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I'm not really sure if this is a spicy take or not, but I (generally) regard stories that are about... finding out what the main villain's motivations are, and stories that otherwise treat revealing worldbuilding details as plot, to be bad writing.Permalink On twitter.com
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A villain can of course be later be revealed to have a different or more complicated motivation than we originally thought, but they need *a* motivation to start with. Just to ground ourselves and to find out how our protagonists fit in to all thisPermalink On twitter.com
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You can't just have the shadowy organization show up in the background, bust out some OP magic, and end every episode with "oh but what are their TRUE aims???". That assumes I actually care who these people are, but without a sense of what they want, I almost never doOn twitter.com
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In real life, "villain motivations" are always known. We know why telecom companies stockpile the location data of millions of people. We know why Amazon sells facial recognition software to ICE. We know why the CIA starts coups abroad...Permalink On twitter.com
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But for some reason, writers think they're being clever and smart by playing basic details and context of their world close to their chests. In reality, what that tells me is you don't actually know the answer, and the answer we do get is gonna be some lame last minute thingPermalink On twitter.com