[Essay] Resevoir Dogs: How to Play Evil
Posted: Sat May 13, 2017 1:11 am
Evil is tricky to play, but fun and rewarding when done well. Unfortunately, it is very difficult to pull off for many people, myself included.
Recently, I was watching one of my favorite movies, Reservoir Dogs. As the characters were sitting around the table at the diner, just chatting, I realized something: Each of these guys would be considered Evil by D&D standards (except maybe one*).
* This is a 25-year-old movie. If you haven't seen it by now, you deserve spoilers.
CAUTION: THIS MOVIE CLIP IS RATED R. (I tried to find a censored version, but I couldn't find one. Please be advised!)
YOUTUBE:
=======================================================
The Cop is the one exception, and it's a maybe at best.
THE CREW:
Watching these guys sit around that table, I thought: None of these guys are menacing or causing people to run in terror. None of them are acting any differently than you or I might at that same diner. Every character here is completely human.
The Boss is clearly the leader, and clearly has control of the situation, but Mr. White is able to take his book, without much effort, and hold it at his discretion. Boss demands his book back, takes care of other business, and otherwise doesn't worry about it. Because he's The Boss: he's in charge, and everyone knows it. He takes a heckling without going off the rails because he knows that, in the end, he's still The Boss. (LE, maybe LN, depending on whose side you're on.)
Mr. Pink is much more of a jittery character, though still in control. The other characters clearly see this in him, and even give him some jibes about it, but he still takes it in stride. He thinks he knows what's going on, and that's good enough for him. Mr. Pink is ultimately out to save his own skin, as seen in later scenes, but he's also not afraid to give some details about his personality (e.g. the tipping). Even though he knows it will only give him more grief from the others, he sticks to his code, even if it's wrong, or flies in the face of society. (NE)
Mr. Blonde has his s**t together, despite being a total madman. He has very strong opinions about what will benefit the group (which he is only involved in for his own personal gain), but he only speaks when he feels it is necessary. He won't take any insult to his personal power, even if he shows this through "playful" conflict. Inside, he is a twisted maniac that delights in seeing the suffering of others, but mostly the suffering of a particular group of people that he holds above others: cops. In later scenes, this turns out to be his greatest strength, and also his downfall. (CE, hands down.)
Mr. Orange (The Cop) is way in over his head, but he's committed to the role, and he wants to see it through. He is even ready to commit armed robbery -- even murder the people he is ultimately trying to protect to keep his charade in tact, to his own detriment. This commitment ultimately gets him killed, but even as he lay dying on the floor, he only gives up the truth of the matter at the very end, to Mr. White. (LE/LN)
Mr. White is clearly a veteran at this game; he's the oldest member of the group (save, perhaps, The Boss), and that demands a certain reverence from the others, even from Mr. Blonde. Even from The Boss. That lets him get away with a lot more (socially) than a younger member might, and his experience shows it. He is able to make demands of the others that a less experienced man would be able to, and the others listen, to an extent -- he is even able to make Mr. Pink pause and reconsider his own selfish plan, at least for a while. Mr. White is out for himself -- he joined The Crew as that "one last job" to get himself set up for his "retirement" from The Game. It is only his betrayal by a person whom he thought was a close, personal friend and confidante that causes him to fall apart. (NE/LE)
Nice Guy is the son of The Boss, and his power is derived from him. The Boss casts a long shadow, and the Nice Guy is riding that to the utmost: he is in charge only so far as his father is (when The Boss isn't around). His authority is only as strong as the rest of the character's faith in The Boss, and when that faith erodes quickly toward the end of the film, he takes truly desperate measures to try to secure it. You can see him struggle with this in the final scenes. He is also fiercely loyal to his father, and quickly casts aside any previous loyalty to the crew as soon as The Boss' authority is called into question. (NE)
========================================================
So we can see from these characters, and how they interact, that Evil doesn't need to be played as simplistically as the D&D books would have one believe. In fact, Evil is rather nuanced, and should better be defined as a lack of pity or remorse (which, in real life, is rather common). This plays out in the responses of The Crew to their situation: they have been assaulted by the forces of law and "good" (though, it could be easily argued that some of the cops off-screen are not "good" characters, but that is beside the point), and they react in different ways, each to his nature (e.g. alignment).
Mr. Pink thinks that the remaining successful Crew members should take the money and run -- bail on the whole plan. He's looking out for himself, and anyone else willing to do the same.
Mr. White thinks they should stick to the plan to the bitter end, and has faith that The Boss will come to rescue them.
Mr. Blonde goes way off the rails, kidnaps a policeman (for the "fun" of it), and decides that torturing a low-ranking Lawful official will get them the information they want -- or not, because in the end, he doesn't really care; he just really wants to hurt someone he views as an enemy.
The Boss and The Nice Guy show up toward the end, and do not like what they see. The plan is in shambles, and their Crew is turning on one another. Tensions rise, and bad things happen when their authority is called into question, but only really escalates when they try to enforce that authority.
========================================================
So, in the end, what I'd like to leave you all with is that scene in the diner, before everything in their lives spiraled out of control. Please, go watch this film. If you've seen it before, watch it again. If you've never seen it, GET THE F OUT OF THE UNDERDARK. (Just kidding, you really need to see it!) I want you to see these characters as people with strengths and flaws, but mostly as people that you could relate to. The D&D books paint the Drow in particular as an entire society of Magnificent Bastards, but that is only one, singular archetype in an entire society of intelligent people, with strengths and flaws of their own. We can't all play the Magnificent Bastard, so we should work to broaden our ideas on what Evil really looks like. Sometimes it is selfish, and self-serving: jealousy, hate, bigotry. Other times it is completely selfless, but for the wrong reasons. Evil is a spectrum -- a Dark Rainbow, and if our painting of Evil is to look like anything, we need all the colors.
