Hero Turned Villain Quotes

No one is an unjust villain in his own mind. Even - perhaps even especially - those who are the worst of us. Some of the cruelest tyrants in history were motivated by noble ideals, or made choices that they would call 'hard but necessary steps' for the good of their nation. We're all the hero of our own story.

Just one time before I turn into the villain of this piece, just one time before I become the fourth and final Unseelie prince, I want to be her Highlander. And her hero.

Heroes are more than just stories, they’re people. And people are complicated; people are strange. Nobody is a hero through and through, there’s always something in them that’ll turn sour... you’ll learn it one day. There are no heroes, only villains who win.

If I am a villain, it's because Peter made me one, because Peter needs to be the shining sun that all the world turns around. Peter needed to be a hero, so somebody needed to be a villain.

If the hero hasn’t turned up, you may have to settle for the villain.” “If the villain’s the one who turns up, he is the hero.

I never wanted to be a hero, but that doesn't mean I'll let you turn me into a villain

This was another of our fears: that Life wouldn't turn out to be like Literature. Look at our parents--were they the stuff of Literature? At best, they might aspire to the condition of onlookers and bystanders, part of a social backdrop against which real, true, important things could happen. Like what? The things Literature was about: Love, sex, morality, friendship, happiness, suffering, betrayal, adultery, good and evil, heroes and villains, guilt and innocence, ambition, power, justice, revolution, war, fathers and sons, mothers and daughters, the individual against society, success and failure, murder, suicide, death, God.

MANIFESTO OF THE BRAVE AND BROKENHEARTED There is no greater threat to the critics and cynics and fearmongers Than those of us who are willing to fall Because we have learned how to rise With skinned knees and bruised hearts; We choose owning our stories of struggle, Over hiding, over hustling, over pretending. When we deny our stories, they define us. When we run from struggle, we are never free. So we turn toward truth and look it in the eye. We will not be characters in our stories. Not villains, not victims, not even heroes. We are the authors of our lives. We write our own daring endings. We craft love from heartbreak, Compassion from shame, Grace from disappointment, Courage from failure. Showing up is our power. Story is our way home. Truth is our song. We are the brave and brokenhearted. We are rising strong.

I began dividing life in absolutes... Things and people were either perfectly bad, or perfectly good, and when life didn't obey this black-and-white rule, when things or people were complex or contradictory, I pretended otherwise. I turned every defeat into a disaster, every success into an epic triumph, and separated all people into heroes or villains. Unable to bear ambiguity, I built a barricade of delusions against it.

Heroes and villains and the spaces between, a prism that changed reflections depending on the angle you turned it.

I favour humans over ideology, but right now the ideologues are winning, and they're creating a stage for constant artificial high dramas, where everyone is either a magnificent hero or a sickening villain. We can lead good, ethical lives, but some bad phraseology in a Tweet can overwhelm it all - even though we know that's not how we should define our fellow humans. What's true about our fellow humans is that we are clever and stupid. We are grey areas. And so ... when you see an unfair or an ambiguous shaming unfold, speak up on behalf of the shamed person. A babble of opposing voices - that's democracy. The great thing about social media was how it gave a voice to voiceless people. Let's not turn it into a world where the smartest way to survive is to go back to being voiceless.

It is not cynical to admit that the past has been turned into a fiction. It is a story, not a fact. The real has been erased. Whole eras have been added and removed. Wars have been aggrandized, and human struggle relegated to the margins. Villains are redressed as heroes. Generous, striving, imperfect men and women have been stripped of their flaws or plucked of their virtues and turned into figurines of morality or depravity. Whole societies have been fixed with motive and vision and equanimity where there was none. Suffering has been recast as noble sacrifice!

One or two individuals in times of crisis turn into Heroes, a handful into Villains, the rest into Fools.

If I'm a villain, it's because Peter made me one, because Peter needs to be the shining sun that all the world turns around. Peter needed to be a hero, so somebody needed to be a villain.

Villains. Stories are nothing without them. Heroes cannot rise to greatness without them. In the absence of an enemy, our beloved protagonists are left kicking rocks in the Shire or taking tea and biscuits in a mind-numbingly cheery Spare Oom. We love villains because they turn their aches into action, their bruises into battering rams. They push through niceties and against societal restraints to propel the story forward. Unlike our lovable protagonists, villains - for better or worse - stop at literally nothing to achieve their goals. It's why we secretly root for them, why we find ourselves hoping they make their grand escape, and it's why our shoulders sag with equal parts relief and disappointment when they are caught. After all, how can you not give it up to someone who works that damned hard for what they want?... Look into a villain's eyes long enough and we might find our shadow selves, our uncut what-ifs and unchecked ambitions, a blurry line if ever there was one.

