Trope Talk: Tragic Monster

The video explores the concept of characters, particularly villains, being the "hero of their own story," not in the sense of always believing their actions are good, but rather that they see their actions as justified, understandable, and narratively coherent within the context of their lives. This internal perspective allows individuals, even those who commit heinous acts, to maintain the belief that they are the protagonists of their own narratives, sometimes simply because they consider themselves the most important person whose feelings matter. This idea is particularly relevant when developing antagonists in storytelling. While heroes are often reactive, villains, to be compelling, need motivations that are more than just inherent evil. Creating a villain who is both extremely villainous and relatably human is a challenge because, in reality, we struggle to reconcile the capacity for great evil with human complexity. It's easier to categorize such individuals as inhuman monsters rather than acknowledging the potential for cruelty within human nature. However, the transcript argues there's no inherent contradiction: people can perform terrible acts if they feel justified. Even a simple motivation like "because I wanted to" can suffice, but a more complex villain will have deeper reasons for their actions, making them appear as the nuanced protagonist of their personal drama. These reasons can be logical, emotional, moral, or ideological, as long as they make sense to the villain. When these reasons also resonate with the audience, perhaps evoking sympathy or pity, the character's cruelty highlights the human motivations behind it, blurring the lines between "real people" and "monsters." This forces us to see the monster and the person as one, potentially prompting introspection about our own capacity for similar actions. Villains who are allowed to be the heroes of their own stories, especially tragic ones, become compelling figures, referred to as "Tragic Monsters." A Tragic Monster is defined by three core components: threat, distress, and lack of agency. Threat signifies that the character is dangerous, as one wouldn't be a monster without posing a risk. Distress means the character is unhappy with their state or actions; an enthusiastic monster is only tragic for its victims. The most defining element is the lack of agency – something beyond the character's control, often a physical characteristic or a consequence of their birth or circumstances, which is usually the source of their distress and can contribute to the threat they pose. When these elements combine, a Tragic Monster is someone who is dangerous, unhappy with their existence, and whose condition is not their fault. Examples include zombies, werewolves, and Frankenstein's Monster – beings warped or cursed in irreversible ways, who are dangerous but also inspire pity as both perpetrators and victims of tragedy. Some may even seek their own destruction due to the unfairness of their situation. The necessity of all three components is illustrated: without threat, you have a Quasimodo, who is pitiable but not dangerous. Without distress, you have a monster who is dangerous but happy with it. Without a lack of agency, you have a dangerous, unhappy villain who is in control of their own fate. The original Godzilla is presented as a prime example of a Tragic Monster. Mutated by H-bomb testing, he is dangerous, in extreme distress, and not responsible for his monstrosity – humanity is. He acts out of instinct, pain, and agony, not malice. Director Ishirō Honda stated that monsters are tragic beings, not evil by choice, and that humanity eventually develops affection for them because their actions stem from their nature, not their will. While their danger is undeniable, leading to inevitable conflict, their defeat is not a cause for unconditional celebration due to the pity they inspire. Tragic Monsters can evolve beyond their initial state. While some, like Godzilla, remain largely animalistic, others, particularly those who are more sentient, can develop complex character arcs. These arcs may maintain their pitiable nature but also introduce elements like a "cool motive, still murder." Many Batman villains are considered Tragic Monsters, serving as foils to Batman himself, who is also a tragic monster shaped by his past trauma. These villains' lives are often obliterated by external forces, leading them to gain dangerous powers or the means to acquire them. While their origins are tragic and unfair, their subsequent choices and doubling down on villainy can eclipse the initial tragedy, making them proper villains. Batman's compassion lies in his continued awareness of their tragedy and his attempts to help them, even after their atrocities. Spider-Man's rogues' gallery also features many Tragic Monsters, with even typically villainous characters being reimagined as such. Venom, in a recent game, is depicted as a victim of illness and experimental treatment, even begging for his own destruction. Doctor Octopus in another game starts as a well-meaning scientist afflicted with an illness, seeking a cure through robotic tentacles that ultimately warp his mind. However, the narrative twists when it's revealed he knew Peter Parker's secret identity all along, framing him as a cruel manipulator who used Peter's sympathy. This reframes his actions, demonstrating that while he was a victim of circumstances, he also became a brutal manipulator, sliding into irredeemability. This arc highlights the separation of the "threat" component, where a character chooses to become a monster despite their tragic origins. Conversely, not all Tragic Monsters must end in tragedy. The Hulk, a textbook Tragic Monster at origin, becomes dangerous when angry or threatened. While Bruce Banner might seek a cure, many narratives focus on whether the Hulk is inherently bad or could be a force for good if not constantly hunted. His danger is largely reactive, suggesting that if treated better, he might cease to be a tragic monster. Mary Shelley's Frankenstein is cited as the origin of this archetype. The Creature, initially not dangerous, becomes distressed due to his terrifying appearance and Victor's abandonment, leading him to seek revenge. The Guillermo del Toro film adaptation further explores this, portraying the Creature as an innocent taught pain and hatred by a neglectful Victor. The Creature's lack of agency and inherent threat are established, but his active malevolence begins after Elizabeth's death, which is orchestrated by Victor. Del Toro's interpretation suggests the Creature's tragedy is not inevitable but a result of his poor father figure, presenting a solvable problem. The exploration of how tragic a Tragic Monster needs to be is an interesting area for writers. While some, like zombies, are largely beyond redemption, others have been narratively rehabilitated over time. Werewolves, once terrifying, are now often portrayed in monster romance. Characters experiencing unfixable tragedies and falling into villainy are now more likely to receive support. While classic tragic monsters still exist, if a Tragic Monster retains some humanity, stories often highlight that while tragedy may be unavoidable, becoming a monster is a choice, and it's never too late to choose otherwise. This reminder, that it's always a choice to become a monster, is relevant even for those not facing supernatural threats, especially when the idea of "burning the world down" starts to seem appealing.