58 pages • 1 hour read
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Starter Villain delves into existential questions of belonging and identity, exploring how characters grapple with self-definition in a world of ambiguous morality and shifting loyalties. At the heart of this exploration is Charlie Fitzer, whose journey of self-discovery unfolds amidst a tumultuous landscape of uncertainty and shifting allegiances.
Charlie's sense of belonging and identity is tenuous from the outset, exacerbated by a series of personal and professional setbacks. As a divorced former business reporter, Charlie grapples with feelings of inadequacy and stagnation. Returning to his childhood home offers a fleeting sense of comfort, yet it also serves as a reminder of a life that feels increasingly stagnant. Aware of his isolation, Charlie reflects on his dwindling connections with friends and neighbors, lamenting the distance that has grown between them. Despite his desire to break free from this isolation, he finds himself trapped in a cycle of self-imposed seclusion, longing for companionship but unsure of how to attain it. Realizing that he knows little about his neighbors, he reflects, “I could have made an effort to be more neighborly" (52). However, amidst the pessimism that clouds his attempts to belong, there is a glimmer of hope as Charlie entertains the possibility of running the local pub. Despite his doubts, Charlie recognizes this venture's potential for connection and community, offering a beacon of optimism amid his prevailing sense of alienation.
As Charlie becomes entangled in a web of espionage and intrigue, his sense of identity undergoes rigorous examination, compelling him to confront the blurred boundaries between right versus wrong and hero versus villain. Morrison bluntly informs him, "Time to see how flexible your morality is, Charlie. Because you should know it's going to get a hell of a workout" (83). Initially, Charlie's trajectory toward villainy mirrors his uncle's example and aligns with the counsel of Hera and Morrison. However, Charlie seizes greater control over his circumstances as the narrative unfolds, revealing a growing sense of his own identity as a leader. Gradually, he begins to shape Jake’s business to reflect his values, allowing the dolphins to unionize and opting to surrender the items in the storeroom, rumored to be stolen Nazi treasures, to the Lombardy Convocation. However, he realizes that inheriting his uncle’s enterprises would contradict his core beliefs. His reaction to defeating the convocation reveals that in the battle between hero versus villain, Charlie’s identity lies strictly in the civilian realm. He reflects, “I had won. I had beaten them all. And what I felt was …Tired" (244); unlike a traditional hero who would revel in defeating the villain, Charlie has gained no satisfaction or ultimate meaning in his life from playing the hero’s role. Charlie chooses to abandon a potentially lucrative career to fit with his morals and beliefs, indicating his newfound self-knowledge.
The novel also examines belonging within a community and collective identity. Charlie's interactions with other characters including the dolphins embroiled in a labor dispute and the enigmatic members of the Lombardy Convocation highlight the complexities of social dynamics and the quest for acceptance. As Charlie navigates alliances and rivalries, he confronts questions of trust and belonging, ultimately seeking a sense of connection within a community that reflects his values and aspirations. One of the novel's most central explorations of belonging emerges from Charlie's relationship with his feline companions, Hera and Persephone. These sentient, genetically modified cats serve as confidants and guardians, offering Charlie solace and purpose amidst an uncertain world. Even after revealing their true allegiance as spies for Jake Baldwin, Charlie's bond with Hera and Persephone remains steadfast, underscoring the enduring strength of loyalty and connection in shaping one's sense of belonging.
John Scalzi's Starter Villain explores the nature of villainy by challenging stereotypical portrayals of movie and comic-book villains and simplistic moral frameworks. The novel presents a world steeped in moral ambiguity, peopled by characters who blur the lines between heroism and villainy. As Charlie becomes immersed in his uncle’s nefarious enterprises, he uncovers that villainy is at once a pragmatic business enterprise and an insolvent financial position. Although Starter Villain’s characters often fail to effectively carry out their villainous plans or to make money in the process, their self-serving intentions result in real bodily and emotional harm to others.
Scalzi presents a definition of villainy that is both mundane and pragmatic. Charlie’s uncle’s “villainous” business sells subscription services, and day-to-day operations are pedestrian and methodical. According to an HR presentation Charlie attends on his first day at his uncle’s lair, villains are “professional disrupters” whose “'goodness' or 'badness' [is] entirely dependent on the perspective of the observer" (86). This definition challenges the notion that villains are inherently evil, suggesting instead that their actions are morally neutral and dependent on the perspective of the observer. Though Charlie questions whether these disruptive activities truly constitute “villainy,” Morrison tells him, “By taking the name 'villain' for ourselves, we robbed it of power when other people used it for us" (87). In the novel’s businesslike depiction of villainy, then, even the choice to term oneself as a “villain” becomes pragmatic, suggesting that villainy is as much a business decision as it is a moral position.
