Every great thriller needs villains. But the best ones are not evil for the sake of it—they have motives, ambitions, and justifications. The Island excels in this regard.
Kenichi Iowao, for instance, is no cartoonish mastermind. He believes his financial schemes and ruthless plans are for the good of Japan. His ambition is rooted in patriotism, however twisted.
Oda Nukazawa, his ally, shares this vision but constantly questions the price. Their dynamic feels less like villains plotting chaos and more like flawed men convinced they are saving their nation.
Even Aleksandr Beletsky, who draws Boris back into the shadows, is more than a recruiter. He represents temptation—the lure of purpose, money, and escape from mediocrity. His manipulations strike at the heart of Boris’s vulnerabilities.
By crafting villains with depth, Thomas Green elevates his story beyond simple good-versus-evil. The antagonists of The Island are mirrors of the protagonists, reminding us that in espionage, the line between villain and hero is dangerously thin.
