Archetypes have been shaped and copied over time, just as aspects of storytelling have evolved as the mediums have changed. Everyone used to know the villain and the hero, Disney has made a whole market out of this dichotomy, and even they're realising it's just not that simple anymore. Every genre has their typical villain and hero types, but some of them can be more on the fence.
There's a lot of scope for shaping villains now. Stories now are presenting characters as trustworthy in the beginning, but duplicitous by the conclusion. Twists have also revealed unlikely heroes the reader assumes won't be the ones to save the day until they're tested, or decide to believe in themselves. Or the hero has maligned motivations they think are essential to a greater good.
A well nuanced character can show both traits convincingly. A reader could hate a character immensely and hope for their demise, only to find out later they aren't as deplorable as first assumed, and they have a heart of gold, or are capable of redemption. Someone noble may turn out to be rather foolish and make a decision that appears right but ultimately shifts the balance of power into the hands of the adversary. Or the hero and the villain might drop swords and decide to join forces against a bigger, mutual foe.
Character motivation is vital. If they make a decision that doesn't make any sense in terms of their development, the reader will lose focus and get distracted by why they did this. One aspect of role-playing is to decide on an alignment for your player character. A lawfully good character obeys all the rules set upon them, but that might prevent them from making a choice that will help the party because they refuse to break the law. A neutral character isn't one that doesn't care, more they're not swayed by law or beholden to chaos. The character of Seth in Into the Other discovers a secret about his past that could easily lead him to make some very damaging decisions concerning his future. While he's ultimately good, he certainly spends some time wondering if being bad might get him what he wants. He's well versed in games and role-playing, but when faced with real world dilemmas, he's not as sure of himself. Calder, meanwhile, is pure evil, but he won't obey the laws of his world or his people. He's gone rogue to prove a point, and enjoys playing the trickster-type villain but has very clear goals in mind when it comes to executing his plans. Nick comes into Josie's life as very much the good guy; he's her hero in terms of saving her from homelessness and agreeing to care for her. Discovering her terrible secret presents a darker, angrier side to him, and he's also quick to use brute force where tact would be more appropriate. Either way, he's a dedicated character who won't give up in the face of adversity. Young Adult literature tends to be littered with very specific character tropes, especially where fantasy is concerned. I'm hoping I've broken convention with Into The Other and moved away from these common stereotypes.
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