Starter Villain

“I didn’t need another cat. At this point in my brilliant career as an itinerant educator I could barely afford to feed myself. But then, no one ever needs a cat these days. That’s not why we have cats. We have cats because they amuse us and because otherwise our clothes would lack the texture only cat hair can provide. Besides, when a kitten walks up to you and makes demands, what are you going to do? Say no? I repeat: I am not a monster.”

In this quote, Charlie's sarcastic and self-deprecating humor underscores his inherent kindness. His whimsical justifications for acquiring another cat reveal his lighthearted approach to life, emphasizing his desire for companionship despite practical considerations. Moreover, this humor belies a deeper trait of altruism that manifests repeatedly throughout the narrative, often at the expense of his well-being.

“‘Then think of it as a kindness to a stranger,’ Morrison said. ‘A stranger who has no one else to do it.’ I thought about it that way, and for the smallest of moments felt sad for my billionaire uncle that apparently there really was no one else to do it.”

This early interaction illuminates how Charlie's innate kindness can sometimes lead to detrimental outcomes. Despite Morrison's offer of substantial money to represent Jake at the funeral, Charlie initially hesitates. He ultimately relents only when Morrison appeals to Charlie's empathetic nature. This manipulation of Charlie's compassion catalyzes the ensuing chain of events that shapes the narrative's trajectory.

“Before Dad died, he and I would head to McDougal’s and settle in, drinking beer and eating fries and watching Premier League football we didn’t care about just to have something to do out of the house. Those were good memories, and some of the last good ones I had of Dad. Maybe it was odd to want to own a pub to keep alive a connection with one’s parent. But this is where my life was at the moment.”

In this quote, Charlie candidly reveals his motivation to purchase McDougal's, showcasing his trademark self-deprecating humor. Beneath the humor, however, lies Charlie's loneliness and sense of isolation. His willingness to borrow a significant sum and change careers underscores the importance of maintaining a connection with his deceased father through the pub. Charlie's profound desire for a sense of Belonging and Identity is palpable through his words, adding depth to his character.

“‘Do any of you know my uncle personally?’ No one responded. ‘How many of you are here to make sure he’s dead?’ All the hands went up.”

Jake’s funeral is a stark yet humorous example of Charlie's expectations being dashed by reality. Charlie's realization that the funeral attendees are primarily there to confirm Jake's demise, and some are prepared to resort to violence to ensure it, offers a glimpse into the darker facets of Jake's dealings. Additionally, this revelation hints at the possibility that Jake's business ventures were more complex than initially perceived. Furthermore, the quote underscores Charlie's resilience and resourcefulness. Despite facing several armed and intimidating individuals whose actions conflict with his moral compass, his choice to confront them reveals his inner strength and determination.

“Hera hopped onto it, and used all four of her feet to chord the buttons there. Words popped up on the lit screen. HELLO, CHARLIE, they read. SORRY ABOUT YOUR HOUSE. WELCOME TO MY OTHER HOME. I HAVE A ROOM WAITING FOR YOU UPSTAIRS.”

Once more, Charlie's expectations are shattered when Hera unveils her sentience, communicating through typing. Charlie's reaction to this revelation is mental disarray, yet Hera's personality shines through her message. She displays genuine concern for Charlie, extending sympathy and offering him a space of his own within her house. This moment marks a significant shift in their relationship, highlighting Hera's compassion and care for Charlie's well-being despite the unexpected nature of her revelation.

“‘Your uncle is in parking garages because they fund his more important work,’ Morrison said. ‘Which is to seek out, fund and create the sort of technologies and services that bring disruptive change to existing industrial and social paradigms, and offer them, on a confidential basis, to interested businesses and governments.’

‘That’s a great mission statement,’ I said. ‘But it doesn’t say what he actually did.’

HE WAS A VILLAIN, Hera typed.”

In this pivotal moment, Charlie gains insight into Jake’s other ventures. Morrison euphemistically portrays “villainy” in marketing jargon, obscuring the true nature of the enterprise—an approach echoed by others later. However, Hera again demonstrates her keen understanding of Charlie, punctuating Morrison’s explanation with unfiltered honesty. This scene underscores Hera’s perceptiveness and deep connection with Charlie, cutting through the I to reveal the harsh reality beneath the polished rhetoric.

“I looked back to Morrison. ‘Uncle Jake was a union buster?’ I asked.

