Tag Archives: Walter White

Villains and Villainy

10 Mar
"Villainc" by Caricature by J.J., Licensed under CC BY-SA 3.0 via Wikimedia Commons.

Villainc” by Caricature by J.J., Licensed under CC BY-SA 3.0 via Wikimedia Commons.

Dr. Hannibal Lecter is probably my favorite villain of all time. I am, of course, referring to Anthony Hopkins’ portrayal in the film, Silence of the Lambs. You can see a ‘bad guy’ done perfectly here. His motives are understandable – if repugnant – and his actions have the weight of inevitability. The way he manipulates other characters is amazing – reaching two or three connections out from the people he touches – and if you deconstruct the story, you see that there is no other way it could have gone. And for all his power and gravity, Dr. Lecter is only on screen for a few minutes. He doesn’t get in the way of the story, but the story could not exist without him.

By contrast, Bryan Cranston’s portrayal of Walter White, in Breaking Bad, was all character study. It was exquisite, yes (even Anthony Hopkins was awed by it), but in so many ways, Walter White is part of the problem with villains and villainy. Every action and forward movement in his story comes at a high cost of humanity and goodness. And while it is the theme of the story to show how very bad things can go, there is nothing left in the end. Walter White is unlikeable, but the series is constructed so that you sympathize while he brings everything around him into Hell. It is sleight of hand – a trick. The entire story is held together with spit and the promise of resolution, somewhere down the line.

I’m sure much more has been written, by smarter, more attractive people than myself, on this subject. I cannot leave it alone. So much of my life revolves around understanding how and why stories work. And at the core of much of it lies conflict, overcoming obstacles, and the clash between characters. I can’t just sit back and enjoy Star Wars, without taking apart Darth Vader. Is this the story of the ‘Black Knight’? Is it redemption? Or is that just the background, and it’s really about the two different ways of wielding power?

( ( Oh, and by the way: this is why Episodes 1, 2, and 3 were terrible. Who cares about Anakin Skywalker? Huh? He grows up to be a bad guy – a very important bad guy – but that don’t make him interesting. Ya dig? Now, Obi-Wan on the other hand… ) )

Sometimes, this is how writing feels - other times, it's no fun at all

Sometimes, this is how writing feels – other times, it’s no fun at all

Okay, this is how I get all turned around. I avoid conflict in my real life. Arguments, fights – all the normal please-don’t-hit-me kind of stuff. I’m not pathological about it, but I think I’m a considerate, conscientious person. And when I’m hip deep in a story, when the body count is rising, when the good guys and the bad guys are getting ready to rumble… I sabotage myself. It is easy for me to come up with ways for the conflict to get put aside, for the characters to find common ground. After all, in real life that is what I would do. It takes an act of will for me to push those people into the fight. Sometimes, this is exactly what throws me from my groove.

But if all my characters are set up – if my villain and all the little obstacles are right – then the conflict writes itself. I don’t have to justify their actions, or even spell them out for the reader. It can be a simple, beguiling tale, that draws the reader inevitably towards the conclusion. And it doesn’t have to be heavy handed. No one wants to watch Bad Guy Presents: Bad Guy, in Story Title – starring Bad Guy. I mean, maybe that’s what some people want. But to go back to Silence of the Lambs for a moment: this is a story about Clarice Starling, and the way she deals with the evil she comes into contact with. It is beautifully done.

I am still studying my craft, working on it every day. And this problem – villains, antagonists, foes – is what is on my desk right now. The next big project I am making notes on relies on who the ‘bad guy’ is, and what different characters want. Like everything else, it feels like a puzzle that doesn’t have a definitive solution – just workable measures. Maybe there is a lesson in that as well?

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