Tag Archives: fictional villains

One-Punch Man: A Hero Forged By Boredom

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When it comes to the crippling power of boredom, it’s easy to see how it can create deranged super-villains like Vandal Savage and hardened anti-heroes like Rick Sanchez from “Rick and Morty.” In the real world, boredom tends to inspire people in all the wrong ways. It can even inspire horrific crimes.

As such, it’s hard to imagine boredom being the driving force behind a superhero. That seems utterly antithetical to what a superhero is. As a noted comic book fan, which I’ve belabored many times on this blog, I know more than most people should about what makes a superhero. Boredom should not be on that list.

Heroes are supposed to be champions of all that is good and virtuous. They’re supposed to embody our highest ideals as a people. They raise the bar and set an example for others to follow. Their hearts, souls, and eyes are supposed to radiate hope, love, and everything else we associate with puppies and kittens.

However, it’s because I’m a die-hard comic book fan that I would know about a hero inspired by boredom if he or she even existed. Well, thanks to my love of comics and the extra free time that I enjoy between football season, I have discovered such a hero.

He’s not Superman. He’s not Captain America. He’s not even Wolverine, Deadpool, or Squirrel Girl. He’s not a product of Marvel, DC Comics, or any major comic book company from the past century. He’s in a category of his own, although not for reasons you might not expect. His real name is Saitama, but most know him as “One-Punch Man.”

Unlike most heroes, One-Punch Man is exactly what he sounds like. His story isn’t as convoluted as Wolverine’s or as generic as Superman’s. His powers are nothing fancy. As his name indicates, he has the power to defeat any foe with a single punch. It doesn’t matter whether it’s a giant, mountain-sized titan or some monster from outer space. No matter how big or powerful they are, Saitama beats them with just one punch.

If that sounds bland to you, then congratulations. You’re seeing exactly what the writer, who goes by the pseudonym, One, intended for you to see. Unlike other attempts to create iconic superheroes, most of which fail spectacularly, “One-Punch Man” didn’t set out to create an interesting, compelling hero. It was crafted as a parody, of sorts, to modern superheroes.

In the same tradition of Weird Al Yankovic, “One-Punch Man” took an established narrative and turned it into a joke, of sorts. It went out of its way to do all the things that traditional superhero comics avoid. It actually tried to create a hero who was bland, overpowered, and un-iconic. Whether by design or by accident, it worked.

It was created in 2009, but by 2012 the Japanese comic sold over 7.9 million issues in Japan and was later exported to the United States, where it was nominated for an Eisner Award in 2015. For those of you who don’t know, Eisner Awards are the comic book equivalent of the Oscars. For any comic, let alone one that started off as a joke, to be nominated is a pretty big deal.

Parody or not, “One-Punch Man” struck a chord. It might be due to the saturation of superhero movies or the ongoing frustration of comic book fans about how their favorite characters are treated, but a hero who basically spits all over the standard superhero narrative has a unique appeal. Given the success of Weird Al, maybe we shouldn’t be that surprised.

In utterly lampooning modern superhero stories, “One-Punch Man” makes boredom the primary catalyst. In a sense, it channels the power of boredom to create a character who breaks every possible rule for making a compelling superhero and it does it with the blankest of stares.

His backstory is not that compelling. He’s not some alien from a dead planet. He’s not an exiled god or a genetic freak. He’s not even gifted in any way. In fact, the first episode of the anime cartoon shows him as just some generic unemployed office worker who randomly encounters a monster. He defeats the monster, albeit not with one punch, and on the spot he decides to be a superhero.

If you’re hoping for a more compelling story than that, then save yourself the trouble and throw that hope away along with the leftovers and dog shit. That’s as compelling as Saitama’s origin story gets. The way he becomes so powerful is even less compelling than that, if you can believe that.

Saitama didn’t get strong through a genetic mutation, a crazy lab experiment, advanced technology, or even a radioactive bug. Saitama gained his immense power over the course of three short years and he did it through a very simple, very bland workout routine. In his own words, this is how he became the most powerful hero in the world.

100 push-ups, 100 sit-ups, 100 squats, and a 10-kilometer run! And I do it every single day!

Again, it’s every bit as bland as it sounds. The mere fact that everything in Saitama’s workout is nothing more than a set of basic exercises that almost anyone can do is so inane and generic. It’s so generic that people in the real world are even trying this regiment. Given the extent and utter unfeasibility of Batman’s training, it’s basically a joke.

