˒⠀S O T T . . . 𝙲𝙰𝚁𝙳𝙸𝙸𝙰𝙲

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❛ JUST 𝑺𝑻𝑶𝑷 YOUR CRYING,
IT'S A 𝑺𝑰𝑮𝑵 OF THE 𝑻𝑰𝑴𝑬𝑺. ❜

the ultimate guide to villains! ━━ no. 029
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     GOD, I FUCKING LOVE VILLAINS.

     Every story needs a good villain, whether it be a physical person or a metaphorical evil force. When they are done well — when they are compelling — with convincing motives or a convincing lack of motive — whether they are penitent or redeemable, or if they are too far gone to be forgiven — the very idea of a villain is just so fucking versatile.

     Of course, moral protagonists are great and characters do good things because that's what they're supposed to do. Yeah, people feel compelled to do good deeds in the service of others or for the greater good. Sure, some characters are morally grey yet still lean more towards the good side of the character-spectrum. Obviously, characters do things that not everybody would deem as "good" but are working, nonetheless, towards a higher purpose or greater calling that is ultimately good in nature. But that's not what I, and others, want. It's not always realistic.

     Nobody is 100% good all the time.

     Give me a world where nobody is 100%. Give me Gotham City-type of characters. Give me characters whose moral compass is unpredictable and rarely leans toward the side of virtue. I want to see characters who have been ripped to shreds by society and those around them.

     Tell me how and why a character is the way that they are. Give me characters who are given every opportunity under the sun to succeed, turn their life around, and become better, yet throw it away without a second thought. Show me diverse characters that don't take into consideration those around them. Make me care about your character(s).

     Give me imperfection.

     Give me broken personalities.

     Give me reality.

     Now, this is a topic I absolutely love reviewing and going deep with. So, grab a snack and prepare yourself. This will be and is a very long one.

     I present to you: 𝐓𝐡𝐞 𝐔𝐥𝐭𝐢𝐦𝐚𝐭𝐞 𝐆𝐮𝐢𝐝𝐞 𝐭𝐨 𝐕𝐢𝐥𝐥𝐚𝐢𝐧𝐬.

     ˏˋ°•*⁀➷ 𝐖𝐇𝐀𝐓 𝐈𝐒 𝐀 𝐕𝐈𝐋𝐋𝐀𝐈𝐍? ⸝⸝ ⇗

          ╰─── Before we deep dive into villains and how to create one, etc., it's important to know what a villain is.

          ━━ 𝗩𝗜𝗟𝗟𝗔𝗜𝗡: "a cruelly malicious person who is involved in or devoted to wickedness or crime; a wicked or malevolent person; the main evil character and antagonist to the hero."

          𝘐𝘕 𝘖𝘛𝘏𝘌𝘙 𝘞𝘖𝘙𝘋𝘚. . . "A villain (also known in film and literature as the "antagonist," "baddie", "bad guy", "heavy" or "black hat") is an "evil" character in a story, whether a historical narrative or, especially, a work of fiction. The villain usually is the antagonist (though can be the protagonist), the character who tends to have a negative effect on other characters."

     ˏˋ°•*⁀➷ 𝐖𝐑𝐈𝐓𝐈𝐍𝐆 𝐀𝐍𝐓𝐀𝐆𝐎𝐍𝐈𝐒𝐓𝐒: 𝑨 𝑩𝑹𝑰𝑬𝑭 𝑶𝑽𝑬𝑹𝑽𝑰𝑬𝑾 ⸝⸝ ⇗
⠀⠀⠀⠀⠀⠀⠀⠀⠀→ ⺌ This section is inspired by The Writers Guardian Angel on Tumblr. Credit for this portion goes to them. Disclaimer: I have added my own words, advice, and paraphrased sections of the article.

          When it comes to writing an antagonist, the experience can differ from person to person. "The antagonist is often either one of the most fun things to write, or the most dreaded. But either way, they are a key element of the story, and that cannot be ignored. So, let's talk about how to make a really great antagonist.

          "You may have in the past, met a writer or teacher or whomever who insists on using the words "protagonist and antagonist" over words like "hero and villain." Personally, I am not so stingy about it, I feel that I know what you mean anyway so it doesn't really matter." However, there is a legitimate reason concerning why you should at least try to think of your villain as your antagonist instead. And that reason is connotation. Denotation too, really—villain and antagonist aren't completely the same thing, but I'm bringing it down to connotation.

          For those who may not know the difference between denotation and connotation, the definitions are provided below.

          ━━ 𝗗𝗘𝗡𝗢𝗧𝗔𝗧𝗜𝗢𝗡: "the literal or primary meaning of a word, in contrast to the feelings or ideas that the word suggests."

           ➳❥ Example: The denotation for "blue" is the color blue. So, take "The girl was blue." The translation is that you mean the girl was quite literally the color blue.

          ━━ 𝗖𝗢𝗡𝗡𝗢𝗧𝗔𝗧𝗜𝗢𝗡: "an idea or feeling that a word invokes in addition to its literal or primary meaning."

           ➳❥ Example: The connotation for "blue" is used to describe a feeling of sadness or melancholy. Such as, "She's feeling blue." (𝘙𝘦𝘮𝘦𝘮𝘣𝘦𝘳, 𝘤𝘰𝘯𝘯𝘰𝘵𝘢𝘵𝘪𝘰𝘯𝘴 𝘤𝘢𝘯 𝘣𝘦 𝘦𝘪𝘵𝘩𝘦𝘳 𝘱𝘰𝘴𝘪𝘵𝘪𝘷𝘦, 𝘯𝘦𝘨𝘢𝘵𝘪𝘷𝘦, 𝘰𝘳 𝘯𝘦𝘶𝘵𝘳𝘢𝘭.)

          "Simply said, when you think of the word "villain", you'll think something like "that's the bad guy in the story." And when you think of the "antagonist", you probably think "that's a fancy word for a villain, aka the bad guy in the story." But antagonist isn't just a fancy word. It's a fancy concept. It means "the guy that opposes the good guy." That can be on any argument or view." When writing your antagonist, it's important to remember that nothing is black/white, good/bad thinking, and that includes your antagonist.

     ˏˋ°•*⁀➷ 𝐇𝐎𝐖 𝐓𝐎 𝐍𝐎𝐓: 𝑪𝑹𝑬𝑨𝑻𝑬 𝑽𝑰𝑳𝑳𝑨𝑰𝑵𝑺 ⸝⸝ ⇗
⠀⠀⠀⠀⠀⠀⠀⠀⠀→ ⺌ This section is inspired by Anomalously-Written on Tumblr. Credit for this portion goes to them. Disclaimer: I have added my own words, advice, and paraphrased sections of the article.

          Before going any further, I believe it's important to first point out how to not create, or write, a villain. Even if you don't realize it, there are ways that villains should not be written or portrayed. Many of these ways are in relation to clichés that have been replayed on repeat for decades, yet people still continue to use them.

          ╰─── Don't create a villain that takes over the entire novel. Unless your story is solely based upon a villain, don't build it around them. Don't make everything about them. Connecting elements or events to them is perfectly fine, just don't make the entire book about just the villain.

          ╰─── Obvious villains. Nobody likes finding out the face underneath the mask quickly. Readers want to follow a trail—they want to figure it out themselves. They don't want the identity to be obvious and in plain sight. Don't make your villain be someone the readers would expect.

           ➳❥ Tip: "If you're having trouble with this, read the novels of Agatha Christie and other famous mystery writers to learn how to fool the readers while playing fairly. For an even better learning experience, try reading an Agatha Christie novel after finding out the identity of the killer. You'll get great tips on how to conceal information right in front of the reader's eyes."

          ╰─── Clichéd villains. "The conniving other woman, the evil mother-in-law, the wicked twin sister. Some villains have been used so often that they have become recognizable character types. These characters still have a lot of life left in them, but only if you flesh them out."

          ╰─── Villains with Unbelievable Motivations. "Nobody wants to read an entire novel only to find out that the villain was plotting against the hero the whole time because the hero stole away their prom date 20 years ago. If your villain is scheming and planning and committing crimes, they need a good reason to go to all this trouble."

