Dystopia Vs. Pleasantville: A Utopia

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Dystopia Vs. Pleasantville: A Utopia

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Utopias Becoming Dystopias by Shmoop

Bloomsbury Publishing. The Hollywood Reporter. Senses of Cinema Retrieved 11 February Archived from the original on 15 June The Telegraph. AV Club. The Atlantic. Hollywood Reporter. The Cambridge Companion to Science Fiction. Mabuse: The Gambler". New York State Writer's Institute. Retrieved 22 March Bauer Media Group. Archived from the original on 13 September Retrieved 5 September Retrieved 10 April The Vulture. The Action Elite. Retrieved 15 January And unlike that bloated dystopian juggernaut, the film manages to clock in at a surprisingly sleek and multiplex-friendly 88 minutes [ The Tracking Board. Retrieved 6 April Groucho Reviews. Retrieved 27 March LA Times. The Irish News. The Stand: Do dystopian and doomsday stories need backstories?

Classic Sci-Fi Movies. Retrieved 13 May The New Yorker. Sacramento News and Review. Better Living Through Bad Movies. The Message. Under the Radar. Retrieved 4 October The Daily Beast. Film School Rejects. Archived from the original on 2 April The Towerlight. January Close Encounters? Review Journal. The Verge. Snarkerati Web magazine. Archived from the original on 4 February Retrieved 17 June Rough Guide to Rough Guides Limited.

Box Office Mojo. New York Post. Retrieved 27 June Dick's vision of a dystopian with Alanis Morissette ". TV Guide. The Genetic Opera". Retrieved 15 March Boston Globe. CBT News. Retrieved 25 April Dick's druggy dystopia". British Film Institute. ISSN Traditional Dwellings and Settlements Review. JSTOR Retrieved 26 January New York Times. The New York Times. Retrieved 7 April CBS Interactive. Historical Dictionary of Film Noir. Scarecrow Press. Archived from the original on 13 July Perrine, p. The Boston Globe. Retrieved 28 August Rotten Tomatoes. Chicago Tribune. SF Gate. Dystopian movies get it wrong". Archived from the original on 10 March Retrieved 1 August The sci-fi thriller takes place in a not-so-distant future ravaged by overpopulation and famine and in which a one-child policy is in global effect.

Seven sisters, each named after a day of the week, take on one identity to outwit Glenn Close's enforcer. Retrieved 28 September Zero Population Growth ". Archived from the original on 14 May Film genres. Categories : Dystopian films Lists of speculative fiction films Lists of films by genre. Hidden categories: CS1 maint: archived copy as title All articles with dead external links Articles with dead external links from August CS1 Swedish-language sources sv CS1 Italian-language sources it CS1 maint: extra text: authors list Articles with short description Short description is different from Wikidata Use dmy dates from May All articles lacking reliable references Articles lacking reliable references from June Namespaces Article Talk.

Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Wikimedia Commons. Based on Robert Sheckley 's short story, Seventh Victim A convict is sent back in time to gather information about a virus responsible for wiping out most of the human population. A bureaucrat falls in love in a futuristic, totalitarian, surveillance state. Short-film adaptation of Kurt Vonnegut 's, Harrison Bergeron Artificial Intelligence.

A distraught family is given a robotic boy with "real" emotions, but is misunderstood by the rest of society. Aeon Flux is a mysterious assassin working for the Monicans, a group of rebels trying to overthrow the government. An unnamed archivist Pete Postlethwaite lives alone in the devastated world of , looks back at "archive" footage from , asking "Why didn't we stop climate change when we had the chance? An anime -film, directed by Katsuhiro Otomo based on his manga of the same name , set after Tokyo is destroyed in and is rebuilt as "Neo-Tokyo.

Alita, an amnesiac cyborg girl who sets out to learn about her destiny after she awakens in a new body with no past memory of who she is. A secret agent, is sent to the distant-space city of Alphaville, where he must find a missing person and free the city from its tyrannical ruler. In a blackly satirical near-future, a thriving industry sells celebrity illnesses to their obsessed fans. One employee attempts to exploit the system, only to have it backfire when they involve him in a potentially deadly mystery. Based on Ayn Rand novel. An alliance of the industrious forms to fight the increasingly authoritarian government of the United States that believes it is best to dictate what is produced both materialistic and idealistic.

In a not-so-distant future, primitive humanoid robots, called Pilgrims, are built to operate in the harsh environment. Unable to stop the advance of desertification, they are relegated to manual labor. An insurance agent of a robotics corporation, who investigates cases of robots violating their primary protocols against altering themselves, makes a discovery which will have profound consequences for the future of humanity.

Veteran-turned-mercenary Toorop takes the high-risk job of escorting a woman from Russia to America. Little does he know that she is host to an organism that a cult wants to harvest, in order to produce a genetically modified Messiah. Gotham City is a place overrun with disorder, where the reclusive billionaire Bruce Wayne fights crime as the masked vigilante Batman. Trying to stop a raid on Axis Chemicals, he unwittingly causes a gangster, Jack Napier , to fall into a tank of acid thereby causing his transformation into the demented Joker.

Based on the novel and manga of the same name. Battlefield Earth. Film adaptation of L. Ron Hubbard 's novel, starring John Travolta. In year , mankind lives enslaved for the past millennium by the alien empire of Psychlos. A man named Jonnie Goodboy Tyler, who rejects the hopeless of the rest of human beings, leads a riot to recover the planet, destroy the Psychlo homeworld with recovered American nuclear weapons , and free the human race.

Loosely based on Philip K. In , a former Blade Runner named Rick Deckard is called out of retirement for a final job: locate and execute group of Replicants - genetically modified human clones designed as laborers in space colonies - who have illegally returned to Earth from outer space, lead by Roy Batty, who tries desperately to meet his creator, CEO and businessman Eldon Tyrell. Sequel to Blade Runner , directed by Denis Villeneuve. In , KD On his final job, he discovers evidence implying the existence of legendary Blade Runner and long-since-missing Rick Deckard, unaware that oligarch Niander Wallace is also interested to locate Deckard before K.

A post-apocalyptic tale, in which a lone man fights his way across America, in order to protect a sacred book that holds the secrets to saving humankind. In a strange city where every person seems content beyond reason a new man arrives in town and stirs up trouble by asking too many questions. A Boy and His Dog. Focus on the survival of a boy and an intelligent dog on post-apocalyptical wasteland in Brave New World. A bureaucrat in a retro-future world tries to correct an administrative error and himself becomes an enemy of the state. It is the year After the earth has become uninhabitable due to an ecological collapse, the remaining people live on overcrowded space stations in Earth's orbit. The story takes place on the derelict spaceship on its 8 year journey to a remote freight-station in deep space.

The film was directed by Neill Blomkamp who also directed District 9 and based on his short film Tetra Vaal One of these police droids, "Chappie", is stolen and given new programming which causes him to be the first robot with the ability to think and feel for himself. When a successful businessman finds that his android wife, Cherry model has blown a fuse, he hires a sexy renegade tracker to help him find her exact duplicate. James ' novel of the same name. In , a chaotic world in which women have somehow become infertile, a former activist agrees to help transport a miraculously pregnant woman to a sanctuary at sea. After a war on Earth, in which the remaining generations are sent to an underground world to live until the earth surface can support life, an unfortunate set of circumstances keeps them underground for longer than planned.

