That said, I don’t think the particular kind of satisfying conclusion you wanted to see works for rationalist fiction like HPMOR. After all, the premise is that all characters, protagonists and antagonists alike, have their own spark of optimization, genre savvy, and so on. So they know how these stories are supposed to go (the Hero wins, the Dark Lord loses, etc.), imagine how they could be defeated, and preempt those scenarios as best they can.
So in a rationalist version of that game finale, the elder vampire takes precautions against having his precious box stolen; protects his coffin from tampering; has overcome his weakness to garlic, or found a workaround (like a gust of wind spell or something), or faked having the weakness in the first place; etc. etc.
The most likely way for a prepared adversary to lose in such a situation is through a surprise, an out-of-sample error. That may not be as narratively satisfying, but it makes a lot more sense than for an elder vampire to die because an average human learned about his weaknesses. As if the vampire wasn’t aware of those weaknesses himself and didn’t have ample time to compensate for them.
An instructive (and fun) example is the case of Cazador Szarr (an antagonist in Baldur’s Gate 3).
(Spoilers, though not very important ones, below for anyone who hasn’t played BG3.)
Cazador is a vampire lord—old and very powerful. Astarion (one of the companion characters in the player’s party, and himself one of Cazador’s spawn, formerly[1] in the vampire lord’s thrall), in the course of telling the player character about Cazador (and explaining why Cazador never turns his spawn into full-fledged independent vampires—despite this being possible and indeed very easy—and instead keeps them as thralls under his absolute command), says that “the biggest threat to a vampire… is another vampire”.
In the normal course of events, it would be totally unbelievable for the player character to defeat Cazador. (Indeed, you would never even learn of his existence.) What makes Cazador’s downfall possible is the introduction of an Outside Context Problem, in the form of… well, the main plot device of the game.
However, the way things proceed is not just that Cazador is happily vampire-lording along, and then one day, bam! plot device’d right in the face! No, instead what happens is that the main plot device is injected into the normal state of affairs, things get shaken up, but what this does is allow for the possibility of Cazador being defeated, by radically changing the balance of forces in a way that he could not have foreseen. Then it’s up to the good guys (i.e., the player character & friends) to take advantage of being the right people in the right place at the right time, and exploit their sudden and temporary advantage, their brief window of opportunity, to take down Cazador.
Thus we get the best of both worlds: the enemy can be powerful and intelligent, but their defeat is nevertheless believable and satisfying.
The most likely way for a prepared adversary to lose in such a situation is through a surprise, an out-of-sample error.
Say a 1000 year old vampire that spent the first 500 years thinking of every possible adversary. They are well defended against anything that existed in the year 1500. Too bad they haven’t really kept up to date with modern tech.
Or, well most people don’t wear a bulletproof vest every day. Often cost and convenience trumps protection when people aren’t expecting to be attacked.
If a powerful antagonist is dumb or shortsighted enough, anyone can kill them, but what stories go out of their way to claim that their Big Bad is dumb? That’s usually the role of side characters or mooks, not of the Big Bad.
Plus it takes a certain kind of survival instinct to survive for 1000 years in the first place.
I agree with the tradeoff of safety vs. convenience, but there are many types of preparation that require a one-off investment, rather than an ongoing inconvenience. Cost, though, should not matter to most antagonists, since they typically far exceed the protagonists’ resources.
I also criticized HPMOR’s Final Exam at the time, though for reasons of story consistency, rather than narrative.
That said, I don’t think the particular kind of satisfying conclusion you wanted to see works for rationalist fiction like HPMOR. After all, the premise is that all characters, protagonists and antagonists alike, have their own spark of optimization, genre savvy, and so on. So they know how these stories are supposed to go (the Hero wins, the Dark Lord loses, etc.), imagine how they could be defeated, and preempt those scenarios as best they can.
So in a rationalist version of that game finale, the elder vampire takes precautions against having his precious box stolen; protects his coffin from tampering; has overcome his weakness to garlic, or found a workaround (like a gust of wind spell or something), or faked having the weakness in the first place; etc. etc.
The most likely way for a prepared adversary to lose in such a situation is through a surprise, an out-of-sample error. That may not be as narratively satisfying, but it makes a lot more sense than for an elder vampire to die because an average human learned about his weaknesses. As if the vampire wasn’t aware of those weaknesses himself and didn’t have ample time to compensate for them.
An instructive (and fun) example is the case of Cazador Szarr (an antagonist in Baldur’s Gate 3).
(Spoilers, though not very important ones, below for anyone who hasn’t played BG3.)
Cazador is a vampire lord—old and very powerful. Astarion (one of the companion characters in the player’s party, and himself one of Cazador’s spawn, formerly[1] in the vampire lord’s thrall), in the course of telling the player character about Cazador (and explaining why Cazador never turns his spawn into full-fledged independent vampires—despite this being possible and indeed very easy—and instead keeps them as thralls under his absolute command), says that “the biggest threat to a vampire… is another vampire”.
In the normal course of events, it would be totally unbelievable for the player character to defeat Cazador. (Indeed, you would never even learn of his existence.) What makes Cazador’s downfall possible is the introduction of an Outside Context Problem, in the form of… well, the main plot device of the game.
However, the way things proceed is not just that Cazador is happily vampire-lording along, and then one day, bam! plot device’d right in the face! No, instead what happens is that the main plot device is injected into the normal state of affairs, things get shaken up, but what this does is allow for the possibility of Cazador being defeated, by radically changing the balance of forces in a way that he could not have foreseen. Then it’s up to the good guys (i.e., the player character & friends) to take advantage of being the right people in the right place at the right time, and exploit their sudden and temporary advantage, their brief window of opportunity, to take down Cazador.
Thus we get the best of both worlds: the enemy can be powerful and intelligent, but their defeat is nevertheless believable and satisfying.
It’s complicated.
Say a 1000 year old vampire that spent the first 500 years thinking of every possible adversary. They are well defended against anything that existed in the year 1500. Too bad they haven’t really kept up to date with modern tech.
Or, well most people don’t wear a bulletproof vest every day. Often cost and convenience trumps protection when people aren’t expecting to be attacked.
If a powerful antagonist is dumb or shortsighted enough, anyone can kill them, but what stories go out of their way to claim that their Big Bad is dumb? That’s usually the role of side characters or mooks, not of the Big Bad.
Plus it takes a certain kind of survival instinct to survive for 1000 years in the first place.
I agree with the tradeoff of safety vs. convenience, but there are many types of preparation that require a one-off investment, rather than an ongoing inconvenience. Cost, though, should not matter to most antagonists, since they typically far exceed the protagonists’ resources.