That’s entirely the point, though. Saitama isn’t supposed to be the kind of underdog hero who defies all odds, pushes his limits, and overcome immense obstacles. He is the embodiment of a classic “Deus Ex Machina,” the proverbial god machine that so many stories utilize to resolve a conflict.

In nearly every writing class you take, and I’ve taken more than a few, you’re taught to avoid using the deus ex machina trope as much as possible. It’s not easy, even for erotica romance writers. I like to think I’ve avoided it for the most part in my novels, but I don’t deny the challenge is there. Even comic books struggle with this. Just look up something called the Cosmic Cube for proof of that.

However, whereas most writers avoid a deus ex machine, “One-Punch Man” doubles down on it. It even embraces it to some extent. It doesn’t craft classic superhero stories about how Saitama faces overwhelming odds, powerful enemies, and insane obstacles. He’s so strong that nothing really threatens him anymore. Every threat or enemy he faces is easily defeated with a single punch.

Instead, the narrative of “One-Punch Man” explores Saitama’s struggle with the sheer boredom of being such a powerful hero. He rarely raises his voice. He rarely gets excited. He’s never afraid, threatened, or agitated in any way. He often yawns in the middle of epic battles, much to the annoyance of his enemies and even his fellow heroes.

There’s no getting around it. Saitama is bored out of his mind. Beyond just being powerful, his reasons for being a hero aren’t that deep. He doesn’t have a deep sense of duty like Superman. He didn’t suffer a terrible tragedy like Spider-Man or Batman either. He’s just a hero for the fun of it. That’s the only reason he ever gives. Again, that annoys the hell out of his enemies, but that’s the point.

If you were to put Saitama on the traditional hero’s journey, it would be the shortest journey ever. Everything about Saitama’s backstory, powers, and motivations are bland. They’re intended to be bland because he’s supposed to be a parody of modern hero tropes, a walking joke of how every epic superhero struggle can be reduced to one proverbial punch.

While “One-Punch Man” does an admirable job mocking superhero traditions, sometimes too well, it also reflects the sheer impact of boredom. When someone becomes so powerful and so competent at resolving any conflict, it tends to get boring. Saitama is the perfect embodiment of this.

He might also be a warning sign, of sorts. I’ve talked a lot about the potential for human enhancement in the future, from smart blood to brain implants. While these advancements will do a lot to improve our lives and our bodies, it might also put us in the same position as Saitama.

What happens when it becomes overly easy to master a skill, overcome an obstacle, or achieve a goal? When you’ve got a body that can download knowledge, shape-shift, and make love to an army of sex robots, what else is there? How can you not get bored by all that?

Saitama lives in a world where nothing is a threat to him and nothing challenges him in any way. As such, he’s bored out of his mind. He’s only a hero because he still gets some fun out of it. It’s not much, but it’s better than nothing. For someone as powerful as him, he’ll take it in any way he can. It might not be the most noble reason for being a hero, but it is understandable.

Parody or not, “One-Punch Man” is a unique exploration of a superhero narrative. It purposefully breaks and mocks all the rules of a heroic narrative, but does so in a way that’s entertaining and quirky. You could argue that Saitama is the only hero forged and driven by boredom.

However, if superheroes are supposed to represent our ideals and hopes, then what kind of message does “One-Punch Man” tell us? If becoming so powerful and so competent leads to boredom, then what does that mean for our own efforts? In a sense, our limits keep us from doing so much, but they also keep us from getting bored. In the end, it’s hard to say whether that’s much of an ideal.

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The Hero’s Journey Vs. The Villain’s Journey

Let’s face it. When we find a winning formula, we like to follow that formula as closely as possible for as long as we can. Why wouldn’t we? We like winning. We like things that work. Who goes out and buys a broken car just because they’re tired of buying one that works?

In terms of winning formulas in pop culture, few are as tried and true as the so-called “Hero’s Journey.” It’s a formula that’s been around since the “Epic of Gilgamesh,” a story so old that the bible may have ripped it off to some extent. For something to have worked for that long, it must be doing something right.

The concept was somewhat formalized in 1949 when Joseph Campbell described it in his book, “A Hero with a Thousand Faces.” In its simplest, most basic form, he sums up the formula like this:

A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.