They eventually find their way out after two brave children discover the way. City of Lost Children. French film directed by Jean-Pierre Jeunet. In a surrealist world, a scientist named Krank is kidnapping children to steal their dreams, in the hope that these dreams can slow or stop his aging process. When Krank and his clones kidnap Denree, Denree's older brother, One, sets out to find him. A Clockwork Orange. Adapted from Anthony Burgess ' novella of the same name. In a future England overrun by violent gangs and ruled by an increasingly authoritarian government, a hoodlum gang leader is brainwashed into subservience as an experimental "cure" for criminality.

Adapted from the novel of the same name by David Mitchell. Set across six different eras , , , , and , the movie tells the story of a group of souls crossing each other's paths along different incarnations, and how it changes the world accordingly as time passes. A futuristic 'Brief Encounter', a love story in which the romance is doomed by genetic incompatibility. Colossus: The Forbin Project.

The film, based upon Dennis Feltham Jones ' science fiction novel Colossus , is about a massive American defense computer, named Colossus, becoming sentient. Colossus logically follows its original directives, to the dismay of its programmers, by assuming control of the world and all human affairs for the good of mankind, [51] during the Cold War threat of nuclear war. The Congress. The Congress is a late-capitalist dystopia, in which a corporate media behemoth "Miramount" has effectively usurped control of all human consciousness.

The Cybernetic Grandma. A Czechoslovakian surreal science-fiction-horror film using stop-motion puppet animation, the film depicts a dystopian situation, in which machines tend humans into a cybernetic lifestyle. A man struggles with memories of his past, including a wife he cannot remember, in a nightmarish world with no sun, run by beings with telekinetic powers who seek the souls of humans. Mankind has lost a year war against a genetically enhanced race that man created, abused and finally tortured. Now the descendants of that race - known as the 'Ghen' control planet Earth from advanced underground cities.

Dawn of the Planet of the Apes. Ten years after the pandemic of the deadly ALZ virus , or Simian Flu, the worldwide human population has been drastically reduced, with only about one in five hundred genetically immune to the virus. Apes, with genetically enhanced intelligence caused by the same virus, have started to build a civilization of their own. Caesar is the chimpanzee leader of an ape colony in the Muir Woods near San Francisco. Caesar's son Blue Eyes and his friend Ash encounter a man named Carver in the woods, who panics and shoots Ash, wounding him. Carver's party, led by Malcolm, arrive while a number of apes join Blue Eyes and Ash. Caesar orders the humans to leave, and they flee to their community in San Francisco, centered around "the tower", a partially finished skyscraper.

Prompted by Koba, a scarred bonobo holding a grudge against humans for experimental mistreatment. The Day the Earth Caught Fire. One of the classic apocalyptic films of its era, this film depicts the United States and the Soviet Union unwittingly testing atomic bombs at the same time, altering the Earth's axis of rotation. In the year , a plague has transformed almost every human into vampires.

Faced with a dwindling blood supply, the fractured dominant race plots their survival. A teenage couple is trapped in a drive-in theater which is really a concentration camp for societal rejects. The inmates are fed a steady diet of junk food , new wave music , drugs , and violent films. Remake of the film Death Race Ex-con Jensen Ames is forced by the warden of a notorious prison to compete in our post-industrial world's most popular sport: a car race in which inmates must brutalize and kill one another on the road to victory.

The film takes place in a dystopian American society in the year , where the murderous Transcontinental Road Race has become a form of national entertainment. Compton , set in a future where death from illness has become extremely unusual. When the protagonist is diagnosed as having an incurable disease, she becomes a celebrity and is besieged by journalists. Return to Book Page. Preview — The Giver by Lois Lowry. The Giver, the Newbery Medal winner, has become one of the most influential novels of our time. The haunting story centers on twelve-year-old Jonas, who lives in a seemingly ideal, if colorless, world of conformity and contentment.

Not until he is given his life assignment as the Receiver of Memory does he begin to understand the dark, complex secrets behind his fragi The Giver, the Newbery Medal winner, has become one of the most influential novels of our time. Not until he is given his life assignment as the Receiver of Memory does he begin to understand the dark, complex secrets behind his fragile community. Get A Copy. Paperback , pages. Published January 24th by Ember first published April 26th More Details Original Title.

Edwards Award Other Editions Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about The Giver , please sign up. How do you guys think the movie will compare to the book? Anybody seen it yet? I'm going to see it tomorrow. Josephine The magic gets lost in translation. Although the visuals were great, the movie didn't …more The magic gets lost in translation. Although the visuals were great, the movie didn't go as deep as the book's thought-provoking ideas. I was also disappointed that there were many changes made in the movie. This question contains spoilers What do you think? Steve Wasling This answer contains spoilers… view spoiler [ Though it apparently makes it clear that he doesn't if you read the third book, just reading The Giver pretty strongly suggests that the lights he's s …more Though it apparently makes it clear that he doesn't if you read the third book, just reading The Giver pretty strongly suggests that the lights he's seeing are just memories and they're going to freeze to death.

I'm not sure I'd say I find that a satisfying ending but I do think that's what the author was going for and later changed her mind when writing the sequels. Personally I think this undermines the power of the story. See all questions about The Giver…. Lists with This Book. Community Reviews. Showing Average rating 4. Rating details. More filters. Sort order. Start your review of The Giver The Giver, 1. May 26, J. Keely rated it did not like it Shelves: america , science-fiction , contemporary-fiction , novel , childhood , reviewed.

Lowry's book is a piece of nationalist propaganda, using oversimplification, emotional appeals, and dualistic morality to shut down her readers' minds. More troubling is that it is aimed at children, who don't yet have the critical faculties to defend themselves from such underhanded methods. Unsurprisingly, Lowry adopts the structure of the monomyth, equating a spiritual journey with a moral one. Her Christ-figure uses literal magic powers to rebel against his society. This rebellion and the mor Lowry's book is a piece of nationalist propaganda, using oversimplification, emotional appeals, and dualistic morality to shut down her readers' minds. This rebellion and the morality behind it are presented as 'natural', to contrast with the 'abnormal morality' around him.

Lowry doesn't seem to understand that we get our morality from our culture, it isn't something in-born that we 'lose'. This is the first hint of Lowry's misunderstanding of the human mind. She assumes her own morality is correct, and then builds her story to fit it. She also makes the character act and think like a modern person would, despite never adequately explaining how he came up with such unusual notions. It's the same trick many historical fiction authors use, leaving us scratching our heads as to why a Fourteenth Century French peasant speaks like a second-wave feminist. I'd suggest that Lowry falls to this fault for the same reason they do: she has no talent for imagining how others might think differently. Lowry's book ends with the standard nonspecific transgressive spiritual event that marks any overblown monomyth.

Since the book is not a progressive presentation of ideas, it does not suggest any conclusion. Instead, the climax is a symbolic faux-death event symbolic of what, none can say. Confusingly, Lowry later redacts the ending in the sequels, undermining the pseudo-spiritual journey she created. Though some call this book 'Dystopian', it's closer to the truth to say Lowry borrows elements from the Dystopian authors, attempting to combine the spiritual uplift of the monomyth with the political and social deconstruction of the Dystopia. What she doesn't recognize is that the faith of the one conflicts with the cynicism of the other.

