KhaoticErase
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Finally! After four months of writing, and writer's block, my first contribution to rmxp.org is finally complete! (And what a contribution it is!) As you can probably guess by my username, I am a huge villain fan. I'm capable of understanding the feelings and theories behind the characters most people just stereotype as being "insane".
I'm here to tell you that there is no such thing as an insane villain. Nobody is born evil, so what drives us to it? Definitely not insanity, that's for sure!
This enormous tutorial will cover absolutely every element of the villain creation process, from personification to character design. But please know that these are just guidelines, researched from the most popular villains.
Squall Leonhart":2km32mkc said:
The number one element of a cool villain. I'm not saying all characters have to contradict their roles. Contradiction just makes a character's personality more intriguing, as well as sets the stage for a character the audience can connect with.
So how do we contradict a villain? Simple, we make them pure of heart. Sure, power-crazed destructomaniacs can be cool in many cases, but the villains we really fall in love with are the ones we feel sympathy for.
If you can make a villain whose death makes the audience feel sad, you've succeeded. All other rules are dead.
So how do we contradict a villain? Simple, we make them pure of heart. Sure, power-crazed destructomaniacs can be cool in many cases, but the villains we really fall in love with are the ones we feel sympathy for.
If you can make a villain whose death makes the audience feel sad, you've succeeded. All other rules are dead.
Next is to give your villain a Background. Villains with no past lack interest. They just pop into the story and do whatever they please, just like your stereotypical villain. What drives this madmax, er, madman to do the things he does? Nothing. Know what that's called? Randomness, which is the last thing you want in a story.
The most compelling backgrounds for villains usually involve something traumatizing. Sexual molestation and rape are almost never used, but they can be. One of the most cliche traumas is finding out they were biologically created, and do not have any real parents. Try to avoid this, as it's a pretty dumb reason to turn to villainy. (Just a heads up, this was NOT Sephiroth's reason.)
Remember, their actions during the story have to be based on their past. In fact, EVERYTHING that happens in a story must be based on the past, else nothing makes sense. Let's say you have a character that just turned to villainy. They start killing people. Why? When you come up with a good, solid, reasonable answer (one that doesn't involve mental diseases like insanity), then you'll have a good start to your villain's history.
The most compelling backgrounds for villains usually involve something traumatizing. Sexual molestation and rape are almost never used, but they can be. One of the most cliche traumas is finding out they were biologically created, and do not have any real parents. Try to avoid this, as it's a pretty dumb reason to turn to villainy. (Just a heads up, this was NOT Sephiroth's reason.)
Remember, their actions during the story have to be based on their past. In fact, EVERYTHING that happens in a story must be based on the past, else nothing makes sense. Let's say you have a character that just turned to villainy. They start killing people. Why? When you come up with a good, solid, reasonable answer (one that doesn't involve mental diseases like insanity), then you'll have a good start to your villain's history.
Next is Sinistry, the essence of a villain. Face it, would the super-powered being bent on world domination skip up to you and say "Hello there, my friendly companion! Fancy a bit of caviar?" NO. However, there are kind villains; characters so refined and good-mannered, you'd never expect them to be villains.
Let's look at one of my favorite villains, Yami Malik (from Yu-Gi-Oh!), for an example of a sinister villain. If you go on YouTube or Google, you can tell how sinister this villain is just by looking at his facial expressions. The eyes, eyebrows, veins popping out, all the muscles contracting toward the center of his face, how he doesn't have any pupils (which is symbolic, meaning that darkness is all he sees)... His facial expressions alone make him the most sinister villain I've ever seen.
As you can guess, there are many types of villains, and with each comes a type of sinistry. There are three parts to a sinister villain: facial expressions, dialogue, and body language. Sinister expressions should look calm, relaxed, and confident. They should convey a look that says "Everything's going according to plan. Only a miracle could stop me!" Most of a sinister villain's dialogue should sound royal and a little sarcastic, as if treating everyone either like a guest or like scum. Basically, it should sound as if they're acting everywhere they go, but for the really sinister villains, never make them lie. Ever.
And finally, body language. A sinister villain should move as if (s)he is in a play. They feel like their whole plan is so foolproof, they can have fun while carrying it out. The world is their stage, and (s)he is the playwright. . The arms should move a lot, in dramatic poses. Kuja (FF9) and Xemnas (KH2) do this, and so does Yami Malik.
One more thing; get this. You may or may not have seen any, but there is a villain type in which the main villain regrets everything they do. They're not being controlled or blackmailed, but what makes them a villain is that they still do what they do, for they feel they have to. A good example would be the King of Sorrow, from Klonoa 2. Villains like these have their own form of sinistry.
First off, their body language. They don't have any. They prefer to keep still, and move only when they have to. They usually look sad, or even emotionless, but can sometimes be angry (if they're about to cry at least). They should speak very formally, almost business-like, and should not be too quiet. As if trying to fight back their feelings and make normal conversation. If they do get angry, lower their voices as well as their eyelids.
Let's look at one of my favorite villains, Yami Malik (from Yu-Gi-Oh!), for an example of a sinister villain. If you go on YouTube or Google, you can tell how sinister this villain is just by looking at his facial expressions. The eyes, eyebrows, veins popping out, all the muscles contracting toward the center of his face, how he doesn't have any pupils (which is symbolic, meaning that darkness is all he sees)... His facial expressions alone make him the most sinister villain I've ever seen.
As you can guess, there are many types of villains, and with each comes a type of sinistry. There are three parts to a sinister villain: facial expressions, dialogue, and body language. Sinister expressions should look calm, relaxed, and confident. They should convey a look that says "Everything's going according to plan. Only a miracle could stop me!" Most of a sinister villain's dialogue should sound royal and a little sarcastic, as if treating everyone either like a guest or like scum. Basically, it should sound as if they're acting everywhere they go, but for the really sinister villains, never make them lie. Ever.
And finally, body language. A sinister villain should move as if (s)he is in a play. They feel like their whole plan is so foolproof, they can have fun while carrying it out. The world is their stage, and (s)he is the playwright. . The arms should move a lot, in dramatic poses. Kuja (FF9) and Xemnas (KH2) do this, and so does Yami Malik.
One more thing; get this. You may or may not have seen any, but there is a villain type in which the main villain regrets everything they do. They're not being controlled or blackmailed, but what makes them a villain is that they still do what they do, for they feel they have to. A good example would be the King of Sorrow, from Klonoa 2. Villains like these have their own form of sinistry.
First off, their body language. They don't have any. They prefer to keep still, and move only when they have to. They usually look sad, or even emotionless, but can sometimes be angry (if they're about to cry at least). They should speak very formally, almost business-like, and should not be too quiet. As if trying to fight back their feelings and make normal conversation. If they do get angry, lower their voices as well as their eyelids.
Many popular villains are Aesthetic, or have detailed beauty. Though villains don't always have to be mega-hot in order to be cool, it works as bait, as well as captures the audience's attention. Characters considered "super-sexy" are tagged with the term "bishie".