My life was awful. When I was a kid, I was fat, pretty ugly and had awful hair. I used to get teased every fucking day, slammed up against lockers, punched in the face - you name it. Hell, I had to go to prom with one of my female friends because I couldn’t even get a proper date. I can’t even look back at those photos because I look so bad. I transferred schools, but the teasing just got worse. After an, let’s say, ‘incident’ I had with the school play the bullying just got worse. But I made it through high school, only to find out that real life was pretty much the same. I just stayed in my dark room all day and didn’t talk to anyone. I didn’t go outside. I just stayed inside and drew. I’d draw vampires, mummies, heroes, villains. Anything to help me escape all the bad in the world. I went to art school and didn’t really belong. All I could draw was comic book characters. I tried to put my only good talent to use by drawing a cartoon and pitching it - only to have it turned down. Life to me was just pointless. I started drinking, doing drugs and just generally wasting my life drawing.
Then one day, I saw bodies falling from the sky. I witnessed people dying. And that’s when I decided to turn my life around. I called up anyone I knew who had an instrument and we formed a band. Being on tour for the first few years was bad. All we’d do is get drunk and do drugs, but I loved it. Because I was doing something I loved with people I loved. And a few years ago I met the most perfect woman ever. It’s like we share a wave-link or something. She just knows me without even knowing me, if you understand. And now, 2011, I have a beautiful baby girl, a caring wife and I get to perform for my adoring fans everyday. I am living proof that no matter how bad it gets, it gets better. I am Gerard Way, and I survived.

The problem is most of the time when God’s supposed to be the hero, he comes across as the villain. I mean, look at what he did to Lot’s wife. What kind of divine being turns a man’s wife into a pillar of salt? What was her crime? Turning her head? You have to admit this is a God hopelessly locked in time, not free of it; otherwise he might have confounded the ancients by turning her into a flat-screen television or at least a pillar of Velcro.

He turned one of his death rays into an ice cream maker, except he said I shouldn’t eat too much of it at once.” I nodded slowly. “Right,” I said. “That’s…sweet, I think.

If I am a villain, it’s because Peter made me one, because Peter needs to be the shining sun that all the world turns around. Peter needed to be a hero, so somebody needed to be a villain.

Hello,' he said, almost shyly, as he approached the table. He was barefoot and shirtless, and adorably tousled, with golden hair falling over sparkly eyes that looked as if they were still waking up. 'Hi.' Her voice came out oddly shy as well, which only seemed to make Jacks smile. 'You didn't have to sneak out of bed,' he said. 'I didn't sneak.' 'Then why didn't you stay?' He casually slid in to the seat beside her and turned to her with a wolfish grin. It was a smile like a fairytale, part villain, part hero, part impossible ever after. She couldn't bear how much she loved it. But then she remembered the stone. She imagined she'd feel differently if it was in an iron box, and she feared that Jacks would, too. That he wouldn't be looking at her as if he wanted to devour her instead of the breakfast. 'Tomorrow, I won't let you leave so easily.' His eyes flashed with mischief, and he stole a bite of her toast. The gesture was so simple and so comfortable, and all she could think was that it would be so easy to stay here. 'I thought you said it was just one night.' 'I thought you never believed what I said.' He shook his head reproachfully and tugged her on to his lap. 'Jacks-' Evangeline put a hand against his chest. She could feel his heart was pounding, which surprised her. On the outside, he looked so casual and careless, but now she imagined he felt as nervous as she did. It made her want to pull him closer, to press her head in to his shoulder and tell him all the things that she was trying not to feel. She wrapped her arms around his neck , and for a second she held tight. She held him as if he was hers and she was his, and there was nothing else between them. No curses. No lies. No past wounds or mistakes. She held him as if there was only now, as if nothing else mattered but this moment. Then she let him go. She shoved off his laps with clumsy arms and even clumsier legs that stumbled as she tried to step back. 'Evangeline... what's wrong?' A line creased between his brows. 'This isn't real, Jacks. You and I, we're under the influence of the mirth stone.' 'You think you would only feel this way about me because of a rock?' Jacks' mouth clamped shut. For a moment he looked angry, but she looked in his eyes, all she could see was hurt.

In Nigeria, if you live long enough, you will see your heroes turn to villains. Nobody is totally sane till the end; almost everyone can be bought at the right price.

What does it take to turn the hero into a villain?

The heroes without hope of redemption are the ones we root hardest for because in our own unshakable faith in romance, we cannot fathom a heart so deep or dark that it cannot be turned.

It is both the greatest power and potentially the greatest weakness of the hero to love and care and strive beyond reason. The hero is the one who turns back and waits for their injured friend knowing the hordes of the enemy are close on their heals, the one who stands alone on the bridge barring the progress of an overwhelming foe in order to allow their companions time to escape, the one who refuses to take one innocent life as a means to saving thousands. The hero is the one who returns to an alien infested space ship, set to self-destruct in minutes, to save the cat.

We choose owning our stories of struggle, Over hiding, over hustling, over pretending. When we deny our stories, they define us. When we run from struggle, we are never free. So we turn toward truth and look it in the eye. We will not be characters in our stories. Not villains, not victims, not even heroes. We are the authors of our lives. We write our own daring endings. We craft love from heartbreak, Compassion from shame, Grace from disappointment, Courage from failure. Showing up is our power. Story is our way home. Truth is our song. We are the brave and brokenhearted.