She draws on ideas and images from many other authors: Bradbury, Huxley, Orwell, Burgess, but doesn't improve upon them. These authors created novels that reflected the world around them. They based them on the political events of the times, presented with realism and careful psychology. Though they presented the struggle between the individual and the society, they portrayed morality as grey, and suffering as the result of individual human faults, not political systems. Lowry doesn't realize that the best way to critique Fascism or Communism is not to present it as 'evil', but to simply present it as it was. But Lowry's world is not based in reality, it is symbolic and hyperbolic. Instead of writing about how poverty makes the world seem small and dull, she has the characters magically unable to experience life.

Instead of an impersonal government, she presents a sort of evil hippy commune. The only political system it resembles is a school, which is a neat little trick to get the kids interested. The book also suggests a creche, but lacking similarity to any real-world system, it doesn't work as a political criticism. Lowry creates this artificial world to suit her purposes, but it is not a symbolic exercise like 'Animal Farm'. We understand that the pigs of animal farm are symbolic, because there are no talking pigs. Lowry's world is more insidious, since its oversimplification is hidden.

She builds an artificial world to support the dualist morality that she's pushing. She presents the same knee-jerk fears about euthanasia and abortion that people use against Women's Rights or Health Care. Worse than these Straw Man arguments is the fact that she never deals with the economic causes of totalitarianism. Tyrants don't just rise up and take control by their own force of will, they come into power because of the socioeconomic situations that surround them.

Lean times produce strong, fascist leaders while profitable times produce permissive, liberal societies. Strong, centralized leadership simply doesn't self-propagate in cultures where everyone is clothed, fed, and housed. The Holocaust was socially about some ideal of 'change' and 'purity', but it was economically about the transmission of wealth from Jews, Poles, and Catholics to Germans and more specifically, to those Germans who had elected the new ruling party.

The atrocities of war are, for the most part, committed by normal people on other normal people. By presenting the power structure as 'amoral' and 'inhuman', Lowry ignores the fact that people will willingly cause others to suffer. Painting the enemy as 'evil' and 'alien' is just an unsophisticated propagandist method. She contrasts her 'evil' with the idealized 'goodness' of emotion, beauty, and freedom. This is nothing more than the American dream of 'specialness' that Mr.

Rogers was pushing for so many years. We are all special, we are all good, we all deserve love and happiness. Sure, it sounds good, but what does it mean? Where does this 'specialness' come from? If it is just the 'sanctity of human life', then it's not really special, because it's all-encompassing. If all of us are special, then none of us are. There's nothing wrong with valuing life, but when Lowry presents one mode of life as valuable and another as reprehensible, she ceases to actually value humanity as a whole. Instead, she values a small, idealized chunk of humanity. If the specialness is only based on fitting in with a certain moral and social guideline, then Lowry isn't praising individuality, she's praising herd behavior. The protagonist is only 'special' because he has magic powers.

His specialness is not a part of his character, it is an emotional appeal. The idea of being a special individual is another piece of propaganda, and its one kids are especially prone to, because kids aren't special: they are carefully controlled and powerless. Giving a character special powers and abilities and then using that character to feed a party line to children is not merely disingenuous, it's disturbing.

There is also a darker side to universal specialness: giving a child a sense of importance without anything to back it up creates egotism and instability. Adults noticed that children with skills and friends had high self-esteems, but instead of teaching their children social skills and knowledge, they misunderstood the causal relationship and tried to give them self-worth first. Unfortunately, the moment unsupported self-worth is challenged, the child finds they have nothing to fall back on. Their entitlement didn't come from their skills or experiences, and so they have nothing to bolster that sense of worth.

Instead, any doubt sends them down a spiral of emotional instability. A single book like this wouldn't be the cause of such a state in a child, but it does act as part of the social structure built to give a sense of worth without a solid base for that worth. People like to believe they are special, kids especially so, but being a remarkable person is not a result of belief but of actions. If the book had informed them, then it would leave them better off, but giving them a conclusion based on emotional appeals does nothing to build confidence or character.

Many people have told me this book is good because it appeals to children, but children often fall for propaganda. Children develop deep relationships with pop stars, breakfast cereals, and Japanese monsters. This does not make them good role models for children. Feeding 'specialness' to kids along with a political message is no better than the fascist youth programs Lowry intends to criticize.

The obsession with individuality is just another form of elitism. It's ironic that people in America most often describe themselves as individuals when pointing out the things they do to align themselves with groups. But banding together in a community is not a bad thing. For Lowry and other 'Red Scare' children, any mention of 'communal' can turn into a witch hunt, but we all give up some personal rights and some individuality in order to live in relatively safe, structured societies. There are benefits to governmental social controls and there are drawbacks, and it's up to us to walk the line between the two.

Anarchy and Totalitarianism never actually exist for long: we are social animals. It's not difficult to understand why Lowry is so popular, especially amongst educators. The message she gives aligns perfectly with what they were taught as kids, from Red Scare reactionism to the hippy-dippy 'unique snowflake' mantra. These ideas aren't entirely misguided, either. It's good to recognize the benefits of difference and the dangers of allowing other to control our lives.

If a reader believes that fascism and socialism are inherently wrong and that their own individuality is their greatest asset, they will likely sympathize with Lowry's work. However, this doesn't make the book honest, nor beneficial. One of the hardest things we can do as readers is disagree with the methods of authors we agree with ideologically. It makes us feel good to find authors who agree with us, but this is when we should be at our most skeptical. Searching the world for self-justification is not a worthwhile goal, it simply turns you into another short-sighted, argumentative know-it-all. Lowry is toeing the party line. She does not base her book around difficult questions, like the Dystopian authors, but around easy answers.

She doesn't force the reader to decide for themselves what is best, she makes it clear what she wants us to think. Her book is didactic, which means that it instructs the reader what to believe. Even if her conclusions about Individuality vs. Community are correct, she doesn't present arguments, she only presents conclusions. Like rote memorization or indoctrination, she teaches nothing about the politics, social order, economics, or psychology of totalitarianism or individuality. The reader is not left with an understanding, just an opinion. The baseless 'individuality' of the book lets the reader imagine that they are rebels--that they are bucking the system even as they fall into lock-step.

By letting the reader think they are already free-thinking, Lowry tricks them into forgetting their skepticism. She is happy to paint a simple world of black and white, and this is likely the world she sees. I doubt she is purposefully creating an insidious text, she just can't see past her own opinions. She writes this book with a point to make, and makes it using emotional appeals and symbolism. She doesn't back it up with arguments because she doesn't seem to have developed her opinions from cogent arguments. In the end, she doesn't show us that the structure of this society is wrong, she says nothing poignant about individuality vs. Yet nowhere does she provide an argument for why communal living or the sacrifice of freedoms for safety must necessarily lead to infanticide.

In politics, making extreme claims about the opposing side is called mud-slinging, it is an underhanded and dishonest tactic. It works. Arguing intelligently is difficult, accusing is easy, so that's what Lowry does. She quickly condemns the flaws of others while failing to search out her own. Even after the Holocaust, there are many racist, nationalist, violent Jews; conflict rarely breeds a new understanding. America condemned the faceless communal life of the Second World, and yet America created The Projects.