Read over this simple summary, think back to some of the most iconic heroes of all time, and you’ll find it applies to a lot of characters. From King Arthur to Luke Skywalker to Harry Potter, the formula of the Hero’s Journey is so tried and true that any fiction without it is akin to a cake without frosting.

Then, Walter White came along. Suddenly, the “Hero’s Journey” just wasn’t enough for people anymore. They’ll still gladly embrace that narrative, so much so that they’ll make superhero movies a billion-dollar industry. However, audiences now show that they’re in the mood for something different. What else explains Bryan Cranston’s multiple Emmy awards?

Enter a different journey, one that has played out before, but never got the same attention or Emmy consideration as the Hero’s Journey. I’m talking about the “Villain’s Journey” now. The name may be unoriginal, but its formula is just starting to evolve.

So what exactly is that formula? Is it just the complete opposite of the Hero’s Journey? Well, it’s not accurate to say it’s completely unique to that narrative. It’s also not accurate to say it’s a mirror image that would warrant full-blown plagiarism like those practiced by certain presidential candidates.

To understand this formula, we still need to understand the particulars of the Hero’s Journey. Since this journey has been so studied and belabored, most of those details will be pretty familiar. Anyone who saw Star Wars, Harry Potter, or followed any superhero created by Stan Lee will recognize these details.

Familiar or not, the crux of the journey is that it’s a cycle of sorts. It takes a character down a path that establishes them as a hero archetype. So if we’re going to create a similar journey for a villain, let’s follow this same cycle.

Since I’ve been referencing it in multiple posts, I’ll use “Breaking Bad” and Walter White as the primary example. However, I’ll also cite other famous villains like Lex Luthor, Dr. Doom, and Flavor Flav when necessary. I’m not trying to recreate the entire breakdown that Joseph Campbell did. I don’t have the time, energy, or alcohol supply to do that at the moment. I’m just going to highlight the steps of the journey.


Step 1: Ordinary World (With Extraordinary Flaws)

This step is similar to that of the hero, but for the villain, the ordinary world shouldn’t be ordinary. He or she sees that state as a flaw. Walter White certainly did. He was a grossly overqualified high school chemistry teacher who’s run of bad luck and poor decisions put him in a horribly flawed situation. For a villain, that’s just untenable.


Step 2: Answering One’s Own Calling

This is where the villain starts to go in the opposite direction of the hero. For the hero, there’s a call that they must respond to. Whether it’s the murder of their parents or the destruction of their home world, something calls upon them to be heroes.

A villain decides to skip a couple steps. A villain answers their own call. Walter White didn’t need someone telling him to get into the meth business. He saw something he knew he could do and he did it. That’s all there was to it.


Step 3: Gaining Minions

Since the villain is the one making the call, there’s no refusal. There may be reluctance, but the villain doesn’t refuse their ambition, nor do they temper it. It’s a step they don’t have to take when compared to the hero. It’s a shortcut of sorts.

That shortcut gets even shorter once minions get involved. By minions, I don’t mean the kind of throw-away thugs that ever James Bond villain employs. I mean partners that the villain can use, manipulate, or persuade in aid to his goal. For Walter White, he found a minion in Jesse Pinkman. This partnership, while productive, wasn’t always healthy and Jesse certainly suffered at times.


Step 4: Tasting Their First Triumph

This is where the villain gets their first taste of what it’s like to win. It sometimes requires pain, sacrifice, and cunning, but there’s one important theme. They like it. They like it enough to want to do it again. Walt’s first triumph over Tuco, as well as his memorable reaction to it, shows that he’s starting to embrace this world.


Step 5: Beating Out Rivals And Gaining Influence

Once the villain has that taste of triumph, they seek more. They seek it like crack addict in withdrawal. This is where lines are crossed, friends abandon them, and the ambition gains a more selfish undertone.

This is where Walter White starts to ascend from small-time meth cook to full-blown kingpin. Lex Luthor and Dr. Doom underwent a similar journey, crushing anyone who stood in their way, often brutally. Gus Fring can attest to how brutal it can be.


Step 6: Accumulating Rewards (and Wanting More)

At this point, the villain is on top of the world. They’ve beaten their rivals. They’ve vindicated everything their ego has told them. They feel they’ve earned this success. They make any excuses for the lines they crossed or the people they’ve hurt. They reached the top and they’ve since stopped giving a damn about how they got there.