You don't want to spend your life searching for relevance," Iris said. "It will only lead to mistakes. Those mistakes will harden you and make you bitter. You'll start resenting people who have found happiness. You'll spread misery, hoping it will destroy your own, but it won't. If you have a chance to validate something within yourself, then do yourself a favor and take that chance. You don't want to live with a piece of your heart missing - it'll turn you into a monster. It's better to be the hero of your own story than to become the villain of someone else's." "So you're saying I would find this Cornelia woman?" Bree asked. "If it'll bring you peace, I recommend you do," Iris said. "Even if you don't get the answers you're looking for, you'll never be poisoned with regret.

Val turned, still naked, still impossibly beautiful. Only the gore spattered on his belly, chest, and arm, marred his perfection. He walked toward her and she couldn't help it. She backed away from him. He smiled. Sweetly. Like a boy. The dagger still in his left hand. And caught her arm with his right hand. "This is who I am, Séraphine. Naked, with blade and blood. I am vengeance. I am hate. I am sin personified. Never mistake me for the hero of this tale, for I am not and shall never be. I am the villain." And he laid his lips over hers and pushed his hot tongue into her mouth and kissed her until she couldn't breathe and it was only later that she found the bloodstains on her dress. Her lips had been sweet, like ripe figs, her mouth a cavern of delight. But her eyes- those dark inquisitor's eyes- had held only horror and disgust. Val sipped his China tea the next morning and gazed out the window. The sun shone on his garden, giving the illusion of warmth, though his empty chest was ice-cold. He could have explained to her that a razor-sharp blade was kinder than a hangman's noose. That death delivered in seconds with a few thrusts was preferable to a laughing, jabbering mob, gleeful at the jerking, agonizing execution. But those saint's eyes would've seen the hypocrisy.

The past doesn’t change, of course; it lies behind you, petrified, immutable. What changes is the way you see it. Perception is everything. It turns villains into heroes and victims into collaborators. Hilary Mantel, A Change of Climate

Ivan, task handled, lowered his hand, pausing only to pop his knuckles. He turned to face his apprentice. He cleared his throat, and took one quick glance over his shoulder where the angry giant robot stormed across the desert, before addressing Tory. “That was satisfactory.

As a matter of fact I don’t care two pins about accuracy. Who is accurate? Nobody nowadays. If a reporter writes that a beautiful girl of twenty-two dies by turning on the gas after looking out over the sea and kissing her favourite Labrador, Bob, goodbye, does anybody make a fuss because the girl was twenty-six, the room faced inland, and the dog was a Sealyham terrier called Bonnie? If a journalist can do that sort of thing I don’t see that it matters if I mix up police ranks and say a revolver when I mean an automatic and a dictograph when I mean a phonograph, and use a poison that just allows you to gasp one dying sentence and no more. What really matters is plenty of bodies! If the thing’s getting a little dull, some more blood cheers it up. Somebody is going to tell something – and then they’re killed first! That always goes down well. It comes in all my books – camouflaged different ways of course. And people like untraceable poisons, and idiotic police inspectors and girls tied up in cellars with sewer gas or water pouring in (such a troublesome way of killing anyone really) and a hero who can dispose of anything from three to seven villains singlehanded.

So what's your story?" Maddie didn't try to hide the singsong lilt of her voice as she spoke. She didn't want to. She'd learned at a very young age that nothing annoyed manly men more than girly girls, and if Maddie had one talent, it was truly exceptional girliness. "Shut up and be quiet," Stefan snapped. "That's just a tad redundant, FYI." "Shut up!" he hissed near her ear. Maddie couldn't help but shift her weight from foot to foot, almost pacing in place. She was careful of the ice and the snow, though. No use falling to the ground and having Stefan accidentally pull the trigger. "You really do give a lot of orders," she told him. He tightened his grip. "I'm the one with the gun." "Well, yeah. Sure. Technically. But I'm the one with the winning personality, and that should count for something." "You should be scared," he said in the same tone a movie villain might use to say You should be dead when the hero materializes five years later, hungry for vengeance. Stefan was confused, and Maddie couldn't blame him. So she turned back and shrugged. "Maybe. But I don't think you're a bad guy." He let her go and spun her around, grabbing Logan's unzipped coat and pulling her closer. "I. Have. The. Gun," he reminded her. Maddie smiled and pulled away. "And I have Taylor Swift's signature scent. Doesn't make me a pop star. It just makes me smell like Taylor Swift, which isn't as great as it sounds because, to a bear, Taylor Swift smells delicious. Stefan stuttered for a moment, then fell silent.

In all my time as an activist, I've never seen a single instance where the people instigating abuse, even in the worst possible cases, thought they were the 'bad guys'. There is always a righteous undertone. Dehumanization works its mental magic, and turning the target into a 'villain' provides the attacker with the chance to be a 'hero'. You can rationalize doing all kinds of things to a symbol that you would never do to a human. The campaign becomes a false battle between good and evil, and tormenting someone is seen as a struggle over something much larger than either of you. That's the key ingredient in the magic trick that, in the abusers' minds, turns screaming at a game developer's father through a telephone into defending an entire artistic medium from censorship.

