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She Kills
Monsters
By Qui Nguyen
Directed By Adam Noble
Dramaturgy By Brien Bianchi, Faith Tenney, and Will Inman
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Table of Contents:

About the Play: 3

Qui Nguyen: Playwright : 5
State of the Gay: Gay Culture in the 90s: 7
Bestiary: 10
Character Alignments; Where do you fall?: 22
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About the Play:

Gary Gygax and his partners made their first release of Dungeons and Dragons in January

1974, as a means to provide tools to young and emerging game-makers with which to create a game

and world all their own. That’s all that this game is, really - a bunch of rules and tools that depend

entirely upon the imaginations and creativity of the players and Dungeon. As such, there is a

definite aspect of wish fulfillment involved in the playing of this game and its descendants. Imagine

the archetypical geek character, often small and weak, often clumsy, or unable to engage in athletic

and “cool” activities. Within a game of D&D they might become eight-foot-tall barbarians, alien

lizard people, or wizards whose lack of physical might is made up for by their ability to channel the

power of their mind into physical forces of ice and fire. In the 42 years since its release the game

has grown to suit the needs of a wide range of tastes. Expansions have been provided to take

gamers outside of the realm of fantasy and into Outer Space, The Wild West, Post-Apocalyptic

Wastelands, Steam-Punk Landscapes, and more.

In the world of our play, Agnes gets to be reunited with her sister, Tilly enjoys a position in

the majority instead of being marginalized as a geek, and Kelly is able to execute amazing acrobatic

prowess. Characters fly through the air, fire off magical spells, and find love in a world where they

make the rules (but must still follow them). This gives rise the idea of escapism; the fleeing, if only

briefly, from the struggles that each of us face in our daily lives in the “real” world. Many who have

been identified as “geeks” are scorned for this behavior and apparent lack of ability to function

within the world into which they were born. J.R.R. Tolkien, in response to such attitudes, wrote in

his essay On Faerie Stories that, “Why should a man be scorned, if, finding himself in prison, he

tries to get out and go home? Or if, when he cannot do so, he thinks and talks about other topics
 ~4~
than jailers and prison-walls?” He further talks of the restorative aspects of escapist behavior.

How, through such activities of reading fantasy literature, playing games (both video and table-top),

and imagining, one can restore themselves enough to return to the fight of daily real life. With the

issues that the human race faces today such as racism, homophobia, illness, and hate, is it any

wonder that there are those who would choose to seek out or create worlds in which they are

powerful enough to make a difference and/or where opposition can always be overcome by

whatever it is that they bring to the table.

 ~5~

Qui Nguyen: Playwright

Qui Nguyen (pronounced “Kwee Gwen”) was born
in El Dorado, Arkansas on January 1st, 1976. He is a
playwright, screenwriter, and an overall pioneer of “geek
culture.” He and his most frequent collaborators, director
Robert Ross Parker and designer Nick Francone founded
the theatre company Vampire Cowboys in 2000 right out
of graduate school. The OBIE award winning company
describes itself as a, “geek theatre” company that creates
and produces new works of theatre based in
action/adventure and dark comedy with a comic book
aesthetic. The company actively pursues the mating of
different genres with varied theatrical styles to create an
eclectic structure to tell its stories. The company aims to
bridge the gap between mass media entertainment and the
performing arts, exposing the community to challenging,
thought-provoking live entertainment rooted in today’s
pop-culture vernacular.” Each of the founders used their own skills to create something that had
not been prevalent on the stage: “ninjas, kung-fu, girl fights,” as Nguyen explained it to The New
York Observer in 2012. However, the Vampire Cowboys spent their first few years putting on
theatre that generally went unnoticed. That changed when Abby Marcus, now Qui Nguyen’s wife,
first saw a production at Vampire Cowboys in 2007 and became determined to find them an
audience. She quickly arranged for them to perform a choreographed fight from their upcoming
superhero play Men of Steel. After that, they began to draw in a fiercely loyal crowd. Apart from
the company’s devotion to geek culture, many of its shows strive to feature women in empowered
roles in which are figured in roles often considered to be masculine such as super heroes, fantasy
warriors, and ninjas.
Stage violence has always been close to Nguyen’s heart.
Many of his graduate school teachers discouraged him
from putting fight scenes on the stage, arguing that
violence was best fit for film. This only fueled his drive to
put action onstage. “I don’t think Shakespeare sat around
and complained, ‘Well, I want to put in a sword fight,
but that’s really a film technique,’” Nguyen said in the
same interview with The New York Observer, “In film
you’re constrained by realism, but I can just have five
puppets and some smoke and it becomes a dragon.” He
spent five years in New York as a fight director, then
three years teaching stage combat at Columbia before he and his wife moved to Minneapolis in
2010.
His scripts include:
Vietgone (South Coast Rep, Oregon Shakespeare Company, Manhattan Theatre Club)
She Kills Monsters (The Flea, Buzz Chicago/Steppenwolf, Company One)
 ~6~
War is Fucking Awesome (developed in the Sundance Theatre Lab)
Krunk Fu Battle Battle (East West Players)
Bike Wreck (Ensemble Studio Theatre)
Trial By Water (Ma-Yi Theater)
Aliens Versus Cheerleaders (Keen Teens)
Soul Samurai
The Inexplicable Redemption of Agent G (Ma-Yi Theater & Vampire Cowboys)
and the plays produced by his own Vampire Cowboys:
Alice in Slasherland
Fight Girl Battle World
Men of Steel
Living Dead in Denmark.
 ~7~

