“People who claim that they’re evil are usually no worse than the rest of us… It’s people who claim that they’re good, or any way better than the rest of us, that you have to be wary of.”
― Gregory Maguire, “Wicked: The Life and Times of the Wicked Witch of the West”
How many villains believe that they’re villains?
“Evil” is a complex and abstract concept. It varies with social mores, historical circumstances, perception of the world, and interpretations of the ramifications of your actions. Are you sure it’s your Villain who’s the “evil” one?
We usually see this clash in a time and place which is deeply advantageous for the “hero”. It usually happens near the end of a tale, when the antagonist’s plans are almost realized, and the antagonist takes time to lecture the protagonist on the question of who is really serving society’s needs.
Bond villains are famous for this (there’s even a board game based on the villain’s need to gloat and justify his position), and Bond himself tended to respond simply by saying that they were mad, megalomaniacal, perhaps paranoid or suffering from a persecution complex. We knew the truth of the matter, though: Bond stood for England, a generally “good” place, and those he fought wanted to destroy or ransom the world, commit crimes with many victims, take part in mass murder, or fuel organizations based on murder or terror. It was a simple world, but it was logically consistent. (Particularly as Bond himself was not wholly without conflict about his own actions; he never stopped believing that fighting for England was a good thing, but he did have his doubts about the righteousness of some of his kills and other actions.)
Consider this thought: What if you chose not< to make these questions the end? What if they didn’t simply come up as part of a final confrontation?
What does your hero do if consistently offered a logical, reasonable way of seeing the villain’s point of view?
Candidly, too often, what we see are frankly heroes who are just too pig-headed and, perhaps, ignorant to grasp the philosophical argument. We see a bit of “You’re crazy, I’m good and you’re bad, why are we having this conversation?”
Let your heroes really be confronted by the moral questions of your villain. Let your protagonist(s) consider what it would mean if the villain is right and they’re wrong. What would that look like? What would that self-doubt tell us about the protagonist? How would they eventually conquer it?
Would they conquer it? It takes courage to be a villain; how much more courage does it take to shift sides because you decide you’ve been wrong all along?
-Dark Lord Journal
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