It is not cynical to admit the past has been turned into a fiction. It is a story, not a fact. The real has been erased. Whole eras have been added or removed. Wars have been aggrandized, and human struggle relegated to the margins. Villains are redressed as heroes. Generous, striving, imperfect men and women have been stripped of their flaws or plucked of their virtues and turned into figurines of morality or depravity. Whole societies have been fixed with motive and visions and equanimity where there was none. Suffering has been recast as noble sacrifice! Do you know why the history of the Tower is in such turmoil? Because too many powerful men are fighting for the pen, fighting to write their story over our dead bodies. They know what is at stake: immortality, the character of civilization, and influence beyond the ages. They are fighting to see who gets to mislead our grandchildren.

The United States had been created through an act of disloyalty. No matter how eloquently the Declaration of Independence had attempted to justify the American rebellion, a residual guilt hovered over the circumstances of the country's founding. Arnold changed all that. By threatening to destroy the newly created republic through, ironically, his own betrayal, Arnold gave this nation of traitors the greatest of gifts; a myth of creation. The American people had come to revere George Washington, but a hero alone was not sufficient to bring them together. Now they had the despised villain Benedict Arnold. They knew both what they were fighting for - and against. The story of American's genesis could finally move beyond the break with the mother country and start to focus on the process by which thirteen former colonies could become a nation. As Arnold had demonstrated, the real enemy was not Great Britain, but those Americans who sought to undercut their fellow citizens commitment to one another. Whether it was Joseph Reed's willingness to promote his state's interests at the expenses of what was best for the country as a whole or Arnold's decision to sell his loyalty to the highest bidder, the greatest danger to America's future cam from self-serving opportunism masquerading as patriotism. At this fragile state in the country's development, a way had to be found to strengthen rather than destroy the existing framework of government. The Continental Congress was far from perfect, but it offered a start to what could one day be a great nation. By turning traitor, Arnold had alerted the American people to how close they had all come to betraying the Revolution by putting their own interests ahead of their newborn country's. Already the name Benedict Arnold was becoming a byword for that most hateful of crimes: treason against the people of the United States.

It will always be Peter and me, like it was in the beginning, like it will be in the end. Peter, who took everything from me and gave everything too. Peter, who loved me best of everyone except himself. He tells the new boys I am a villain, and they call me Captain Hook. If I am a villain, it’s because Peter made me one, because Peter needs to be the shining sun that all the world turns around. Peter needed to be a hero, so somebody needed to be a villain. The anger that I carried with me all the days of my childhood is for only one person now, and if I ever catch him again he’ll be sorry. I know I can find a way. He’s given me so much time, all the time in the world, and there must be a way. Someday. Someday, he’ll be sorry he crossed me. When I hear him laughing, out there in the sky and in the night, and that laugh burns me deep down in my heart, I know I’ll find a way to make him sorry. I will make him so sorry. I hate Peter Pan.

Because…the person she asked for help wasn’t exactly a knight in shining armor.” “And you think I am?” “You’re a lawyer.” “Doesn’t make me a hero.” “A hero is the last thing women like my mom and that girl need.” “Why is that?” “Because heroes follow rules and think about the world’s wellbeing. They’re shackled by outdated codes of honor and self-imposed morals, and that might work in a black and white platonic idealism, but that’s not reality, that’s not how it works. In life, sometimes, the hero has to turn into a villain.

Franco Moretti in The Way of the World, his brilliant discussion of the European bildungsroman, or novel of growing-up, distinguishes the British novel from the continental European one for its greater emphasis on the child as hero or heroine. This goes, he says, with a plot that turns on the dangers posed by fairy-tale villains and schemers, trying to dispossess the child of its rightful place and inheritance—as opposed to the novel of growing-up, becoming adult, making moral errors (Stendhal, Goethe, and in Britain, Middlemarch, which Virginia Woolf called the only novel written for grown-ups).

Peter will never let me go. If I’m not his playmate and friend, then I am to be his playmate and enemy. He brought me to the island and he swore I would never leave and so I haven’t. It will always be Peter and me, like it was in the beginning, like it will be in the end. Peter, who took everything from me and gave everything too. Peter, who loved me best of everyone except himself. He tells the new boys I am a villain, and they call me Captain Hook. If I am a villain, it’s because Peter made me one, because Peter needs to be the shining sun that all the world turns around. Peter needed to be a hero, so somebody needed to be a villain.

This was another one of our fears: that Life wouldn't turn out to be like Literature. Look at our parents--were they the stuff of Literature? At best, they might aspire to the conditions of onlookers and bystanders, part of a social backdrop against which real, true, important things could happen. Like what? The things Literature was all about: love, sex, morality, friendship, happiness, suffering, betrayal, adultery, good and evil, heroes and villains, guilt and innocence, ambition, power, justice, revolution, war, fathers and sons, mothers and daughters, the individual against society, success and failure, murder, suicide, death, God. And barn owls... Real Literature was about psychological, emotional and social truth as demonstrated by the actions and reflections of its protagonists.