"Bishie" is a slang term, short for the Japanese words "bishounen" and "bishoujo", both meaning "beautiful youth". "Bishie" characters can easily be described as "elegant" and "romantic". Bishie characters are tall and usually have long hair. Depending on gender, bishie eyes differ. Bishounen (males) have short, narrow eyes that are very long and deep. Bishoujo (females) have large eyes that are very shiny. Bishie eyes should always look somewhat sad, but bishounen eyes should also look confident and bishoujo eyes should also look full of happiness. But remember to keep that faint sadness in there. Also note, that for very young bishounen (15 or less), the eyes should be somewhat larger.
The "bishie" personalities are somewhat complex (then again, all personalities should be). Bishoujo are very kind (in most cases), and dress in extremely detailed fabrics. Bishounen wear very detailed costumes as well, and have a lean-back posture. All bishie characters should sound and act like royalty (but not be snobbish or spoiled or anything); they should speak very eloquently. Please know that "bishie" characters do not have to have high ranking, but they do have to be mature.
Now to apply "bishie-ness" to villains. Bishounen villains can easily be crafted using the "sinistry" rules previously explained. Bishoujo villains are definitely not a cliche, as they are extremely rare. Only a handful of villainesses could be considered bishoujo, and the ones that are usually end up turning to the good side at some point. Belleza (Skies of Arcadia) and Beatrix (FF9) are good examples.
On a final note, please know that just because a character looks "bishie", doesn't mean they are. A lot of people think that Serena (Sailor Moon) or Excel (Excel Saga) are bishoujo, but they're not; they're crazy. Personality is just as important an element as looks, even if they contrast. Be sure to stay serious.
"Bishie" is a slang term, short for the Japanese words "bishounen" and "bishoujo", both meaning "beautiful youth". "Bishie" characters can easily be described as "elegant" and "romantic". Bishie characters are tall and usually have long hair. Depending on gender, bishie eyes differ. Bishounen (males) have short, narrow eyes that are very long and deep. Bishoujo (females) have large eyes that are very shiny. Bishie eyes should always look somewhat sad, but bishounen eyes should also look confident and bishoujo eyes should also look full of happiness. But remember to keep that faint sadness in there. Also note, that for very young bishounen (15 or less), the eyes should be somewhat larger.
The "bishie" personalities are somewhat complex (then again, all personalities should be). Bishoujo are very kind (in most cases), and dress in extremely detailed fabrics. Bishounen wear very detailed costumes as well, and have a lean-back posture. All bishie characters should sound and act like royalty (but not be snobbish or spoiled or anything); they should speak very eloquently. Please know that "bishie" characters do not have to have high ranking, but they do have to be mature.
Now to apply "bishie-ness" to villains. Bishounen villains can easily be crafted using the "sinistry" rules previously explained. Bishoujo villains are definitely not a cliche, as they are extremely rare. Only a handful of villainesses could be considered bishoujo, and the ones that are usually end up turning to the good side at some point. Belleza (Skies of Arcadia) and Beatrix (FF9) are good examples.
On a final note, please know that just because a character looks "bishie", doesn't mean they are. A lot of people think that Serena (Sailor Moon) or Excel (Excel Saga) are bishoujo, but they're not; they're crazy. Personality is just as important an element as looks, even if they contrast. Be sure to stay serious.
And finally, the best villains have astronomical Power. Somehow, some way, the final boss just happens to be the most powerful human being in history (provided it's human). That's a well-known and accepted cliche, but it's not always used. Sometimes, the final boss uses a giant robot or something to fight. *cough*Liquid Snake!*cough*
The point is, the villains have to possess some form of great power, else there's no threat. What else could they use to accomplish their goals and destroy their obstacles?
A lot of people might tell you that making your Final Boss too strong is a bad idea. Don't listen to them. The stronger the Final Boss, the more intensity erupts from the battle's level of action as the heroes use all of their skills and strengths in a desperate struggle to emerge victorious. The final battle should always be the most exhilarating part of a story.
But power can come with more than just fighting ability (strength, skill, magic, etc.). It could also be intelligence or economic power. Remember that.
And then there's that tidbit of how the villain actually uses that power. Depending on the story, they may do a variety of things ranging from killing high-powered officials to enslaving the universe. During the story, you should make an example of only about a third of their power. At the end, set it all loose! (But be sure to foreshadow this great power with vague understatements, else the audience will wonder where this power came from.)
Sub-villains and Co-villains (that the hero fights) must also be extremely powerful, but not even come close to the Final Boss. A good way to do this is to separate their fighting styles, techniques, and abilities. But be sure to always give the best stuff to the Final Boss.
One final note on this topic. You must remember to connect the powers of the hero and villain. For example, would a 3-year-old retard be able to defeat a pro wrestler? Be serious. You have to balance the powers of the rivals so defeating the villain isn't entirely impossible. If, in your story, the villain is striving to obtain much greater power, let them do so shortly before the final battle.
The point is, the villains have to possess some form of great power, else there's no threat. What else could they use to accomplish their goals and destroy their obstacles?
A lot of people might tell you that making your Final Boss too strong is a bad idea. Don't listen to them. The stronger the Final Boss, the more intensity erupts from the battle's level of action as the heroes use all of their skills and strengths in a desperate struggle to emerge victorious. The final battle should always be the most exhilarating part of a story.
But power can come with more than just fighting ability (strength, skill, magic, etc.). It could also be intelligence or economic power. Remember that.
And then there's that tidbit of how the villain actually uses that power. Depending on the story, they may do a variety of things ranging from killing high-powered officials to enslaving the universe. During the story, you should make an example of only about a third of their power. At the end, set it all loose! (But be sure to foreshadow this great power with vague understatements, else the audience will wonder where this power came from.)
Sub-villains and Co-villains (that the hero fights) must also be extremely powerful, but not even come close to the Final Boss. A good way to do this is to separate their fighting styles, techniques, and abilities. But be sure to always give the best stuff to the Final Boss.
One final note on this topic. You must remember to connect the powers of the hero and villain. For example, would a 3-year-old retard be able to defeat a pro wrestler? Be serious. You have to balance the powers of the rivals so defeating the villain isn't entirely impossible. If, in your story, the villain is striving to obtain much greater power, let them do so shortly before the final battle.
The most popular personality type is Refined. You'd think I already explained the refined personality in the Aestheticism topic. But "bishie" is actually a combination of both "refined" and "kind". When each is separate, they can be pretty different.
"Refined" is a way to describe how "royal" someone acts. They move and speak very eloquently, even if they're a snobbish or spoiled character. They speak mannerly, though they are faking it, and have a strongly noticeable sarcastic tone. A refined character would say something like, "I see. In that case, you must be destroyed", with a smirk on their face.
Remember that refined villains do not always have to be royalty or of high-class.
"Refined" is a way to describe how "royal" someone acts. They move and speak very eloquently, even if they're a snobbish or spoiled character. They speak mannerly, though they are faking it, and have a strongly noticeable sarcastic tone. A refined character would say something like, "I see. In that case, you must be destroyed", with a smirk on their face.