In Season 5 of Breaking Bad, Walter White reached this stage. It was no longer about making money for his family. He said it himself. He wanted an empire. He eventually got it, so much so that he had acquired actual piles of money. Even so, it never seemed to be enough.


Step 7: Hitting A Limit and/or Encountering A Rival

This is the part of the journey where the villain crosses paths with the hero. This is when Lex Luthor encounters Superman. This is when Dr. Doom encounters the Fantastic Four. It’s the proverbial wall that every villain reaches, one in which their endless ambition can go no farther. They can’t get any more and that pisses them off.

For Walter White, this was the point when his meth empire started crumbling. Enemies, including old partners like Jesse Pinkman and friends like Hank Schrader, turned against him. No matter what he did from that point on, his ambition and reward never went further.


Step 8: Endless Struggle and/or Self-Destruction

This is the final step in the journey, one in which the villain has long passed the point of no return. They cannot be redeemed, nor do they want to. They effectively accept their role as a villain. They lose more than they can ever regain. Lex Luthor loses his influence. Dr. Doom loses his power. They never stop and blame themselves either. They just keep fighting others who deny them.

For Walter White, he took the self-destruction route. While he did try to redeem himself to some extent, he never apologized for it. He even admits to his own wife that he did what he did for himself. In the end, it left him alone, but he still fulfilled his ambition. He still succeeded on many levels.


This marks the end of the Villain’s Journey, at least according to my formula. I’m not saying it’s definitive. I’m not even saying that it applies to all villains. There are parts of this journey in which it’s kind of a stretch to apply it to Walter White. There are times when he’s more anti-hero than villain. However, the theme remains the same.

The ascendance of Walter White within pop culture, as well as a growing emphasis on giving villains as much depth as heroes, will likely bring greater scrutiny towards the Villain’s Journey. For now, I’m just looking to get the conversation going. I’m a cook in the kitchen fooling around with the ingredients.

I don’t doubt that there are more skilled chefs who will come along and improve upon this formula. I also don’t doubt that we’ll see more characters go on this journey. They may or may not result in more Emmys for Bryan Cranston, but they will help bring greater balance to the never-ending narrative that guides heroes and villains alike.

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Magneto: The Original Walter White?

It’s a common pattern in pop culture. Elvis and the Beatles didn’t invent rock music. They just made it mainstream. “The Godfather” didn’t invent the Italian Mafia. It just made it mainstream. The movie “Deep Throat” didn’t invent blowjobs. The human race figured that out centuries ago. The movie just finally got around to recognizing how amazing the concept would be.

These patterns often play out before our eyes without us really noticing. Nobody ever realizes they’re part of something greater, at least until they’re being played by Denzel Washington or Daniel Day Lewis in a movie. There’s always some strange revolution going on and I’m not talking about the kind that involves fad diets or Gwyneth Paltrow’s health tips for a clean vagina.

When I decided to break down the impact of Walter White on villains and antagonists in pop culture, I knew I was a bit late to the party. “Breaking Bad” has been off the air since 2013. In that time, the cultural impact of Walter White and how Bryan Cranston brought this character to life has spread. Many have already done far more thorough breakdowns of this character that are far more insightful than anything I could ever do.

At the same time, however, a part of me still looks at Walter White and sees the same pattern that has played out in music, TV, and even porn. Like Elvis, Walter White didn’t invent the complex antagonist/anti-hero. He just made it mainstream. However, I think there’s another character who accomplished this while Bryan Cranston was voicing bad Power Rangers villains.

Which character am I talking about? What kind of character could’ve possibly captured the complexities and depth that Walter White embodied without having his own show on AMC? This character actually pre-dates AMC, cable TV, Power Rangers, and even hippies. His name is Erik Lensherr, but he’s best known as the X-men villain, Magneto.

Yes, this is going to be another one of those posts. If you’ve been following this blog for any length of time, you know I jump at the chance to relate anything I can to comic books, especially X-men.

I’ve already used X-men to highlight what I feel are relevant issues. I’ve cited an X-men comic as a prime example of a true relationship of equals. I’ve cited X-men as teaching valuable lessons in the importance of foreplay. I’ve even singled out one X-man in particular, Storm, as a more viable female icon than Wonder Woman.

