Q&A: Sadism

True or false: Pointless sadism can get in the way of winning a fight? Like, if you’re focused on inflicting as much pain as possible instead of finding the most efficient way of killing someone? Could a villain’s cruelty actually be his undoing, maybe? Or would the evil overlord either have died or learned his lesson long ago? What pitfalls should you avoid if you decide to go this route? Would this be the way to go in a story with a light tone (but not outright comedy) that’s light on realism?

The problem with too much sadism (or sadism that is self-admitted to be pointless) is that your villain needs to actually get around to doing their job and moving the plot forward. It’s important to remember that a character’s proclivities in combat are signs of their personality and hints into their ability to achieve success. A villain who cannot control their own sadism and has no one higher up to control it for them or direct those habits toward useful goals, a la Rabban and the Baron Harkonnen from Dune, is going nowhere fast.

This can be a real problem to the narrative if your villain’s self-motivation leads them to hole up in some small village high in the Caucus mountains in order to fully engage in their sadism unchallenged while a hero similarly lacking in motivation is twiddling their thumbs in the United States.

When you’re setting up your plot, you need a villain whose interests match the intended narrative course. This is especially true when the villain is the one whose action and motivations are driving the narrative forward, the one putting pieces into play for the hero to respond to. If they never do that, you have no story.

Like all predators, a villain that’s into sadism and who can’t control their own impulses is going to take the path of least resistance. Which is why I said a small town somewhere with a disorganized military, poor response times, and no ability to fight back. If all they want is to inflict their will on others, to indulge their worst base impulses, enjoy causing havoc, then they’re logically going to go the way of other tinpot dictators. They are going to go somewhere they can exploit poor conditions in order to get what they want.

The problem with these sorts of characters is not that they aren’t realistic or that this can be their undoing (it certainly can be), but that they have no motivation to be where they are. This is both a blow to your narrative and to you because you ultimately wind up with a substandard villain.

An evil overlord may be evil but they’re still an overlord, there’s an internal justification for how they achieved that position on their own merits. Overthrowing another government isn’t small potatoes, this is someone with the capacity for planning, who got the vast majority of the population on their side (at least temporarily), and who is capable of strategic thinking if not planning. They’re also politically savvy. All these traits belong to someone who can control their impulses, who may be a sadist and may enjoy torture but who also knows when to indulge. They know how to orchestrate the blunt instruments around them to their advantage, even when they are the biggest monster on the table.

One gets to the top by understanding what they need to do and then doing it. However, they need motivation to get there and this motivation must be specific to their circumstances rather than generic. When you’re looking at a specific Monster of the Week setup whether it’s Power Rangers or Sailor Moon, the big villain has a specific goal that they’re putting a specific piece into play in order to achieve. In the case of Sailor Moon, the bad guys in the first season were trying to locate the silver crystal and all the hijinks start from there. They had a reason to be where they were, had a specific goal they could verbalize, and a plan to achieve it. The heroes job was to disrupt that plan. In the case of Dune, we have three sadists from House Harkonnen, one idiot and two attempting to play each other while all being manipulated by House Corrino off an ages old feud with House Atreides. Arrakis is not a reward, it’s a killing ground used by the Emperor to rid himself of potential rivals.

When you lack A and B with just a sadist, we wind up with characters like Semirhage from The Wheel of Time who spends multiple books doing a shadowy something but whom we mostly just see kidnapping individuals in order to perform experiments on them. (This is because we don’t know initially where any of them are or who they’re pretending to be, sometimes for several novels on end.) The series’ game of “Find the Forsaken” sometimes had a bad habit of undercutting the Forsaken.

Your villain needs a plan which coincides with the heroes in order for them to clash. A specific, internal justification is always better and will always prove more successful than an external justification. They need to be there for the narrative never answers why they’re there in a satisfactory way for your audience. They’re there because they’re the villain is not actually an answer.

Why here? Why now?

Those are important questions to delve into. It may take the heroes and the audience the entire narrative to work out the true reason, but its important that both the villain and the author have the answer or some inkling of it from the onset. The secondary motivational why lies in the character’s backstory, but the initial one should be easy enough to find. Just remember to look for that internal justification from the villain, why they’re doing what they’re doing and what it is they want. The needs of the villain and the needs of the hero and the needs of the narrative must coincide. If you plan for your villain to do the thing (rather than ultimately fail at the thing on their own power rather than be stopped by a hero) then they must be someone capable of doing the thing. Someone who would have succeeded if there were no meddling kids around to stop them.

The Baron Harkonnen was always destined to fail, not because of Paul, but because the Emperor would have ultimately stopped him. Arrakis was too big a prize for him to ultimately control. The Emperor, however, could have succeeded in his plan to rid himself of both Houses if Paul and Jessica had both been someone else. If they’d been normal, a normal consort and a normal child of the nobility. In Paul’s case, Arrakis and the spice was a catalyst for unexpected transformation.

In answer to the question: if the head honcho villain never learned their lesson prior to meeting the hero then it is likely they’d never have achieved their position. They’d lack the ambition, control, and cleverness needed to pull off their plots. The important thing to remember is that the villain always faces resistance, and faced resistance before your hero arrived on the scene. Others have tried to fight the villain and they failed. You’ve got to answer the question of why those others failed and in such a way that doesn’t make their sacrifices worthless or meaningless. If it was some easy solution, someone would have come up with the answer and tried it.

An easy work around for this is to come up with the plans that were tried and did fail. This will pull double duty for you of better establishing your villain’s true capabilities and know when your heroes are making stupid mistakes. Don’t make the mistake of assuming the random population in your narrative is totally helpless or incapable of standing up for themselves.

Remember, a sadist incapable of controlling themselves is a blunt instrument. One put to purpose by another and given direction. The fear they inspire is real, but their weaknesses are obvious. One can’t win on fear alone. The fear is there to keep you from fighting back, but the structure put into place is what will keep the average person from going anywhere.


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