The Best Kind of Villain: Relatability and Credibility in Fictional Antagonists

The question often arises in the narrative of superhero and fantasy fiction: what kind of villain is the best kind of villain? Should they be a loud, overtly villainous antagonist, or a more subtle, nuanced antagonist that resonates with the audience?

The Low-Key Variety

The low-key variety is a term often used to describe villains who operate beneath the surface, like The Defender or the Joker in The Dark Knight. These villains speak softly and carry a big gun, often using their sneakiness to achieve their goals.

Relatable and Credible Villains

Christopher Valdez provides a compelling answer when he speaks about the idea of the “moral villain”.

Such a villain is not only understandable and relatable but also credible. These characters often have a different value system or perspective that makes them more understandable to the audience. For example:

General Zod from Man of Steel

General Zod and his forces in the Superman universe represent a prime example of a “moral” villain. While Zod is not designed to be a strongly sympathetic character, he is driven by a defense of Krypton and a wish to terraform Earth and repopulate it with Kryptonians. This perspective is not so different from how some humans view “lesser” creatures being driven out to build new homes or suburbs. Within this context, the displacement of humans over time by Kryptonians might seem equally understandable.

Loki from the MCU

The earlier portrayal of Loki in the MCU offers another excellent example of a non-sympathetic villain. Unlike traditional evil characters, Loki is not hindered by notions of ‘good’ or nobility. He is a sociopath who is fun-loving and charming, but not sadistic. Entertainment and fun often focus on Loki’s “It’s all about me I’ll do what I want” antics, making him a lovable and charismatic villain.

Think of him like a “likable scoundrel”, someone who can still be admired for their intelligence and charm even though they lack moral scruples.

The Amoral Villain

An amoral character believes that there is no god or afterlife and thus considers humans as soulless animals. They see concepts like ‘moral truth’ (right and wrong) and ‘rights’ as social constructs. Therefore, there is no moral reason not to do what they want. This perspective is often represented in the less sympathetic depictions of Conan the Barbarian, like a thief who simply does whatever he wants without guilt.

Credibility and Backstory

Credibility is crucial for a villain to be taken seriously. An inspirational example is the transformation of Lex Luthor from a stereotypical mad scientist to a powerful CEO. The former version of Lex Luthor was not credible: how could someone independently source, procure, and assemble a giant robot to fight Superman if they were a convicted criminal? By making Lex Luthor a successful business magnate, his actions become more believable and impactful in the narrative structure.

Similarly, for heroes to be effective, their villains must also have some relatable elements. Consider Bruce Wayne in the original Batman stories. Batman wouldn’t have the Batmobile, Batcopter, or the high-tech computer and analysis systems if he didn’t come from an immense fortune. This higher status and resources enable him to be a formidable hero.

Dimensions of Antagonists

For a villain to be truly compelling and memorable, they should have some aspects of their life that are not objectionable. Take Wilson Fisk, also known as the Kingpin, from the older Spider-Man stories. Despite his criminal activities, he doted on his wife, Vanessa. A mob boss who is trying to raise his children in a clean and respectable manner can also be a relatable antagonist. These nuanced elements make the villain more human and increase the relatability of the character to the audience.

In conclusion, the best kind of villain is relatable and credible. They have a believable backstory, a relatable moral framework, and dimensions that are not entirely negative. This combination of traits ensures that the audience can understand and even perhaps empathize with the villain, making the conflict between hero and villain all the more compelling and engaging.