We critiqued strong governmental controls, but we still have the bank bailout, socialized medicine, socialized schooling, and socialized charity. America condemned the Gulags and Work Camps, and yet we imprison one out of every hundred citizens; far more than Stalin ever did. Some are killed, all are dehumanized. As a little sci fi adventure, the book isn't terrible. It's really the pretension that goes along with it.

Lowry cobbles together religious symbolism and Dystopic tropes and then tries to present it as something as complex and thoughtful as the authors she copied. Copying isn't a crime, but copying poorly is. Like Dan Brown or Michael Crichton, she creates a political pamphlet of her own ideals, slaps a pretense of authority on it, and then waits for the money and awards to roll in--and they did. Many people I've discussed this book with have pointed to those awards as the surest sign of this book's eminent worth. Award committees are bureaucratic organizations. Their decisions are based on political machinations. This book is a little piece of Nationalism, and so it was lauded by the political machine that Lowry supports. The left hand helps the right. If awards are the surest sign of worth, then Titanic is a better movie than Citizen Kane.

What surprises me is how many of those who brought up the award as their argument were teachers. If a politically-charged administrative committee is the best way to teach children, then why do you take umbrage when the principal tells you that bigger class sizes and fewer benefits are fine? Listen to him: doesn't he have award plaques? The other argument is usually that 'kids like it'. I usually respond that kids also like candy, so why not teach that? Some people also get angry at me for analyzing a book written for children: "Of course it's not a great book, it's for kids! If you want a good book, go read Ulysses!

Children can be as skeptical, quick-witted, and thoughtful as adults if you give them the chance, so I see no excuse for feeding them anything less. Kids aren't stupid, they just lack knowledge, and that's a fine distinction. It's easy for adults to take advantage of their naivete, their emotionality, and their sense of worth. Just because it's easier for the teacher doesn't mean it's better for the child.

When we show children something that is over-simplified, presenting an idealized, crudely moralizing world, we aren't preparing them for the actual world. If you give a child a meaningless answer to repeat, he will repeat it, but he won't understand why. Why not give the child a book that presents many complex ideas, but no rote answers, and let them make up their own minds? If they don't learn how to separate the wheat from the chaff and form their own opinions early, in a safe, nurturing environment, what chance will they have on their own as adults?

In all the discussions and research regarding this book, I have come across very little analysis. It's especially surprising for a book with such a strong following, but there aren't many explanations of why the book is supposed to be useful or important. This lack of argument makes sense from a political standpoint, since there is no reason to analyze the worth of propaganda: its worth is that it agrees with society and indoctrinates readers. Analyzing it would defeat the purpose; political diatribes do not stand up to thoughtful attention.

Perhaps someday someone will create a thoughtful, textual analysis of this book that will point out its merits, its structure and its complexity. I've gradually come to doubt it. I never expected when I wrote my original review of this book that it would garner this much attention. I still welcome comments and thoughts, but if your comment looks roughly like this: "You should read this book again, but this time, like it more. You think you're smart but you aren't.

You're mean. Lowry is great. This book won awards and kids like it. It's meant for kids anyways, why would you analyze what its about? I bet you never even read the sequels. Go read 'Moby Dick' because you are full of yourself. If you do want to comment though, you might check out this article ; I find it helps me with presenting my ideas. View all comments. Jul 11, Kristine rated it it was amazing. I've taught this book to my 6th graders nine years in a row. Once I realized that the book is actually a mystery, and not the bland sci-fi adventure it seemed at first skim, I loved it more and more each time. Nine years, two classes most years I've come to see that the book isn't the story of a depressing utopia. It's the story of the relationship between the main characters the Giver, Jonas, and I won't say her name.

And of course, the baby Gabe. Every year, as we read the book I've taught this book to my 6th graders nine years in a row. Every year, as we read the book out loud together, I am amazed at details the students notice things I've missed the previous 15 times , or questions they raise that lead to further insights for not just the class but ME. My God, the things they come up with, that I as an English major, or even me if I'd read this with a book club, could never have gone that far in depth. As I began to more fully understand the book over the years, I was better able to guide their discussions, which helped them think more deeply about the book, and made me appreciate the book even more.

And by "guide," I don't mean calm, controlled, teachery, "I already know the answer" talk. My discussion techniques, simple: --I'd stop the tape books on tape are AWESOME- the narrator is always so much better than I could ever be and say something like, "So, what do you think? Once I myself knew how to be interested in this book, I knew what might keep them hooked. I'm not spoiling the ending when I bring up my own questions, because I know this book is a mystery in which things don't much get answered- they're left to linger, and that's part of the beauty and hopefulness in this book.

There are still lines, moments, in the book that give me chills. I wait for them greedily, just to hear the words spoken. I feel lucky to have been forced to read this book a dozen times. There are other books I've read a lot with my students, and this is the one that most stands up over time, the only one that keeps my interest. I truly am on the edge of my seat to see what we will realize next.

Because I've seen that, even if I think I have it all figured out, some kid is going to say something to rock my world. I can't believe Lowry was able to make a book this clever; part of me thinks a work this good is impossible, and that we are just reading too much into it. But no, it's all there, all the pieces, and she put them there. I just don't see how could she have written such a tightly woven mystery- how could she have know all of the questions the book would raise? And you know what, she probably didn't. A book isn't like drawing a map. You make the world, and things happen. And in this case, she did make a perfect world.

I hate puns so much!!!!!! I mean, she so fully created that world where everything that happens is plausible. Just read the damn book, then call me. Or, call me after like, Chapter 13, then after 18 and Lines that almost make me cry Jul 11, James Carroll rated it it was amazing Recommends it for: anyone. Shelves: fiction. This book is perhaps the best refutation that I have seen in some time of a common philosophy of pain that is sometimes found in the popular media and in some versions of Buddhism. According to this philosophy, pain is the ultimate evil, and so, to eliminate pain and suffering we must give up desire, and individuality.

Self is an illusion, and leads to pain; desire and agency are dangerous, so we should give them up and join the cosmic oneness "enlightenment" to find a utopia without pain. As Ge This book is perhaps the best refutation that I have seen in some time of a common philosophy of pain that is sometimes found in the popular media and in some versions of Buddhism. As George Lucas unfortunately has Yoda say to Anakin, "you must give up all that you fear to lose.

Choice, agency, adversity, love, desire, and real pleasure are dangerous, they can lead to pain, but without them life has no purpose. Love could lead to the loss of that which we love, but life without love is empty. Purpose comes from choosing. Purpose comes from overcoming adversity. Yes, you could choose poorly, and that could lead to pain, choice is dangerous, but without it, life has no meaning, it is colorless. Greatness in life is found by overcoming adversity, not by the absence of adversity.

Without opposition, there is nothing to overcome, and thus there may be no bad, but there is also no good, there may be no pain, but there is also no joy. Although some later books answer some of these questions, at the end of this book we are left to wonder: Did he die? Did he live? All we really know is that he was made free, and he made a choice Did it lead to happiness for him? Did it lead to happiness for the community who will now have his memories? Will they destroy themselves, or will the Giver be able to help them find true purpose and happiness in life?

