I hope this gives you something to think about and use in your game. Try designing a villain that fits each of these archetypes for your game, and see what you come up with!
Some villains are great because they are just out for one thing – but that thing doesn't leave room for us to continue breathing.
The One Ring has werewolf stats in it, but I wanted a more powerful version. So I created my own werewolf for my version of Middle-earth and placed him in the landscape called the Forgotten Hamlet.
Science and fiction. These two concepts might seem like opposites, and yet, when combined in science fiction, we get the best of both.
You delivered a satisfying conclusion with a cathartic payoff. Now it's all over. The game is done. And you already miss it.
Create an entire tabletop roleplaying game that fits on a single A5 piece of paper.
You have, let's say, a character who has a romantic subplot. While it's come up in play, both the player and the GM want to flesh this out. But you can't really dedicate the time to one player's date night.
Roleplaying can be a really emotive, cathartic and challenging experience if you want it to be.
Last article, we looked at a model of a shared roleplaying world. I talked about each of the seven groups I had playing campaigns that affected that shared, or 'living' world and examined the way I had chosen to weave the groups into each other.
This is an example of a living world. Which is the model presented above. A game world that is affected by several play groups and the knock-on effect of actions in one game, change those in others.