          ╰─── Unnecessary villains. "Powerful main characters can create plenty of conflict on their own."

          ╰─── Utterly evil villains. Now, this is one I like to write sometimes, but it's something that must be approached carefully and tactfully. "Some villains are simply too evil. Not only do they make life miserable for the hero and heroine," but they also beat so-and-so, kick the dog, and on top of that, refuse to recycle. Not only is this unrealistic, but it is oftentimes trite.

          ╰─── Villains who talk too much. Oh, my God. I cannot stand these types of villains. (Yes, I am aware I have probably done this before, but authors do change and evolve.) "This one is a classic cliché. The villain captures your main characters, but instead of getting them out of the way, they go into a spiel about how bright they are because they outwitted them all."

          ╰─── Weak villains. If you've ever watched The Flash, you've seen a lot of these. "Imagine this scenario. You've been reading an exciting, suspenseful novel, and you're close to the end. The hero is confronting the villain. You're expecting a big payoff. But instead, the villain turns out to be a huge wimp who caves in quickly."

     ˏˋ°•*⁀➷ 𝐓𝐇𝐄 𝐍𝐀𝐌𝐄 ⸝⸝ ⇗
⠀⠀⠀⠀⠀⠀⠀⠀⠀→ ⺌ This section is from Nimble's Notebook Blog on Tumblr. Credit for this portion goes to them. Disclaimer: I have added my own words, advice, and paraphrased sections of the article.

          Look, one of the best ways to create a villain that sticks out is to give them a good name. "It should be something that strikes a chord with the reader—something that fits with the story. It can be mundane or it can be unique, but it should still fit."

          Many villains have an alias, but be careful whenever using these. There are two main types of aliases:

          ╰─── 𝟬𝟭. Epithet. "These aliases aren't actual names and can be tricky to master. "The Dark Lord" is really overdone and stuff like "The Annihilator" is just lame. Then there's also nicknames like "scarface" that have a specific story behind them. If you give your villain a name like this, there should be a reason for it."

          ╰─── 𝟬𝟮. A fake name. "Some villains have a fake name or two. They can use it in their daily life to get around without notice or they can be known as the villain under this name. Voldemort reigns under that name and not his legal name, Tom Marvolo Riddle. But he also had a reason for choosing Voldemort (it was an anagram of his real name)."

          Whatever name you choose should always match the time and setting of your book. "If your villain was born in America during the early-nineteenth-century, their name should be relevant to that time and place. If you want the name to have a meaning that matches the character, do some research. However, using this method is a bit harder because if you want the name to have a specific meaning, it still has to match the setting, time, and possibly the background of the character. But, in worlds other than our own, you can play around with this as much as you want."

          "If you want your villain's name to sound like the character's personality or appearance, try naming your characters with alliterations before you settle on a name.

           ➳❥ Example: "Sly Severus, evil Elvira, ripped Rocky, etc."

          "You can also make the name sound similar to a certain aspect of the character, such as Hannibal Lecter, or you can use a pun within the name. Then, you also have the mundane and common names that end up being memorable such as Annie Wilkes and Michael Myers."

     ˏˋ°•*⁀➷ 𝐓𝐇𝐄 𝐁𝐀𝐂𝐊𝐆𝐑𝐎𝐔𝐍𝐃 ⸝⸝ ⇗
⠀⠀⠀⠀⠀⠀⠀⠀⠀→ ⺌ This section is inspired by The Writers Guardian Angel on Tumblr. Credit for this portion goes to them. Disclaimer: I have added my own words, advice, and paraphrased sections of the article.

          When it comes to creating a villain, be realistic. Chances are, they didn't just come out of the womb evil and ready to cause mass mayhem. Who they are and why they became to be who they are, came from somewhere. They came from somewhere. They had a childhood (unless they are a child), and they had some sort of upbringing. Now, your readers don't have to know every little thing about your villain's backstory, but they have to know more than enough if you truly want them to understand. The drive behind their anger, thirst for revenge, or change in personality can come from the events in their background, and it's essential that readers know.

          "Why do they hold the beliefs they hold? Were they raised that way? Were they taught by some mentor figure? Were they shielded from a reality they couldn't bear? Are they trying to please someone, or get revenge on someone who displeased them?" The answer should be in their background.

     ˏˋ°•*⁀➷ 𝐀𝐏𝐏𝐄𝐀𝐑𝐀𝐍𝐂𝐄 ⸝⸝ ⇗
⠀⠀⠀⠀⠀⠀⠀⠀⠀→ ⺌ This section is inspired by The Writer's Guardian Angel on Tumblr. Credit for this portion goes to them. Disclaimer: I have added my own words, advice, and paraphrased sections of the article.

          Oftentimes, whenever we're trying to describe what a specific villain from a movie, show, or book looks like, we often refer to the simplest of descriptors that are always associated with anything or anyone that is socially/morally/behaviorally deviant. Although this is good in terms of symbolism, it's not the best when it comes to storytelling.

          You want to be creative! Different! Unique! You want to give the readers a physical or noticeable characteristic that will make them recognizable. Not a basic, overused descriptor that everyone is familiar with. Make your character stand out. Your villain should be just as diverse as anyone else.

          This is the section where I will be telling you what not to do because there are certain appearances that are getting really old with villains. Let's begin.

          ╰─── 𝟬𝟭. Dressing in all black. Oh, my gosh, this is literally so overdone. Not every person who wears black is a villain and not every villain wears black. It's time to stop associating black with "bad" and white with "good". Not everything is black-and-white. It just isn't, so stop making villains all dark and grungy. This is not the emo corner of Tumblr. (Shoutout to my thirteen-year-old roots.)

          ╰─── 𝟬𝟮. Scars. Honestly, I think scars can be pretty badass and represent all the battles you've overcome. They're not inherently bad, but if there is no relevant reason for your villain to have scars, don't mention them or don't add that feature. That goes for all characters, not just villains. Like the color black, scars are not just a villain thing. Nearly everyone has them. Don't associate them with being "bad."

          ╰─── 𝟬𝟯. Sexiness. Look, I get the idea that making a villain attractive makes them harder to hate, but that can be kind of a cop-out of actual complexity. "Again, if there is no legitimate reason to make your villain sexy, then don't. It's not necessary."

          ╰─── 𝟬𝟰. Ugly. I really hate this word. Truly. Overall, I hesitate to call any traits inherently ugly, but if you're striving to make your character unpleasant looking just because they're bad, then once again, you are associating a feature = evil, which is not creative at best and seriously socially harmful at worst.

     ˏˋ°•*⁀➷ 𝐏𝐄𝐑𝐒𝐎𝐍𝐀𝐋𝐈𝐓𝐘 ⸝⸝ ⇗
⠀⠀⠀⠀⠀⠀⠀⠀⠀→ ⺌ This section is inspired by Nimble's Notebook Blog on Tumblr and Some Loose Change: A Movie Blog. Credit for this portion goes to them. Disclaimer: I have added my own words, advice, and paraphrased sections of the article.

          Whenever you think of your favorite villain, much of the time, one of the first things you consider or think about is their personality. You don't simply like them because of their (described or portrayed) looks. You like them because there's something about them that draws you in and it usually has to do with them as a person.

          So, the villain you create must generate the same effect. It can't be a stock character—that's just boring and lazy writing. "Your character needs vices, virtues, quirks, and morals. Villains need a personality too. Think of your villain's background to establish personality" and use that to establish how they carry out evil deeds. If the villain is violent, they may be prone to torturing other characters. If they're charming and persuasive, they may use a psychological approach to strike fear or hatred or to manipulate others.

          The process of creating a character's personality, especially a villain's, can be difficult so below is a list of 𝟗 𝐓𝐫𝐚𝐢𝐭𝐬 𝐨𝐟 𝐇𝐢𝐠𝐡𝐥𝐲-𝐄𝐟𝐟𝐞𝐜𝐭𝐢𝐯𝐞 𝐕𝐢𝐥𝐥𝐚𝐢𝐧𝐬 that may be of use.