‘He was of the opinion that animals didn’t have legal standing to form unions,’ Morrison said.

‘How do the cats feel about that?’

‘Most of them are in management.’

‘Cats are fucking class traitors,’ Who Gives a Shit said. ‘Furry little quislings is what they are.’”

Charlie learns more about Jake’s character and management style, particularly his treatment of his employees. It becomes evident that Jake intentionally fosters a competitive environment among the genetically modified animals, exacerbating the sense of displacement experienced by both the cats and dolphins. Through the dolphins’ narrative, Scalzi mirrors the plight of disenfranchised workers, using the dolphins as a symbol to highlight the exploitation and manipulation inherent in corporate structures.

“‘It wasn’t my job to agree with it or not. My job was to do what your uncle needed to be done.’

‘That leaves a lot of room for moral flexibility,’ I said, after considering what she said.

‘That’s a good euphemism for it,’ Morrison agreed.

'What’s your job now?’ I asked.

‘It’s the same job,’ she said. ‘Just now it involves you, too. Time to see how flexible your morality is, Charlie. Because you should know it’s going to get a hell of a workout.’”

Morrison and Charlie solidify their relationship and respective positions. Morrison's cautionary words foreshadow Charlie's subsequent exploration of his moral boundaries throughout the narrative. Additionally, the quote sheds light on Morrison's lack of autonomy within Jake's management structure; she operates without personal opinion, merely carrying out assigned tasks. This detachment allows Morrison to distance herself from the moral consequences of her actions, underscoring the complex dynamics at play within their working relationship.

“And what I heard was that villains, at least for the purposes of this particular human resources presentation, were not bad people, and not evil people. What they were, were professional disrupters: the people who looked at systems and processes; found the weak spots, loopholes and unintended consequences of each of them; and then exploited them, either for their own advantage or the advantage of their client base. These activities, Yang explained, were neither inherently good nor bad in themselves—their ‘goodness’ or ‘badness’ was entirely dependent on the perspective of the observer. […]

‘Your uncle insisted we use it,’ she told me. ‘What we do here by definition will have negative outcomes for the people whose systems and processes we disrupt. By taking the name ‘villain’ for ourselves, we robbed it of power when other people used it for us.’”

Charlie grapples with the HR rhetoric surrounding the ambiguous concept of villainy, struggling to reconcile its subjective nature with its inherently negative connotations. While it is true that the perception of villainy varies from person to person, the term itself carries a stigma. When Charlie seeks clarification, Morrison indicates Jake's intention for the staff to reclaim the term "villain." However, Charlie remains unconvinced, finding himself at odds with what appears to be a semantic debate that fails to provide a clear understanding of the essence of villainy.

“‘Trying to blackmail the US or China would be a really good way to have Saint Genevieve turned into a smoking crater,’ Morrison said. ‘A stupid villain threatens, Charlie. A smarter villain offers a service. […] It’s a “we make a lot of money offering a service no one uses.” The sort of clientele we have doesn’t pay us to blast satellites. They pay us to have the satisfaction of knowing they could blast satellites out of the sky […] This is why we don’t have to blackmail anyone, Charlie. They blackmail each other. And pay us the fee.’”

Charlie's preconceived notions about villainy undergo a challenge upon discovering the impracticality of many media depictions when applied to real-life scenarios. Rather than engaging in overt acts of blackmail, Jake's enterprises offer subscription services for disruptive technologies. However, the clients seldom utilize these technologies; instead, they maintain subscriptions to intimidate competitors, who are also subscribers. This revelation blurs the lines between villainy and business.

“Try to cash out anything but the tiniest portion of those trillions, and you’ll find yourself sitting in a jail cell of one of the many countries who are our subscribers, charged with any number of securities and investment crimes, and watching as all the other countries argue with the one that snatched you first that they need you in their own jails. That’s if they don’t outright murder your ass.”

Once more, Charlie's preconceived notions about villainy are shattered when he realizes that the funds governments allocate to various nefarious enterprises are illusory. The realization that utilizing these funds would result in severe repercussions prompts Charlie to question the very essence and objectives of villainy. This revelation challenges his understanding of the intricate interplay between power and deception and the blurred lines between heroism and villainy.

“‘We can’t use it. We can’t spend it. We don’t do anything with it. What’s the point?’

‘To keep our competitors from having it, of course,’ Morrison said. ‘If a government is subscribing to our services, they’re not subscribing to someone else’s. Why would they? Their needs are covered by us.’”

