Villains, as I have mentioned before, are important parts of many games: they motivate plot; they stir players' emotional investments; they provide adversity and strife; they allow game writers to explore the less savory corners of the game universe; they let NPCs sink their teeth into rich and unpredictable characters. Crafting the villain arc, however, can be difficult. How does a staff introduce a villain? How does that villain bubble and boil into an evil that is greater than simply problematic? How does that villain, once made into an arch nemesis, maintain intensity over a long-running plot? I have seen many plots where the villain-- due to over-exposure, over-writing, and poor timing-- becomes a comical, unbelievable mess of excess. However, I have also seen many brilliant plots where the villain is a living, breathing, seething creature who garners both hatred and empathy from PCs.
For these latter plots, a singularly important questions pops into my mind: how does one end a villain's narrative? What makes a satisfying end for a well-crafted villain? I think there are many answers to this question, and I'm curious to hear responses (one of my responses is below). How have your favorite villains been successfully ended? Why was it satisfying?
For these latter plots, a singularly important questions pops into my mind: how does one end a villain's narrative? What makes a satisfying end for a well-crafted villain? I think there are many answers to this question, and I'm curious to hear responses (one of my responses is below). How have your favorite villains been successfully ended? Why was it satisfying?
To me, personally, the most important part of ending a villain well is allowing for player agency: players have, especially in long-running plots, invested resources and energy in dealing with a villain. For that reason, let them govern what happens to the villain-- let them be creative. I've had a handful of villain NPCs that, I thought, were going to end much differently than they did: PCs, as they love to do, surprised me, and the results-- their creation, not mine-- were much better than my original intention. (I have at least one villain, for instance, that should be dead, and is in fact not.)
ReplyDeleteThis, obviously, gets complicated with conflicting PC interests, but I feel it can and should be handled thoughtfully.
Well personally, I think the satisfying end of a villain depends on the flavor of the game. More heroic games or redemption-oriented PC bases might want to redeem, or have sad RP death scenes for villains that they've learned along the way about the horrible reasons why that villain is the way he is, and it really isn't his fault.
ReplyDeleteIn other games or PC cores, its an epic battle where you cast down your enemy and smite his ruin on the mountaintop.
The latter might be best if there have been some schemes you've prevented that had a "Next time, Gadget, Next time!" ending. At that point, players REALLY want to catch him this time and finish him off.
If there's one thing that might be overused, its the "death ritual" mechanic. Special hoops that you have to jump through in the middle of a battle that may or may not make sense and are intended to occupy certain portions of the playerbase. While cool if appropriate, this is the most likely format to be overdone IMO.
A Horror Story writer once described to me a framing arc for an Unknown Antagonist based on seasons.
ReplyDeleteIn spring, the Unknown is slowly introduced through hints and background themes. The Protagonists are largely unaware it exists.
In summer, the Unknown has begun to rise in power. The Protagonists begin to piece together the terrible things and/or secrets associated with it.
In fall, the Unknown has begun to aggressively push back against the Protagonists.
In the winter, the Unknown is at the height of it's power. The Protagonists are faced with the choice of repudiating it and everything it stands for. Or through understanding, incorporate it into themselves/the world.
For Villain arcs, I see it as the above. The best villains mean more to people than a fistful of packets or two long claws.
This requires time to build an emotional resonance with the PCs. And like Zoe said, there needs to be agency and choice to make this personal.
Villains can be understandable, sympathetic, and even carry the possibility of redemption/a joining (for either side).
Choice is part of Making Things Personal and nothing carries the same weight as making the active decisions that brings the villain's arc to a close.
If there is one thing I've learned, a battlefield death can be unsatisfying. Transitioning a combat into a scene where the PCs have the time to speak to and choose what happens to a fallen Villain brings about can allow closure where needed