          ╰─── 𝟬𝟭. How strong/powerful they are. "A good villain should, initially, be more powerful (in whatever sense of the word) than the hero. They should prove to be a close-to insurmountable challenge for the hero to defeat. Good villains are needed to up the stakes in a movie. You need a good, strong conflict for a great plot, and as villains, they have to deliver that.

          "Villains don't have to be physically imposing, they could control a small empire, or be extremely intelligent, or be more skilled. The point is, the villain must be better than the hero and force them to reach deeper within themselves and work harder to achieve their goal of defeating said villain. Simply put, a weak villain leads to a weak plot."

           ➳❥ Example: "T-1000 from Terminator 2. He's invincible against any form of modern-day firearms, can shape-shift, and has the ability to harden or liquify his own metal form. The perfect villain for Ah-nuld, who's also an almost indestructible robot from the future."

          ╰─── 𝟬𝟮. How they use said strength and power. "It doesn't matter how strong a villain may be. If they don't use their strengths effectively, then that's just about the same as being weak. A villain could never have risen to the top being so unimaginative and ineffective with his skills/powers/talents. The credibility just crashes down, and all that build-up goes nowhere.

          "The problem with a lot of "brute strength" villains, is that writers turn them into blockheads, making it easy for the hero to out-think them. But when the villain is manipulative, conniving, deceptive, and has control over people, his battle with the hero becomes a chess match of wit and courage, and honestly, these are the arch-rivalries that go down in history. These guys should know the power they wield and use it to its full extent."

           ➳❥ Example: "The Joker from The Dark Knight. He's a psychopath who causes untold chaos all over Gotham, playing incredible mind games and showing an eery understanding of the manipulation of the human psyche."

          ╰─── 𝟬𝟯. How they are defeated. "Of course, this assumes they are defeated at all. This more often than not comes in at the climax, and generally becomes the defining point of most stories. This is the moment filmmakers and writers alike build-up to, and so it should go without saying that they have to do it well. I don't have to get too much into this, but it suffices to say that part of every great villain's mythos is the blaze of glory by which they are defeated. Have you ever seen a movie and thought, "That's it? That's how they killed him?" Anti-climactic deaths put a huge hamper on what could have been a pretty awesome villain character."

           ➳❥ Example: "The Shark from Jaws. This incredible beast swallows men left and right, and proves to be nearly impossible to kill. So how does Martin Brody kill him? By shooting an oxygen tank that's lodged in the Shark's mouth, causing it to explode."

          ╰─── 𝟬𝟰. Their character and motivations. "We've come a long way from having villains who are purely evil. Nowadays, the whole idea of "Taking over the world" as a sole motivation has become one of the flimsiest cliches Hollywood could produce, and thankfully, with the advent of modern psychology, there are several movies that go way beyond that. We've come a long way from the one-dimensional villain twiddling his mustache while laying a damsel in distress on train tracks. Now we have psychotics with tortured pasts, characters who were once pure but corrupted by greed or some other vice, or people who believe that they are doing good by killing a few people.

          "Psychology has taught us that evil is all dependent on perspective and that on many occasions, it's a fascinating perspective to show on screen and on-page. The evil characters transformed from being hated to being characters who are not only evil but intriguingly so. By knowing more about them, it adds much more to the gravity of the crime. A man driven to kill because his own family was murdered and thus he feels divinely inspired to execute anyone even for petty crimes, is much more interesting than a simple: "This guy is a killer!" type of introduction that most movies tend to glance over."

           ➳❥ Example: "Norman Bates from Psycho. This serial killer's motivations come from the severe psychological trauma his mother gave him as they lived alone together, and when she dies, he develops a multiple personality disorder to cope and represses memories of her death (at his hands)."

          ╰─── 𝟬𝟱. Ironic origins and relationships with the hero. "In literary works dating back to God-knows-when, the most enduring stories had strong underlying relationships between the hero and villain (in fact in most stories, the villain becomes evil because of an interaction with the hero). This notion of the ironic relationship between hero and villain has been around for over two-thousand years, and when done well, it's brilliant."

           ➳❥ Example: "Darth Vader from Star Wars. Everyone knows the "I am your Father" scene from The Empire Strikes Back, and the fact that people know it even without watching the movie goes to show how ingenious that plot twist was at the time. If you could imagine yourself watching Star Wars for the first time and not knowing that Vader was Luke's father, seeing that scene would have blown your mind. It's stuff like that makes good villains into great ones."

          ╰─── 𝟬𝟲. Composure. "A great villain needs to be smug. There's just something more fitting about a villain who is powerful and treats everything like a chess game they're winning. It's this composure, this aura of "everything is going according to plan" that makes these villains so intriguing, and makes it more interesting during those times that they do lose control."

           ➳❥ Example: "Hannibal Lecter from Silence of the Lambs. The first time we meet him, he's standing erect right up near the glass enclosure, smiling at Clarice Sterling as she enters the jail hall. It's positively creepy when the villain knows more and subtly manipulates the hero to his or her own devices."

          ╰─── 𝟬𝟳. Ruthless conviction. "Villains may sometimes be portrayed as having redeeming factors, but at the end of the day, part of being a truly great and heinous villain is doing something that most people would never think of doing. Killing members of your own family, committing genocide, and the typical maniacal stuff is always good, especially when you make the audience sympathize with the hero.

          "The interesting thing is that heroes and villains are not too far apart, the usual and only big difference is that the villains cross a line somewhere down the road that the heroes are either too scared of or too valiant to cross for themselves. This line of going too far is important in the characters of many villains, even the sympathetic ones, and is a turning point in their development. There's just something not as interesting about a villain who's flip-floppy."

           ➳❥ Example: "Max Cady from Cape Fear (1962). Max Cady is an ex-convict who is released after 8 years in prison for rape. Upon his release, he goes on a relentless vendetta against Sam Bowden, the man whose testimony sends him to jail, and so he begins to stalk the family, including killing their dog, in the hopes of not simply killing Bowden but terrorizing him and the people he loves."

          ╰─── 𝟬𝟴. Mystery. "We can know a lot of things about something that is mysterious, but there will always be more things we can uncover. Some of us know what the term "love" is, but does that mean that we understand "love" completely? The same goes for people, there are people that are enigmatic, and even if you know a lot about them, there's always something more that you could learn.

          "This same thing applies to a good villain. A good villain is a complex character who may have a lot of motivations shown on screen but always leaves you with the feeling that there could be more to them than what you see on screen. The mystery is what hooks you in, and as the saying goes: "We fear what we do not understand." In order for a villain to scare and alarm you, they must be enigmatic. Movies sometimes cheat this by hiding the villain, using shadows to mask the face, or not showing the person pulling the strings. That's one way to go about it, but it's been done so many times that often, it feels like a tired, old, cliche. Some of the best villains were fleshed out into characters larger than what is shown on screen. They feel like real people and they get you wondering, how did they become this way, and what other stories does this person have to offer."

           ➳❥ Example: "Annie Wilkes from Misery. Misery has got to be one of the creepiest movies based on a Stephen King novel. Annie Wilkes is a crazed fan of the writer Paul Sheldon, whom she ends up saving from a car accident. He realizes that he may not be in such safe hands when she refuses to bring him to the hospital and goes crazy when she finds out that Paul killed off her favorite character, Misery Chastain, in his latest novel. Her character is ripe with psychological trauma, and the thought of being trapped under her care is blood-curdling."

          ╰─── 𝟬𝟵. Being "relatable". "Your audience should be able to relate to the villain. I know this might seem to contradict #8 but hear me out. No matter how good (or bad) a villain is, they won't hit you unless you've experienced something along those lines. If, for example, you don't come from a culture with a weaker sense of mysticism, how can spirits and demons be that scary for you? Paranormal activity works because it uses a medium that most Americans are familiar with, security footage, something that feels less mystical and more scientific.

