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A villain (also known as a "black hat" or "bad guy"; the feminine form is villainess) is a stock character, whether based on a historical narrative or one of literary fiction. Random House Unabridged Dictionary defines such a character as "a cruelly malicious person who is involved in or devoted to wickedness or crime; scoundrel; or a character in a play, novel, or the like, who constitutes an important evil agency in the plot".[1] The antonym of a villain is a hero.
The villain's structural purpose is to serve as the opposition of the hero character and their motives or evil actions drive a plot along.[2] In contrast to the hero, who is defined by feats of ingenuity and bravery and the pursuit of justice and the greater good, a villain is often defined by their acts of selfishness, evilness, arrogance, cruelty, and cunning, displaying immoral behavior that can oppose or pervert justice.[citation needed]
The term villain first came into English from the Anglo-French and Old French vilain, which is further derived from the Late Latin word villanus,[3] which referred to those bound to the soil of the villa and worked on an equivalent of a plantation in Late Antiquity, in Italy or Gaul.[4][page needed]
Vilain later shifted to villein,[5] which referred to a person of a less than knightly status, implying a lack of chivalry and politeness. All actions that were unchivalrous or evil (such as treachery or rape) eventually fell under the identity of belonging to a villain in the modern sense of the word. Additionally, villein became used as a term of abuse and eventually took on its modern meaning.[6]
The landed aristocracy of Middle Age Europe used politically and linguistically the Middle English descendant of villanus meaning "villager" (styled as vilain or vilein) with the meaning "a person of uncouth mind and manners". As the common equating of manners with morals gained in strength and currency, the connotations worsened, so that the modern word villain is no unpolished villager, but is instead (among other things) a deliberate scoundrel or criminal.[7]
At the very same time the medieval expression "vilein" or "vilain" is closely influenced by the word "vile", referring to something wicked or worthless.From the late 13th-century vile meant "morally repugnant; morally flawed, corrupt, wicked; of no value; of inferior quality; disgusting, foul, ugly; degrading, humiliating; of low estate, without worldly honor or esteem", from Anglo-French ville, Old French vil, from Latin vilis "cheap, worthless, of low value".[8]Although the relation of these terms became intertwined at some later in time, it is unknown when this happened.
In classical literature, the villain character is not always the same as those that appear in modern and postmodern incarnations, as the lines of morality are often blurred to imply a sense of ambiguity or affected by historical context and cultural ideas. Often the delineation of heroes and villains in this literature is left unclear.[9]
William Shakespeare modelled the villain archetype to be three-dimensional in characteristics and gave way to the complex nature that villains showcase in modern literature. However, Shakespeare's incarnations of historical figures were influenced by the propaganda pieces coming from Tudor sources, and his works often showed this bias and discredited their reputation. For example, Shakespeare famously portrayed Richard III as a hideous monster who destroyed his family out of spite.[10]
The fairy tale genre utilises villains as key components to push the narrative forward and influence the hero's journey. These, while not as rounded as those that appear in other forms of literature, are what is known as archetypes. The archetypal villain is a common occurrence within the genre and come under different categories that have different influences on the protagonist and the narrative. [citation needed]
The false donor is a villain who utilises trickery to achieve their ends. Often the false donor will pose as a benevolent figure or influence on the protagonist (or those associated with them) to present them with a deal. The deal will present a short-term solution or benefit for whoever accepts it and, in return, benefit the villain in the long term. During the story's climax, the hero often has to find a way to rectify the agreement in order to defeat the villain or achieve the happy ending. [citation needed]
Similarly, the devil archetype is one that also makes an offer to the protagonist (or someone associated with them) and appeals to their needs and desires. However, the devil archetype does not hide their intentions from the protagonist. The subsequent story often follows the protagonist's journey to try and annul the agreement before any damage can be done. [citation needed]
