So says the DVD case of
Payback, one of my favorite movies. It's a sentiment with which I entirely agree but which isn't quite apt in this particular case. I suppose Porter, Mel Gibson's character, is
a bad guy: crook, killer, low life, bad husband. But he's by no means "the" bad guy; there are plenty of nastier characters around, even though Porter tends to kill them quickly enough that no one in particular risks upstaging him.
In any case, the great thing about Payback is its dark comedy, not Porter's level of badness. But there are plenty of other works of art where that's not the case. Let's take another recent movie, and a more popular one -
A Few Good Men. As all right thinking men know, Jack Nicholson's character, Colonel Nathan Jessep, is the real hero of this movie. Yes, he broke the law, yes, a man died, and yes, I'll even grant that he should be punished for it. None of that changes the essential truth that in the larger picture he's on the right side, and the Tom Cruises of the world in their pristine "faggoty white uniforms" are probably doing more harm than good.
Jessep's
famous speech and mannerisms remind me a little of Stephen Colbert's new Colbert Report on Comedy Central, which has surprisingly become quite a bit better than the Daily Show that spawned it. As Ann Althouse
noted:
He's making the right-wing jerk character ... awfully lovable. [...] But I do think that with some of the political points he makes, the supposedly wrong position isn't all that obviously wrong, and spoken with assurance by a character the audience loves.... Well, who knows what a show like this might do to flexible young minds?
Precisely. It's so crazy, it just happens to be right!
Beyond the usually nerdy reasons, a love for bad guys, both in their own right and as misunderstood and wrongly reviled characters, is why I enjoy a lot of "literary" science fiction and fantasy. There are real limits on what serious bad guys can get away with in a world of modern forensics, law enforcement, and extradition treaties that don't apply when the author can make up his own societies and even physical laws.
One could even add mortality to that list of limiting factors, I suppose, although it's not a very interesting conceit. Still, as no great fan of The Lord of the Rings I've got to say that while Sauron wasn't ever convincingly portrayed as being all
that bad, at least you knew that once he won it would be forever. In the worst case Hitler would have fallen to cancer or heart disease one day; Hannibal Lector's career must inevitably be shorter than Dracula's.
But the best bad guys of science fiction and fantasy have more interesting or subtle twists on reality. Brandin in
Tigana (the true hero of what should rightly be regarded as a tragedy) is at base just your normal medieval conqueror miffed that his victims had the audacity to fight back. But throw in a magic spell to strip away the very name of the nation that killed your son - that's novel and interesting. We can understand pretty easily, if dimly, the kind of rage that leads to pogroms and genocide in the heat of the moment. But what kind of mind devises the cold revenge of a
cultural genocide to wipe away all memory of those people as you patiently wait for them and their children to die off, unable to speak or record their triumphs, their history, even their very name? One rather like mine, actually.
Most of my favorite bad guys, of course, have nothing in common with me. By far the most loathesome and vile character I've ever read is that of Angus Thermopyle, one of the pillars of Stephen Donaldson's
Gap series. (I ignore Donaldson's
Thomas Covenant, the most vile
literary creation ever, who has no redeeming qualities even as an object lesson or entertainment.) By the end of the
first book I felt as dirty as I ever have reading about this piece of shit, who committed just about every crime you could imagine: murder, rape, torture, slavery, etc. Was there, I asked on the Usenet group that had recommended the series, a fucking
point to this depravity?
Several, it turned out, as the subsequent books didn't focus so much around him. But to the extent they did, they made that early filth worth it. Note to self - never fall into the hands of a man so determined to do good and make the world a better place he's willing to do considerable evil with eyes wide open. By the third book I actually felt a little sorry for Angus. By the fourth I liked him just a little. By the fifth it was possible to consider forgiving him.
