Writing Great Villains: Why They Shouldn't Be Sympathetic
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.

When James Downey returns home to Newfoundland for his mother’s funeral, he is faced with all the haunting family issues he thought he had left behind. He channeled his own inner demons from an abusive father into being a police officer but his cousin Danny’s childhood trauma has exploded into a cycle of drugs, crime and violence. James must confront his tortured past, decide who he really is, and deal with his cousin before it’s too late.
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.
Even now, the well-established Snyder has yet to learn this as he continues to allow misguided decisions to convince him that his projects hold the same kind of intelligent and emotional weight. Army of the Dead is a tonal mess, one that never decides what it’s trying to be, and, for all we know, doesn’t want to decide.
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