The beast is a character who relies on their instincts and ability to cause destruction to achieve their ends. The evil intentions of their actions are often easily identified, as they act without concern for others (or their wellbeing) or subtlety. The rampaging villain can take the form of a very powerful individual or a rampaging beast but is still one of the more dangerous villain archetypes due to their affinity for destruction. [citation needed]
The authority figure is one that has already attained a level of command and power but always craves more. They are often driven by their desire for material wealth, distinguished stature or great power and appear as a monarch, corporate climber or other powerful individual. Their end goal is often the total domination of their corporation, nation, or world through mystical means or political manipulation. Often this villain is defeated by their own greed, pride, or arrogance. [citation needed]
The traitor is a villain who emphasizes the traits of trickery, manipulation and deception to achieve their goals, which is often to offer or supply information to the protagonist's opposition to halt them on their journey; often in exchange for their own freedom or safety. The traitor's goals are not always evil but the actions they commit to reach their goal can be considered inherently evil. [citation needed]
Animation is home to several different villains. Winsor McCay in How a Mosquito Operates had a cartoon mosquito torment a human being and in 1925, Walt Disney created Pete as an antagonist for the Alice Comedies with Pete later becoming an antagonist of Mickey Mouse and his friends and the first Disney villain. Fleischer Studios later had Bluto as the antagonist of the Popeye cartoons. Hanna-Barbera created Tom as an antagonist of Jerry. Likewise, the Looney Tunes had villains like Elmer Fudd, Yosemite Sam, Marvin the Martian and Blacque Jacque Shellacque.
In 1937, Disney made the movie Snow White and the Seven Dwarfs and it had the Evil Queen as its antagonist. Since then, Disney made a lot of animated movies with villains based on fairy tale villains. Disney Villains became a major part of that franchise.
In modern animation, animated villains that are more significant and fleshed out have become increasingly common as cartoons have begun to be favored by adults. Shows such as Adventure Time, Gravity Falls, and Rick and Morty range from child to adult cartoons, but are all watched by a largely older audience.[citation needed]
It is sometimes alleged that villains in animated works, such as Disney movies, often embody stereotypes in a more direct way than live-action villains. That their character design is based on caricatures of racist, antisemitic, and/or homophobic stereotypes with exaggerated features. That female animated villains are portrayed in ways that feed into misogynistic ideas and traditional gender roles.[13]
Sattar Sharmin and Sanyat Tania have argued that animated villains frequently fall into two categories: women who exhibit societally undesirable traits, or men displaying feminine traits.[14] In the case of men with feminine traits, this may stem from both a homophobic and misogynistic point of view which is further discussed below.
As for female villains who are portrayed with "displeasing" characteristics, not only are they crafted to look unattractive, but their motivations for becoming evil are rooted in very trivial matters. Debra Bradley's survey on Disney films discovered that 28% of female villains, such as the evil queen and Lady Tremaine, are influenced by jealousy/vanity whereas only 4% of male villains are driven by these same factors. Rather the men, such as Hades and Captain Hook, have motives grounded in wealth and power, giving in to masculine stereotypes and signifying an attachment to the patriarchy.[14]
Additionally, in animation there is a history of mothers and grandmothers being posed as the villains of many stories. Neil Gaiman's Coraline presents this phenomenon through the idea of the other-mother. In Coraline, the Other Mother is a loving, caring parent who welcomes Coraline to a new life, helping in the face of troubles back home.[15] By glorifying this other mother, the story paints Coraline's real mother as negligent, in turn causing her to be the villain of the story. Disney films also take on the motherly stereotypes in their villains.[16]
Other female villains are portrayed as hyper-sexual and powerful beings that are used to juxtapose the beauty or physical characteristics of the heroine; for example, the Lady Tremaine and stepsisters in Cinderella.[13] Male villains also hold several traits that are characteristically feminine. Characters like Jafar (Aladdin) and Hades (Hercules) have features such as shaded eyelids and accentuated facial features, similar to those typically associated with femininity.[13]
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