In this quote, Morrison encapsulates the paradoxical nature of villainous enterprises, revealing the essence of their operations. The exchange highlights the characters' cynical yet pragmatic perspective, showcasing their willingness to manipulate the system for strategic advantage. Morrison's explanation underscores the cutthroat competition inherent in their industry, where maintaining dominance often takes precedence over tangible gains, illustrating the complex dynamics of power and control in the narrative.

“I LIKE YOU VERY MUCH, CHARLIE. SO DOES PERSEPHONE. WE WERE SENT TO WATCH YOU, BUT YOU CHOSE TO TAKE US IN AND TREAT US WELL.

‘What would have happened if I hadn’t taken you in?’

WE WOULD HAVE HUNG OUT IN THE BUSHES AND THE BACKYARD. I HAD THE OTHER HOUSE.

‘Right.’

BUT YOU TAKING US IN HELPED US HELP YOU.

‘And my uncle,’ I pointed out.

YES. YOUR UNCLE TOO.”

In this conversation, Hera acknowledges Charlie's kindness toward her and Persephone, despite their initial purpose as spies. The dialogue emphasizes their symbiotic relationship, highlighting Charlie's decision to provide care and shelter to the cats. Hera's response suggests that they would have continued surveillance even without Charlie's intervention, but his kindness facilitated their ability to assist him. Additionally, Hera acknowledges the role Charlie's uncle played in their lives, hinting at the interconnectedness of their fates and the complex dynamics within the narrative.

“‘You’re saying Uncle Jake preyed on the Lombardy Convocation.’

‘The villain to the supervillains, yes.’

‘So, a hero,’ I said.

‘Oh, no, Charlie,’ Morrison said. ‘Don’t confuse what Jake was doing with anything heroic.’

‘He was thwarting villains.’

‘He wasn’t doing it out of the goodness of his heart. He did it for money. And occasionally for spite. And sometimes just to see what would happen next. Not exactly heroism.’”

In this exchange, Charlie attempts to reinterpret Jake's actions as heroic, given his efforts to undermine the Lombardy Convocation. However, Morrison swiftly dispels this notion, highlighting Jake's motivations of financial gain, personal vendettas, and curiosity rather than altruism. The dialogue underscores the complexity of morality in the narrative, emphasizing that actions driven by self-interest or curiosity do not necessarily align with traditional notions of heroism.

“‘I expected the members of Earth’s leading society of villains to be smarter,’ I said. […] ‘They’re smarter in movies and books.’

‘They would have to be, wouldn’t they?’ Morrison said. ‘In the real world, they can be what people like them usually are: a bunch of dudes born into money who used that money to take advantage of other people to make even more money. It works great until they start believing that being rich makes them smart, and then they get in trouble. Unless they find someone else to take advantage of.’”

This quote encapsulates the theme of shattered expectations in Starter Villain. Charlie expects the leading villains to be brilliant masterminds, reflecting media portrayals. Morrison dismantles this perception, highlighting the reality: These "villains" are often privileged, unintelligent individuals who exploit others for more wealth, ultimately leading to their downfall. Again, The Nature of Villainy, in reality, becomes something surprisingly mundane.

“HUMANS DO A GOOD JOB OF MAKING OUTCASTS, she replied. IT SHOULDN’T BE A SURPRISE YOU DO IT OUTSIDE OF YOUR SPECIES AS WELL.”

Hera delves into the theme of Belonging and Identity, highlighting humanity's propensity to create outcasts within society. Through genetic engineering, humans elevate cats to a level of intelligence akin to their own, yet this act ostracizes them within their own species. Furthermore, Hera's insight underscores the motif of social hierarchy and discrimination that permeates the narrative, shedding light on the complexities of acceptance and exclusion.

“‘Sounds risky.’

I’M A CAT, I CAN HANDLE RISK. WORST-CASE SCENARIO IS I LOSE EVERYTHING AND I STILL GET FED AND HAVE A PLACE TO NAP.”

While Charlie and Hera may share similar experiences and perspectives, a fundamental distinction lies in their respective consequences for taking risks. Charlie faces severe repercussions for his actions, contributing to his stagnation over time. In contrast, Hera's basic needs are consistently met regardless of the risks she undertakes, affording her a sense of security that eludes Charlie. This disparity underscores Charlie's ongoing struggle to take risks and ultimately find a sense of belonging in the narrative.