Terror is an artery. Running unfailing channels of bloodied thoroughfares by dint of the wilds beyond our knowing. Fluctuations and murmurs are audible within the splintered leeway of our preserve as a consequence of interstices modeled in such brutality. This appended artery offers no direction; idle and at times desultory. Bloodstained tracks and avenues guide casualties. Terror, like death, is not complicated, nor is it simple. It is but routine—natural. To call it otherwise is to parsimoniously say that birth is effortless, hurricanes are facile, and earthquakes are meek when they are a lot more. Myths, parables, and allegories lie in the construct of terror. Kings have fallen and succeeded in the yarns of terror. Simple men have been turned into heroes due to terror. Villains have been great orchestrators in the art of terror, allowing sole individuals and denizens to feel their makings. A soul never needed God to feel terror. The most nihilistic can undergo such a dreadful emotion. Animals are perfect examples of this. They are well-equipped creations to the world of terror and death, holding no cognizance to deity or creator. Terror is quite exclusive as it is a function of the mind, conducted by the intersections and throughways of nerves and bounded to that alone. Although it approaches with university, like hunger or sickness, it is selfish by fashion and segregating in nature. But death is quite opposite… death is all embracing. Disregarded and glossed over, it is never reserved or inaudible, especially if you listen hard enough. Death transmits a signal that can be discerned if you listen hard enough. Frail in birthing, the airing is not limited to the clairvoyant, though they are a standard audience. The most simple-minded can hear this. But they choose to ignore it for whatever grounds. Even in the obviousness of it when it comes in dream, awaking its public in night terrors and cold sweats, it should be heeded. In lurk of dark uncertainties the signal should be adhered in this societal horrific caprice. Death is a declaration waiting to broadcast the haunting awareness of our own deterrence. And within these pages is its proclamation.

Good God, Miss Butterfield,” Lord Jarret said. “Don’t tell me you read Minerva’s Gothic horrors.” “They’re not Gothic horrors!” Maria protested. “They’re wonderful books! And yes, I’ve read every single one, more than once.” “Well, that explains a few things,” Oliver remarked. “I suppose I have my sister to thank for turning a sword on me at the brothel.” Lord Gabriel laughed. “You took a sword to old Oliver? Oh, God, that’s rich!” Lord Jarret sipped some wine. “At least the mystery of the ‘weapons at her disposal’ is now solved.” “He was misbehaving,” Maria said, with a warning glance for Oliver. Did he want them to know everything, for pity’s sake? “He left me no choice.” “Oh, Maria’s always doing things like that,” Freddy said through a mouth full of eel. “That’s why we won’t teach her to shoot. She always goes off half-cocked.” Maria thrust out her chin. “A woman has to stand up for herself.” “Hear, hear!” Lady Celia raised her goblet of wine to Maria. “Don’t mind these clod-pates. What can you expect from a group of men? They would prefer we let them run roughshod over us.” “No, we wouldn’t,” Lord Gabriel protested. “I like a woman with a little fire. Of course, I can’t speak for Oliver-“ “I assure you, I rarely feel the need to run roughshod over a woman,” Oliver drawled. An arch smile touched his lips as his gaze locked with Maria’s. “I’ve kissed one or two when they weren’t prepared for it, but every man does that.” Lady Minerva snorted. “Yes, and most of them get slapped, but not you, I expect. Even when you misbehave, you have a talent for turning ladies up sweet. How else would you go from having a sword thrust at you to gaining Miss Butterfield’s consent to be your bride-eh, Miss Butterfield?” Maria didn’t answer. Something was nagging at the back of her brain-a vaguely familiar line from one of Lady Minerva’s books: “He had a talent for turning ladies up sweet, which both thrilled and alarmed her.” “Heavens alive.” She stared at Oliver. “You’re the Marquess of Rockton!” She hardly realized she’d said it aloud until his brothers and sisters laughed. A pained look crossed Oliver’s face. “Don’t remind me.” Sparing a glare for his sister, Oliver muttered, “You have no idea how my friends revel in the fact that my sister made me a villain in her novel.” “They only revel because she made them into heroes,” Lord Jarret pointed out, eyes twinkling. “Foxmoor got quite a big head over it, and Kirkwood’s been strutting around ever since the last one came out. He loved that he got to trounce you.” “That’s because he knows he couldn’t trounce me in real life,” Oliver remarked. “Though he keeps suggesting we should have a ‘rapier duel’ to prove whether he could.” Maria stared at them agape. “Do you mean that the Viscount Churchgrove is real? And Foxmoor…great heavens, that’s Wolfplain!” “Yes.” Oliver rolled his eyes. “Churchgrove is my friend, the Viscount Kirkwood, and Wolfplain is another friend, the Duke of Foxmoor. Apparently Minerva has trouble coming up with original characters.” “You know perfectly well that I only used a version of their names,” Lady Minerva said smoothly. “The characters are my own.” “Except for you, Oliver,” Lord Jarret remarked. “You’re clearly Rockton.