That said, it should come as no surprise that I make another connection when the unapologetic comic book fan in me sees the opportunity. For Magneto, the opportunity is definitely there. Based on his story, his personality, and his actions, he can claim that he was Walter White before there ever was a Walter White.

That claim isn’t hard to justify to anyone who learned about Magneto from the X-men movies, specifically the first X-men movie in which he was played by Gandalf himself, Sir Ian McKellen, and the pseudo-reboot entitled “X-men: First Class” in which Michael Fassbender gave the character an uncomfortable amount of sex appeal.

Both these movies make it a point to emphasize one of the most important, not to mention traumatic, aspects of Magneto’s character. He’s a holocaust survivor. He didn’t just live through one of the greatest atrocities in the history of mankind. He lost his entire family in it. He literally saw humanity at its worst. Can anyone honestly blame him for being a villain?

Unlike Walter White, it wasn’t desperation or circumstance that made Magneto want to give a big middle finger to the human race and get the ball rolling on their successors. He’s always been a little pissed off at the world for allowing such an atrocity. When you’re surrounded by the greatest evils of humanity, is it any wonder why you would found a group called the Brotherhood of “Evil” Mutants?

Even if he does have a good reason for being evil, this justification alone doesn’t put Magneto on the same level as Walter White. A major aspect of Walter White and the concept he embodies is the complexity of his character. If Magneto were just another Dr. Doom wannabe who just happens to have a better reason for hating the human race, then this concept wouldn’t apply.

However, Magneto does have depth. He does have complexity. His history is rich with stories that has him navigating a vast gray area of morality. One day, he’s a reformed man who helps the X-men fight off killer robots trying to wipe them out. On another, he’s creating a giant mutant monster to unleash upon the human race.

This isn’t just a bitter old man who gets moodier than most. His shifting allegiances, as well as his efforts to walk that fine line between villain and anti-hero, doesn’t happen sporadically. Magical spells aren’t used to just make him a hero, although that tactic has been used on other characters in comics.

Magneto’s story, much like Walter White, follows him making hard decisions in difficult situations. The consequences of these decisions lead him down many paths, some of which get pretty damn dark. Just read Cullen Bunn’s 2014 “Magneto” series for proof of that. That series alone ensures Magneto deserves to be on the same level as Walter White.

What makes Walter White such a compelling character is that his struggle and his hard decisions feel so real. He’s a man struggling in a difficult situation, but those situations only serve to bring out the worst in him.

Magneto may live in a world of mutants, superheroes, and characters who ride cosmic surfboards, but what he endures is painfully real. He lived through a real atrocity that has scars that we, as a species, are still struggling to confront. Whether the evil within him was always there or influenced by these struggles, it still felt painfully real.

The X-men, and the mutant struggle that Magneto has always been a part of, embodies the struggles of minorities. Even X-men director, Bryan Singer, has cited these struggles as an important part of the mythos. The struggles of minorities and the atrocities they suffer is painfully real.

In the case of Magneto, the horror of these real events helped shape his fictional path as a character. Walter White can’t claim he endured such atrocities. He endured injustice, but not on the same level as Magneto. These forces shaped their respective stories and personas.

At the end of the day, it still leaves us wondering whether these forces actually made them evil or just brought out the evil that was already there. While it may involve a little of both in the grand scheme of things, it’s still a big part of what makes these characters so compelling. At least with Magneto, he can say he knocked first.

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Villains, Antagonists, And The Walter White Effect

He’s the bad guy. He’s the obstacle. He’s the one that the hero must outwit. To put it more succinctly, he’s the one who knocks. Call him what you want. Say he’s a villain, an anti-hero, and an antagonist. We know who these characters are and we understand their role.

Then, Walter White came along and ran the concept over with his car. Villains, heroes, and antagonists have not been the same since.

Some may argue it has improved the way in which we tell stories. Some may argue that it has been a detriment, creating a race of sorts to abandon old ideals and make every character feel all too human. For fictional characters not bound by the crushing limits of the real world, this can be a race that no one should want to win. However, I believe the rise of Walter White and “Breaking Bad” has raised the bar for characters of all types.

I call it the “Walter White Effect.” I know that’s not very original, but it sheds light on a concept that has been permeating pop culture since “Breaking Bad” became a phenomenon. We’ve seen it in movies, TV shows, comic books, and video games. What else explains Dr. Doom becoming the new Iron Man?