Remember that refined villains do not always have to be royalty or of high-class.
If there's one personality type I know, it's Angry. Depending on what comes first, the personality or the history, angry villains always have an intense, unlimited disposition for the world and everything in it. They realize the majority of the world's people do not deserve to live, and take it upon themselves to correct this flaw in the universe.
However, there are two types of anger: Sole Anger and Sad Anger. Sole anger, or anger by itself, is not an intelligent choice for it can only exist if the villain has some form of mental disease (which, as I stated before, is not a good idea). Destruction caused by Sole Anger is senseless destruction. The number one rule of any story is that EVERYTHING has to have a reason.
If a (good) villain has unparalleled anger, it is caused by unimaginable sorrow. Confused? When bad things happen to us, do we fill with anger? Not really. We fill with pain, sorrow, despair, and torment. Sorrow is a weak, scared little child, and when hurt, Anger, like an older sibling, hides Sorrow and destroys whatever it was that caused Sorrow grief. Remember, the greater the sorrow, the greater the anger. Never have an unequal balance of the two.
Everyone knows that when a character's angry, their eyebrows bend into a wide V-shape. But when a serious villain really becomes angry, there are a few noticeable features. For starters, NEVER use this (http://i165.photobucket.com/albums/u74/Sephiroth7734/Anger.jpg[/IMG]) on a villain you want to be taken seriously.
When a character is truly angry, the muscles in their face compress toward the center (which is located directly between the eyes). This makes the entire area between their eyebrows and cheeks indent, hiding them in shadow. Wrinkles may appear in the center and around the eyes, but nowhere else, or they'll look old. Veins pop out around the forehead and corners of the cheeks, but only when the villain has reached maximum anger.
Hatred is the weapon Anger uses to protect Sorrow. When that Hatred and Anger are defeated, the sorrow is released. This is why the better villains cry when defeat (or death) is near.
One final note. Most people think we swear "uncontrollably" when angry. Even if that were true (which it's not), never let your best villains curse, swear, cuss, etc. If you don't, the audience will detect a hint more purity and will sympathize with them even more.
However, there are two types of anger: Sole Anger and Sad Anger. Sole anger, or anger by itself, is not an intelligent choice for it can only exist if the villain has some form of mental disease (which, as I stated before, is not a good idea). Destruction caused by Sole Anger is senseless destruction. The number one rule of any story is that EVERYTHING has to have a reason.
If a (good) villain has unparalleled anger, it is caused by unimaginable sorrow. Confused? When bad things happen to us, do we fill with anger? Not really. We fill with pain, sorrow, despair, and torment. Sorrow is a weak, scared little child, and when hurt, Anger, like an older sibling, hides Sorrow and destroys whatever it was that caused Sorrow grief. Remember, the greater the sorrow, the greater the anger. Never have an unequal balance of the two.
Everyone knows that when a character's angry, their eyebrows bend into a wide V-shape. But when a serious villain really becomes angry, there are a few noticeable features. For starters, NEVER use this (http://i165.photobucket.com/albums/u74/Sephiroth7734/Anger.jpg[/IMG]) on a villain you want to be taken seriously.
When a character is truly angry, the muscles in their face compress toward the center (which is located directly between the eyes). This makes the entire area between their eyebrows and cheeks indent, hiding them in shadow. Wrinkles may appear in the center and around the eyes, but nowhere else, or they'll look old. Veins pop out around the forehead and corners of the cheeks, but only when the villain has reached maximum anger.
Hatred is the weapon Anger uses to protect Sorrow. When that Hatred and Anger are defeated, the sorrow is released. This is why the better villains cry when defeat (or death) is near.
One final note. Most people think we swear "uncontrollably" when angry. Even if that were true (which it's not), never let your best villains curse, swear, cuss, etc. If you don't, the audience will detect a hint more purity and will sympathize with them even more.
Next comes the Kind villains. This is a very confusing villain type; it's really difficult to explain. Let's just use one of my own villains for an example. (His name will kept secret.)
Basically, he is a villain, but (like all good villains should) he doesn't think so. He thinks he's the world's savior, and he's very cheerful. All the time. Even if something bad happens, he hides his feelings with a smile. Is that because he doesn't care? Is it the fake smile that "refined" villains use? No. He smiles because he doesn't want to worry any of his loved ones. He CARES.
So what exactly makes him a villain? His ACTIONS. He has a goal and he has a purpose. He wants to do something drastic with the belief that it will help the world a great deal. How far is he willing to go? What horrible things will he do?
What if you wanted a better world, and the only way to achieve that is to do something so malignant and sinful that it will scar you and your loved ones for eternity? Are you kind enough? Or are you evil enough? I think I've made my point.
Basically, he is a villain, but (like all good villains should) he doesn't think so. He thinks he's the world's savior, and he's very cheerful. All the time. Even if something bad happens, he hides his feelings with a smile. Is that because he doesn't care? Is it the fake smile that "refined" villains use? No. He smiles because he doesn't want to worry any of his loved ones. He CARES.
So what exactly makes him a villain? His ACTIONS. He has a goal and he has a purpose. He wants to do something drastic with the belief that it will help the world a great deal. How far is he willing to go? What horrible things will he do?
What if you wanted a better world, and the only way to achieve that is to do something so malignant and sinful that it will scar you and your loved ones for eternity? Are you kind enough? Or are you evil enough? I think I've made my point.
There are also Emotionless characters. A lot of characters, including villains, use this personality type. Know why? No, it's not because their creators couldn't give them a good personality (though that may sometimes be the case).
Well, you're probably thinking, "What the heck?! This guy's gone on and on about how villains should have feelings, and now he's saying that some shouldn't?!" You're HALF-right. The best villains have deep feelings, but there are good reasons some of them LOSE those feelings.
There are two possible reasons. One is that the character has experienced such horrible tragedies, that their mind psychologically removes their emotions to prevent mental damage. This can be done both on its own or even on purpose. The other is that the character simply chooses not to show those feelings. Remember, most (good) villains don't want to do the things they do, so they hide their feelings (which includes their guilt) to both drive any possible relationships that could interfere away, and to instill confidence in themselves.
If the villain' is a high-ranking official, being emotionless makes them seem intelligent and prepared. Remember, since they are emotionless, they cannot smile, cry, or become angry. They always have a blank expression. That is, until defeat.
Well, you're probably thinking, "What the heck?! This guy's gone on and on about how villains should have feelings, and now he's saying that some shouldn't?!" You're HALF-right. The best villains have deep feelings, but there are good reasons some of them LOSE those feelings.
There are two possible reasons. One is that the character has experienced such horrible tragedies, that their mind psychologically removes their emotions to prevent mental damage. This can be done both on its own or even on purpose. The other is that the character simply chooses not to show those feelings. Remember, most (good) villains don't want to do the things they do, so they hide their feelings (which includes their guilt) to both drive any possible relationships that could interfere away, and to instill confidence in themselves.