While Scalzi’s villains make business decisions, attend HR meetings, and argue over video conferencing protocol, they also struggle to make their villainy profitable, deconstructing the stereotypical image of villains as intelligent and powerful. Starter Villain depicts its villains as ordinary individuals born into privilege who exploit their wealth for personal gain. As Morrison tells Charlie, members of the Lombardy Convocation are “a bunch of dudes born into money who used that money to take advantage of other people to make even more money” (162). Despite their generational wealth, the convocation members often make inept financial decisions. They have all borrowed money from Dobrev, and the Lombardy Convocation "is almost entirely insolvent" (159). Similarly, Jake’s financial situation reveals that even successful villains receive little real profit. Despite Jake's successful side ventures, Morrison warns that attempting to cash out on their illicit gains would result in severe consequences. While Jake's villainous side company earned over $3 trillion, Morrison warns, "Try to cash out anything but the tiniest portion of those trillions, and you'll find yourself sitting in a jail cell" (107). This portrayal underscores the precarious nature of villainy and its reliance on legitimate industries to fund illegitimate activities.
However, the ineffectual, insolvent nature of villainy can still enact bodily and emotional harm, revealing the relationship between selfish motivation and villainy. Throughout the novel, villains orchestrate home explosions, catapult would-be collaborators into lakes, and assassinate one another. Charlie also experiences the emotional damage wrought by becoming a pawn in a villain’s scheme after he learns about his uncle’s plot. Although Jake’s ploy resulted in the overthrowing of a villainous group, his willingness to risk his nephew’s life to execute his self-serving scheme suggests that villainy stems from intent, not outcome. In a world of moral ambiguity and villainous ineffectiveness, intent emerges as a defining factor in determining the nature of villainy.
In Starter Villain, Charlie Fitzer faces shattered expectations, distorted perceptions, and stark confrontations with reality as he encounters the world of villainy. Scalzi reveals a world driven not by grandiose schemes but by manipulation, opportunism, and moral ambiguity. Through Charlie's disillusionment, the novel explores how preconceived notions can mislead and how reality often defies expectations.
Charlie's understanding of villainy is initially shaped by media portrayals filled with elaborate world-domination schemes and flamboyant villains. However, his immersion into Baldwin Consulting and the Lombardy Convocation reveals a starkly different reality. Villainy, Scalzi illustrates, operates through subtle manipulation and exploitation rather than overt displays of power—exploiting financial loopholes, disrupting global markets through subtle manipulations, and employing unused technology as implicit threats. The laser technology, for instance, represents this calculated menace. As Morrison notes, “[The laser] is why we don't have to blackmail anyone, Charlie. They blackmail each other. And pay us the fee" (91). This stark contrast between the fantastical and the mundane shatters Charlie's initial expectations, forcing him to confront a far more nuanced and morally ambiguous reality.
Similarly, Charlie's perception of wealth undergoes a significant transformation as he inherits a multi-trillion-dollar estate only to discover its fictitious nature. This revelation challenges the association of wealth with power and control, highlighting how financial prosperity on paper does not guarantee security or control. This theme is further underscored by the financial woes of the supposedly wealthy Convocation members, revealing the precarious nature of power dynamics and the unexpected shifts in fortune.
As Charlie learns more about his uncle, his initial perceptions of the self-described villain are also challenged. Charlie learns that Jake's illicit gains were not driven by a desire for financial gain but rather by a need to thwart his competitors. This disrupts the simplistic association of villainy with greed, introducing a layer of complexity. Even Jake's actions, initially perceived as villainy, become ambiguous. Charlie grapples with the idea of a villain who seeks to disrupt other villains, even if his methods are questionable. Despite initially viewing Jake as a villain, Charlie realizes that a mix of financial gain, spite, and curiosity drove his actions. This ambiguity challenges Charlie's moral compass and prompts him to reconsider the motivations behind the actions he witnesses.
Even the animals in Starter Villain fail to meet Charlie's expectations and preconceptions. The dolphins defy Charlie's expectations with their loud, profanity-spewing demeanor and desire to unionize. Similarly, Hera and Persephone, whom Charlie adopts as family, are revealed to be spying on him, blurring the lines between loyalty and deception. In fact, Charlie’s journey is framed by the unexpected actions of his feline companions. Hera’s ability to speak—not to mention her real-estate portfolio—is one of the first major shocks Charlie faces, setting into motion a journey marked by shattered preconceptions. At the novel’s close, after resigning himself to a lack of promised support from Morrison, Charlie is once again surprised by Hera, who gives Charlie the pub alongside her house and investment portfolio. By the conclusion of Starter Villain, Charlie’s preconceptions are eroded, replaced by a more nuanced understanding of a morally ambiguous world that continues to defy his expectations.
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