A skilled author working in the real world could have accomplished the same thing, but it would have been considerably harder to make it seem plausible. Modern pirates, lacking spaceships and FTL drives, can't evade the police for so long after committing such crimes, nor can today's police remake you, once you are finally caught, into their own cyborg slave for use in exceptionally nasty, risky, and morally ambiguous special operations. Sure, the geek in me likes this stuff on its own account, but the bigger part of me enjoys the greater dramatic potential it provides the storyteller.
Sometimes, though, I have to acknowledge that the scifi background is entirely superflous to what makes the bad guy so great. Take Banks'
Use of Weapons, commonly regarded as his best work. It's science fiction, and it is set in his Culture background, but neither of those make it particularly interesting. There are no new neat gadgets or ideas, not much interesting Culture color. It's just a "typical" character driven story about a tormented man with a haunted past and the elusive flashbacks mixed in with the nominal plot that finally build up to the greatest shock I've ever received from any work of art.
(For those not planning to ever read it, it might be paraphrased in "real world" terms as such [highlight to read]:
Simon Wiesenthal muses on his career as a Nazi hunter, interspersed with odd, misleading flashbacks to "his" childhood, all culminating with a last second revelation that he was really Adolf Hitler who escaped, changed his name and face, and tried to repent for his crimes. In spaaaaaaace!!! ).
[Update: Drat that lack of a white background. Oh, well, close enough and not to be repeated.]
War, central to Use of Weapons, is often a useful device justify bad behavior or at least make it harder to condemn. If not without any rules, it certainly operates by different ones, and can put a patina of legitimacy on actions that would otherwise be pure murder or piracy. So it's often useful to muddy things up even more by making your characters mercenaries or rogue ex-soldiers.
The Black Company, widely regarded as the old classic of military fantasy, takes the former approach, but ruins it somewhat by having the clients considerably worse than their hired swords. I like grim and depressing, but I prefer it carried in the heart of my protagonist, not imposed from above. Nice try.
Far, far better is the new and rightly popular Takeshi Kovac's science fiction
series by Richard K. Morgan. As science fiction, I don't like it much - the central conceit, digital consciousness saved beyond death and implantible in new bodies via cortical "stacks" is a little too gimmicky and unrealistically explained, a common failing and why I'm often leery of SF for its own sake. What more than saves this series, however, is that Morgan makes competent use of his implausible magic technology in the plot, and then displays mad skillz in composing a dark atmosphere and a lovably psychotic character based on it.
Death shouldn't mean much when your mind can just be uploaded into a new body. The police don't even have homicide divisions anymore, just "Organic Damage." Morgan puts that comfortable distance between the reader and death, then burns it down and grinds up the ashes by layering on ever more over the top gory violence. (He won me over when the 30mm autocannon blew someone's torso apart as part of routine hotel lobby security.) And if killing the body isn't that bad because you know you can save the soul, or at least mind, exactly how evil are you when you deliberately destroy the physical receptacle for that preserved mind?
Well, it depends.
This week I've been enjoying less technogeeky moral questions, rewatching the first season of the new Battlestar Gallactica. I wasn't surprised that the AFI
recognized it as one of the top ten TV shows of 2005, but it just as easily deserved a Golden Globe nomination if they were willing to classify it as a plain vanilla drama.
Much of what's so great about it doesn't really require the scifi trappings it rests upon. Father/son conflicts, sex, betrayal, and alcoholism seem to be plenty abundant here in the 21st century without artificial intelligences and FTL drives. And contrasting that with the core of the scifi based element of the story, the near total genocide of a race by its own creations, I'm struck by how much more interesting the lower stakes and less clear moral questions are.
True "evil" is pretty rare, petty human failings and weakness universal. Certainly that's the case among the crew of BG, and even the one unquestionably "bad" human character, Baltar, is motivated exclusively by (extreme and undiluted) concern for himself, not any desire to actually hurt anyone else. On the other hand, it's hard to cheer on such normal "bad guys."
Except maybe by default. We
all hate the uptight do no wrong good guys, right?