If the villain' is a high-ranking official, being emotionless makes them seem intelligent and prepared. Remember, since they are emotionless, they cannot smile, cry, or become angry. They always have a blank expression. That is, until defeat.
Then there are the famous Psychotic villains. Unfortunately, not all (good) villains regret the things they do. Some ENJOY it. Many villains embrace their newfound darkness and lust for more. This is the only personality type that can truly coin its villains with the term "evil". The best examples are Yami Malik and Kefka (FF6).
It's important to know that no one is born evil. As stated before, something awful had to happen to them sometime during their life that caused them to turn that way. Characters that truly turn "evil", usually don't convert back.
And about the laughing bit of a villain. Any villain can laugh a little or a lot, so long as the laugh suits them. But high-pitched cackling is reserved for the "psychotic" villains usually the ones meant to provide some form of humor. "Evil" or "psychotic" villains almost always have an ear-to-ear grin on their face.
It's important to know that no one is born evil. As stated before, something awful had to happen to them sometime during their life that caused them to turn that way. Characters that truly turn "evil", usually don't convert back.
And about the laughing bit of a villain. Any villain can laugh a little or a lot, so long as the laugh suits them. But high-pitched cackling is reserved for the "psychotic" villains usually the ones meant to provide some form of humor. "Evil" or "psychotic" villains almost always have an ear-to-ear grin on their face.
Another extremely popular villain personality is to be Loyal to another character. Most villains fight for their own goals. Some fight for their loved ones. These loved ones could be friends, family, one true loves, or role models. "Loyal" is a personality type because it changes depending on their loved one's condition. If they're hurt, they become angry, etc.
Fighting for one's own family is sensible, and shouldn't need an explanation. Who wouldn't fight to protect their family? Like Walter Sullivan (Silent Hill 4) for instance, who only wanted to be reunited with his mother.
Fighting for friends isn't as powerful as the other reasons. It's powerful if the heroes fight for each other, but not so much for the villains. Good examples are Fujin and Raijin, who only wanted to be with their friend, Seifer (all from FF8).
Fighting for your one true love is probably the best reason to turn to villainy. When you're truly in love, nothing else matters. No one is more important, not even yourself. Usually, villains fight for their love because they're sick, dying, or already dead. And finally, fighting for a role model. You might think this is the least common reason. Actually, it's the most common. And in some cases, it's also the most emotional. When a villain has a role model, they respect that person SO MUCH, they would lay down their life for them.
The perfect example of a loyal villain, who happens to be my second fave, is Ramirez, from Skies of Arcadia. Ramirez respected Lord Galcian so much, that Galcian had naught but say the word, and Ramirez would sacrifice himself, without hesitation. When Galcian was killed, Ramirez collapsed to his hands and knees, crying, screaming, and punching the floor. Ramirez swore to destroy the entire planet to avenge his fallen master.
Fighting for one's own family is sensible, and shouldn't need an explanation. Who wouldn't fight to protect their family? Like Walter Sullivan (Silent Hill 4) for instance, who only wanted to be reunited with his mother.
Fighting for friends isn't as powerful as the other reasons. It's powerful if the heroes fight for each other, but not so much for the villains. Good examples are Fujin and Raijin, who only wanted to be with their friend, Seifer (all from FF8).
Fighting for your one true love is probably the best reason to turn to villainy. When you're truly in love, nothing else matters. No one is more important, not even yourself. Usually, villains fight for their love because they're sick, dying, or already dead. And finally, fighting for a role model. You might think this is the least common reason. Actually, it's the most common. And in some cases, it's also the most emotional. When a villain has a role model, they respect that person SO MUCH, they would lay down their life for them.
The perfect example of a loyal villain, who happens to be my second fave, is Ramirez, from Skies of Arcadia. Ramirez respected Lord Galcian so much, that Galcian had naught but say the word, and Ramirez would sacrifice himself, without hesitation. When Galcian was killed, Ramirez collapsed to his hands and knees, crying, screaming, and punching the floor. Ramirez swore to destroy the entire planet to avenge his fallen master.
And finally, the Sinister villains. Although sinistry is an important element in any villain, Sinister is listed in this chapter because sinistry can exist alone. A villain can be sinister, and not have to use any of the aforementioned personality types.
The most important villain in the story is the Main Villain. It's extremely difficult to determine who, exactly, the main villain of a story is, unless there's only one important one. For example, many people think that Edea is the main villain of Final Fantasy VIII, but she's not. It's important to know that the main villain does NOT necessarily have to be the Final Boss or the one behind the story's plot.
Usually, the main villain is the cause of most of the main character's grief. The main villain also does not convert to the good side (if they do) until AFTER their defeat, even if it's only for a short while before their death.
It's also important to remember that, out of all the villains in the story, the main villain should have the most grievious past. Although, when certain stories come to mind, if the main villain is one of those "pure evil" types with no actual reason or purpose, then any other characters that could be considered the main villain should either die or turn good halfway through the story, so as not to create confusion.
Usually, the main villain is the cause of most of the main character's grief. The main villain also does not convert to the good side (if they do) until AFTER their defeat, even if it's only for a short while before their death.
It's also important to remember that, out of all the villains in the story, the main villain should have the most grievious past. Although, when certain stories come to mind, if the main villain is one of those "pure evil" types with no actual reason or purpose, then any other characters that could be considered the main villain should either die or turn good halfway through the story, so as not to create confusion.
The "Plotmaster" is the character who's got the BIG MASTER PLAN. In some ways, the Plotmaster is even more important than the main villain, because without a Plotmaster, there's no story.
In most cases, the Plotmaster IS the main villain. In others, the main villain works for the plotmaster, or vice versa. Sometimes, they never even meet each other. If a story has villains, it CANNOT exist without both a main villain and a plotmaster, even if they're the same person.
For example, in Final Fantasy VII, Sephiroth was the main villain, but Hojo was the plotmaster. In Final Fantasy VIII, Ultimecia is both the main villain AND the plotmaster.
In most cases, the Plotmaster IS the main villain. In others, the main villain works for the plotmaster, or vice versa. Sometimes, they never even meet each other. If a story has villains, it CANNOT exist without both a main villain and a plotmaster, even if they're the same person.
For example, in Final Fantasy VII, Sephiroth was the main villain, but Hojo was the plotmaster. In Final Fantasy VIII, Ultimecia is both the main villain AND the plotmaster.
Co-Villains are optional, but great to have. The Co-Villains have an air about them that make the audience THINK they're the main villain or Final Boss. However, a co-villain can NEVER be either of these.
Though "co-villain" is a sole villain type, that doesn't mean they don't have any importance to the story. Characters like childhood rivals (like Seifer) are, most of the time, co-villains. In most cases, co-villains may even be the cause of most of the main character's grief.
In short, Co-Villains have any important roles in the story that the main villain, plotmaster, and final boss do not.
Though "co-villain" is a sole villain type, that doesn't mean they don't have any importance to the story. Characters like childhood rivals (like Seifer) are, most of the time, co-villains. In most cases, co-villains may even be the cause of most of the main character's grief.