It’s just not enough for villains to be villainous anymore. It’s not enough for anti-heroes to have an edge anymore. Walter White has changed the way we think about protagonists, antagonists, heroes, anti-heroes, and everything in between. As an aspiring erotica/romance writer, I’ve already felt the effects of those changes and I even welcome them.

This is an issue that spins right out of my recent discussions on the nature of evil in humans. In discussing such a morbid topic, I tried to keep things basic while also trying not to make too many people want to spit in their own gene pool. For this discussion, however, I want to focus on just one of those trees in the vast forest of human evil.

In doing so, I know I’ll rile up those who don’t believe that Walter White deserves to be classified as “evil.” I understand that argument. To call Walter White “evil” the same way we call IRS agents evil is to cast too wide a net on a remarkably complex character. However, for the purposes of this discussion, I want to focus on the traits that highlight the “evil” qualities of Walter White and characters like him.

Those who have binge-watched “Breaking Bad” know Walt’s story well. He started off as this affable, sympathetic man who endured one too many bad breaks, if that’s not too fitting a term. He had a family who loved him, a baby on the way, and friends who supported him. On the surface, he had every reason to be a good person.

Then, the bad breaks added up. He was diagnosed with advanced-stage cancer and given only a couple years left to live. Being a grossly overqualified high school chemistry teacher, he was destined to leave his wife, son, and newborn baby with nothing. Something had to give. It led him down a dark path, one that eventually brought out the worst in him.

It’s a story that puts a major twist on the familiar “Hero’s Journey” that we know so well. In some respects, Walt started out as a hero, doing bad things for good reasons. He did what he did to provide for his family, not to snort crank off a strippers ass. However, that journey morphed into something very different, one that has set a new standard for heroes and villains alike.

Bit by bit, sin by sin, and excuse by excuse, Walter White descended into this evil mindset. He killed former partners. He also lied to others. He even abandoned his initial reason for becoming a criminal. It was no longer enough to just provide for his family. He was in the “empire business” as he put it.

These are not the thoughts, actions, and traits of a hero. This is no longer a character who deserves such sympathy. Walter White became a true villain. In the end, he basically admitted as such. He said outright, “I did it for me. I liked it. I was good at it.” It effectively completed his journey into being a villain.

In doing so, Walter White proved something that nobody thought to prove. He showed through “Breaking Bad” that a villain’s journey could be every bit as compelling as a hero’s journey. It’s not enough for a villain to just be an egocentric, mustache-twirling asshat who wants to take over the world. Villains need just as much depth as heroes.

This presents a new challenge for everyone from movie producers to aspiring erotica/romance writers. It’s hard enough writing a compelling protagonist. The success of Walter White as both a villain and a protagonist effectively raises the bar.

Villains are now the new heroes. Anti-heroes generate more interest. What else explains the success of characters like Deadpool? It’s not enough for Superman, Batman, and Captain America to save the day anymore. We need villains who have better reasons for being who they are.

This effect has already skewed the standards somewhat and not just in the sense that it helped make Deadpool one of the most profitable movies of 2016. Just look at the villains in “Captain America: Civil War” and “Batman v. Superman: Dawn of Justice.” Nobody is going to mistake Jesse Eisenberg’s Lex Luthor or Daniel Brühl’s as Helmut Zemo for Walter White anytime soon.

We can, however, forgive some of these shortcomings because the Walter White Effect is still very new. It’s still sinking in. People are just starting to try and emulate the success of Walter White and not just through “Breaking Bad” spinoffs.

It happened with westerns. It happened with sci-fi movies. When someone stumbles upon a winning formula, others try to recreate it with varying degrees of success. What else explains the glut of “Die Hard” ripoffs in the 90s?

Even if this does mean we’re in for multiple Walt wannabes over the next decade, I believe the lasting impact of the Walter White Effect will be a positive one. I think it’s better for all mediums, be they movies or erotica/romance novels, when both protagonists and antagonists alike are compelling.

The challenge, however, is making that journey into evil a compelling one. Walter White’s journey was long and difficult. There were times he could’ve stepped off that path, but didn’t. In the end, as others have pointed out, Walt always had this evil tendency within him. He just needed the right push in the wrong direction.

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