A good handful of books feature the great evil genius character. All kinds of writers deal with this character - graphic novelists, screen writers, and all genres of fiction writers. There are as many incarnations of evil genius as there are writers who've tried to capture the basis of the idea and fit it into a single character.
While there are a great many versions, the one that tends to bear this name isn't a true evil genius. Superheroes' arch nemeses may fit rote definitions of each of the words - they kill thousands, often indiscriminately and they are really smart - but this isn't the true idea behind actual evil genius.
Real life versions of true evil genius are difficult to spot. No one denies the evil behind a serial killer, particularly one who tortures his victims. Some of these criminals are, in fact, quite skilled at figuring out how to get a victim and get away clean. But for those of us standing on the outside of the crime, it isn't until the killer is caught, convicted, and confessing that we see if this was a case of intelligence or just luck.
There are distinctions along the way, too. As a writer it is important to decide if we want a character that is mean, evil, or truly the evil genius. With mean, the character can be wounded and seem very human. As the writer, often the background of the character is clear, even if it isn't revealed to the reader. And, in a well told piece, the character will appear wounded rather than simply 'wrong' whether or not the audience knows the back story.
'Evil' is the next step up. This character is no longer completely human, lacking the compassion that the majority of us consider to be standard issue. With evil, there is no concern about destroying thousands of lives to achieve an end. There is also the option of steamrollering a few lives just to achieve something the character wants. If these acts are hidden from the remainder of the world, that is only because what was done isn't considered acceptable by society, even if it is well within the moral framework of the character.
This, then, leads to the distinction between 'evil' and 'evil genius'. The evil genius will do all the things the evil character will do, but with a few key twists. First, the acts are hidden, not because the universal moral code is against it, but because having the other side hidden is part of the fun. Second, there is enjoyment in the act. While this can occur with standard serial killer types, the enjoyment is almost mandatory for the evil genius. Third, this character will walk away, often not even suspected of the deed or else he will completely own the deed, but manage to walk away looking like a victim.
For example, we have a clerk who works upstairs and feels wronged by a check-out girl in a first floor shop. The mean character will stand on the balcony and laugh when a bird poops on the check-out girl. The mean character might also ruin something of the girl's - a version of the 'eye for an eye' theory. He could drip paint on her coat as she passes under. The evil character will drop coins on her head as she passes. In this case it's obvious it's him committing the act. The act itself has been stepped up from the destruction of property to possibly permanent damage. Half the fun here is in being identified. It's possible our evil guy will plan this so there are no witnesses, and leave her without any proof. But our Evil Genius will walk away looking like the victim. He drops a kitten on the girl as she passes under the balcony. Of course the kitten, being a kitten, goes down with limbs flailing and claws extended. It tries to grab anything it can, and the first thing place it will be able to find purchase is our clerk's head. There's no way to catch a falling kitten without getting shredded. If our evil genius yelps that his kitten is getting away, she'll even look up as he drops the kitten down on her face. It's all an accident, and nothing can be proven, even if our girl suspects him. After the kitten - 'his' kitten - is dropped, he gets to rush down the stairs to help, putting himself in the position of hero for the mess he caused. He gets attention, he's as much a victim of the kitten's 'antics' as the girl - he was so afraid he was going to lose the dear kitty. Even further, he has made the girl a part of her own punishment and used her human nature against her. She could have stepped aside and let the kitten drop to the pavement. But she won't; she must try to save the kitten.
This method of forcing the antagonist to leave the situation at some peril that makes him as inhuman as the evil genius is common in all types of stories. In fact, it's so common that it has come to be expected in certain, cartoon based, genres. Our superhero can't love anything for fear it will be used against him.
In the end, having a malicious plot isn't enough for an evil genius. There must also be a way out - the best ways out don't just keep our villain from detection, they make him look like a hero or a victim in the situation, leaving him almost above reproach. Whenever possible, the evil plan should use the hero's strengths and wishes against him - making intimate knowledge of the hero a working part of the plan.
The term 'evil genius' is thrown around a lot when the plot is merely 'mean' or even 'vicious'. But the genius of evil is a whole other level.
A.J. Scudiere is a suspense/thriller writer who has published a handful of novels and short stories. AJ's first novel, Resonance, has been made into the World's First AudioMovie. AJ holds degrees in Psychobiology and Physiological Science. Listen to AudioMovie Tracks, get free chapters, short stories and AJs Newsletter at http://www.ajscudiere.com
0 ความคิดเห็น:
แสดงความคิดเห็น