          "There should be something in the back of your mind telling you that this villain could exist, and though they may be exaggerated through stories, these characters are steeped in reality. I know it's a creepy thought to think of while watching the movie or reading, and in all honesty, some of us don't even make that connection. But I do believe that on a subconscious level, that's where the fear comes from, that's where the desire to see this person brought to justice or receive their comeuppance comes from."

           ➳❥ Example: "Nurse Ratched from One Flew Over the Cuckoo's Nest. Nurse Ratched is the head nurse of a mental institution that she runs with an iron fist, having complete control over their medications, treatments, privileges, and basic necessities. She keeps order by using her power to make everyone conform, by giving them drugs or giving them humiliating punishments if they displease her. This type of person, who abuses her power, is no stranger to any of us. And the scary thing is, given that kind of power and authority, we would know some people who would actually do something like that, hell we might be able to do that if tempted."

     ˏˋ°•*⁀➷ 𝐌𝐎𝐑𝐀𝐋𝐈𝐓𝐘 ⸝⸝ ⇗
⠀⠀⠀⠀⠀⠀⠀⠀⠀→ ⺌ This section is from Nimble's Notebook Blog on Tumblr and Easy Damus. Credit for this portion goes to them. Disclaimer: I have added my own words, advice, and paraphrased sections of the article.

          "All villains will be corrupt in the eyes of the opposing force. To understand what makes a great villain, you must understand that morality is the key to your villain. (Moral development is not strictly social. There are several factors that influence a person's morality.)"

          ╰─── Establish the Morality: "If your story takes place in another world, another culture, the past, or the future, morality will be different from what it is in your culture. Either research the culture you're writing about if it is a real culture or makes a morality scale if you're writing about a fictional culture."

          ╰─── Moral Developments: "There are three levels of moral development and six stages within those. The idea behind this theory of moral development is that morality continuously changes throughout life. The same should be true for your characters, especially your villain. You should know all about your villain's morality and how they got there. When filling out character questionnaires that involve moral questions, think more about why your villain would give that answer than the answer itself."

               ──➢ Level One, Preconventional.
⠀⠀⠀⠀⠀⠀▸ Stage One: The first stage is obedience and punishment. Those in this stage obey rules to avoid punishment. This stage is most common in children but may occur in adults as well.
⠀⠀⠀⠀⠀⠀▸ Stage Two: The second stage is individualism and exchange. Those in this stage base moral decisions on whether they get something out of it or not. Individual needs are considered above all.

               ──➢ Level Two, Conventional.
⠀⠀⠀⠀⠀⠀▸ Stage Three: The third stage is interpersonal relationships. Those in this stage fill expectations for how they are supposed to act. The "goody-two-shoes" personality is common in this stage and moral decisions are based on how those choices will affect relationships and social expectations.
⠀⠀⠀⠀⠀⠀▸ Stage Four: The fourth stage is maintaining social order. Those in this stage consider society as a whole while making moral decisions. Decisions are based on what follows the law and respects authority.

               ──➢ Level Three, Postconventional.
⠀⠀⠀⠀⠀⠀▸ Stage Five: The fifth stage is social contract and individual rights. Those in this stage recognize differing opinions and values and base morality on the majority of what society agrees on.
⠀⠀⠀⠀⠀⠀▸ Stage Six: The last stage is universal principles. Those in this stage base decisions on their own morals and ethics even if it goes against the law.

          ╰─── The 9 Alignments: "If you know anything about D&D, you probably know about the nine alignments. Or if you knew about the alignment meme, then you would know about the nine alignments."

          "A creature's general moral and personal attitudes are represented by its alignment: lawful good, neutral good, chaotic good, lawful neutral, neutral, chaotic neutral, lawful evil, neutral evil, or chaotic evil."

          As a whole, "alignment is a tool for developing your character's identity. It is not a straitjacket for restricting your character. Each alignment represents a broad range of personality types or personal philosophies, so two characters of the same alignment can still be quite different from each other. In addition, few people are completely consistent.

          "Nine distinct alignments define all the possible combinations of the lawful-chaotic axis with the good-evil axis. Each alignment description below depicts a typical character of that alignment. Remember that individuals vary from this norm and a given character may act more or less in accord with his or her alignment from day to day. Use these descriptions as guidelines, not scripts.

          "The first six alignments, lawful good through chaotic neutral, are the standard alignments for player characters. The three evil alignments are for monsters and villains."

           ➳❥ TYPE ONE, "𝙲𝚁𝚄𝚂𝙰𝙳𝙴𝚁" / 𝙻𝙰𝚆𝙵𝚄𝙻 𝙶𝙾𝙾𝙳: "A lawful good character acts as a good person is expected or required to act. They combine a commitment to oppose evil with the discipline to fight relentlessly. They tell the truth, keeps their word, helps those in need, and speaks out against injustice. A lawful good character hates to see the guilty go unpunished.

          "Lawful good is the best alignment you can be because it combines honor and compassion.

          "Lawful good can be a dangerous alignment when it restricts freedom and criminalizes self-interest."

           ➳❥ TYPE TWO, "𝙱𝙴𝙽𝙴𝙵𝙰𝙲𝚃𝙾𝚁" / 𝙽𝙴𝚄𝚃𝚁𝙰𝙻 𝙶𝙾𝙾𝙳: "A neutral good character does the best that a good person can do. They are devoted to helping others. They work with kings and magistrates but does not feel beholden to them.

          "Neutral good is the best alignment you can be because it means doing what is good without bias for or against order.

          "Neutral good can be a dangerous alignment when it advances mediocrity by limiting the actions of the truly capable."

           ➳❥ TYPE THREE, "𝚁𝙴𝙱𝙴𝙻" / 𝙲𝙷𝙰𝙾𝚃𝙸𝙲 𝙶𝙾𝙾𝙳: "A chaotic good character acts as their conscience directs them with little regard for what others expect of them. They make their own way, but they're kind and benevolent. They believe in goodness and right but has little use for laws and regulations. They hate it when people try to intimidate others and tell them what to do. They follow their own moral compass, which, although good, may not agree with that of society.

          "Chaotic good is the best alignment you can be because it combines a good heart with a free spirit.

          "Chaotic good can be a dangerous alignment when it disrupts the order of society and punishes those who do well for themselves."

           ➳❥ TYPE FOUR, "𝙹𝚄𝙳𝙶𝙴" / 𝙻𝙰𝚆𝙵𝚄𝙻 𝙽𝙴𝚄𝚃𝚁𝙰𝙻: "A lawful neutral character acts as law, tradition, or a personal code directs them. Order and organization are paramount to them. They may believe in personal order and live by a code or standard, or they may believe in order for all and favor a strong, organized government.

          "Lawful neutral is the best alignment you can be because it means you are reliable and honorable without being a zealot.

          "Lawful neutral can be a dangerous alignment when it seeks to eliminate all freedom, choice, and diversity in society."

           ➳❥ TYPE FIVE, "𝚄𝙽𝙳𝙴𝙲𝙸𝙳𝙴𝙳" / 𝙽𝙴𝚄𝚃𝚁𝙰𝙻: "A neutral character does what seems to be a good idea. They don't feel strongly one way or the other when it comes to good vs. evil or law vs. chaos. Most neutral characters exhibit a lack of conviction or bias rather than a commitment to neutrality. Such a character thinks of good as better than evil; they would rather have good neighbors and rulers than evil ones. Still, they're not personally committed to upholding good in any abstract or universal way.

          "Some neutral characters, on the other hand, commit themselves philosophically to neutrality. They see good, evil, law, and chaos as prejudices and dangerous extremes. They advocate the middle way of neutrality as the best, most balanced road in the long run.

          "Neutral is the best alignment you can be because it means you act naturally, without prejudice or compulsion.

          "Neutral can be a dangerous alignment when it represents apathy, indifference, and a lack of conviction."