Thank you.
~ DFM
Recently, I was watching one of my favorite movies, Reservoir Dogs. As the characters were sitting around the table at the diner, just chatting, I realized something: Each of these guys would be considered Evil by D&D standards (except maybe one*).
* This is a 25-year-old movie. If you haven't seen it by now, you deserve spoilers.
CAUTION: THIS MOVIE CLIP IS RATED R. (I tried to find a censored version, but I couldn't find one. Please be advised!)
YOUTUBE:
Hidden: show
The Cop is the one exception, and it's a maybe at best.
THE CREW:
Watching these guys sit around that table, I thought: None of these guys are menacing or causing people to run in terror. None of them are acting any differently than you or I might at that same diner. Every character here is completely human.
The Boss is clearly the leader, and clearly has control of the situation, but Mr. White is able to take his book, without much effort, and hold it at his discretion. Boss demands his book back, takes care of other business, and otherwise doesn't worry about it. Because he's The Boss: he's in charge, and everyone knows it. He takes a heckling without going off the rails because he knows that, in the end, he's still The Boss. (LE, maybe LN, depending on whose side you're on.)
Mr. Pink is much more of a jittery character, though still in control. The other characters clearly see this in him, and even give him some jibes about it, but he still takes it in stride. He thinks he knows what's going on, and that's good enough for him. Mr. Pink is ultimately out to save his own skin, as seen in later scenes, but he's also not afraid to give some details about his personality (e.g. the tipping). Even though he knows it will only give him more grief from the others, he sticks to his code, even if it's wrong, or flies in the face of society. (NE)
Mr. Blonde has his s**t together, despite being a total madman. He has very strong opinions about what will benefit the group (which he is only involved in for his own personal gain), but he only speaks when he feels it is necessary. He won't take any insult to his personal power, even if he shows this through "playful" conflict. Inside, he is a twisted maniac that delights in seeing the suffering of others, but mostly the suffering of a particular group of people that he holds above others: cops. In later scenes, this turns out to be his greatest strength, and also his downfall. (CE, hands down.)
Mr. Orange (The Cop) is way in over his head, but he's committed to the role, and he wants to see it through. He is even ready to commit armed robbery -- even murder the people he is ultimately trying to protect to keep his charade in tact, to his own detriment. This commitment ultimately gets him killed, but even as he lay dying on the floor, he only gives up the truth of the matter at the very end, to Mr. White. (LE/LN)
Mr. White is clearly a veteran at this game; he's the oldest member of the group (save, perhaps, The Boss), and that demands a certain reverence from the others, even from Mr. Blonde. Even from The Boss. That lets him get away with a lot more (socially) than a younger member might, and his experience shows it. He is able to make demands of the others that a less experienced man would be able to, and the others listen, to an extent -- he is even able to make Mr. Pink pause and reconsider his own selfish plan, at least for a while. Mr. White is out for himself -- he joined The Crew as that "one last job" to get himself set up for his "retirement" from The Game. It is only his betrayal by a person whom he thought was a close, personal friend and confidante that causes him to fall apart. (NE/LE)
Nice Guy is the son of The Boss, and his power is derived from him. The Boss casts a long shadow, and the Nice Guy is riding that to the utmost: he is in charge only so far as his father is (when The Boss isn't around). His authority is only as strong as the rest of the character's faith in The Boss, and when that faith erodes quickly toward the end of the film, he takes truly desperate measures to try to secure it. You can see him struggle with this in the final scenes. He is also fiercely loyal to his father, and quickly casts aside any previous loyalty to the crew as soon as The Boss' authority is called into question. (NE)
========================================================
So we can see from these characters, and how they interact, that Evil doesn't need to be played as simplistically as the D&D books would have one believe. In fact, Evil is rather nuanced, and should better be defined as a lack of pity or remorse (which, in real life, is rather common). This plays out in the responses of The Crew to their situation: they have been assaulted by the forces of law and "good" (though, it could be easily argued that some of the cops off-screen are not "good" characters, but that is beside the point), and they react in different ways, each to his nature (e.g. alignment).
Mr. Pink thinks that the remaining successful Crew members should take the money and run -- bail on the whole plan. He's looking out for himself, and anyone else willing to do the same.
Mr. White thinks they should stick to the plan to the bitter end, and has faith that The Boss will come to rescue them.
Mr. Blonde goes way off the rails, kidnaps a policeman (for the "fun" of it), and decides that torturing a low-ranking Lawful official will get them the information they want -- or not, because in the end, he doesn't really care; he just really wants to hurt someone he views as an enemy.
The Boss and The Nice Guy show up toward the end, and do not like what they see. The plan is in shambles, and their Crew is turning on one another. Tensions rise, and bad things happen when their authority is called into question, but only really escalates when they try to enforce that authority.
========================================================
So, in the end, what I'd like to leave you all with is that scene in the diner, before everything in their lives spiraled out of control. Please, go watch this film. If you've seen it before, watch it again. If you've never seen it, GET THE F OUT OF THE UNDERDARK. (Just kidding, you really need to see it!) I want you to see these characters as people with strengths and flaws, but mostly as people that you could relate to. The D&D books paint the Drow in particular as an entire society of Magnificent Bastards, but that is only one, singular archetype in an entire society of intelligent people, with strengths and flaws of their own. We can't all play the Magnificent Bastard, so we should work to broaden our ideas on what Evil really looks like. Sometimes it is selfish, and self-serving: jealousy, hate, bigotry. Other times it is completely selfless, but for the wrong reasons. Evil is a spectrum -- a Dark Rainbow, and if our painting of Evil is to look like anything, we need all the colors.
Thank you.
~ DFM