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A supervillain or supercriminal is a variant of the villainous stock character that is commonly found in American comic books, usually possessing superhuman abilities. A supervillain is the antithesis of a superhero.

Supervillains are often used as foils to present a daunting challenge to a superhero. In instances where the supervillain does not have superhuman, mystical, or alien powers, the supervillain may possess a genius intellect or a skill set that allows them to draft complex schemes or commit crimes in a way normal humans cannot. Other traits may include megalomania and possession of considerable resources to further their aims. Many supervillains share some typical characteristics of real-world dictators, gangsters, mad scientists, trophy hunters, corrupt businesspeople, serial killers, and terrorists, often having an aspiration of world domination.[1]

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The Joker, Lex Luthor, Doctor Doom, Magneto, Brainiac, Deathstroke, the Green Goblin, Venom, the Reverse-Flash, Black Manta, Loki, Thanos, and Darkseid are some notable male comic book supervillains that have been adapted in film and television.[2][3] Some notable examples of female supervillains are Catwoman, Harley Quinn, Poison Ivy, Mystique, Hela, Viper, and the Cheetah.[4][5]

Just like superheroes, supervillains are sometimes members of groups, such as the Injustice League, the Sinister Six, the Legion of Doom, the Brotherhood of Mutants, the Suicide Squad, and the Masters of Evil.

In the documentary A Study in Sherlock, writers Steven Moffat and Mark Gatiss stated that they regarded Professor James Moriarty as a supervillain because he, too, possesses genius-level intelligence and powers of observation and deduction, setting him above ordinary people to the point where only he can pose a credible threat to Sherlock Holmes.

The James Bond arch-villain Ernst Stavro Blofeld (known for frequently appearing sitting on an armchair while stroking his cat and often leaving his face unseen to the viewer in screen appearances) has become influential to the supervillain tropes in popular cinema, including parodies like Dr. Claw and M.A.D. Cat from the Inspector Gadget animated series, Dr. Evil and Mr. Bigglesworth from the Austin Powers film series, or Dr. Blowhole from the animated TV series The Penguins of Madagascar.

GILL: Exactly. What I was trying to achieve with this idea about supervillains at large, they rise because we allow them to rise. Everyone loved Trump when he was on the debates making fun of Jeb Bush and then it started getting bigger and then he becomes a supervillain. Then what happens, and is what happens in this film, eventually we get desensitized to them because they operate on hype and attention. The statement at the end of the film is that we got desensitized and then they become pathetic.

What I come to think is this: We need a supervillain team. The best part of team-ups in the comics and the films is seeing all the heroes working together, combining powers and bantering back and forth. This is the same, if not even more so, with supervillains. The best part of Avengers was Loki. His back-and-forth with each of the heroes was fantastic. Now imagine if Ultron had made it past his film and they worked together with Zemo, Killmonger or Emil Blonsky. If you think that would be cool, you like me see the opportunities for fascinating scenes giving more character to these wicked individuals.

But in the end, the truly defining feature of a supervillain is that they warp their world around themselves. Their presence, their actions, their choices change the rules of the story, raise the stakes, and make the heroes adjust to them rather than the other way around. This is why so many supervillains are masterminds. A rampaging monster can disrupt the status quo, but the ability to outplan and manipulate opponents can create an entirely new one.

In this way, to be a supervillain is to be a revolutionary figure. Even in cases where they have nominally won, where they rule a country or secretly run the world, they have some ambition to further their power, some plan that will change things even further to their advantage. To be a supervillain, you need to have a plot.

A good example of the distinction between a villain and a supervillain is the difference between Voldemort and Dolores Umbridge. Both are detestable sadists. Both have a distinct look; Umbridge likes pink, Voldemort has no nose. Both are powerful, both in a magical sense and in their control over others. But Umbridge, for all her cruelty, is an agent of wizard prejudice, an enforcer of the magical elite. She is happy to serve, easily manipulated, and more importantly, easily replaced by those that would use her. Voldemort, on the other hand, wants to rule the wizard and muggle world, forever, and goes to extraordinary lengths, even within in the world of Harry Potter, to achieve his all-consuming ambition.