In The Frog Prince, a beautiful princess drops her golden ball into a deep spring and must allow a frog into her bedroom to get it back, maturing thereby into a woman. Fairy tales and myth often place an odd creature on the path of the hero to signal an opportunity exists: turn right for good or left for evil. Of all the harbingers of change in fairy tales and myth—disfigured dwarfs, shriveled witches, even Yoda—it is reptiles (and amphibians) that are considered ugly enough without embellishment to awaken the part of the brain that listens to fairy tales. In real life, it is possible that reptiles have the power to switch off a person’s thinking brain and switch on the subconscious, opening the door to a person’s most deeply suppressed passions. Perhaps this is what makes reptiles so terrifying. Coiled at the center of the Oxford English Dictionary’s definition of the word fascinate is this: “of a serpent.” Evolved from lizards, deliverers of venom—snakes are the villains of the animal kingdom. And yet, throughout history, snakes have been recognized for their power to bewitch man, to deprive him of resistance, to draw him near.

Practitioners of the big lie, like Whitman and Nelson, have a second objective. Incredibly, this is the objective of turning the villains of their story into its heroes. By clearing the Democrats and the progressives of blame, they intend to pave the way for these same Democrats to offer themselves as the solution for racism. As the big lie unfolds, somehow the very people who have poisoned the water reappear dressed as the water commissioner. It’s an unbelievable scam.

Villain telepaths are no more dangerous than villains of every other stripe; they just have a different way of operating. Instead of hiring henchmen, they control their minds. Instead of beating you into a pulp, they turn your brain into mush. Instead of monologues about how ingenious their plans are, they just put it in your mind how brilliant they are.

This, then, was the one thing Christina had not figured on–the deadly, far-reaching killer instinct beneath his blank, non-assuming stare. And to make matters worse, LaForche, like Christina, had intrigues and subversions of his own, He was completely normal in all ways except for one detail. He had an insidious delectable kink–an exactingly outrageous idée fixe, a driving monomaniacal purpose behind his ambitious riddling hatred. Very soon, he would turn his warped facilities against her, focusing his vast malignant energies to destroy the ridiculous self-deified woman who abused and humiliated him so. --Felipe LaForche, Villain. The Lady and the Samurai

I’m trying to decide what to wear to meet your father figure.” “You’ve met Tore before.” “As your lawyer, not as your…” I hesitated, scrambling to define what this gorgeous man was to me and me to him. “As your partner.” He turned his head so that his hot breath wafted over my neck, his lips tickling the thin skin over my hammering pulse. “Partner? Mmm, I don’t think so. I like the sound of… my lover, my woman, innamorata mia, amora mia.

Somehow, in Noah, Thomas had managed to get the devoted acolyte and son he’d so desperately wanted. Noah believed in Thomas’s vision. He truly saw the benefit in turning villains into anti-heroes.

Intelligent and ambitious people want to be challenged, and someone having high expectations of you is a turn-on. High demand is a motivator, success is a drug, and before you know it, you're rationalizing anything in order to meet the demand and get your high. The demand has become your god. There <\i>is one indisputable way to identify a cult, one characteristic they all share. It is not a belief in alien spacecraft or a plentiful supply of Flavor Aid. It is the notion that anyone who does not agree with the group's beliefs or choices, who expresses concerns, who simply dares to ask questions, is deemed "unsafe." Every good thing about that person must be subsumed by the fact that they disagree with me, so I can boil down their character into something vilifiable. For mind control to work, there has to be heroes and villains. It has to be us versus them. In a cult, it isn't good enough for you to say "I love you, but I disagree with you." You must affirm my choices and beliefs. Only then can you be considered "safe." In a cult, safety means agreement. The irony, of course, is that while you are not allowed to have your own opinion about my beliefs, I am allowed to have an opinion about yours.

Blind Thrust makes good use of Marquis' background as a professional geologist. It is the novel's characters, however, that really stand out. Charles Quantrill is far from a cardboard villain, and as for the heroes, Joe and John Higheagle have a particularly endearing rapport. For suspense fans who enjoy science mixed with their thrills, the novel offers page-turning pleasures. --BlueInk Review

The rest of the story, from the turning point when the hero experiences a symbolic death and rebirth and goes on the offensive, to the confrontation with the villain in the slam-bang climax, to the resolution comes from one thing: The hero’s decision to move forward while experiencing their dark moment.

Obama’s statements also use a narrative structure, complete with heroes and villains: Ending the estate tax is a threat to the most vulnerable people—taking away money for what they desperately need. They are the victims. The villains are those who would take it from them—conservative legislators and some of the nation’s wealthiest families, who have spent tens of millions to lobby for the repeal of this tax. The hero, the rescuer, is you, the voter, who can change the course of the nation. Persuade your legislators to vote for what is moral, and turn them out of office if they refuse to do the right thing. The