We don't know, because that is the way of all choices. We can't always know the outcomes of our decisions, and therein lies the danger, but the risk is well worth the rewards. View all 80 comments. Apr 12, Miranda Reads rated it really liked it Shelves: audiobook. Stuck at home? Got some time on your hands? Want to start a long series? But you don't want a dud? Then I have some suggestions for you! Check out this booktube video all about which series are worth your time and which ones aren't!

Thanks for watching and happy reading! Check Out the Written Review! Man oh man, for a children's book Lowry certainly didn't pull any punches. Jonas lives in a perfectly perfect world. Every family has one mother, one father, one girl and one boy. Famili Stuck at home? Families always get along, the parents never disagree, no one has any secrets. Everyone contributes to society equally. No one is ever outraged, angry, sad. The life where nothing was ever unexpected. Or inconvenient. Or unusual. The life without colour, pain or past. However what appears perfect on the surface hides a far darker truth. There isn't any negativity in their world but also, there isn't any true happiness or love.

All emotions are suppressed, children are taken from "birth mothers," and defected individuals are "released. Jonas is ready to undergo the ceremony of twelves during which are children born in the same year 'age' to the next level. He will be assigned his role in society but when he is supposed to accept his new job, he's given the title of Receiver. Something he's never even heard of. No one really knows what the Receiver does other than the Giver. Soon Jonas learns that the Giver holds the collected memories of the societies long since past and passes it along to the next generation. Jonas is faced with startling realities that he would've never considered - how beautiful color is, how heartbreaking loss is, and how incredibly wonderful love can make a person feel.

The worst part of holding the memories is not the pain. It's the loneliness of it. Memories need to be shared. And soon, he comes to a decision. While it initially appears as a Lawful Neutral Punch-Clock Villain , merely performing the role it was created to do, it establishes itself as this trope when it relentlessly pursues the main characters and nearly kills them - along with their human Master - to satiate its own spite. Boss Wolf from Kung Fu Panda 2 fits this alignment. He shows no concern in carrying out Lord Shen's evil plans of conquest, yet he shows an unyielding loyalty to his own wolf pack, behaving like A Father to His Men.

This costs him his life when he refuses to shoot his soldiers. Professor Screweyes from We're Back! A Dinosaur's Story uses contracts and deals to enslave others to his Circus of Fear , but he keeps his end of the deal. He also desires absolute control of his fear by scaring others. He is just a normal human who doesn't see himself as evil, and commits all those horrendous acts for good.

He plans to use the Kragle to freeze the entire world so that everything will be stuck the way he wants it to be. The Iron Giant : Kent Mansley, a paranoid government agent willing to destroy a child's life in order to eliminate a potential threat. The Prince of Egypt : Ramses is a Nepharious Pharaoh who refuses to free Egypt's slaves because he wants them to build amazing monuments, to the point of being willing to threaten genocide when Moses tries to force the issue.

He's a tragic example, as this is all motivated by his own issues with a father who never thought he was good enough. DC Universe Animated Original Movies : Green Lantern: First Flight : Sinestro genuinely believes that fear is the best way to regulate a populace, and is willing to destroy the Green Lantern Corps and set up his own corps to implement this policy. Superman vs. Superman Unbound : Brainiac abducts entire cities he keeps in bottles and destroys the rest of civilization because he can't bear the thought of information existing that he does not control.

In fact, he's such a Control Freak that Superman defeats him by exposing him to chaotic nature, which causes such an overload that it fries his circuits. Films — Live-Action. Charlie Prince in to Yuma is a trigger-happy, murderous bastard, but his loyalty and devotion to his boss Ben Wade are impressive — he goes to almost superhuman lengths to rescue him.

With maybe a slight hint of subtext. The Abominable Dr. Yes, he's a murderous nut, but he's also extremely focused in his work, wrapped around a fairly lawful system of revenge, and in love with ceremony. The one thing he has that most Lawful Evil characters don't is creativity. The Adventures of Robin Hood : Prince John Lackland, who uses the fact that his brother the King is on a crusade to tax and oppress the peasantry with impunity. Alien : Ash, an android who follows his programming to acquire a Xenomorph to the letter, regardless of who gets hurt. American Justice : Sheriff Payden runs his town like a small fiefdom, absolutely dominating the mayor and extorting money and drugs from the criminal element.

When his men kill a drug dealer, Payden frames an out-of-towner for the crime, intending to kill him and claim it happened during an escape attempt. The Big Short : The entire American banking system is portrayed like this, as they're perfectly willing to lend people mortgages for homes they can't afford so they can foreclose on the homes, and have rigged the government to be cool with it. The Black Room : Gregor de Berghman uses his barony to kill women for fun and oppressively tax the townspeople, killing his brother and stealing his identity to keep doing so after pretending to abdicate.

The Blob : Dr. Christopher Meddows, a government agent willing to slaughter an entire town to test a bioweapon he invented. The Brain : The Brain is biologically wired to be lawful evil, being a creature who literally eats independent thought, and seeks to consume the entire planet's thoughts. Brotherhood of Death : Harold Turner, local Grand Cyclops of The Klan , uses his position as county attorney to further oppress the local black community. Casablanca : Major Heinrich Strasser, a Nazi officer tasked with keeping order in Casablanca, and spends the movie hunting for a resistance leader. He genuinely believes in the Religion of Evil , and unlike his wife , binds himself to its principles. As a result, he resists her pressure to attempt a Klingon Promotion on the Big Bad Lord Marshall, until Vaako himself comes to believe that the Lord Marshall has violated the Necromonger code through the Marshall's weakness.

Vaako and Riddick both attack the Marshall, but Riddick strikes the killing blow. Rather than attempting to finish Riddick off, Vaako is the first to bow and declare him the new Lord Marshall, because "You keep what you kill" is part of the Necromonger code too. All the members are loyal to the death, and look forward to dying in the service of the Necromongers. Indeed death is the ultimate goal for them. The Confederacy in C. The Skeksis from The Dark Crystal. They are essentially a Decadent Court of evil creatures who dislike each other, but are bound by a strict adherence to social rituals.

When one is exiled for losing in a competition against his rival to the imperial throne, he constantly seeks to regain his status rather than revenge. The Dark Knight Trilogy : Ra's Al-Ghul in Batman Begins is the leader of a cult of ninja-vigilantes with a draconian sense of justice and an expectation that their followers are willing to kill on command in service to it. Throughout history they have periodically destroyed entire cities that they deem to have grown corrupt and decadent in order to "restore the balance", and they have set their sights on Gotham as their latest target. It's a rule of his that he will adhere to, instead of killing by impulse. The Gotham National Bank manager, who still believes in honor and respect even when the Joker has him by the balls.

Also Gambol, who goes so far as to put a hit on the Joker for robbing the GNB and partially for making a potshot at his grandmother. Bane in The Dark Knight Rises. Despite appearing Chaotic Evil , he is actually an extremist member of the League of Shadows and wishes to continue their quest to root out crime and corruption by destroying cities, though he takes it to a suicidal extreme as does Talia , Ra's daughter. Darkman : Louis Strack, Jr. Demolition Man : Dr. Raymond Cocteau finagles the vast majority of his society to comply with his nanny state ambitions, and awakens some frozen criminals to assassinate a Rebel Leader fighting against him. Unfortunately, this includes the immensely Chaotic Evil Simon Phoenix, who kills him.

