On Villains in Literature
- 2 days ago
- 6 min read
The underlying factors in exemplary characters
In my view, it is more challenging to create an evil character who creates obstacles (an antagonist or villain) than a hero (protagonist). This is because, as the script takes shape, it is built around certain events and characters — these are the key elements. Supporting elements are arranged, when necessary, to contrast with what already exists. In other words, it is essential to fit the piece into the right slot and choose the right piece to add to the centre of the jigsaw puzzle.
Recently, while thinking about a story, I found myself torn over whether to include a villain and, if so, how to approach it. I then took a brief look back to recall the structures that form their core. Since that’s the case, I thought I’d share my thoughts with you. They might serve as a helpful reminder when creating memorable characters in your own stories.
I started with a question: "Are there core emotions and thoughts underlying all these villainous characters?" In other words, I asked myself if their origins ultimately converged at a single point. As I thought about it, I realised that the answer is actually no. However, certain ideas drew me in. For instance, Dante's works came to mind. As you know, they feature the circles of hell. I wondered if the personalities of such characters were based on these, but historically speaking, there were certainly villains before this work was written.
It then occurred to me that this work was inspired by religious teachings and particular sins. Given its historical context, I found this a reasonable conclusion. However, when I tried to categorise the examples that came to mind as one of these sins, I became confused. This is because reducing the characters’ "evil" to one specific sin both oversimplifies them and necessitates a rigid approach to addressing evil. Yet the elements that form the essence of a character cannot be expressed so easily. This is what sometimes makes the reader feel that the characters are complex and justified. These characters cannot be dismissed as unimportant compared to the main characters.
Working backwards, I tried to fit the characters that came to mind into certain key templates. Based on these, I identified the most frequently observed elements that those that could almost be called inevitable. You are already familiar with many of these. I will simply gather them together as they come to mind and provide a broad outline of the styles in which characters are often created.
Firstly, these characters embody contrast. Consequently, their objectives must reflect the hero while also conflicting with them. Thanos from the Avengers series is an example of this. As the antithesis of the main characters, who are portrayed as “good”, Thanos pursues his own path. When this leads to conflict, war breaks out between them. The question of who is right or just is often posed to the reader or viewer.
These characters are rarely created simply “to be bad for the sake of being bad”. That only happens in children's fairy tales. There is always a motivation behind them. The extent to which this structure is fleshed out and demonstrates its power depends on the narrative's details. Walter White from the series Breaking Bad is a perfect example of this, as he fits the description of both a protagonist and an antagonist. Although his actions eventually cross ethical and moral boundaries, he has his own motivations. Initially, he was not in a conflict situation, but this becomes inevitable as other characters, both good and bad, emerge over time. Darth Vader could also be mentioned here.
Sometimes, even if the characters seem villainous, the world they inhabit can be worse still. In such a situation, what yardstick should we use? Should we deify the "good" simply because they are more virtuous, or the "bad" because they have adapted to corruption? There are grey areas and blind spots here. Making a choice is harder and more ambiguous than ever before, and that is perfectly natural. The distorted perspectives created by a twisted world make things difficult for readers and viewers alike. In my view, villainous characters tend to be far more memorable. Let me give some examples. Three brilliant examples spring to mind, and I realise that I rather like all three of these works. Those in the know will recognise them immediately: Light Yagami from the anime Death Note, Ozymandias from the film Watchmen and Homelander from the TV series The Boys are all excellent examples. We often ask ourselves, “What would I do if I were in their shoes?” As you might expect, you find yourself sympathising with them as the moral and philosophical situations within the narrative unfold.
Some characters are almost like lost twin siblings. They simply have different worldviews because they were raised in different places and cultures. They complement one another. They are like light and shadow. They act as mirrors. The presence of their opposite helps us understand the main character's true nature better. Psychologically repressed aspects are brought to the surface through their interactions. The most well-known and widely accepted example is undoubtedly Batman and the Joker. Ironically, Batman eventually realises that he feels incomplete without the Joker. The Joker has shaped his sense of justice and his anxieties. Put simply, it is the Joker who defines him.
Then there are those who are simply unlucky. Although we feel sorry for them, it is not our place to do so. Sometimes, we pity them simply because they were born in the wrong place. On the other hand, they are not exactly angels either. Have these characters truly been defeated by the whims of fate, or has the evil that has always lurked within them simply resurfaced alongside their misfortune? In short, were they born evil, or have they become so over time? You may recall Gollum from The Lord of the Rings. He is a repulsive creature who speaks to himself. Indeed, his voice grows higher because, in that moment, he is a different being entirely. However, Gollum's personality prevails. After he came into possession of the One Ring, he fell under its influence and ended up in a wretched state. Even after losing it, he remained fixated on the Ring, unable to rid himself of the malice within. Was Gollum—or rather, Smeagol—unlucky to find the Ring, or did it simply set free the dormant emotions within him?
There is one similar to one of the examples I gave above. However, what sets this one apart is the mask of charisma and charm it wears. This is a trait of villains who have adopted a unique lifestyle and mindset. In fact, if we become accustomed to them, or if we watch a production about their life or read a book about it, we may find ourselves siding with them. This is because they make us ask that question again: “Could they be right?” If you’re wondering who these characters are, you might think of Dexter, the serial killer. Or perhaps V from V for Vendetta. Interestingly, these characters are also classified as “anti-villains”. This is because their primary aim is the same as that of ordinary or neutral characters (and perhaps even the protagonist): to punish those deemed “evil”. However, their methods differ from those of ordinary or neutral characters. It is precisely their unique techniques, thought processes, philosophical outlooks and actions that set them apart. As they carry out actions that many of us wish we could perform ourselves, they can be admired, even though they are technically criminals. They can amass supporters and fans.
Everything comes to an end, including villains. In my view, they all have one thing in common: they eventually abandon their goal, are thwarted by others (or the protagonist) or, most commonly, meet their demise. In other words, everyone, whether good or evil, has an Achilles' heel, a kryptonite. Sometimes this is an object, such as the One Ring for Sauron, the Horcruxes for Voldemort, or the harpoon for Captain Ahab. At other times, it is an emotion rooted in their personality, such as Victor Frankenstein's desire to kill and his arrogance; Macbeth's belief in prophecies and his paranoia; Heathcliff's obsession with revenge; and Dorian Gray's narcissism. These are the reasons for their downfall.
One of the most important elements that enhances a work is conflict. Conflict creates a sense of uncertainty because we do not know which way the scales will tip. This uncertainty and the unexpected outcomes that may result are intriguing from a narrative perspective. Add to that a well-written and well-drawn villain, and the work becomes irresistible. However, if we go back to the very beginning, their presence is not strictly necessary. Nevertheless, they flesh out the details, smooth out the rough edges, diversify the narrative, and enrich the story.
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