In short, Co-Villains have any important roles in the story that the main villain, plotmaster, and final boss do not.
Sub-Villains are the most plentiful form of villain. They are the story's minor, unessential villains. They CAN have important roles in the story, but their actions aren't anything the major villains can't do. They're usually all talk, or provide forms of anti-monotony.
Sub-villains don't NEED good stuff like Background or Aestheticism, but it really helps. The more characters you have that are fully developed, the better. A good example of a fully developed sub-villain would be Psycho Mantis (Metal Gear Solid). Personally, I try to make every one of my characters important in some way, because that's just how the world works. We are all connected.
"Sub-Villain" may even be the term given to all the random enemies the hero fights. They ARE technically villains, but they have no real importance to the story.
Sub-villains don't NEED good stuff like Background or Aestheticism, but it really helps. The more characters you have that are fully developed, the better. A good example of a fully developed sub-villain would be Psycho Mantis (Metal Gear Solid). Personally, I try to make every one of my characters important in some way, because that's just how the world works. We are all connected.
"Sub-Villain" may even be the term given to all the random enemies the hero fights. They ARE technically villains, but they have no real importance to the story.
The last character the hero fights in order to save the day is officially referred to as the Final Boss. It's usually the main villain, but it's often the plotmaster as well. In very rare cases, the Final Boss can even be a Sub-Villain. The Final Boss is never a Co-Villain.
Remember those famous lines? Taking over the world has always been the most common goal for most of the world's villains. Usually, they do so because they feel the world isn't living up to its, or their, standards. If the world lived under one rule, there'd be no more war. Ironically enough, this is also the goal of the government, which many people find corrupt. See where I'm going with this tutorial?Pinky and Brain":2km32mkc said:
Practically tied with "Take over the World", Destroying the World is also an extremely common goal for villains. This goal is sought by the characters that "realize" how corrupt the world and its people are, and that they cannot be saved. In many cases, characters want to destroy the world because they RESPECT it, and can't stand to see it suffer.
NEVER make a villain want to destroy the world because something bad happened to them. That "something bad" should lead to realization, which should be their real reason.
NEVER make a villain want to destroy the world because something bad happened to them. That "something bad" should lead to realization, which should be their real reason.
Another popular goal for most (good) villains is the want to resurrect a loved one. 99% of the time, it's a lover. As stated before, why WOULDN'T a character want to revive their one true love? That requires no explanation. For example, Pegasus (Yu-Gi-Oh!) wanted to revive his fiancee.
Other than resurrecting another, sometimes spirits or incomplete beings seek ways to "Resurrect" themselves. This isn't a common goal, but it's used often. The goal technically means to return to a whole, complete, living state of being. Some characters may not actually be dead, but their goal is to become complete again. For example, the members of Organization XIII (KH2) lost their hearts, and they seek to re-obtain them. For the characters that ARE dead, their spirit usually finds a way to bring themselves back to life, and they strive to achieve it by whatever means necessary. Another example would be Ex-Death (FF5).
Another common goal is the search for Acknowledgement. Many villains feel insignificant and unimportant. They think their existence is meaningless and desperately need to be noticed. How far are they willing to go to prove themselves, and show the world that they're not entirely useless?
This goal is mainly used for sub-villains.
This goal is mainly used for sub-villains.
The villains that are just after Power don't have any particular goal. They just want to obtain as much power as possible so that no one opposes them. I know it's pretty dumb, but it exists, so it had to be listed.
The rarest reason of all is the want to defeat the Hero. Basically, it means the villain's goal is to defeat the main character in some way, whether it be in a contest, or to actually kill the person.
The most popular reason for any goal is Revenge. The lust for vengeance exists in almost everyone, not just villains (Though it's safe to assume that vengeful need is even greater in them). When someone does something horrible, of course we want to do something equally as horrible to them to teach them a lesson.
Another extremely popular reason is when the villains want to... Save the World? Believe it or not, this is almost the most common motive for (good) villains' actions. They believe the succession of their goals will make the world a better place. So what makes them a villain? As said before, though their ultimate goal may seem admirable, the actions they take are not.
Though an extremely dumb reason, Prejudice is extremely common. Mostly, it's prejudice against humans or a certain class of humans. If it's a fantasy or sci-fi story, it could also be prejudice toward fictional races, like elves or vampires.
If you're not sure what prejudice is, it's when you say something like "Your kind are all the same...". It's instantly putting a negative stereotype on a particular class. A good example of prejudice would be to say that all villains are evil. (which is obviously false)
If you're not sure what prejudice is, it's when you say something like "Your kind are all the same...". It's instantly putting a negative stereotype on a particular class. A good example of prejudice would be to say that all villains are evil. (which is obviously false)
The Power of Love is the greatest in the universe. It can overcome any obstacle, even death. When you truly love someone, nothing and no one else matters. You'd sacrifice yourself in a heartbeat to save them.
Now, imagine what you'd do if something happened to that certain someone. You'd do everything in your power to help them. And when I say everything, I also mean ANYTHING.
Now, imagine what you'd do if something happened to that certain someone. You'd do everything in your power to help them. And when I say everything, I also mean ANYTHING.
Apart from true love, there are Loyal villains who fight for the well-beings of others. Whether it be family, friend, or role model, you'd have to care about someone VERY much to go to such extremes to help them.
A rare, yet common reason is their Obsession with the Unknown. This is usually the motive for most scientist-villains. The goal of all scientists is to discover new knowledge and share it with the world. But sometimes, they go too far. So far as to create something that could change the world for the worse. (Usually, it's a virus that zombifies people) They become obsessed with their new discovery, and urge themselves to test it.
And finally, the villains that are just plain Power-Crazy. When you use secret codes to get the ultimate weapon, infinite health, etc., and you completely own every enemy in the game, you get this wonderful, sadistic feeling. The feeling of power.
This is actually a horrible motive for villainy, but many stereotyped villains use it, so it had to be listed.
This is actually a horrible motive for villainy, but many stereotyped villains use it, so it had to be listed.
I shouldn't even have to tell you that Murder is the number one sin villains commit. Whether they kill patrolling guards, townsfolk, or even main characters, the greatest crime is the most common.
In today's society, murder doesn't seem like such a big deal anymore. Thousands of people die everyday, and no one can prevent it, so why should we care? Well, imagine if YOU were one of those people.
Just like that, you're dead. Any dreams you had, you'll never achieve. Your friends and family will grieve and mourn over your death, because they'll never see you again. All of your things will be sold, and some complete stranger will move into your house. And the worst part, is that there will NEVER be ANYTHING you can do about ANY of that.
Now, imagine that same scenario happening to thousands of people in one day.
Murder is also very difficult to do the first time. The thought of bringing a scenario like that upon another living being is sickening. For someone to do something like that, they'd better have some darned good motives.
Also note that not all villains commit murder, and that it's a great effect if a character the audience has come to love gets killed.
