call her Dren, as seemingly unaware that this is a horrifying name (If you’re trying to humanize a monster, you probably shouldn’t name it Dracula. Try Susan instead.) as they are unaware of her horrifying nature. It’s only one of many mistakes made along the way. Dren’s entire life cycle is a series of screwups made by Clive and Elsa, whom we’re told are brilliant scientists even though they act like anything but. All of their problems are, in the end, of their own devising. They are carless, they’re selfish, they’re indifferent, and worst of all they’re incredibly dumb. It seems impossible to believe that two scientists who have spent their entire life studying something would know less about it than the average 14-year-old sitting in the movie’s audience. They’re repeatedly surprised by things they have no business being surprised by. Dren’s genetic development seems as though it’s always one step ahead of them and that just never makes any sense. Because Clive and Elsa are so dumb, Splice lacks a sympathetic character. Dren I suppose has done nothing wrong, but she’s a mistake who has no business existing in the first place. Clive and Elsa, on the other hand, seem to deserve whatever happens to them and as the movie draws to a close you’ll likely find yourself hoping that everyone ends up dead. It’s hard to care about what’s happening, when you don’t care about the people it’s happening to. Without Clive and Elsa’s stupidity there’s no story here and though Splice tries desperately to be something more, in the end it all hinges on characters doing the sorts of dumb things people only do in horror movies. Yet Brody and Polley’s performances are good and hint at the possibility of something better in a more tightly constructed script. And the production itself is smartly produced, edited, and shot. Dren herself is a creepy a design marvel and though sometimes the movie’s low budget CGI isn’t always up to delivering realism, the older Dren gets the less animation is needed and the more real she feels. Splice is a capable enough thriller, but it’s incapable of being something more, no matter how much it might wish for it.