           ➳❥ TYPE SIX, "𝙵𝚁𝙴𝙴 𝚂𝙿𝙸𝚁𝙸𝚃" / 𝙲𝙷𝙰𝙾𝚃𝙸𝙲 𝙽𝙴𝚄𝚃𝚁𝙰𝙻: "A chaotic neutral character follows their whims. They're an individualist first and last. They value their own liberty but don't strive to protect others' freedom. They avoid authority, resist restrictions, and challenge traditions. A chaotic neutral character does not intentionally disrupt organizations as part of a campaign of anarchy. To do so, they would have to be motivated either by good (and a desire to liberate others) or evil (and a desire to make those different from themself suffer). A chaotic neutral character may be unpredictable, but their behavior is not totally random. They are not as likely to jump off a bridge as to cross it.

          "Chaotic neutral is the best alignment you can be because it represents true freedom from both society's restrictions and a do-gooder's zeal.

          "Chaotic neutral can be a dangerous alignment when it seeks to eliminate all authority, harmony, and order in society."

           ➳❥ TYPE SEVEN, "𝙳𝙾𝙼𝙸𝙽𝙰𝚃𝙾𝚁" / 𝙻𝙰𝚆𝙵𝚄𝙻 𝙴𝚅𝙸𝙻: "A lawful evil villain methodically takes what they want within the limits of their code of conduct without regard for whom it hurts. They care about tradition, loyalty, and order but not about freedom, dignity, or life. They play by the rules but without mercy or compassion. They are comfortable in a hierarchy and would like to rule, but are willing to serve. They condemn others not according to their actions but according to race, religion, homeland, or social rank. They are loath to break laws or promises.

          "This reluctance comes partly from their nature and partly because they depend on order to protect themselves from those who oppose them on moral grounds. Some lawful evil villains have particular taboos, such as not killing in cold blood (but having underlings do it) or not letting children come to harm (if it can be helped). They imagine that these compunctions put them above unprincipled villains.

          "Some lawful evil people and creatures commit themselves to evil with a zeal like that of a crusader committed to good. Beyond being willing to hurt others for their own ends, they take pleasure in spreading evil as an end unto itself. They may also see doing evil as part of a duty to an evil deity or master.

          "Lawful evil is sometimes called "diabolical," because devils are the epitome of lawful evil.

          "Lawful evil creatures consider their alignment to be the best because it combines honor with a dedicated self-interest.

          "Lawful evil is the most dangerous alignment because it represents methodical, intentional, and frequently successful evil."

           ➳❥ TYPE EIGHT, "𝙼𝙰𝙻𝙴𝙵𝙰𝙲𝚃𝙾𝚁" / 𝙽𝙴𝚄𝚃𝚁𝙰𝙻 𝙴𝚅𝙸𝙻: "A neutral evil villain does whatever they can get away with. They are out for themselves, pure and simple. They shed no tears for those they kill, whether for profit, sport, or convenience. They have no love of order and hold no illusion that following laws, traditions, or codes would make them any better or nobler. On the other hand, they don't have the restless nature or love of conflict that a chaotic evil villain has.

          "Some neutral evil villains hold up evil as an ideal, committing evil for its own sake. Most often, such villains are devoted to evil deities or secret societies.

          "Neutral evil beings consider their alignment to be the best because they can advance themselves without regard for others.

          "Neutral evil is the most dangerous alignment because it represents pure evil without honor and without variation."

           ➳❥ TYPE NINE, "𝙳𝙴𝚂𝚃𝚁𝙾𝚈𝙴𝚁" / 𝙲𝙷𝙰𝙾𝚃𝙸𝙲 𝙴𝚅𝙸𝙻: "A chaotic evil character does whatever their greed, hatred, and lust for destruction drive them to do. They are hot-tempered, vicious, arbitrarily violent, and unpredictable. If they are simply out for whatever they can get, they're ruthless and brutal. If they're committed to the spread of evil and chaos, they are even worse. Thankfully, their plans are haphazard, and any groups they join or form are poorly organized. Typically, chaotic evil people can be made to work together only by force, and their leader lasts only as long as they can thwart attempts to topple or assassinate them.

          "Chaotic evil is sometimes called "demonic" because demons are the epitome of chaotic evil.

          "Chaotic evil beings believe their alignment is the best because it combines self-interest and pure freedom.

          "Chaotic evil is the most dangerous alignment because it represents the destruction not only of beauty and life but also of the order on which beauty and life depend."

     ˏˋ°•*⁀➷ 𝐌𝐈𝐍𝐃𝐒𝐄𝐓𝐒 & 𝐑𝐀𝐓𝐈𝐎𝐍𝐀𝐋𝐄𝐒 𝐓𝐇𝐀𝐓 𝐋𝐄𝐀𝐃 𝐖𝐄𝐋𝐋 𝐓𝐎 𝐕𝐈𝐋𝐋𝐀𝐈𝐍𝐘 ⸝⸝ ⇗
⠀⠀⠀⠀⠀⠀⠀⠀⠀→ ⺌ This section is inspired by Springhole.net. Credit for this portion goes to them. Disclaimer: I have added my own words, advice, and paraphrased sections of the article.

          Many know that certain mindsets, memories, and events can push someone to a dark place. A kid that was bullied in middle school might turn into a bully in high school. A traumatic experience can push someone to lose all hope and only see the bad in the world. There are several more examples, but the point is this: Mindsets and a person's rationales can lead them to deviancy or villainy, in terms of fiction, specifically.

          Down below is a compiled list of mindsets that can plausibly and realistically drive and motivate villainous behavior in a character. Remember, with any sufficiently developed and realistic villain, any number of these will be present and overlap with each other.

          ╰─── 𝗬𝗼𝘂 𝗵𝘂𝗿𝘁 𝗺𝗲. 𝗧𝗵𝗲𝗿𝗲𝗳𝗼𝗿𝗲, 𝘆𝗼𝘂 𝗱𝗲𝘀𝗲𝗿𝘃𝗲 𝘁𝗼 𝗯𝗲 𝗵𝘂𝗿𝘁 𝗯𝗮𝗰𝗸. "The belief that since someone has been wronged, the person who wronged them deserves to be hurt in return. Sometimes, it doesn't even have to be the individuals responsible for the initial act. Sometimes, just another member of the same group or a family member or friend will do."

          ╰─── 𝗜'𝗺 𝗻𝗼𝘁 𝘁𝗵𝗲 𝗽𝗿𝗼𝗯𝗹𝗲𝗺. 𝗘𝘃𝗲𝗿𝘆𝗼𝗻𝗲 𝗲𝗹𝘀𝗲 𝗶𝘀. "The belief that it cannot be oneself or one's own ideas that are at fault, but rather that everyone else is in the wrong or is the problem."

           ➳❥ Example: "If everyone would stop being so selfish and think of the greater good, they'd realize that working twelve hours in the factory every day really isn't that unreasonable. There's nothing wrong with the work hours; they just want to slack off and be lazy."

           ➳❥ Example: "I was born with anger issues. I really can't help that I beat that guy up and put him in the hospital. He should have known better. People need to learn to stop making me angry."

          ╰─── 𝗜𝗳 𝗼𝘁𝗵𝗲𝗿𝘀 𝗱𝗼𝗻'𝘁 𝗴𝗼 𝗮𝗹𝗼𝗻𝗴 𝘄𝗶𝘁𝗵 𝘄𝗵𝗮𝘁 𝗜 𝘀𝗮𝘆 𝗼𝗿 𝘄𝗮𝗻𝘁, 𝗶𝘁'𝘀 𝗯𝗲𝗰𝗮𝘂𝘀𝗲 𝘁𝗵𝗲𝘆'𝗿𝗲 𝘀𝗲𝗹𝗳𝗶𝘀𝗵/𝗵𝗮𝘁𝗲 𝗺𝗲. "The belief that those who fail to comply with one's orders or wishes do so out of selfishness or maliciousness."

           ➳❥ Example: "You just want to get out of the workload you're given because you don't care about the project or about anyone else here. You only care about yourself and what you want."