In today's society, murder doesn't seem like such a big deal anymore. Thousands of people die everyday, and no one can prevent it, so why should we care? Well, imagine if YOU were one of those people.
Just like that, you're dead. Any dreams you had, you'll never achieve. Your friends and family will grieve and mourn over your death, because they'll never see you again. All of your things will be sold, and some complete stranger will move into your house. And the worst part, is that there will NEVER be ANYTHING you can do about ANY of that.
Now, imagine that same scenario happening to thousands of people in one day.
Murder is also very difficult to do the first time. The thought of bringing a scenario like that upon another living being is sickening. For someone to do something like that, they'd better have some darned good motives.
Also note that not all villains commit murder, and that it's a great effect if a character the audience has come to love gets killed.
Although Destruction is obviously more common than murder, it's not as emotionally powerful. When a city is destroyed, it can be rebuilt, but a living being cannot. However, the thought of having your home destroyed, let alone the homes of thousands, is almost just as powerful.
Usually, the minimum for destruction is an entire town. But destruction levels can stretch all the way up to entire planets being destroyed and them some. It's also a nice effect if that planet is slowly destroyed, with volcanoes erupting, the earth rotting, etc.
Usually, the minimum for destruction is an entire town. But destruction levels can stretch all the way up to entire planets being destroyed and them some. It's also a nice effect if that planet is slowly destroyed, with volcanoes erupting, the earth rotting, etc.
A great feat that few villains actually achieve is Enslavement. If you were in charge of the world, everything would be perfect, right? No more crime, no more sin, right? Nope. People would rebel, of course. But would the villains give up there? Of course not; they'd take it to the next level.
If you can't command them, you must force them. If you can take away their freedom, you take away their ability to do ANYTHING wrong. If one flips out, they can be punished easily. Once you have their cooperation, you order them to cleanse the world of pollution, save the animals, fix up the towns, etc. Though your motives are clearly good intentions, this is called enslavement, and is immediately assumed to be evil.
The ability of global enslavement is usually obtained by gaining an immense amount of power. Whether its magical, physical, or economical, people will not fear or obey anyone they know they can fight.
If you can't command them, you must force them. If you can take away their freedom, you take away their ability to do ANYTHING wrong. If one flips out, they can be punished easily. Once you have their cooperation, you order them to cleanse the world of pollution, save the animals, fix up the towns, etc. Though your motives are clearly good intentions, this is called enslavement, and is immediately assumed to be evil.
The ability of global enslavement is usually obtained by gaining an immense amount of power. Whether its magical, physical, or economical, people will not fear or obey anyone they know they can fight.
Next is kidnapping. Ah, kidnapping... It has existed since myths, legends, and stories were first told. In most cases, the kidnapped victim is female, and is most often some form of royalty held hostage and ransomed for the local kingdom. In other cases, the victim is mostly a small child (both boy or girl).
If you've never been kidnapped, be thankful. Picture this scenario: You're walking down the street, minding your own business. All of a sudden, somebody throws a damp cloth over your mouth from behind, and you fall unconscious. When you awaken, everything is quiet, and you've been gagged so you can't scream for help.
For hours you lie in darkness, desperately trying to break free, trying to figure out where you are. A crate at the bottom of the ocean? The trunk of a car about to be blown up? While thinking of these horrifying things, you hear the sound of a door creaking open. Your heart stops. You hear the loud sound of footsteps drawing nearer. Obviously, it's your kidnapper.
He does the following to you. First, he beats you senseless. Either he knows you and he has a grudge against you, or he just wants you to fear him even more than you already do. Next, he rapes you in any and every way possible. He repeats this process for days, until finally, you die of starvation... alone, terrified, and in pain...
The very idea of being kidnapped is considered an even worse fate than death. It doesn't always happen like it does in the above scenario, but believe it or not, it happens everyday.
What on Earth would drive someone to do something like this? An easier way to answer this question is to ask, what would be a good reason for YOU to do this? Remember, everything must have a reason.
If you've never been kidnapped, be thankful. Picture this scenario: You're walking down the street, minding your own business. All of a sudden, somebody throws a damp cloth over your mouth from behind, and you fall unconscious. When you awaken, everything is quiet, and you've been gagged so you can't scream for help.
For hours you lie in darkness, desperately trying to break free, trying to figure out where you are. A crate at the bottom of the ocean? The trunk of a car about to be blown up? While thinking of these horrifying things, you hear the sound of a door creaking open. Your heart stops. You hear the loud sound of footsteps drawing nearer. Obviously, it's your kidnapper.
He does the following to you. First, he beats you senseless. Either he knows you and he has a grudge against you, or he just wants you to fear him even more than you already do. Next, he rapes you in any and every way possible. He repeats this process for days, until finally, you die of starvation... alone, terrified, and in pain...
The very idea of being kidnapped is considered an even worse fate than death. It doesn't always happen like it does in the above scenario, but believe it or not, it happens everyday.
What on Earth would drive someone to do something like this? An easier way to answer this question is to ask, what would be a good reason for YOU to do this? Remember, everything must have a reason.
Next is the least common sin. A crime that most main villains never even bother committing: Thievery. Thieves and bandits have existed since the beginning of crime. Imagine coming home and finding all of your belongings missing, never to see them again. Your furniture, your computer, your games, your TV, everything. Taken by a complete stranger.
Thievery is used solely by sub-villains. It's nowhere near as big a deal as the others. I mean, think about it. What story has there ever been where the hero travels around the world, killing monsters and solving puzzles, just to slay a nine-year-old cookie-snatcher? It's ridiculous.
Thievery is used solely by sub-villains. It's nowhere near as big a deal as the others. I mean, think about it. What story has there ever been where the hero travels around the world, killing monsters and solving puzzles, just to slay a nine-year-old cookie-snatcher? It's ridiculous.
There's without doubt plenty of minor misdeeds a villain could do, like lying and cheating. But the best villains are good guys, remember? Make them fight fair. And whatever actions your villains perform, always remember the number one story rule: "Everything must have a reason".
From swords, to spears, to axes, no weapon is used more often than these. Characters, of either side, choose melee (close-range) weapons because they believe using long-range weapons is cheating, for using them doesn't require much discipline. Though simultaneously, there are skilled characters who choose to wield both, often at the same time.
Any character with these opinions, plus the intent to kill, will most likely use a bladed weapon (swords are most popular). Bladed weapons are the most efficient way to ensure the target is dead, because aim and accuracy are rarely required. Bladed weapons are convenient for annoying adversaries, because anyone cleaved in two is doomed to die, simple as that.
Any character with these opinions, plus the intent to kill, will most likely use a bladed weapon (swords are most popular). Bladed weapons are the most efficient way to ensure the target is dead, because aim and accuracy are rarely required. Bladed weapons are convenient for annoying adversaries, because anyone cleaved in two is doomed to die, simple as that.
As I've been saying throughout this entire tutorial, the best villains are good guys. Which means in some cases, they may not want to kill anyone, but will still be required to fight. If that's the case, they may use a non-bladed weapon, like a club. With this, they can put their enemies out of commission without committing murder.