“State of the Gay”: Gay culture in the 90’s

2016 is a wonderful time to be gay. Same-sex
marriage has been legalized, there are gay celebrities
everywhere you look, and there are informative, safe
gay youth programs all over the country. If it feels like
acceptance of homosexuality is skyrocketing, the 90’s
was when it was beginning to crest.
Before understanding being a gay, early 90’s
teen on a personal level, we’ll look at the facts. There
was quite a lot of political progress going on in this
period. In 1990: the Federal Hate Crimes Statistics Act
is passed- the first federal recognition of homosexuals.
In this year Dale McCormick also became the first
openly lesbian senator.
In 1991: the first Pride celebration happened in Harrisburg, Pennsylvania. It was called
the Unity Festival. 1993 gave us our first Dyke March in Washington, D.C.

That same year, Bill Clinton instituted “Don’t Ask, Don’t Tell”. Although by current
standards this measure is draconic and discriminatory, by the standards of 1993 it was
progressive and divisive. Before the policy was enacted, homosexuals were sniffed out and
 ~8~
dishonorably discharged from service. Bill
Clinton announced that sex was none of the
government’s business, which was a ballsy
move and important to the LGBT
movement.
1994 also had the American Medical
Association opposing the “treatment” of
homosexuality. Conversion therapy, as it
was called, was a method of exposing
same-sex oriented people (often teenagers)
to members of the opposite sex until their
homosexuality was “cured”. A flat denial
from the AMA of homosexuality as a
disease was a huge win for the gay
community.
As we edge closer to Tillie’s
experience, we move into the world of
popular culture. The first lesbian kiss on
television was between Amanda Donohoe and Michele Greene on L.A. Law in 1991. It was
undoubtedly a publicity stunt, but that fact hardly registered with the lesbian teens across the
country who were exposed to it.
Grammy-winner Melissa Etheridge came out in 1993 at the Triangle Ball, which was also
the first inaugural ball held in honor of gays and lesbians.
Perhaps most importantly was Pedro Zamora of The Real World
San Francisco. The first positively-portrayed AIDs-positive man
on television, he continued to do educational works for gay teens
until his death in 1995.
This leads us to the individual experience of the gay
teenager. Today, when we think of gay issues, we think of
marriage equality. In the early 90’s, homosexuality was
immediately associated with violence and AIDs. In 2016, gay
youth worry about bullying while their families worry about
them not fitting in. In the 90’s, gay youth worried about beatings
while their families worried about a terminal illness.
Perhaps the hardest idea for modern teenagers to
understand is the fear gay youth experienced in that time period.
Sure, there is a little anxiety about coming out nowadays, but
with all of the programs and online assistance available, it is
hardly a life-threatening concern. While all of the things listed
above make the 90’s seem like a gay paradise, it’s important to
 ~9~
keep in mind that those things were only happening at the top, while the normal towns in the
flyover states were still being faced with a rock-solid wall of opposition. A 1992 Newsweek poll
found that 45% of those asked considered gay rights "a threat to the American family and its
values". The average American still needed quite a bit of convincing.
While Bill Clinton, Ellen DeGeneres, and Will & Grace might have been a source of
courage, coming out in high school was still nigh-unthinkable. Escaping to a fantasy world of
acceptance might have been the only thing that made sense.
 ~ 10 ~

