The Good Villain
An Analysis of “Bad Guys” in Media
From Darth Vader to Hannibal Lecter, the concept of a “bad guy” has been a cornerstone of storytelling throughout history. However, the question remains: what truly defines a “bad guy”? Is it their actions, their motivations, or something else entirely? Typically, stories, movies, and other forms of entertainment depict villains as wicked, immoral, or corrupt characters who oppose the hero or protagonist. Yet, we often find ourselves rooting for the “bad guys” despite our innate tendency to distinguish right from wrong. This phenomenon can be attributed to several factors such as the villain’s complexity or the appeal of their rebellious nature against authority. By examining these factors, we can gain a better understanding of why characters who typically go against our moral compass are so compelling, ultimately shedding light on the intricacies of human psychology and the way we relate to fictional narratives.
Richard Keen’s essay, Rooting for the Bad Guy: Psychological Perspectives, explores the psychological justifications for why audiences tend to deem a character as “bad” but still root for them. Keen argues that one of the most significant factors contributing to this phenomenon is the fundamental attribution error, where viewers associate the character’s negative behavior with their inherent character rather than situational factors. In the case of villains, this error may lead viewers to believe that the villain’s actions are a result of their inherent evil nature rather than the circumstances that led them to become a villain.
Keen further discusses the psychological reasons that explain audiences’ inclination to support the “bad guys.” For instance, the mere exposure effect suggests that people tend to prefer things that they are familiar with which can explain why viewers root for villains who are charismatic or have a strong screen presence, despite their morally reprehensible actions. Additionally, Keen discusses the psychological reactance which occurs when individuals feel that their autonomy is being threatened. When a story’s hero tries to exert control over the audience, it can lead to viewers feeling a sense of rebellion and siding with the villain who represents defiance against the authority figure.
Let’s delve into a well-known example of a beloved villain in the media: Maleficent, the antagonist in Sleeping Beauty. The original 1959 animated version depicts Maleficent as a one-dimensional evil fairy who cursed the young princess to eternal slumber. However, the 2014 live-action adaptation portrays Maleficent as a complex and multifaceted character with a backstory that explains her evil actions and motivations.
Maleficent’s relatable story of betrayal and heartbreak is one reason why audiences empathize with her. She was once a kind and gentle fairy, betrayed by the man she loved, King Stefan. When he sought to take over her peaceful kingdom, she defended her homeland against his forces, but ultimately lost. Her heart shattered and her trust in humanity completely dissolved, leading her to curse the king’s daughter Aurora in revenge. In addition, the 2014 adaption showcases Maleficent’s vulnerability and compassion as she develops a relationship with the young princess Aurora, who she initially cursed, and eventually grows to love as her own daughter. Her protectiveness of Aurora and willingness to put her own life at risk to keep the princess safe demonstrate her capacity for empathy and selflessness.
Moreover, Maleficent’s rebellion against the status quo is another reason why audiences empathize with her. As a powerful female character who challenges traditional gender roles and societal expectations, she represents defiance against the oppressive forces of the patriarchal kingdom. Her wings, stolen from her by King Stefan, are a symbol of her freedom and independence. The transformation of Maleficent’s character from a one-dimensional villain to a complex and sympathetic figure illustrates the power of character development in transforming a character from a villain to a relatable and compelling protagonist.
I decided to develop a game centered around the antagonists of the hit Spanish television series, Money Heist (2017). For those unfamiliar with the show, it offers a prime example of how viewers often find themselves cheering for the alleged “villains” of a story, in this case, the robbers. The series follows “The Professor” who assembles a team of eight individuals to stage a heist on the Royal Mint of Spain. The team’s plan involves printing 2.4 billion euros within the Mint’s walls, without necessarily stealing from anyone in particular, be it the rich or the poor. Initially, both the police and citizens perceive the robbers as immoral individuals breaking the law, holding hostages and taking money they have no right to. However, as the robbers’ pasts are revealed and their plan unfolds, characters in the show begin to empathize with them, including some of the police force and the citizens of Spain themselves, who start rooting for the success of these “bad guys.”
In her article, “One Good Thing: Money Heist, a joyful TV series about fighting the system,” Molly Lipson elaborates on the appeal and success of Money Heist. She notes that while the series revolves around a bank robbery, it is much more than just a crime show. Instead, it is a story about people fighting against an unfair system, with the heist serving as a means to an end.
Furthermore, Lipson praises the characters, particularly the complexity of the robbers who the show paints as both sympathetic and morally ambiguous. She discusses the show’s use of flashbacks which provide a deeper understanding of the characters and their motivations. She notes that these flashbacks humanize the characters and help the audience to better empathize with them. Ultimately, Lipson displays that Money Heist is a successful show because it creates a world that taps into the audience’s investment in the character, emotional desire for justice and their enjoyment of watching underdogs successfully fight against a corrupt government.
