The Plot Irrelevant Villain: Why Do Writers Use Them?

In storytelling, villains are typically central to the conflict. They drive the plot, challenge the protagonist, and serve as the embodiment of the story’s core struggles. But what happens when a villain isn’t actually that important to the main plot? Enter the Plot Irrelevant Villain—a character who exists to antagonize but ultimately doesn’t contribute much to the overarching narrative.

What is a Plot Irrelevant Villain?

A Plot Irrelevant Villain is an antagonist who appears throughout the story to cause trouble but isn’t essential to the main conflict. They might kick the dog, taunt the hero, and create obstacles, but their presence doesn’t significantly alter the course of events. At best, they’re a distraction. At worst, they feel like padding.

Despite this, writers often use Plot Irrelevant Villains deliberately. So why would someone write a villain that doesn’t actually matter?

1. Misdirection for the Real Conflict

Sometimes, these villains serve as red herrings. If the protagonist is struggling with an internal conflict, a hidden antagonist, or a larger impersonal threat, a more obvious, theatrical villain can distract both the audience and the characters from the true issue at hand.

Example: Flashpoint (DC Comics)

In Flashpoint, Professor Zoom (Reverse-Flash) plays up his role as Barry Allen’s worst enemy, only to reveal that he did nothing at all. The real villain? Barry himself, for altering the timeline to save his mother. Zoom’s presence acts as a misdirection, making Barry (and the audience) initially believe that the problem is external rather than internal.

Example: Harry Potter Series – Draco Malfoy

In the early Harry Potter books, Draco Malfoy is little more than a schoolyard antagonist to Harry, serving as a Red Herring while his father does most of the real villainy. He doesn't truly dovetail with the main conflict until later books.

2. A Thematic Foil

A Plot Irrelevant Villain might exist not to drive the story forward, but to reinforce its themes. By acting as a contrast to the protagonist’s real struggle, they highlight what the story is actually about.

Example: Spy X Family – Cavi Campbell

Cavi Campbell in the tennis arc of Spy X Family doesn’t actually do anything himself—his role exists to show how Twilight and Nightfall maneuver within a mission. The real focus of the arc is Nightfall’s rivalry with Yor, not Campbell’s influence.

3. A Symbol of Chaos or Fate

Not every conflict is personal. Some villains are meant to show that the world is indifferent to the protagonist’s struggles. These characters appear as forces of randomness, reminding the audience that not every enemy is part of a neatly structured narrative.

Example: Pirates of the Caribbean: Dead Man's Chest – Pelegosto Tribe

The Pelegosto tribe subplot adds tension and action, but they have no real connection to Davy Jones or the East India Trading Company. Once the crew escapes, they are never mentioned again.

4. Narrative Padding and Spectacle

Sometimes, a story needs action and tension, even when the main antagonist operates from the shadows. A Plot Irrelevant Villain can provide engaging set pieces, fight scenes, or moments of tension without needing to be the actual villain driving the plot.

Example: JoJo's Bizarre Adventure: Stardust Crusaders – DIO's Mercenaries

Most of the mercenaries hired by DIO exist only to provide episodic fights that showcase the heroes' abilities. While entertaining, they don’t contribute much to the actual plot beyond delaying the protagonists.

Example: Fire Emblem: Awakening – Walhart the Conqueror

Walhart has no real connection to the game’s primary villain or main conflict—he just gives the middle act an antagonist before the main plot resumes.

5. A Hate Sink to Contrast a Nuanced Antagonist

If the main villain is sympathetic, morally complex, or too abstract to directly hate, a Plot Irrelevant Villain can act as a more immediate source of conflict. This is especially useful when the primary antagonist is a system, a philosophy, or an idea rather than a single individual.

Example: Harry Potter and the Order of the Phoenix – Dolores Umbridge

Umbridge exists primarily to be despised, giving Harry and the audience something to hate while Voldemort operates in the background. She has no role in the book’s final battle and is ultimately irrelevant to the war between the Order and Voldemort.

6. A Villain of Another Story

Sometimes, these villains aren’t irrelevant so much as they are simply on their own path. They have their own agenda, and while it may clash with the protagonist’s, they aren’t the main conflict.

Example: Avengers: Endgame – Past Thanos

Unlike his Infinity War counterpart, Past Thanos in Endgame only enters the plot because he stumbles upon the Avengers’ time-travel scheme. His role is limited to the final battle, and while he serves as a major threat, he doesn’t shape the overarching story the way his future self did.

Example: Pokémon – Gary Oak and Team Rocket

Gary Oak, especially in the first season, exists mainly to antagonize Ash without adding much to the actual story. The original plan for the anime would have made him a more relevant rival, but as the show expanded, his role was diminished. Likewise, Team Rocket often appears just to maintain their presence in the show, sometimes helping or hindering the story without real stakes.

When Does This Trope Work vs. When Does It Fail?

✅ Works When:

• It adds thematic depth.

• It provides meaningful misdirection.

• It enriches the world by showing conflicts beyond the protagonist’s perspective.

• It serves as a secondary obstacle that enhances the main conflict.

❌ Fails When:

• The villain is more annoying than engaging.

• They overshadow the real antagonist without a satisfying payoff.

• Their presence confuses the audience about the actual story focus.

Final Thoughts

A Plot Irrelevant Villain isn’t necessarily a mistake—it’s a tool. Whether used for misdirection, thematic contrast, or narrative variety, these characters can serve a purpose beyond just being a minor antagonist. When used well, they add layers to the story. When used poorly, they become dead weight. The key is ensuring that, even if they aren’t essential to the plot, they still contribute to the experience of the story in a meaningful way.