Though there may be situations where the villain uses a non-bladed weapon specifically to kill. This is simply for safety measures, so that they don't accidentally kill anyone NOT on their list. For example, Walter Sullivan used pipes and bludgeons to kill his victims. But he was only after a specific 21 people, who needed to be killed in a certain order. Not once did he kill anyone NOT on his list.
Though there may be situations where the villain uses a non-bladed weapon specifically to kill. This is simply for safety measures, so that they don't accidentally kill anyone NOT on their list. For example, Walter Sullivan used pipes and bludgeons to kill his victims. But he was only after a specific 21 people, who needed to be killed in a certain order. Not once did he kill anyone NOT on his list.
Villains are people just like you and me, which means they can't always be experienced fighters. If their bodies are frail or average, and they can't use magic, they may use a Long-Range weapon, or a projectile weapon.
Using long-range weapons may not require a great deal of strength, speed, or even experience, but they do need a very high level of accuracy, which can be just as hard a skill to obtain as any other. I mean, how many pro baseball players do you know that never miss the ball?
Basically, there are two situations where long-range weapons are used: face-to-face and face-to-back, or confrontation and assassination. One's fair and the other isn't. If a gunman and swordsman fight face-to-face, it's fair because not only can the swordsman see where the gunman is aiming, but he's faster and can dodge easier. But if a gunman shoots someone when they're unaware of his presence, that's just plain cheating.
Now if you have a frail character who can't use melee weapons, it wouldn't make sense to give them that enormous vulcan cannon, would it? Not all gunmen are weak; some are HUGE. These kind of characters are usually egotistical about their size, and use guns to save their strength for "real fights".
And if you DO have a non-magic, frail character, and you don't want them to use a gun, there's always the options of bows, slings, and throwables like shuriken, kunai, and explosives.
Using long-range weapons may not require a great deal of strength, speed, or even experience, but they do need a very high level of accuracy, which can be just as hard a skill to obtain as any other. I mean, how many pro baseball players do you know that never miss the ball?
Basically, there are two situations where long-range weapons are used: face-to-face and face-to-back, or confrontation and assassination. One's fair and the other isn't. If a gunman and swordsman fight face-to-face, it's fair because not only can the swordsman see where the gunman is aiming, but he's faster and can dodge easier. But if a gunman shoots someone when they're unaware of his presence, that's just plain cheating.
Now if you have a frail character who can't use melee weapons, it wouldn't make sense to give them that enormous vulcan cannon, would it? Not all gunmen are weak; some are HUGE. These kind of characters are usually egotistical about their size, and use guns to save their strength for "real fights".
And if you DO have a non-magic, frail character, and you don't want them to use a gun, there's always the options of bows, slings, and throwables like shuriken, kunai, and explosives.
Many characters don't believe in using weapons. They believe that using a weapon not only hinders your movement, but also adds to you strength that isn't your own. They fight with the belief that the Human Body is the perfect weapon.
And I'm NOT talking about the kind of martial artists that can fly and shoot lightning from their fists. I'm talking about the real fighters who use the laws of physics to their advantage. Sometimes, creating a villain with no magic or weapons can be very interesting.
And I'm NOT talking about the kind of martial artists that can fly and shoot lightning from their fists. I'm talking about the real fighters who use the laws of physics to their advantage. Sometimes, creating a villain with no magic or weapons can be very interesting.
And finally, the largest weapon category of all: Magic. There are essentially two kinds of magic: Black & White. Of course, each can be split into deeper categories. White magic is basically healing magic, and can also be used to prevent injury as well. White Magic can never be used for evil. Black magic is used mainly for fighting, killing, or destroying, and primarily involves manipulating the elements to eliminate threats. Magic users are mostly frail, but since magic is a neutral ability, it can be used by any character. Magic is neither close-range nor long-range, and due to the difficulty of learning it, is not considered to be cheating.
In Japan, there are horoscopes based on your natural hair color, natural eye color, hair style, and blood type. Like the zodiacs, these traits are believed to determine your personality. They often carry over to fictional characters as well.
Afro- Showoff; very social.
Bald- Aged or religious.
Braided- Caring; makes big mistakes, carefree.
Curly- Naive; indecisive; youthful.
Frighted- Powerfully energetic with a touch of the supernatural.
Long Bangs- Secretive; shy.
Long; Straight- Traditional; focused.
Mohawk- Showoff; indecisive; anti-social.
Mullet- Very caring, but drastically anti-social; creative.
Parted Bangs- Concentrated.
Ponytail(s)- Cute, energetic, and a little ditzy.
Short- Conservative; military.
Short & Slick- Professional; conservative; proud.
Spiky- Energetic; youthful.
Wedged- Cool; futuristic.
Bald- Aged or religious.
Braided- Caring; makes big mistakes, carefree.
Curly- Naive; indecisive; youthful.
Frighted- Powerfully energetic with a touch of the supernatural.
Long Bangs- Secretive; shy.
Long; Straight- Traditional; focused.
Mohawk- Showoff; indecisive; anti-social.
Mullet- Very caring, but drastically anti-social; creative.
Parted Bangs- Concentrated.
Ponytail(s)- Cute, energetic, and a little ditzy.
Short- Conservative; military.
Short & Slick- Professional; conservative; proud.
Spiky- Energetic; youthful.
Wedged- Cool; futuristic.
Red/Orange- Energetic; good fighter; outspoken; stubborn; strong-willed.
Blonde- Stands out in a crowd; youthful; naive; ditzy.
White/Silver- Unnaturally powerful; magical; dignified.
Violet/Purple- Exotic; knowledgeable; secretive.
Green- Unpredictable; good-natured; outsider.
Brown or Black- Traditional; normal; easy to relate to.
Pink- Naive; innocent; bubbly; obnoxiously cute.
Blue- Youthful; energetic; cool; futuristic.
Blonde- Stands out in a crowd; youthful; naive; ditzy.
White/Silver- Unnaturally powerful; magical; dignified.
Violet/Purple- Exotic; knowledgeable; secretive.
Green- Unpredictable; good-natured; outsider.
Brown or Black- Traditional; normal; easy to relate to.
Pink- Naive; innocent; bubbly; obnoxiously cute.
Blue- Youthful; energetic; cool; futuristic.
Red/Albinic- Extremely smart; vengeful; decently good fighter.
Yellow/Amber or Pink- Very friendly and social; agile.
Green/Hazel- Born strong or fast, or was given power; insanely powerful.
Blue- Cool; mysterious. Either a deceptive stranger or a caring friend.
Lavender/Violet/Purple- Very shy and demure; looks out for friends.
Brown- Easy to relate to.
White/Gray/Silver- Dark; greedy; antisocial.
Black- Pure of heart; normal; unimportant.
Yellow/Amber or Pink- Very friendly and social; agile.
Green/Hazel- Born strong or fast, or was given power; insanely powerful.
Blue- Cool; mysterious. Either a deceptive stranger or a caring friend.