Specifically though, when pressed about his master plan, he explains that he intends to keep pumping out Amoral Attorneys so he can game the legal system and let as many horrible people off the hook as possible. Eventually, even Heaven will have to take notice of how much he's perverting Creation and fight him directly, which he's also planning ahead for by trying to raise a worthwhile heir. The senior house slave Stephen in Django Unchained is utterly devoted to his master and wholeheartedly upholds the institution of slavery.

A collaborator if there ever was one. Escape : President Clark, a corporate executive willing to slaughter the Bronx to keep his urban renewal plans going. First Blood : Sheriff Will Teasle is a more sympathetic example, being a cop who genuinely believes the law is a good thing, but is willing to persecute drifters on good days and goes to increasingly extreme measures to capture one of them when the drifter retaliates and kills one of his friends. In the Flash Gordon film, the entire society of Mongo. They embrace cruelty and treachery, and the nobles plot overthrows and scheme against one another, but they always follow the articles of Ming's law.

Vultan describes it as being a "damn nuisance," but he follows it anyway when called upon. Frankenstein's Army : Dr. Viktor Frankenstein genuinely believes that society would be better if everybody was his cyborg slave, and is willing to work with and then betray the Nazis to achieve this despite being Jewish himself. Full Metal Jacket : Gunnery Sergeant Hartman, a drill sergeant who absolutely brutalizes people in order to make them into perfect Marines. Don Vito Corleone from The Godfather sticks to omerta, sees great value in honor and respect, and rejects drug dealing out of principle , but it does not make his motives or methods anything other than evil. His agent Luca Brasi ends up doing similar out of pure Undying Loyalty.

Gory Gory Hallelujah : The government of Jackville is a theocracy that explicitly doesn't have human rights, bans books, and has the church and jail in the same building. Meanwhile, their leader Preacher John wants to start a Zombie Apocalypse to punish mankind for their sins. Loco in The Great Silence uses the legal bounty hunter profession to cover his evil acts, except in extreme circumstances.

His boast is always that his acts have been "all according to the law. Pinhead and most other cenobites along with their god Leviathan from the Hellraiser film series. In contrast to most slasher villains who are chaotic wisecrackers or Ax-Crazy brutes, Pinhead is orderly and rational above all else. He genuinely believes in what the order represents and can be reasoned with. House of Whipcord : Margaret Wakehurst leads an operation to kidnap women and imprison them for being indecent by her arch-conservative puritan standards. She's so fanatical she has a woman hanged for stealing food. Saito from Inception , though he sides with the protagonist.

He uses his inception team to plant a false idea into the mind of his rival businessman to crush the energy monopoly, primarily to clear the obstacle to his own power expansion. The John Wick franchise revolves around an organization called the High Table that controls organized crime worldwide, and employs the assassins of the Continental network as Murder, Inc. Both have extensive codes of rules, which are enforced either by the assassins themselves or by Adjudicators working for the kingpins seated at the Table: among them, the Continental hotels are Truce Zones where no violence of any kind is permitted, and "markers" representing favors owed must be honored on pain of death.

She encourages her minions to discuss plans with her and always maintains a polite, controlled behavior, unless you question her heritage , which means instant beheading. Two Examples from the Mad Max franchise: Aunty Entity from Mad Max: Beyond Thunderdome rules Bartertown with a firm hand and is willing to brutally punish anyone who threatens the stability of that settlement. But, she remains Affably Evil and is always keeps her word. He also managed to gain control of numerous resources and established trading partners, bringing about a rare area of stability in the lawless wasteland.

Man of Steel gives us General Zod, the man who is willing to commit genocide and forcefully terraform a planet to recreate his homeworld because he is absolutely certain it is his duty to serve his society, by whatever means necessary. Thanos: "Perfectly balanced, as all things should be. Memnon : You think I'm cruel, don't you? Perhaps you've forgotten what it's like outside these walls? Heartless, ignorant, and savage. But I can change that. I will bring order after centuries of chaos. An order that will last for a thousand years. Sorceress : Rivers of blood can never bring peace. Memnon : But they can bring obedience! That will suffice for now. The book version of Chocolat follows the pattern in The Film of the Book , but the agent of Lawful Evil is the village priest and not the Mayor his Moral Event Horizon is where he gives a speech in one of his internal monologues which can be summed up as 'if I allow chocolate, then it will be followed by other evil things like sex and liberals'.

While it is possible to justify the priest's behaviour by examining the plot with his dying father, the film version was more careful than the book to avoid the trope. The Comte in The Film of the Book. He uses his power over the townspeople to turn them against what he considers "unwanted elements" in the town, essentially bullying said "unwanted elements" into moving away, but he is strictly against the use of violence, going as far as banishing the local bartender from the town for the rest of his life for burning down a houseboat belonging to a group of gypsies, which the Comte himself had disapproved of.

Masks of Aygrima : The Autarch and his servants are this, turning Tamita, the capital city, into a borderline police state and installing watchers in all other towns to keep order. The masks everybody wears are used to squash all thoughts of rebellion by showing watchers those thoughts. The masks are later altered to change people's personalities to stop all possibilities of revolution everywhere. The Big Bad of The Name of the Rose , Jorge of Burgos , hates happiness and free will with religious zeal, to the point where he believes laughter to be the work of the Devil.

Nothing short of utter monastic devotion is acceptable. The inquisitor Bernard Gui is completely uninterested in finding the culprit for the murders, and stages a witch trial to discredit his opponents and enhance his reputation. What would you expect of a Middle Age inquisitor? Used in the Dragonlance novel The Doom Brigade. Draconians are supposedly Always Chaotic Evil , but Kang and Slith, the leaders of a draconian troop, teach the soldiers about honor, teamwork and loyalty in addition to hating the forces of good and especially elves.

Although they start out as devoted servants of the evil goddess Takhisis, they slowly shift from Lawful Evil to Lawful Neutral — and in the end to Lawful Good , when they side against Mina and the forces of Takhisis at the end of Dragons of a Vanished Moon. Raistlin Majere. Willing to kill anybody who is either blocking him or no longer useful to him. But he scrupulously honors his debts, upholds the magic order, and claims his ultimate goal to be creating a new world once he achieves godhood.

Raistlin's sister Kitiara is loyal to her family and Tanis Half-Elven, and appreciates the order and power the Dragonarmies bring, but she is not beyond some plotting for personal aggrandisement, so veers towards Neutral Evil. She probably qualifies as an example of Type 2 Lawful Evil. The minotaurs, likewise, are classed as a Lawful Evil race; while they believe most other races are so inferior as to be only good as slaves or corpses, they have a strict Code of Honour that they will adhere to. It's for this reason that they have grudging respect for Solamnic Knights, as well as their martial prowess. She works for the corrupted government, creates safe and harmless ways to practice magic, and yet makes students carve sentences in their hands with their own blood as detention, for contradicting the Minister of Magic.