Bestiary
She Kills Monsters involves the character of Agnes Evans engaging in an elaborate D&D
campaign designed by her late sister Tilly. As every good scout knows, it’s best to be prepared,
a lesson that Agnes will need to learn the hard way before the play is through. A given party of
adventurers can encounter any of a number of creatures throughout their quest, from Assassin
Vines to Zombies. Game creators Gary Gygax and his company, TSR, have published several
volumes called Monster Manuals filled with creatures for Dungeon Masters to fill the halls of their
dungeons with in order to challenge the bold and punish the unwary adventurer. Knowing the
strengths and weaknesses of your foes can often be the key to success in battle. Here are included
just a few of the creatures that Agnes and Tilly might need to battle during the course of the play.

Beholder:

One glance at a beholder is enough to

assess its foul and otherworldly nature. A
beholder’s spheroid body is covered in
chitinous plates, scales, or leathery flesh. Its
great bulging eye sits above a wide, toothy maw,
while the smaller eyestalks that crown its body
twist and turn to keep its foes in sight. A
beholder channels extraordinary levels of
magical power. Its central eye emits a broad
field of energy that can nullify the magic of its
foes, while its eye stalks blast those foes with a
host of powerful effects. A beholder’s central
lair is typically large, spacious cavern with high
ceilings, where it can attack without fear of
closing to melee range. Some beholders
manage to channel their pervasive xenophobic
tendencies into a terrible despotism. Rather than live in isolation to avoid other creatures, the
aptly named eye tyrants enslave those other creatures, founding and controlling vast evil
empires. An eye tyrant sometimes carves out a domain within or under a major city,
commanding networks of agents that operate on their master’s behalf.
 ~ 11 ~
Bug-Bear: Bugbears resemble
hairy, feral goblins standing seven feet tall. They
take their name from their noses and claws,
which are similar to those of bears. Bugbears
often armor and arm themselves with a variety of
gear purloined from fallen enemies. Most often,
this gear is second-rate and in poor repair.
Bugbear eyes are greenish white with red
pupils, and their wedge-shaped ears rise from the
tops of their heads. Most bugbears have hides
ranging from light yellow to yellow brown and
their thick, coarse hair ranges from brown to
brick red. The bugbears of the Land of Black Ice
are known to have blue fur.
Bugbears have exceptional sight and hearing,
able to see in pitch darkness. They move with
amazing stealth.

Dark-Elf:

The Drow are an underground

dwelling sub-race of Elves easily
recognized by their obsidian skin,
pale hair, and usually red eyes. They
are almost always neutral evil in
nature. Elves are closely tied to the
realm of Faerie, or Feywild in D&D,
it is this relationship that accounts for
their aloof nature, though they are
known to be curious in nature while
in their youth. While their closeness
to the Feywild makes them
particularly adept magic users, they
are also capable of becoming graceful
warriors.
 ~ 12 ~
Demon
Lord:

Also known as Abyssal

lords, these are
archfiends who gained
great power and
established a position of
preeminence among
demon-kind. Each
demon lord had a unique
appearance and set of
abilities. Most controlled
at least one layer of the
Abyss. A demon lord,
when slain in a plane
other than the Abyss, was
banished to the Abyss for
a hundred years, whereas
ordinary demons risked
being reborn into a lesser
form, or not all. A
demon lord who had complete control over an entire layer of the abyss was known as a demon
prince. Demon lord and demon prince were self-proclaimed titles; unlike the archdevils, the
chaotic evil demon lords did not have a rigid
hierarchy.
Demon lords waged eternal war with each
other, often seeking ways to expand their
holdings into other layers and at the same time
defend their personal domains from rival lords
and scheming underlings. Demogorgon had, for
many years, been the most powerful demon
lord, and proclaimed himself Prince of Demons
- a coveted status symbol since the Age before
Ages granted by the Abyss itself to the most
powerful, ruthless, cunning demon in the plane.
Miska the Wolf Spider was the first to hold it,
followed by Obox-ob, and now Demogorgon.
Orcus and Graz'zt contested this title, while
Obox-ob desires to regain it.
 ~ 13 ~

Demon Queen:

Numerous accounts in
Folklore speak of Lilith as
the first Demon Queen.
Initially created as the first
wife of Adam (of Judeo
Christian fame) out of the
same Earth as her
husband. When she
refused to submit to
Adam’s dominance on the
grounds that they had
been equally created from
the same materials, she
abandoned Adam and is
recorded to have instead
taken up with the demon
king Asmodeus. Thereby
becoming not only the first
demon queen, but also the
mother of the Nephilim,
earthly celestial beings that
are said to have interbred
with humans to create a race of giants and were part of the reasoning behind God’s flooding the
Earth.
Lilith is thereby viewed as a symbol of not only female independence, but of female sexuality
and the feminine power to procreate.
Lilith is also connected with the Succubi, likely in relation to her position as a being in
possession of her own sexual power and identity, but she is also noted to be a devourer of infants.
 ~ 14 ~
Doppelganger: Doppelgangers are strange beings that are able to take on the
shapes of those they encounter. In its natural form, the creature looks more or less humanoid, but
slender and frail, with gangly limbs and half-formed features. The flesh is pale and hairless. Its
large, bulging eyes are yellow with slitted pupils. A doppelganger’s appearance is deceiving even
when it’s in its true form. A doppelganger is hardy, with a natural agility not in keeping with its frail
appearance.
Doppelgangers make excellent use of their
natural mimicry to stage ambushes, bait traps, and
infiltrate humanoid society. Although not usually
evil, they are interested only in themselves and
regard all others as playthings to be manipulated
and deceived.
In its natural form a doppelganger is about 5½
feet tall and weighs about 150 pounds.

Elves:

“Elf” serves an over-arching term for a large number of differing nearly immortal, slender,
pointy-eared, sylvan humanoids. From the ethereal High-Elves (Sub-sects of which are the Sun
and Moon elves), the wild and playful wood-elves, the noble and arrogant Grey-Elves, and the
hateful and reclusive Drow, each variant has its own cultural rules, stigmas, and qualities.
Official D&D materials have this to say regarding them,
 ~ 15 ~
They are more often amused than excited, and more likely to be curious than greedy. They
tend to remain aloof and unfazed by petty happenstance. When pursuing a goal, however,
whether adventuring on a mission or learning a new skill or art, elves can be focused and
relentless. They are slow to make friends and enemies, and even slower to forget them.
They reply to petty insults with disdain and to serious insults with vengeance.
Elves take up adventuring out of wanderlust. Since they are so long-lived, they can
enjoy centuries of exploration and discovery. They dislike the pace of human society,
which is both regimented from day to day but constantly changes over decades, so they find
careers that let them travel freely and set their own pace. Elves also enjoy exercising their
martial prowess or gaining greater magical power, and adventuring allows them to do so.
Some might join with rebels fighting against oppression, and others might become
champions of just causes.

The High-elves, with their closeness to the Feywild have learned the ability to phase out of
the “Prime” world, as they call it, and pass through the Fey to reappear in another place in the
Prime. Thus creating a variant on a teleport ability.
Drow, having survived in the harsh underdark for so long, have acquired the ability to see
in near total darkness as well as spell-like abilities to either surround a target in a soft “Faerie Light”
to prevent concealment or to in a cloud of darkness to conceal a target as well as making them
harder to hit with attacks.
 ~ 16 ~
Wood-Elves are more heavily built than their brethren, and approach magic and its users
with a certain level of distrust. They favor the ranger class and are most at home in their forest
realm homes.

Fairy:

“What care I for human hearts? Soft and spiritless as porridge. A faerie’s heart beats fierce and
free…You Mortal, you! I could Vex You!”
Do not make the mistake of confusing the
Fairy with classically beautiful, diminutive creatures
of modern children’s entertainment who go about
granting wishes and aiding fair maidens in finding
their prince. The pixie, which is the closest
approximation to the physical description given by
fairy tales, is a spiteful and mischievous creature who
is more likely to lead you off a cliff in a fog just for
the fun of it, than to grant you a wish. J.M Barrie
comments that most faeries are so small that they
can only hold one emotion at a time, therefore an
angry faerie will only know anger at that moment, or
jealously, or spite.
Shakespeare imagined these creatures ruled by the Demi-gods Titantia and Oberon, whose
influence over nature was so potent that without meaning to, they upset the natural forces simply
by not sharing a marriage bed. Also mentioned in Shakespeare, and throughout folklore, is the
ruling power of Queen Mab, who is at times regarded as a faerie herself, and at others as a dark
pagan goddess who rules over the realm of the Fey (also commonly referred to as Faerie).
These creatures are mostly chaotic neutral, choosing to do what interests them most at any
given moment. As such they can often appear child-like in both attitude and appearance. Helping
one person while hindering the other, and often times both behaviors are done just because they
believe it to be fun or entertaining.
Modern high fantasy fiction has also brought into the mind of the reader/player the
concept of the summer and winter courts of the Fae, but this has little bearing on our endeavors
and need only be delved into if desired. What is best to keep in mind is that the Faerie is wild,
fickle, and above all, free.
 ~ 17 ~