During the development of my game, I endeavored to incorporate narrative techniques and meaningful choices that would encourage players to reconsider their initial perception of the series’ villains. In the game, I gave players the option to select their own character, whether that be the investigator, the robber, or the hostage. Each character’s story is told from their unique perspective and has its own distinct end goal. Despite their differing objectives, all characters are presented with difficult ethical choices, such as deciding whether or not to take a life. This design approach aims to demonstrate that regardless of the player’s chosen character, they will still face similar moral quandaries, highlighting the complexity of the “good vs. bad” dynamic presented in the show.
As a part of my game’s narrative design, I incorporated a scenario where the investigator faces a difficult decision: save seven random hostages or the daughter of the Ambassador of Spain, who is also being held captive. This choice puts the player under pressure to determine whether they will do what is morally right or keep their job by appeasing those in positions of higher social status. In reality, most people would choose the latter, and when the investigator ultimately decides to save only the Ambassador’s daughter, the public perception of the robbers changes. They are now representatives of the lower class fighting against an inequitable system, while the public perceives the police as being more interested in protecting the interests of the elite rather than serving the people.
Furthermore, the dialogue between characters is a crucial aspect of my game’s narrative design. When the player interacts with the robbers, they learn about their impoverished backgrounds and the circumstances that led them to become involved in the heist. This approach allows players to develop a deeper understanding of the robbers and their motivations. Ultimately, this narrative strategy can help players to question their initial assumptions about the “bad guys” and consider alternative perspectives.
Now, why does all of this matter? The characters in Money Heist face similar issues to those experienced by individuals in real-world narratives such as police brutality against “criminals,” the war on drugs, and protesters in Latin America. The robbers in Money Heist are engaging in criminal activity, but their motivations are driven by a desire to challenge and undermine the systemic inequalities that have marginalized them.
Similarly, many individuals in the real world find themselves criminalized and oppressed by systems designed to protect the interests of those in power. Police brutality, for example, often disproportionately affects black and brown communities and can result in physical harm or death at the hands of law enforcement. Many people have also criticized the war on drugs for disproportionately targeting and incarcerating individuals from marginalized communities, perpetuating cycles of poverty and violence.
Furthermore, the themes of poverty, inequality, and social protest explored by Sergio Serulnikov in his essay, When Looting Becomes a Right: Urban Poverty and Food Riots in Argentina, are extremely relevant to the realities of the robbers in Money Heist. In recent years, Latin America has seen a surge of protests and looting in response to corrupt and ineffective government policies. From Chile to Ecuador to Bolivia, citizens have taken to the streets to voice their frustrations and demand political and socioeconomic change.
Like the looters in Serulnikov’s article, the robbers in Money Heist are motivated by a sense of social justice and a desire to challenge the status quo. The series also touches on themes of state neglect and the failure of the government to provide for its citizens, as the robbers criticize the Spanish government for its corruption and inability to address issues of poverty and inequality. However, unlike the looters in Argentina, the robbers in Money Heist resort to immensely radical means to achieve their goals. This raises questions about the legitimacy of their actions and the effectiveness of violent protest in achieving social change.
Nonetheless, in all of these cases, there is a deep sense of systemic inequality and financial insecurity that drives individuals to engage in activities deemed criminal by the state. While the actions of the robbers in Money Heist may be extreme, their motivations reflect a broader desire for justice and equality that is shared by many individuals who find themselves marginalized by societal structures. By highlighting these issues, Money Heist serves as a powerful commentary on the ways in which systemic inequality can drive individuals to take action in order to challenge and subvert oppressive institutions.
The purpose of my game is to highlight the importance of considering multiple perspectives in a narrative which allows for a deeper understanding of complex issues. This skill allows us to move beyond biased portrayals of events and characters, and see the nuances and complexities of real-life situations. However, it’s crucial to remember that there is a difference between attempting to understand harmful behavior and promoting it, even if it’s entertaining to root for villains in fictional contexts.
Understanding villains in storytelling and avoiding simplistic black-and-white thinking is crucial for gaining a more nuanced perspective of human behavior and the complexities of the world. Viewing villains as purely wicked characters can oversimplify their motivations and personality traits, leading to a shallow understanding of their role in the story. Examining the multidimensional nature of villains can help us understand the intricacies of human psychology and behavior, leading to a more profound appreciation of the human experience. Recognizing the shades of gray in the world can help us navigate our lives, relate better to people with different perspectives, and promote a more empathetic and understanding society.