If anyone had any doubt that she was Lawful Evil at heart, Deathly Hallows removed it, with her cheerfully threatening Muggle-born witches and wizards with the Dementor's Kiss or hauling them off to Azkaban. She revels in doing harm to others, but doesn't have the courage to do it outside the sanction of the law. The Malfoys easily fall here; they prefer being in positions of power and privilege, and Lucius seems to be at his best when working for Voldemort within the Ministry. After the fifth book, which both lost him his position at the Ministry and his favor with Voldemort , he seemed to be defeated. The Discworld offers a number of different variants on the alignment: The Auditors of Reality are something like the collective Anthropomorphic Personification of the rules of the universe.

However, they have managed to develop a hostile, definitely not neutral, and ironically human attitude towards life because it's so disorderly. As such, they actively try to remove life and especially humanity from the universe. Death: Down in the deepest kingdoms of the sea, where there is no light, there lives a type of creature with no brain and no eyes and no mouth. It does nothing but live and put forth petals of perfect crimson where none are there to see. It is nothing but a tiny "yes" in the night. And yet It has enemies who bear it a vicious, unbending malice, who wish not only for its tiny life to be over but also that it had never existed. Are you with me so far? Susan: Well, yes, but— Death: Good. Now, imagine what they think of humanity.

Lara: At what point did you forget that I am a vampire, Dresden? A monster. A habitually neat, polite, civil, and efficient monster. Roose :A peaceful land, a quiet people. That has always been my rule. Make it yours. Live-Action TV. Oz gives us Vern "I never broke a law I didn't have to" Schillinger, who seems perfectly at home in prison as the Aryan Brotherhood's leader. In case you forgot "Lawful" and "Good" are two completely different things. Which is probably why they were able to align with the Founders, who are so obsessed with creating "perfect order" that they have bred an unstoppable army of fanatical Jem'Hadar soldiers to conquer everything and rule it with an iron fist.

The Dominion, ruled by the Founders, is a theocratic oligarchy dedicated to two things above all: order and control. If the Founders don't rule it, they'll conquer it. If it's too strong to be easily conquered, they'll use their abilities to cause it to dissolve into chaos, then conquer it. Their code of law for use among themselves is in many ways quite strict: at one point Odo is forced to reach their homeworld and have his shapeshifting stripped away because their law states that changelings shall never kill each other , even though Odo has no way of actually knowing their law. This is the Ferengi ideal. Ferengi idolise personal gain and wealth, to the point where failing to turn a profit can earn you a stay in Hell, but are supposed to abide strongly by the will of the Nagus, the admittedly loose dictates of the Rules of Acquisition, and the terms of any contract they sign with another Ferengi.

Among Ferengi, Brunt is the most malevolent: he repeatedly goes out of his way to use the power and authority granted by his rank to make Quark's life miserable. Criminal Minds usually shows Neutral Evil or Chaotic Evil unsubs, but a few fall into this category: Karl Arnold, "The Fox", is a Family Annihilator, a serial mass-murderer of families, with deranged power fantasies and obsessive-compulsive tendencies. Charles Holcombe is a "House Cleaner" — he targets the homeless in order to "clean up" the streets of his city, and he proves to be so successful that the officer assigned to the district he operates in gets the credit for crimes and homeless rates going down , something that irritates Holcombe. A wealthy but extremely narcissistic loner and Control Freak , he bullies a dim-witted accomplice into kidnapping unsuspecting victims and taking them to an abandoned meat factory he owns that he has converted into a house of death traps, promising them they can live if they survive to the end, then killing them anyway if they make it.

Vincent Rowlings, who follows a very strict pattern due to his Super OCD , but also turns out to be Affably Evil and deeply caring for the blind son of one of his victims. Tivon Askari, a Torture Technician who served as J. He formerly assisted the United States in Iraq as a "specialist" but turned out to be corrupt and in league with an American marine who was more of a Neutral Evil money-grubbing traitor. What makes him more Lawful is that the profile the team devises for him states that torturers like him like to see themselves as a Punch-Clock Villain and develop rituals, routines and moralistic excuses to dissociate themselves from the horrible pain they inflict on others, which is indeed shown to be the case.

Doctor Who : The Cybermen are pure Lawful Evil, with the delusion that their society is perfect and that they are therefore justified in doing anything to survive, but obliged to forcibly "welcome" others into it , where possible. Culturally and genetically bred to be super-intelligent, these cybernetic mutants live in pressurised pepper pot tanks out of a paranoid fear of contamination from other forms of life, deciding the only long-term solution is Extermination for everything non-Dalek.

They operate in a highly rigid command structure and are loyal-unto-death to the cause of Dalek racial purity, are absolutely obedient to their superiors so long as neither deviates from this cause, and in spite of their extraordinary intellects they utterly lack imagination and are largely incapable of thinking for themselves unless some sort of outside influence rewrites their social or biological programming. Nonetheless, they are also ruthlessly efficient and over the course of the series grow from a closed-off Fascist society on a barren world to THE dominant threat to all life in the entire multiverse, such is their single minded fanatical determination. Time Lords too, post-"Trial of a Time Lord". They started off Neutral enough probably Lawful Neutral or True Neutral, in the not-giving-a-shit sense but get darker as Who progresses.

By the end of the Tenth Doctor's time, they're full-blown Lawful Evil. One of the Founders of Time Lord Society and the First President Rassilon, is implied to have been this despite being portrayed as a great hero in the official version of history. As the leader of Time Lord society during that era, it's hard to imagine anyone having spent more time staring into the abyss. The Valeyard, either an evil future version of the Doctor or an Enemy Without of the Doctor created in an unknown future incident, seems to have started out like this trying to railroad the Doctor to the gallows in "The Trial of a Time Lord," he hopes to gain the Doctor's remaining regenerations, but seems to believe everything he's saying about the Doctor is true. The Dominators. Their hat is subjugating and enslaving other races out of racism and the desire for their own glorification, but they will follow very strict and rather bureaucratic protocol in order to achieve this, such as obsessively studying natives' physical and intelligence levels before sending them to toil in the mines.

Toba, who doesn't care about protocol and just wants to blow everything up , is considered by Rago to be a contemptible moral deviant. The Wire provides textbook examples of two different variations on this alignment in Stringer Bell and Maurice Levy. Bell is a ruthless drug kingpin who will have anyone and everyone who gets in his way killed in cold blood, but he's also a methodical and calculating planner who believes that order, loyalty, and iron-fisted discipline are the keys to running a successful drug operation. Levy is a money-grubbing Amoral Attorney who does everything he can to help his criminal clients exploit flaws in the legal system, all the while carefully avoiding actually breaking the law himself as he does so.

Omar Little. Robs drug dealers, kills without compunction — but never raised his weapon on anyone who wasn't in the game. He wholeheartedly believes that "A man must have a code. In his own words while being cross-examined by Levy during the trial of Barksdale enforcer Marquis "Bird" Hilton for the murder of state's witness William Gant : Levy : You are amoral, are you not? You are feeding off the violence and despair of the drug trade.

You are stealing from those who are themselves stealing the life blood from our city. You are a parasite who leeches off the culture of drugs Omar : Just like you, man. Levy : Excuse me? Omar : I got the shotgun. You got the briefcase. It's all in the game though, right? Prince : I may be bad , but I always stick to my deals, and I very rarely ever lie. It's much more fun to tell the truth! Sterling : You realize that your entire plan relied on me being a self-serving, utter bastard?