Gelatinous
Cube: The gelatinous cube is
endowed with an insatiable hunger.
These creatures scour dungeon
passages, consuming living tissue while
leaving bones and other materials
undissolved.
Creatures that fall victim to a
gelatinous cube rarely see it coming. Its
protoplasmic form is all but
transparent. By the time a creature
makes contact with an unseen cube, it
is too late to run. A cube that is well fed
can be easier to spot, since its victims’
bones, coins, and other objects can be seen suspended inside the creature.

Kobold: Kobolds inhabit dragons’

lairs when they can but more commonly infest
dungeons, gathering treasures and trinkets to add
to their own tiny hoards.
As egg-laying creatures, the kobolds’ birth
rate is higher than any other humanoid race.
They mature quickly, and can live to be “great
wyrms” more than a century old. Despite the
abundant numbers of their young, many kobolds
perish before they reach the end of their first
decade. Physically weak, they are easy prey for
competent predators in the dark and dangerous
realms where they reside. This vulnerability
underlies their cowardice and forces them to
band together. Their superior numbers can win
battles against powerful adversaries, but often with
massive casualties on the kobold side.
Kobolds make up for their physical ineptitude
with a cleverness for trap making and tunneling.
Their lairs consist of low tunnels through which
 ~ 18 ~
they move easily, but which make it difficult for larger humanoids to maneuver. Rather than face
the claws, teeth, and blades of their enemies head-on, kobolds riddle their lairs with rock falls, nets,
concealed pits, and other traps designed to eliminate or ensnare their foes before they get close.
These lairs are efficient and orderly places where the strong rule over the weak, whether by
competence or cruelty.

Lich: A lich is an undead

spellcaster, usually a wizard or sorcerer
but sometimes a cleric or other
spellcaster, who has used its magical
powers to unnaturally extend its life.
A lich is a gaunt and skeletal
humanoid with withered flesh stretched
tight across horribly visible bones. Its
eyes have long ago been lost to decay, but
bright pinpoints of crimson light burn on
in the empty sockets.
An integral part of becoming a lich is
creating a magic phylactery in which the
character stores its life force. As a rule,
the only way to get rid of a lich for sure is
to destroy its phylactery. Unless its
phylactery is located and destroyed, a lich
reappears 1d10 days after its apparent
death.
 ~ 19 ~
Mind Flayers:

Based on the titular creature of H.P.

Lovecraft’s Call of Cthulu, the mind flayer, also
called Illithid, is a parasitic creature that devours
the brain of its host and assumes control over
the body. The octopus-like head has four
tentacles with which is penetrates the skull of its
victims to remove the brain. The Illithid share
a consciousness that is focused on the hive
leader call the elder brain.
Mind flayers most potent weapon is a
variety of psionic powers, but some sects have
been known to dabble in the arcane arts,
making wizard their favored class.
Most share a tall and slim physiology, and
are relatively weak in physical combat, although
they possess a tough, leathery skin.

OGRE: Ogres appeared as giant

humanoids with very muscular bodies and
large heads. They stood between 9 and 10 feet
tall and could weigh 600 to 650 lbs. They
tended to be lazy and brutish, preferring to rely
on ambush and overwhelming numbers in
battle. Ogres often worked as mercenaries,
hoping for easy plunder.
 ~ 20 ~