          ╰─── 𝗜 𝗰𝗮𝗻'𝘁 𝘁𝗿𝘂𝘀𝘁 𝗼𝘁𝗵𝗲𝗿𝘀 𝘁𝗼 𝗺𝗮𝗸𝗲 𝗴𝗼𝗼𝗱 𝗱𝗲𝗰𝗶𝘀𝗶𝗼𝗻𝘀. "The belief that one is the only person (or at least, one of the very few) who should be allowed to make important decisions because everyone else is too incompetent, ignorant, selfish, short-sighted, etc. to be allowed to make decisions for themselves."

           ➳❥ Example: "You're still too young to know what will make you happy. Trust your mother; I know you don't like Prince Roger, but his money will make you very happy."

           ➳❥ Example: "As naive about the world as you are, if you left home right now you'd find yourself dead in a gutter within a week! You'd better stay home with me awhile longer."

          ╰─── 𝗜𝗳 𝗜 𝗵𝗮𝘃𝗲 𝘁𝗵𝗶𝘀 𝗽𝗼𝘄𝗲𝗿 𝗼𝗿 𝗮𝗱𝘃𝗮𝗻𝘁𝗮𝗴𝗲, 𝗶𝘁'𝘀 𝗯𝗲𝗰𝗮𝘂𝘀𝗲 𝗜 𝗱𝗲𝘀𝗲𝗿𝘃𝗲 𝗶𝘁 𝗮𝗻𝗱/𝗼𝗿 𝘄𝗮𝘀 𝗺𝗲𝗮𝗻𝘁 𝘁𝗼 𝗵𝗮𝘃𝗲 𝗶𝘁/𝗱𝗼 𝗴𝗿𝗲𝗮𝘁 𝘁𝗵𝗶𝗻𝗴𝘀 𝘄𝗶𝘁𝗵 𝗶𝘁. "People tend to attach meaning and significance to random events (for example, the sole survivor of a horrific accident might assume there must have been a higher reason for it). Similarly, people with advantages and privileges may subconsciously (or even consciously) believe that they've done something to earn them, even though the reasons for them may have little to nothing to do with the virtue of the people involved."

           ➳❥ Example: "I was born with a genius for solving problems. Why me, of all people? There must have been a reason for it — and I think that reason was to bring about world peace."

          ╰─── 𝗜 𝗱𝗲𝘀𝗲𝗿𝘃𝗲 𝘁𝗼 𝗵𝗮𝘃𝗲 𝗶𝘁, 𝗮𝗻𝗱 𝗮𝗻𝘆𝗼𝗻𝗲 𝘄𝗵𝗼 𝗴𝗲𝘁𝘀 𝗶𝗻 𝗺𝘆 𝘄𝗮𝘆 𝗶𝘀 𝘀𝘁𝗼𝗽𝗽𝗶𝗻𝗴 𝗺𝗲 𝗳𝗿𝗼𝗺 𝗴𝗲𝘁𝘁𝗶𝗻𝗴 𝘄𝗵𝗮𝘁 𝗜'𝗺 𝗲𝗻𝘁𝗶𝘁𝗹𝗲𝗱 𝘁𝗼. "Otherwise known as an "entitlement complex" or an "unwarranted sense of entitlement," the belief that one is owed or deserves something for one reason or another, and that anyone who stands in the way of getting it is an obstacle or even an enemy."

           ➳❥ Example: "I spent years trying to get Celia's attention and Wallace gets to go out with her even though they've only known each other for a week?! It's not fair!"

          ╰─── 𝗜𝘁'𝘀 𝗼𝗸𝗮𝘆 𝗶𝗳 𝗜 𝗱𝗼 𝗶𝘁 𝗯𝗲𝗰𝗮𝘂𝘀𝗲 𝗺𝘆 𝗶𝗻𝘁𝗲𝗻𝘁𝗶𝗼𝗻𝘀 𝗮𝗿𝗲 𝗽𝘂𝗿𝗲. "Believing that one's actions are justified through perceived purity of intent. No matter what those actions are."

           ➳❥ Example: "The difference between them and us is that we are following the true faith while they are following after their own lusts and desires."

          ╰─── 𝗜𝗳 𝗺𝘆 𝗮𝗰𝘁𝗶𝗼𝗻𝘀 𝗵𝘂𝗿𝘁 𝗽𝗲𝗼𝗽𝗹𝗲, 𝘁𝗵𝗲𝘆 𝗱𝗲𝘀𝗲𝗿𝘃𝗲𝗱 𝗶𝘁 𝗮𝗻𝘆𝘄𝗮𝘆. "Justifying one's questionable actions by rationalizing that the recipients deserved it somehow or another."

          ╰─── 𝗜𝘁 𝗱𝗼𝗲𝘀𝗻'𝘁 𝗰𝗼𝗻𝗰𝗲𝗿𝗻 𝗺𝗲. 𝗪𝗵𝘆 𝘀𝗵𝗼𝘂𝗹𝗱 𝗜 𝗰𝗮𝗿𝗲? "Rationalizing that because other people's pain and suffering has no significant impact on oneself, it can be dismissed and ignored."

          ╰─── 𝗘𝘃𝗲𝗻 𝗶𝗳 𝗽𝗲𝗼𝗽𝗹𝗲 𝗮𝗿𝗲 𝗵𝘂𝗿𝘁, 𝘁𝗵𝗲 𝗲𝗻𝗱 𝗿𝗲𝘀𝘂𝗹𝘁𝘀 𝘄𝗶𝗹𝗹 𝗺𝗮𝗸𝗲 𝘂𝗽 𝗳𝗼𝗿 𝗶𝘁. "Or more commonly known as "the end justifies the means." However horrible the actions one takes are, one believes" that the end results will justify them.

          ╰─── 𝗬𝗼𝘂'𝗿𝗲 𝗴𝗲𝘁𝘁𝗶𝗻𝗴 𝘁𝗼𝗼 𝗯𝗶𝗴 𝗳𝗼𝗿 𝘆𝗼𝘂𝗿 𝗯𝗼𝗼𝘁𝘀. 𝗦𝗼𝗺𝗲𝗼𝗻𝗲 𝗻𝗲𝗲𝗱𝘀 𝘁𝗼 𝗽𝘂𝘁 𝘆𝗼𝘂 𝗶𝗻 𝘆𝗼𝘂𝗿 𝗽𝗹𝗮𝗰𝗲. "The belief that anyone who acts in a manner that one perceives as too presumptuous or as overstepping their boundaries in some way must be punished or disciplined for it, regardless of the actual harm of the action deemed improper. Reasons for this can vary — the offended party may feel threatened by the actions of the other, or society as a whole may just perceive someone acting this way as an inherently 'bad' thing that must be corrected."

           ➳❥ Example: "You humans think you are so high and mighty, but you're really just a bunch of pathetic little infants. Here's what real power looks like..."

          ╰─── 𝗬𝗼𝘂 𝗮𝗿𝗲 𝗮 𝗽𝗶𝗲𝗰𝗲 𝗼𝗳 𝘁𝗿𝗮𝘀𝗵 𝗮𝗻𝗱 𝗱𝗲𝘀𝗲𝗿𝘃𝗲 𝘁𝗼 𝗯𝗲 𝘁𝗿𝗲𝗮𝘁𝗲𝗱 𝗹𝗶𝗸𝗲 𝗶𝘁. "The belief that someone is fundamentally bad or flawed in some way, and that because of this, all sorts of petty, callous, or cruel actions are justified."

          ╰─── 𝗗𝗲𝗲𝗽 𝗶𝗻𝘀𝗶𝗱𝗲, 𝗲𝘃𝗲𝗿𝘆𝗼𝗻𝗲 𝗶𝘀 𝗷𝘂𝘀𝘁 𝗹𝗶𝗸𝗲 𝗺𝗲. 𝗜'𝗺 𝗷𝘂𝘀𝘁 𝗼𝗻𝗲 𝗼𝗳 𝘁𝗵𝗲 𝗳𝗲𝘄 𝗽𝗲𝗼𝗽𝗹𝗲 𝘄𝗵𝗼 𝗶𝘀 𝗮𝗰𝘁𝘂𝗮𝗹𝗹𝘆 𝗵𝗼𝗻𝗲𝘀𝘁 𝗮𝗯𝗼𝘂𝘁 𝗶𝘁. "The belief that others are just like oneself in some or most ways, and that if they say or act otherwise, they're lying, pretending, or are in denial."