Nate : Ha, yeah, that's a stretch. Crowley : This isn't Wall Street; this is Hell! We have a little something called 'integrity'! Ever wonder how a conversation about to improve society would go if a Lawful Good and Lawful Evil character were the ones talking? Just listen to "The Good Doctor": Doctor Light talks about how the robots they will make will improve the lives of the poor miners, while Doctor Wily talks about how the robots will deliver him the power he thinks that he has earned.

Both want the same thing for society, but for the opposite reasons. Newspaper Comics. In the Dilbert strips, Catbert is the evil director of human resources who helps make the lives of Dilbert and his co-workers miserable by creating ethically questionable policies, never providing useful help, and downsizing workers. Ming the Merciless, ruler of Mongo in Flash Gordon. Professional Wrestling. His whole act, from his debut at ECW Enter Sandman , May 13th, , until he became the heel-turned Taz 's manager at November to Remember , was about angering the fans by enforcing the rules in a promotion that generally avoided them. Satan in Old Harry's Game his demons to a certain standard of evilness.

He's very cruel towards those who aren't evil enough, but has absolutely no tolerance for those who are too evil for his liking. He's also got a few personal rules that he follows at all times; contrary to popular belief, he doesn't possess people albeit not so much on moral grounds as that he simply considers it a bit Squicky , nor does he ever directly kill people. However, he's quick to remind anyone who would doubt his evilness because of this that while he may be more affable than most would expect , he is still the Devil, and he has no qualms about torturing people or convincing people to kill each other.

Satan is often portrayed as this, especially when dealing with contracts. There are many popular embodiments of this trope, especially with those referencing The Devil and Daniel Webster. This has much to do with works like The Divine Comedy , but it is one of the few things about Satan that popular culture gets right. Dullahans from Celtic Mythology are spirits that are better known for removing their heads , with perhaps the most famous example being The Headless Horseman. It is impossible to delay them this job, and spying on them may gain you a harsh punishment, from having blood poured on you to getting your own eyes lashed out.

In other words, don't get in their way. Tabletop Games. Warhammer : The Dark Elves have a strict, law-bound society which is evil to the boot in order to keep their decadent lifestyle in check. While many of them have different motivations setting them apart from each other, the Vampire Counts usually tend to lean in this direction too, especially as a larger force. They fight Chaos, but they are also bent on conquering the Empire and turning all of its living citizens into undead minions not only to deny Chaos new worshippers, but also to create a new order without any fear of resistance. Vlad von Carstein himself is a prime example of this, and he even came frighteningly close to achieving said goal too. The Tomb Kings.

They are very content with staying in their deserts in Nehekara, but will send their skeletal legions to attack anyone who dares steals their treasure. They wage war with the dwarfs over a single coin, and will lay siege on the Empire's capital to recover their magical artifacts locked in the wizards' vaults. Nagash the Undying definitely fits this alignment. He wants to turn every single living being in the world into undead creatures just so they can act as an extension of his power and rationalizes by saying that the dead do not squabble among themselves and a world made up only of them would be at peace under him.

He also loathes the Chaos Gods almost as much as he despises Sigmar , and he actively plots to destroy them. Seems like the Undead's affinity for being Lawful Evil is derived from Nagash. They take fighting much more seriously than other Orcs do, and look down on the aimless squabbling of other Orcs — in their minds, they should be focused on bringing down the enemies of their kind and ensuring Orcish dominion over the world, and the constant in-fighting other Orcs love is a pointless waste of time and energy. This is reflected in their battlefield behavior, too — unlike other Orcs, who charge into battle in screaming hordes, Black Orcs fight silently and impassably, advancing in locked ranks and battling with discipline and trained skill, and forgo the usual post-battle games and brawls in favor of methodical drills and weapon maintenance.

In spite of their name, the Chaos Dwarfs fit this alignment quite well as a result of being a corrupt and tyrannical offshoot of the staunchly Lawful Neutral to Lawful Good Dwarfs, and embody tradition curdled into dogmatism and rule of law turned oppressive and tyrannical. They live in a monolithic, strictly hierarchical society dominated by a strict theocracy and military government, every aspect of which is driven by the toil of legions of slaves, strictly overseen by cruel taskmasters and dedicated to fueling their empire's immense war machine. There is no room in Chaos Dwarf society of freedom, creativity or self-expression — not that they would want any such thing to begin with — only work in the forges and service in the legions and the temples. Warhammer 40, : The Imperium of Man, Craftworld Eldar, Tau Empire, and Necrons all lean towards this end to varying degrees — the first three vary between Lawful Evil and Lawful Neutral , while the last are so enigmatic that no one's sure where they fall, but Lawful Evil seems to fit them the most.

Tzeentch and his servants are often mistaken for this by virtue of their scheming, cunning and seemingly methodical nature. They're always manipulating and working towards some end. Unfortunately there are no ends, just manipulation and scheming for its own sake. Hence Chaos. Considering Tzeentch's reason for existing is to be a Magnificent Bastard and carry out insanely complicated plans for their own sake, one could argue he falls under Blue-and-Orange Morality. Perhaps best exemplified in the relationship between Tzeentch and his Greater Daemons, the Lords of Change. In both Warhammer and 40k lore, daemons are actually merely aspects of their parent Chaos god, and especially the Greater Daemons are -more or less- lesser avatars of the gods.

It is stated in the fluff that Lords of Change can only be defeated if it's part of Tzeentch's plan, because in this instance he tricks his own daemon to further some ends. Considering the aforementioned relationship between the Chaos Gods and their Greater Daemons, this means that Tzeentch is not merely purposefully sacrificing his own chess pieces, but that he effectively does it in a game against himself.

Chaos exemplified. The Chaos Marines known as the Word Bearers are more organized than the other Chaos space marines by devoting themselves to all four Chaos powers at once. They are chaos and evil that is restrained by religious devotion and military discipline. They are all willing to die for the greater glory of Chaos, and are the only Traitor Legion still acting as a mostly-unified force, although they still have internal frictions. Also the Red Corsairs. Like the Word Bearers, they are devoted to all four Chaos powers, and are thoroughly corrupted, but they still operate like a Space Marine chapter, with organized battle-companies and internal departments like a Librarium and Apothecarion.

The Iron Warriors mostly default to this. While they're Chaos Marines, the actual Chaos thing isn't relevant to them — they fight the Imperium out of a deep-seated bitterness and resentment, not any particular loyalty to the Dark Gods indeed, there's a subtle disdain for the Dark Gods within much of the Legion, because as Chaotic influences the favours of the Gods are too unreliable. With a coldly methodical worldview, a blunt disregard for anything other than results, a callous indifference to the lives of their slaves, cultists, allies and even fellow Iron Warriors, a strict hierarchy within warbands and a tendency to turn any Daemon World they claim into a coldly authoritarian nightmare of rusted metal, Industrialized Evil and slaves who are little more than cogs in the hellish machinery, the Iron Warriors are as Lawful as any Chaos Legion can be.

Indeed, if you were to strip away the Imperium's actual goals and left only its day-to-day functioning, what you'd have would be a lot like the Iron Warriors. The Space Marine chapter the Marines Malevolence.

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