Succubus: Vampiric female

demons who are known to attack men as
they sleep. In folklore they are always
connected with the sexual, in fact,
folklore attributes them as being
responsible for wet dreams; coming to a
man in his sleep and causing him to spill
his seed while unconscious. Lilith, the
wife of Asmodeus the demon lord, is
held to have been among the first
succubus. What is important to note
regarding the succubus is her portrayal as
a vampiric character, while not always
sanguine (blood seeking) the succubus
must always feed upon the energy of
others. Whether they are drinkers of life-
giving blood, energy, life-force, or even a
person’s soul they are always in search of
that which enlivens, or animates their
victims. In D&D they avoid battle,
preferring to turn foes on each other, and
manipulate them.
Their male equivalent is the
incubus, who were used in folklore to
explain mysterious pregnancies.
 ~ 21 ~
Tiamat: The Queen of Evil Dragons is a five-headed dragon of enormous size. Each
of her five heads matches that of a chromatic dragon, and each head has its own brain and its own
intelligence. The five heads do not argue, and they all share the same goals. The only goal of
immediate interest to Tiamat is finding a way to escape imprisonment in the Nine Hells.
Tiamat is the patron goddess of chromatic dragons and the embodiment of greed and
envy. She takes the form of a five-headed dragon, and each head is a different color. She gave birth
to the five primary species of chromatic dragon, each taking the form of one of her heads. Tiamat
combines the powers of all of the chromatic dragons. Confined to the Nine Hells by the power of
the greater gods, Tiamat longs to escape and wreak havoc upon the world.
 ~ 22 ~

Character Alignments: Where Do

You Fall?:
While the rules of Dungeons and Dragons provide a great deal of freedom in how a
character is played and makes decisions, the choice of alignment is vital in informing how a
character will react in a given situation, or how a creature or NPC (non-player-character) will act
based on the actions of the players. When making her D&D character in the play, Agnes is asked
what her alignment is. Below is a listing of the nine basic alignments chosen by players during their
pre-game character creation. Based on this information, what alignment are you?
Lawful Good: A lawful good character typically acts with
compassion and always with honor and a sense of duty. Such
characters include righteous knights, paladins, and most
dwarves. Lawful good creatures include the noble golden
dragons.
Neutral Good: A
neutral good character
typically acts
altruistically, without
regard for or against
lawful precepts such as rules or tradition. A neutral good
character has no problems with co-operating with lawful
officials, but does not feel beholden to them. In the event
that doing the right thing requires the bending or breaking
of rules, they do not suffer the same inner conflict that a
lawful good character would.

Chaotic Good: A chaotic good character does what's necessary

to bring about change for the better, disdains bureaucratic
organizations that get in the way of social improvement, and
places a high value on personal freedom, not only for oneself,
but for others as well. Chaotic good characters usually intend to
do the right thing, but their methods are generally disorganized
and often out of sync with the rest of society.
 ~ 23 ~

Lawful Neutral: A lawful neutral character typically

believes strongly in lawful concepts such as honor,
order, rules, and tradition, and often follows a
personal code. Examples of lawful neutral characters
include a soldier who always follows orders, a judge
or enforcer that adheres mercilessly to the word of the
law, and a disciplined monk.

Neutral: A neutral character (a.k.a. true neutral) is

neutral on both axes and tends not to feel strongly
towards any alignment, or actively seeks their balance.
Druids frequently follow this dedication to balance,
and under Advanced Dungeons & Dragons rules, were
required to be this alignment. In an example given in
the 2nd Edition Player's Handbook, a typical druid
might fight against a band of marauding gnolls, only
to switch sides to save the gnolls' clan from being
totally exterminated.

Chaotic Neutral: A chaotic neutral character is an

individualist who follows their own heart and
generally shirks rules and traditions. Although chaotic
neutral characters promote the ideals of freedom, it is
their own freedom that comes first; good and evil
come second to their need to be free.
 ~ 24 ~
Lawful Evil: A lawful evil character sees a well-
ordered system as being easier to exploit and shows a
combination of desirable and undesirable traits.
Examples of this alignment include tyrants, devils,
and undiscriminating mercenary types who have a
strict code of conduct.

Neutral Evil: A neutral evil character is typically

selfish and has no qualms about turning on its allies-
of-the-moment, and usually makes allies primarily to
further their own goals. A neutral evil character has
no compunctions about harming others to get what
they want, but neither will they go out of their way to
cause carnage or mayhem when they see no direct
benefit for themselves. Another valid interpretation of
neutral evil holds up evil as an ideal, doing evil for
evil's sake and trying to spread its influence.
Examples of the first type are an assassin who has
little regard for formal laws but does not needlessly kill, a henchman who plots behind their
superior's back, or a mercenary who switches sides if made a better offer. An example of the
second type would be a masked killer who strikes only for the sake of causing fear and
distrust in the community.

Chaotic Evil: A chaotic evil character tends to have

no respect for rules, other people's lives, or anything
but their own desires, which are typically selfish and
cruel. They set a high value on personal freedom, but
do not have much regard for the lives or freedom of
other people. Chaotic evil characters do not work well
in groups because they resent being given orders and
do not usually behave themselves unless there is no
alternative