Akumatized villains, also called Evilized villains, are people (or things) transformed into supervillains by the holder of the Butterfly Miraculous, with Akumatization, the evil version of the superpower of the Butterfly Miraculous.

Once the connection is established, Hawk Moth gives them a new name for their supervillain identity and explains to the person that he'll give them the ability to accomplish their goals if, in return, the person will retrieve the Ladybug Miraculous and Cat Miraculous from Ladybug and Cat Noir.

When the person agrees, a dark purple ether appears from the possessed object and surrounds the person. Once it recedes, it reveals the victim has transformed into a supervillain. If Hawk Moth needs to telepathically talk with them again, his light mask will reappear on both Hawk Moth and the villain, unless an amok infects said villain with an akuma, or if the Butterfly Miraculous Holder fuses with the Peacock Miraculous and releases either akuma or Amok.

Aside from their superpowers, akumatized supervillains have enhanced strength, durability, agility and fighting skills. For example, Lady Wifi manages to pin down Cat Noir when they are both disarmed, and Reflekta is able to jump long distances.

In order to defeat an akumatized villain, one must break, damage, or destroy the object containing the akuma. Once the akumatized object is broken, damaged, destroyed, the villain collapses. The akuma will be released, and the akumatized supervillain will de-transform back into their normal self.

A supervillain is a variant of the villainous stock character that is commonly found in American comic books, usually possessing superhuman abilities. A supervillain is the antithesis of a superhero. Supervillains are often used as foils to present a daunting challenge to a superhero.

The chilly menace of Darth Vader as he threatens the entire universe. The creepy, psychotic smile of the Joker. The soulless evil of Lord Voldemort. Who do you think is the greatest supervillain in cinematic history? Can data science give us an answer? Join us on the dark side to find out.

This is a bit of a trick question because there's no way to objectively quantify who is the greatest supervillain. You'd run into problems straight away trying to determine what constitutes 'greatest'. Is it the scariest? The one with the biggest crime empire? The one with the biggest secret lair filled with a wall of cameras watching your every move? Or the one most likely dangle you over a pool of sharks or feed you to a pet tiger? Oh wait, those last ones are all Bond villains. But you get the point, the options are endless.

Since it's too difficult to pick just a single greatest supervillain, maybe a list of the top eighteen supervillains in cinema history will be easier. We thought we'd take a look at who some experts and movie buffs picked. The first place we had to look is the iconic American Film Institute's (AFI) list of the top fifty heroes and villains of all time. AFI chose to define a villain as "a character(s) whose wickedness of mind, the selfishness of character and will to power are sometimes masked by beauty and nobility, while others may rage unmasked. They can be horribly evil or grandiosely funny, but are ultimately tragic." When making their picks, AFI also asked the panel of jurors to consider the cultural impact and lasting legacy.

What about race? Well, this probably also doesn't surprise you, but the majority of villains on the list are white. Of the 70% of white supervillains, only 5% of them are women. The next category belongs to those of an undetermined race. These include such luminaries as The Wicked Witch of the West, Freddy Krueger and Sauron (please, Lord of the Rings fans, do not write to tell me that Sauron was actually an Elf a long time ago or something.)

In fact, most of our supervillains are of undetermined age. This includes delights like the Alien from Alien and Scar from The Lion King. It also includes characters like Agent Smith from The Matrix and someone who is technically a god, like Loki.

Let's say those factors above like gender and race and age are all things that our supervillains are born with and therefore out of their control. What about the motivations for their dastardly crimes? Now, the following correspondence analysis may not have been the best way to visualize this, we admit. Mostly because the overlap in similarities between Revenge, Obsession, Power/Control, means that we have quite a few supervillains clustered closely together. But it does reveal some common motivations and who falls where.

You might be expecting that it always ends badly for supervillains. The good guys always prevail in the end, right? But does this hold true? And is there a relationship between motivation and how things end up for our supervillains? Let's take a look at the data with the help of a Sankey diagram. e24fc04721