The world into which we are born is imagined as a stage full of actors but with no script, or director. Everyone assumes they are the hero, but discover they are not the protagonists of the ongoing play. We are forced to play certain roles and speak certain dialogues. But we revolt. We want our own script to be performed and our own dialogues to be heard. So we negotiate with fellow actors. Some succeed in getting heard with some people, others fail with most people, no one succeeds with everybody. We cling to our scripts, submit to other people’s scripts, speak dialogues we do not want to, only to stay relevant and connected to the larger narrative, or at least to a subplot. Heroes emerge. Villains emerge. Heroes of one plot turn out to be villains of other plots. Eventually, all leave the stage but the play continues. Who knows what is actually going on? Vishnu,

When you come in here and pick up one of these,” he gestured at Hamlet, “or even watch one of the crappy holos out in the main room, you’re not just an orphaned kid marooned on a dustbowl planet anymore, with no more rights than any slave might have. It’s a way out of here. You’re a hero, or a villain, or anything else you could imagine, and a lot of things you probably can’t. Every time you turn a page you can go somewhere, even someplace that’s never been. But anywhere you go is somewhere far away from here. And the best part about it, the part that keeps me alive and sane, is that the words in the books leave a lot of blanks that your mind has to fill in. It makes your mind work without you forcing it to, and you get better and better at it without killing yourself like you have to sometimes in the fields.

For Ram, Kaikeyi is no villain; he is no victim and certainly not a hero. A hero is provoked into action. A yajaman needs no provocation to act. Provocation makes action a reaction, turns

We are forced to play certain roles and speak certain dialogues. But we revolt. We want our own script to be performed and our own dialogues to be heard. So we negotiate with fellow actors. Some succeed in getting heard with some people, others fail with most people, no one succeeds with everybody. We cling to our scripts, submit to other people’s scripts, speak dialogues we do not want to, only to stay relevant and connected to the larger narrative, or at least to a subplot. Heroes emerge. Villains emerge. Heroes of one plot turn out to be villains of other plots. Eventually, all leave the stage but the play continues. Who

Here in the land of Faulkner, I walked to my clean little school, filled with only white faces until I turned nine, and learned the comic book tale of the founding of America: intrepid Columbus followed by the scrubbed-clean Pilgrims in their sturdy Mayflower, who landed at Plymouth Rock carrying God’s Word with the Purest Intentions, who shared Tom Turkey with Squanto and then Settled the West according to the Divinely Inspired law of Manifest Destiny, Christianizing the Wayward Heathen as they went. Hollywood helped me along this simpleminded path, with formulaic westerns that left no doubt about heroes and villains, or the symbolism of white versus red, white versus Black, or white versus any other color. But even in the fog of that controlled culture—in the coddling arms of Papa Walt Disney and the United Daughters of the Confederacy—I wasn’t physically blind. I lived in Mississippi, ground zero for what would soon become known as the Movement. And slowly I came to realize that the slavery I had always wondered about, the evidence of this great historic crime that people had begun to murmur about—and then speak openly, bitterly about—was all around me. All I had to do was look. Half the people in my town were Black. They lived among us, yet apart. They reared us, fed us, bathed us, taught us. And all the while, they performed their great trick of survival, which was to be simultaneously visible and invisible. Present but nonthreatening. And yet . . . One unguarded look by either party could reveal so much.

I've been in headlines across the United States and across the world, I've been named personally in anti-trans legislation. I've been honored by top LGBTQ organizations, I've been painted as a hero, as a villain, as a symbol, as a representative for an issue that has taken center stage in the culture wars. But when people are busy turning you into a symbol, they forget what you really are: a human being. A person with needs and desires, fears and hopes just like everyone else. At the end of the day, I'm just a girl with a dream. A girl with so much love in her heart. And all I want, all I've ever wanted, is the freedom to run.

For with each turn of the page An opportunity to escape to an enchantment of undiscovered mysteries laden with Heroes, villains, and mythical creatures that fall and rise And where destiny is written by hand but Determined by the heart and mind

She looked up at the imposing cliffs of stone. “Even the villains are the heroes of their own stories,” she said. “I do not know what that means,” Henry said, frowning. Emilia turned to him. “It means there is nothing either good or bad,” she said softly. “But thinking makes it so.” —

I thought I was the good guy. It might sound unbelievable, but most people in mobs believe this, even while they’re doing horrible things. In all my time as an activist, I’ve never seen a single instance where the people instigating abuse, even in the worst possible cases, thought they were the “bad guys.” There is always a righteous undertone. Dehumanization works its mental magic, and turning the target into a “villain” provides the attacker with the chance to be a “hero.” You can rationalize doing all kinds of things to a symbol that you would never do to a human. The campaign becomes a false battle between good and evil, and tormenting someone is seen as a struggle over something much larger than either of you.

Are you ready, Tiana? One last deal." His willingness to sacrifice some innocent person's soul alleviated the last prickle of conscience she felt over what she was about to do. This snake in the grass deserved everything that was coming to him. "Okay," Tiana said. "I'll sign it." She followed him to a wooden desk that held a lamp, and grabbed hold of the fountain pen he held out to her. Tiana bent over the contract, turning her back slightly as she scribbled across the bottom of the scroll. "Okay, it's done," she said. She turned and held the vial out to him. "Now, you drink half, and I'll drink half." His eyes were bright with triumph as he snatched the vial from her free hand, wrenched the cork out of it, and gulped down the entire contents. He threw his head back and let out a peal of laughter. But his laughter quickly died as he clutched at his throat and staggered several steps back. Tiana held out the contract to him, the words Goodbye, Shadow Man scrawled on the signature line.