          ╰─── 𝗜 𝗮𝗺 𝗶𝗻 𝗮 𝗽𝗼𝘀𝗶𝘁𝗶𝗼𝗻 𝗼𝗳 𝗮𝘂𝘁𝗵𝗼𝗿𝗶𝘁𝘆; 𝘁𝗵𝗲𝗿𝗲𝗳𝗼𝗿𝗲, 𝘂𝗻𝗰𝗼𝗻𝗱𝗶𝘁𝗶𝗼𝗻𝗮𝗹 𝗿𝗲𝘀𝗽𝗲𝗰𝘁 𝗶𝘀 𝗺𝗮𝗻𝗱𝗮𝘁𝗼𝗿𝘆. "The belief and expectation that because one is in a position that is typically considered to command authority or deference, that one is entitled to respect no matter what one does simply because one is in that position — whereas in reality, if one fails to satisfactorily meet the responsibilities associated with that position, then others are well within their rights to lose respect for, and in some cases even depose the person in question."

          ╰─── 𝗧𝗵𝗲𝘆 𝗵𝗮𝘃𝗲 𝘁𝗲𝗿𝗿𝗶𝗯𝗹𝗲 𝗶𝗻𝘁𝗲𝗻𝘁𝗶𝗼𝗻𝘀! "In a nutshell, good old-fashioned paranoia in general. This can range from minor incidents being perceived as far more threatening than they really are, or even someone believing elaborate delusions with absolutely no basis in fact at all."

     ˏˋ°•*⁀➷ 𝐓𝐘𝐏𝐄𝐒 𝐎𝐅 𝐕𝐈𝐋𝐋𝐀𝐈𝐍𝐒 ⸝⸝ ⇗
⠀⠀⠀⠀⠀⠀⠀⠀⠀→ ⺌ This section is inspired by Writers Edit, Curiosity Kills, and Screen Craft. Credit for this portion goes to them. Disclaimer: I have added my own words, advice, and paraphrased sections of the article.

          As many people may or may not know, there are different types of villains. So, when creating your villain, what type will they be? What archetype fits them and the story best? Let's discuss.

          ╰─── 𝟬𝟭. External Villains. "As with any other character, you need to work out the basics: gender, occupation, race, species, socioeconomic standing, and so on. The first step to choosing these character aspects is to decide how 'good' or 'human' you want them to seem."

           ➳❥ The Sympathetic Villain: "The most authentic villains are those with 'hero' traits: aspects of their character that make them more relatable, more human. While the antagonist stands in opposition to the protagonist, you want to create similarities. The degree of similarity can vary, but make sure it's identifiable.

          "Similarities can be in philosophy or actions. A great example of the former is Sherlock and Moriarty: both are geniuses who work with puzzles, but with differing beliefs and morals. In X-Men, Xavier and Eric (Magneto) share similar goals and ideals, but their actions and methods to reach those goals put them in opposition to each other.

          "Villains who are — or who, at one point, were — human have the greatest chance of being relatable, and therefore more believable. Alternately, if the protagonist isn't human themselves, the reader can identify with a non-human antagonist through the point of view of the protagonist."

           ➳❥ The Monster: "So, what if you really want to go with the traditional, totally-evil villain despite everything? It would be a very limiting choice, but if it's right for the story then it's right for the story. Some genres are slower than others to take up the realistic villain, such as horror, westerns, and children's books.

          "The best villain identities to start looking at are non-human ones. Try a computer, an alien, or a supernatural being that has never been human — such as a fairy, or a demon. A character your reader couldn't possibly identify with. An authentic non-human character requires a fair amount of work. You need to be familiar with their way of thinking, their emotions, and their culture. How do they view death and pain? Do they have a concept of 'right' and 'wrong'?"

          ╰─── 𝟬𝟮. Internal Villains. "Sometimes the protagonist's opposition is within; what's holding them back from their goal is their own self. While facing a situation or external antagonist, they may struggle with a decision: emotional, intellectual, or moral."

           ➳❥ Protagonist Weakness: "What can hinder a protagonist from taking action or making a decision is different for every character. Generally, the protagonist is the first character you develop, so go back to your notes to look for their weaknesses and flaws.

          "Some things to look out for include something dark in the protagonist's past, a reoccurring or past mistake, and uncontrolled emotion. Another source of weakness can actually be the protagonist's strengths. Overconfidence in their abilities could lead to a lot of trouble, and good qualities can lead to challenges if they go too far.

          "These can lead to ethical dilemmas, and situations where the protagonist's morals and ethics are questioned. Is loyalty always the best path to follow? Is it really okay to sacrifice one life to save many? Self-doubt is another prevalent internal antagonist in fiction and real life."

          ╰─── 𝟬𝟯. The Anti-Villain. "This one is pretty straightforward. While their intentions may be evil, such characters are present in the type of story that showcases that "villain" as having characteristics that are appealing or sympathetic to the audience.

          "Anti-Villains are often, but not always — in the case of Hannibal Lecter — the forefront of the story. One could even say that they are written as the protagonist, as is especially the case in Pulp Fiction with Vincent and Jules. They are evil. They have done some evil things. You could put those characters in other categories below (namely, The Criminal), but because we learn more about them and learn that they have appealing and sympathetic characteristics, and because we see much of the story through their perspectives, they've now become Anti-Villains."

          ╰─── 𝟬𝟰. The Authority Figure. "The Authority Figure is often an example of how "evil" is defined in terms of context. It represents opposition to a character's free will. This type of character excels in a wide variety of genres. Audiences always identify with opposition to authority. In films, it's easy to see that the protagonists look upon these characters as "evil" even though in the end, for the most part, they are just doing their jobs. That's not to say that they are doing them right or well, but their intentions are to run a school, run an office, create soldiers ready for war, etc."

           ➳❥ Character Examples: "Principal Rooney — Ferris Bueller's Day Off ╱ Bill Lumbergh — Office Space ╱ Gny. Sgt. Hartman — Full Metal Jacket."

          ╰─── 𝟬𝟱. The Classic Bully. "The Bully is straightforward opposition to the protagonist, often for little to no reason beyond the psychological explanations as to why bullies do what they do, whether it be due to their standing in society, lack of quality ethics or morals, or just outright meanness. They're mean to be mean with little or no explanation required."

          ╰─── 𝟬𝟲. The Corrupted. These villains "are often those that were once good but have fallen. If they haven't fallen, they are simply characters that are in positions of authority that should be good but aren't. Corrupt cops, corrupt businesspeople, corrupt politicians, etc."

          ╰─── 𝟬𝟳. The Mastermind. "The mastermind is the brains of the villain world: the one with the elaborate plans behind their evil. Think Moriarty or Baelish from Game of Thrones. They may not always do the dirty work themselves, but the nefarious goings-on in the story can probably somehow tie back to them. And it's up to the hero to outwit them and bring them down a peg.

          "Masterminds are characterized by mental ability rather than physical. They may not be a huge person with a sword, but their strength in strategy is what gets them through and makes them a worthy match for the hero. A mastermind can have any number of motivations for their plan, some understandable and some purely evil. This flexibility of motivations means that you can have a wide variety of villains in the mastermind role. But, inevitably, their plan must fall through in the end as the hero gets the jump on them or unravels their strategy. Still, the mastermind will always provide a worthy challenge in any story."

          ╰─── 𝟬𝟴. The Chaotic Evil. "This is the wild card category and a personal favorite of mine. Characters in here — your jokers, your Ramsay Boltons, your Bellatrixes — their primary trait is that they are unpredictable and uncontrollable. While other villain types operate by some sort of code, these villains are far more chaotic in nature. Some are nihilists and some are just plain nuts. Or both. But usually, they love what they do and it's hard not to enjoy watching them.

