BATMAN & DRACULA 53
for the character’s publications. Part of the attraction to Batman for professionals and fans
is the strength and depth of Batman’s villains—including Joker, Catwoman, Two-Face,
Penguin, and the Riddler—who comprise what is generally considered to be the best
rogues gallery in comics. His villains often resemble Batman in twisted ways: many have
obsessive personalities, struggle with duality, and are scarred by a traumatic experience.
Th erefore, Batman’s encounters with his enemies often force him to confront aspects of
his own shattered psyche and extreme behavior, which facilitate compelling stories.
Simplicity in design and conception also contribute to Batman’s continuing success.
Th e simple, repeated triangle pattern in Batman’s costume, and the overall bat motif, cre-
ate striking images, which Kane knew was important in graphic design. Further, much
of Batman’s appeal comes from the ironic use of the traditional iconography of evil:
frightening, yet tantalizing, images of bats, shadows, and demons are transferred onto
a heroic fi gure. Finally, Batman’s motivation is basic and virtually universal, making the
character easily understandable and relatable. Yet, Batman’s characterization is as stark
as his origin, and that opacity of personality makes Batman one of the most versatile
characters in fi ction. Fans and critics argue over what type of portrayal or milieu is best,
but nevertheless—whether he is the vehicle for ironic humor, gothic horror, superhero
adventure, detective fi ction, child’s fare, or another—Batman can be made suitable and
relevant for seemingly innumerable purposes, genres, and time periods.
Selected Bibliography: Brooker, Will. Batman Unmasked: Analyzing a Cultural Icon.
New York: Continuum, 2005; Daniels, Les. Batman: Th e Complete History. San Fran-
cisco: Chronicle, 1999; Daniels, Les. DC Comics: A Celebration of the World’s Favorite
Comic Book Super Heroes. New York: Billboard Books, 2003; Pearson, Roberta E., and
William Uricchio, eds. Th e Many Lives of the Batman: Critical Approaches to a Superhero
and His Media. New York: Routledge, 1991.
Jackson Ayres
BATMAN & DRACULA. Although they are popular literature’s two most iconic bat-
centric characters, Batman and Dracula did not encounter each other until DC Comics
published the 90-page Elseworlds graphic novel Batman & Dracula: Red Rain in 1991.
Written by Doug Moench and illustrated by Kelley Jones (penciler) and Malcolm
Jones III (inker), the text takes place within an alternate reality that is separate from DC
Comics’ long-established continuity. Th e Elseworlds imprint allows writers and artists to
imagine the company’s popular superheroes and villains in new and unique settings
or situations unrestricted by decades of canonical adventures. Many of the Elseworlds
graphic novels contain the description “In Elseworlds , heroes are taken from their usual
settings and put into strange times and places—some that have existed, or might have
existed, and others that can’t, couldn’t, or shouldn’t exist. Th e result is stories that make
characters as familiar as yesterday seem as fresh as tomorrow.” Th e critical and fi nancial
success of Batman and Count Dracula’s confrontation spawned two Elseworlds sequels
and several crossover appearances within the mainstream DC Comics universe.