Because heroes follow rules and think about the world’s wellbeing. They’re shackled by outdated codes of honor and self-imposed morals, and that might work in a black and white platonic idealism, but that’s not reality, that’s not how it works. In life, sometimes, the hero has to turn into a villain.

This was turning out to be one hell of a day. A helluva few weeks. Not too long ago, she had been content living her less than extraordinary life with her dull husband and disconnected family. Now it felt like she had been shoved off course. Everything was tilting and she couldn't make sense of anything anymore. She couldn't work out who was a hero and who was a villain. - And what was she?

Character Sheet: Herobrine Height: 6’3’’ Most Likely to Say: “Heroes Lose Everything.” Least Likely to Say: “I will fail!” Affiliation: None Origins: Herobrine is the king of the mobs. They follow whatever order he gives, and without him, they are weak and mindless. His goals are to dominate the entire world and become the King of Everything. One of the biggest cities that has been able to resist his attacks is Craft City. And since the arrival of The Mob Hunter, the job has only gotten harder. Herobrine faced off against The Mob Hunter and although he was winning, the Mob Hunter used his creeper ability to gravely injury both himself and Herobrine. Herobrine recovered using the potions of the witches and dark matter energy from the enderman. Not only did he get better, but he also gained the ability to turn into smoke. Herobrine teamed up with Crusher to successfully invade Craft City, but his victory was short lived as he was eventually once again defeated by The Mob Hunter. Herobrine got his freedom after he accepted Alex’s offer to join her team of villains to do hero work. With his redstone collar, he isn’t able to betray her. Yet. Then instead of Alex, Mayor Jackson had control of his redstone collar. Herobrine was then accidently rescued by Steve. Herobrine thought about who he was and if he really was a villain and realized that after fighting for the Mine City Heroes, he rather be a hero. His journey to redeem himself and become a hero came to an end when he sacrificed himself to save Anne and Steve.

You are often unable to hold on to personal heroes or villains. Inevitably you will meet your hero, and he may turn out to be less than impressive, while your villain turns out to be the coolest cat you’ve ever met. You never can tell, so you eventually learn to live without a rooting interest in the parade of stars, musicians, sports champions, and politicians. And you lose the ability to participate in the real American pastime: beating up on people you don’t like and glorifying people you do.

She reached the end of the ranks, turned her mount round and began retracing her route. 'Who are you? I know who you are. What have you done? You have stayed with me since the very beginning. Soldiers, hear me! This day is already lost to history, and all that happens here shall remain for ever unknown. On this day, you are unwitnessed. 'Except for the soldier to either side of you. They shall witness. And I tell you this, those soldiers to either side of you, they are all that matters. The historians' scrolls have no time for soldiers like you – I know, for I have read hundreds of them. They yield a handful of words to speak of defeat or victory. Perhaps, if so warranted, they will make mention of great valour, extraordinary courage, but the weight of those words is no more and no less than those used to speak of slaughter and murder. Because, as we all know, one soldier can be hero and villain both. 'We have no place in their histories. So few do. They are not us – they were never us, and we shall never be them.

In Nigeria, if you live long enough, you will see your heroes turn into villains. Nobody is totally sane till the end; almost everyone can be bought at the right price.

Oh, one more thing.” He stopped and turned to me, putting both hands on my shoulders when I did the same. “Number three, I promise that we are going to hunt down those Carter bastards, find out every hole they wriggle into, and burn their villainous asses into so much fine ash. They hurt you, they tried to hurt me and my people here, and they hurt one of the girls you love.” While the words were like many he said in full on evil emperor mode, the tone and the look weren’t that twisted crazy I saw in him often. No, this was different. This was a father genuinely angry at the people who hurt his family. “I think how you kids put it is… Fuck. Those. Guys.

With skinned knees and bruised hearts; We choose owning our stories of struggle, Over hiding, over hustling, over pretending. When we deny our stories, they define us. When we run from struggle, we are never free. So we turn toward truth and look it in the eye. We will not be characters in our stories. Not villains, not victims, not even heroes. We are the authors of our lives. We write our own daring endings.

The war is over. Let someone else play at being the hero.' 'I'm not a hero,' Shane said. 'I know that. But I'm not a villain either. I'm a king.' He turned away from Anya, and his eyes fell again upon the hunched horror Yumaris had become. 'And a king uses all the tools at his disposal.

Search his room,” my father spat. “Turn everything upside down until you find every shred of evidence that he’s a traitor.” I had to bite my tongue at the irony of the situation. Just a few months ago, my father was the world’s most feared villain, and now, he was ready to burn his entire island to the ground to find the villain that had out-villained him.

...every time the heroes turn to villains, saviors are rewritten as devils, the names of streets are changed, faces [are] scrubbed out from photographs, encyclopedias [are] re-edited. And so every regime destroys and rebuilds the previous city.