          "The chaotic evil villain can only last so long, of course, because the hero — often a symbol of justice and order — will fight to bring the world in balance again. (Unless you wish to have the villain win in the end.) Though maybe the world is chaotic and hopeless, it's the hero's job to find that shred of hope to peace it back together. Because the chaotic evil villain often makes despair their playground, they cannot triumph in the face of hope."

          ╰─── 𝟬𝟵. The Lucifer Figure. "This type of villain is mostly named for their status as pure evil. Usually, this is the big bad of your book, and not particularly redeemable. Because of this, they can be difficult to pull off in an interesting way. Villains that are pure evil can be boring or played out, yet the proper execution can be masterful.

          "Ultimately, this kind of villain will meet their end against a hero that represents goodness. Since the Lucifer figure represents moral depravity, the hero that defeats them must represent moral goodness. Though how you define that morality is up to you as the author."

          ╰─── 𝟭𝟬. The Tyrant. "This is a classic villain with a lot of power and evil intentions to back it up. The tyrant loves ruling over their people, but for their own gain and not theirs. They are domineering and will go to great lengths to keep their kingdom, business, or gang under control: this includes manipulation and mass murder. Tyrants in books often exist to be overthrown. Sometimes these characters start out evil and power-hungry, and other times, they became that way over time, starting out with good intentions that went sour. They can be as sympathetic — or as terrible — as you want them to be (which is true of many of the types).

          "When you establish a tyrant, at one point, we have to see them knocked down to earth. Often their doom comes at the hands of a plucky young hero that represents a just and fair leader. Someone who takes the phrase 'with great power comes great responsibility' a little more seriously. Often one who doesn't want power can ultimately defeat one who is obsessed with it and bring the world back into balance."

          ╰─── 𝟭𝟭. The Monarch. "The Monarch can have similarities to the Tyrant as a tyrant can also be a king or queen. But the monarch may not be a tyrant, but simply the antagonist of the story. Monarchs are characterized by power, but they need not abuse that power to be a villain. Their people could love them, but your hero is from a neighboring kingdom that suffers because of it. Monarchs can also be more sympathetic if you want them to be — just villains who are trying to do their best."

          ╰─── 𝟭𝟮. Femme Fatale. "This is one of the most classic villain types. An attractive and seductive woman who will ultimately bring disaster to a man who becomes involved with her. The interesting aspect of this villain is that the Femme Fatale can work both sides of the conflict, and can even come out as a protagonist in the end."

          ╰─── 𝟭𝟯. The Machine. "The Machine is one of the most terrifying of villains because they are lifeless. They have no emotion. And they can't feel pain or fear. They are cold and calculating."

          ╰─── 𝟭𝟰. The Personification of Evil. "The Personification of Evil is just that — pure evil. The character is offered little to no backstory. Their motives are nothing more than performing evil doings, which obviously oppose the protagonist's journey. While Darth Vader was given a backstory, in Star Wars: A New Hope, George Lucas was adamant that the good guys and the bad guys would have no gray area between them."

          ╰─── 𝟭𝟱. The Redeemed. "The final type of villain can also come from other categories, but their defining characteristic is their arc: specifically, the redemption arc. Some villains just don't stay villains. Some start out bad but slowly have a change of heart or a breakthrough that propels them onto the side of good. This can come in the form of a reluctant alliance with the hero, the resurgence of a tragic past, or a new chain of events that guides them toward good. The redeemed villain is not defeated by anyone, in the end. Rather, they defeat themselves and become a new person, making them one of the most interesting, but difficult, villains to write."

     ˏˋ°•*⁀➷ 𝐌𝐎𝐓𝐈𝐕𝐄 ⸝⸝ ⇗
⠀⠀⠀⠀⠀⠀⠀⠀⠀→ ⺌ This section is inspired by Writers Edit. Credit for this portion goes to them. Disclaimer: I have added my own words, advice, and paraphrased sections of the article.

          "The key part to get right for your villain is their motive. Backstory, goals, and personality are closely linked; if you nail the character's motive, the other things easily fall into place. Vice versa, creating a solid backstory, goal, or personality can help formulate a motive.

          "Villain's motives aren't much different from a motive that any other character could hold. Desires such as wanting to be loved, to feel safe, or even to get revenge can seed both evil and good actions. Villains whose motivations were understandable, even if they weren't acceptable, were the most interesting and the most believable.

          "Some motives are more villain-inclined, such as the idea that 'misery loves company': wanting others to suffer because they have. But these can be a little boring and cliché unless the hero plans to redeem the villain. As the writer, you must know your villain's motive and ensure it underpins all their actions. However, you don't have to reveal it. A hidden motive may limit a sympathetic bond between reader and villain, but if done well, this can make the villain scarier and fascinating."

     ˏˋ°•*⁀➷ 𝐒𝐓𝐑𝐄𝐍𝐆𝐓𝐇𝐒 & 𝐖𝐄𝐀𝐊𝐍𝐄𝐒𝐒𝐄𝐒 ⸝⸝ ⇗
⠀⠀⠀⠀⠀⠀⠀⠀⠀→ ⺌ This section is inspired by Writers Edit. Credit for this portion goes to them. Disclaimer: I have added my own words, advice, and paraphrased sections of the article.

          Traditionally, "a villain's weakness is the hero's strength, and their strength is the hero's weakness. In this way, they are foil characters. While the villain is suspicious, the hero is trusting; the villain's capacity to see the whole picture stumps the hero who focuses on the finer details. This causes great conflict for plot-driven stories.

          "Alternatively, a villain and hero can share strengths and weaknesses, mirroring each other. Both may be extremely intelligent, but full of self-doubt. This creates a psychological tension that's great for character-driven stories. Which character's strength is stronger, and who can overcome their weakness faster?

          "Another way to work with strengths and weaknesses is to look at the existing backstory and personalities. A villain who used to be a cop could be quite athletic and a good shooter; one who is prone to anger and emotional bursts could suffer from lapses of judgment."

     ˏˋ°•*⁀➷ 𝐋𝐀𝐒𝐓𝐋𝐘, 𝐂𝐇𝐎𝐎𝐒𝐄 𝐂𝐀𝐑𝐄𝐅𝐔𝐋𝐋𝐘 ⸝⸝ ⇗
⠀⠀⠀⠀⠀⠀⠀⠀⠀→ ⺌ This section is inspired by Writers Edit. Credit for this portion goes to them. Disclaimer: I have added my own words, advice, and paraphrased sections of the article.

          Before ending this insanely long chapter, a word of advice that I strongly recommend to everybody: Choose carefully. When creating and choosing what kind of villain you want for your story, try to avoid minorities or disadvantaged groups in general. Do not coincide with society's centuries-old stereotypes and ideologies that harmfully impact different groups of people.

          "First, think carefully about whether such an antagonist is necessary for your story. If it is, make sure to use a method to avoid generalization. Alternatively, if your story needs a marginalized villain but the specific culture doesn't matter, you can invent your own race, country, or people type. In The Lord of the Rings, the orcs are seen to be horrible and evil, as a whole. But as the race can't be identified with one that exists in reality, no one is offended by this racial generalization."

          Second, a note on insanity. "The "insane" and mentally ill have been used as villains for decades. The Joker is usually the first to spring to mind, followed by Hitchcock's villain Norman Bates in Psycho. But this is slowly starting to become a dangerous ground to tread on." According to the American Psychiatric Association, the vast majority of people who are violent do not suffer from mental illnesses. "The most important thing is to do your research. And don't trust the media; despite what they may portray, mentally ill people are rarely violent. Because of this, you'll need motives other than illness." Pick real motives that are realistic.

     I hope these were all helpful and if you have any questions or want more tips on this topic, let me know!

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❛ THEY TOLD ME THAT 𝑻𝑯𝑬 𝑬𝑵𝑫
IS 𝑵𝑬𝑨𝑹, WE GOTTA GET 𝑨𝑾𝑨𝒀
FROM 𝙷𝙴𝚁𝙴. ❜
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