Lavender/Violet/Purple- Very shy and demure; looks out for friends.
Brown- Easy to relate to.
White/Gray/Silver- Dark; greedy; antisocial.
Black- Pure of heart; normal; unimportant.
A- Said to be cool, collected, sensible, methodical and intelligent, but hide their true feelings.
B- Inquisitive about the world, but has the attention span of a ferret, often abandoning projects they were once excited about. They frequently appear cheery and eager, but really want to be left alone.
AB- Believed to be very thoughtful and emotional, but are too critical of themselves and what they are capable of doing.
O- Tend to get along with everyone. They seem competent and capable, but often make big mistakes.
B- Inquisitive about the world, but has the attention span of a ferret, often abandoning projects they were once excited about. They frequently appear cheery and eager, but really want to be left alone.
AB- Believed to be very thoughtful and emotional, but are too critical of themselves and what they are capable of doing.
O- Tend to get along with everyone. They seem competent and capable, but often make big mistakes.
The most common style clothing, Casual, is surprisingly the least common for villains. Casual wear is anything you'd wear when at home, relaxing, exercising, etc. Villains aren't usually doing these things. Their goals are too important for relaxation and leisure.
Casual clothing mainly consists of T-shirts, tank tops, sweaters, sweatshirts, dress shirts, short tops, jeans, shorts, mini-shorts, skirts, mini-skirts, sweatpants, sneakers, tennershoes, sandals, and others.
Casual clothing mainly consists of T-shirts, tank tops, sweaters, sweatshirts, dress shirts, short tops, jeans, shorts, mini-shorts, skirts, mini-skirts, sweatpants, sneakers, tennershoes, sandals, and others.
They may even be seen in their occupational uniforms. Many villains remain in secrecy, carrying on their everyday lives when they're not progressing their plans. Most of these villains are scientists, but they can be a police officer or something. Amazingly, important scenes involving the villain happen mostly while they're working, which is why we'll see them wearing their uniforms most often.
Some occupations that involve uniforms are a police officer, lab scientist, fireman, doctor/nurse, restaurant worker, grocery store worker, janitor, any corporate businessman, etc.
Some occupations that involve uniforms are a police officer, lab scientist, fireman, doctor/nurse, restaurant worker, grocery store worker, janitor, any corporate businessman, etc.
Most villains wear a uniform that signifies them as a warrior. As previously mentioned, stories that have fighting usually have final battles. If you want to get the most out of that final battle, your villain will need to be skilled in some form of fighting. Often times, that form of fighting is what they do for a living, so you may or may not see them in their corresponding uniform.
Some occupations that involve fighting are soldier, navy seal, marine, samurai, ninja, pirate, knight, fencer, martial artist, etc.
Some occupations that involve fighting are soldier, navy seal, marine, samurai, ninja, pirate, knight, fencer, martial artist, etc.
Villains of Royalty, or of high status, will often wear expensive clothing to tell people who they are. Writing regal villains is pretty interesting. It's difficult to say whether they feel sorry for those less fortunate than them, or they don't have enough, despite what they already have. Royal villains usually aren't rebelled against, because not only are they already their ruler, but they have an army at their command.
Royalty consists of princes, princesses, kings, queens, jesters, chancellors, the chief and his/her children, the governor and his/her children, etc.
Royalty consists of princes, princesses, kings, queens, jesters, chancellors, the chief and his/her children, the governor and his/her children, etc.
Everything else goes in the Rogue category. Anything new or out-of-the-ordinary that becomes a sort of "trend" within a certain class of people. Rebels wear these types of clothes to tell the world they're different and unique, and that we don't have to dress the same way for all eternity. Characters that dress this way tend to be more popular, and aren't limited to specific personalities.
Roguewear commonly consists of fishnet stockings for arms, bondage, spiked bands, piercings, non-symmetrical clothing, any assortment of black leather, belts, chains, buckles, buttons, or zippers, etc.
Roguewear commonly consists of fishnet stockings for arms, bondage, spiked bands, piercings, non-symmetrical clothing, any assortment of black leather, belts, chains, buckles, buttons, or zippers, etc.
Here's something I HAVEN'T told you yet. So far, I've been teaching you two rules: "The best villains are good guys" and "Everything must have a reason". Well, there is another thing that's far more important than anything else. The absolute most important part of any story: the audience. Without an audience, it's as if the story doesn't even exist.
When making a villain, you need to keep your audience in mind. What kind of audience are you aiming for and what do they expect in a story? Of course, you can't be predictable, but at the same time, you can't make a villain your audience won't like.
So you must ask yourself, what emotion do I want my audience to feel when they think about my villain? To make a good villain, one must be able to make the audience feel one or more of four ways:
When making a villain, you need to keep your audience in mind. What kind of audience are you aiming for and what do they expect in a story? Of course, you can't be predictable, but at the same time, you can't make a villain your audience won't like.
So you must ask yourself, what emotion do I want my audience to feel when they think about my villain? To make a good villain, one must be able to make the audience feel one or more of four ways:
The best villains can make us feel sad when we think about their death. This is something I stated at the very beginning of the tutorial. The best villains are the ones we feel sorry for. Of course, they just wanted to do something good, and just as they're about to achieve their goal, they die. The art of the storytelling is entirely up to you, so I can't tell you how to make the audience feel sorry for your villains. But know this, there HAVE been cases where the death of a villain has made the audience cry, so it's not hopeless. Good luck in achieving this goal.
Very few villains have ever Scared the audience. The majority of these particular villains are usually the stars of horror movies. A great number of audiences like to be scared, so if you can create a villain that can traumatize someone, you'll be famous. It's easier to scare audiences with video game villains, because the player is experiencing the situations.
Of course, many villains are there for Comic relief; sometimes even the main villain, too. People like comedic villains because they're different, but also because people just like to laugh. A comedic villain, who isn't intentionally comedic, is great because he/she shows the audience that they, too, are normal people who make mistakes, just like everyone else.
Few people can honestly say they truly Hate a villain. You may hear people say they hate a villain because he/she was poorly written. But I'm talking about true, emotional hatred toward a villain who's done something horrible, like, oh, say, killing one of your favorite characters. If an event like that happens early in the story, and the audience can hold that grudge even until after the villain's defeat, you've succeeded.
This is the absolute hardest emotion to make the audience feel, because you're aiming to make the audience feel the same way toward the villain as the heroes do. If that's the case, you'll need to REALLY develop your hero's personalities as well. Sometimes, the personalities of other characters can help you or the audience learn to like the villain more.
This is the absolute hardest emotion to make the audience feel, because you're aiming to make the audience feel the same way toward the villain as the heroes do. If that's the case, you'll need to REALLY develop your hero's personalities as well. Sometimes, the personalities of other characters can help you or the audience learn to like the villain more.
In this tutorial, you learned three important rules: "The best villains are good guys", "Everything must have a reason", and "The audience must feel emotion". If you develop a villain based entirely on these rules, you'll have a cool, memorable villain that will be loved for years.
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