“You inherited the gig from your father. And you thought that you could just do what your father did, and his father did before him. You’d take advantage of tragedies around the globe, maybe cause a few if they weren’t showing up as quickly as you’d like, and cultivate crop after crop of smart little yes-men whose egos you’d pump up so they wouldn’t know how much of their talent you were stealing. You worked in the margins and convinced yourself you were writing the fate of the world. But then you just got greedy, or lazy, or believed your own press releases. Or maybe all of them at once. You got outcompeted, by my uncle and by everyone else. And now you’re up against it, and the only way you can get out of it is to try to take something from me. You’re not a villain, Gratas. You’re just bad at business.”

In a world of moral ambiguities, Gratas is the character who most aligns with the stereotypical villain archetype. However, Charlie calls Gratas's villainy into question in this quote. By dissecting Gratas's failures and motivations, Charlie reveals the superficiality of Gratas's villainous persona, ultimately attributing his downfall to incompetence rather than inherent villainy.

“‘Also, thanks,’ Morrison said. […] ‘For actually listening to me. And to Hera. It takes a special kind of man to give serious consideration to a cat.’

I smiled. ‘The cat knows more than I do.’

‘Listening to people because they know more than you do is rare enough, Charlie. You even do it with cats. Maybe that’s another reason why your uncle chose you.’”

Morrison underscores a pivotal aspect of Charlie's character: his egalitarian nature. Charlie is willing to acknowledge others' expertise and accept their counsel, regardless of gender or social standing. This trait enhances Morrison's perception of Charlie, particularly in a context where she is often marginalized for her gender.

“‘Between giving dolphins rights and getting rid of tainted Nazi loot, you’ve had a busy couple of days,’ Morrison said.

‘Not bad for a substitute teacher.’

‘Not great for a villain.’

‘You know what,’ I said. ‘Right now, I’m okay with that.’”

Morrison acknowledges Charlie's unexpected and unconventional actions, which diverge from typical villainous behavior. Charlie's response reflects a shift in his perspective as he realizes that his actions may not align with traditional villainy but are nonetheless meaningful and morally significant. This exchange underscores Charlie's evolving character and willingness to challenge societal expectations in pursuit of his own morality and purpose.

“If they were friends. I’m learning that people like you don’t have friends, they just have people they think they can use. And that’s what happened to you. You got used by my uncle, just the way he wanted to use you. It’s not me whose strings were being pulled here.”

Charlie confronts the reality that genuine friendships are rare, and most relationships are transactional in the world he is immersed in. He realizes he was merely a pawn in his uncle's manipulative schemes, highlighting the vulnerability of misplaced trust and the disillusionment that follows betrayal. Charlie's acknowledgment of the power dynamics at play underscores the theme of Expectations, Perceptions, and Reality as he comes to terms with the true nature of his relationships.

“I had just ‘won’—beaten an enemy who had wanted me dead and would have killed dozens to get his way. More than that, I had destroyed—or had a substantial part in the destruction of—a century-old fraternity of oligarchs who used their influence not to better the world but to profit when terrible things happened, or were made to happen. I had won. I had beaten them all. And what I felt was…Tired.

There was movement at my feet. I looked down and saw Hera looking up at me. I smiled at her; she slow-blinked at me. ‘Don’t take this the wrong way,’ I said, ‘but I liked the world better when I thought you were just a cat.’”

Charlie's reflection on his victory over powerful adversaries reveals his disillusionment despite achieving his goals. Despite defeating formidable foes, Charlie feels a sense of weariness rather than triumph, highlighting the complex nature of victory in a morally ambiguous world. His interaction with Hera underscores the theme of Belonging and Identity as he longs for simpler times when he perceived her as just a cat, reflecting his desire for a sense of normalcy and connection amid the chaos of his circumstances.

“‘Are you willing to vouch for him?’ Morrison asked Hera.

IF THAT’S WHAT IT TAKES.

‘It’s a big responsibility,’ Dobrev warned.

I WAS HIS RESPONSIBILITY FOR YEARS. HE CAN BE MINE FROM NOW ON, Hera typed.”

Hera's response highlights the bond between her and Charlie, offering unwavering support when he needs it most. In a narrative marked by shifting loyalties, Hera's steadfastness serves as a constant anchor for Charlie, emphasizing the significance of their relationship amid the uncertainty of their world.