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The '''wicked-evil distinction''' is a concept specific to [[Gylias|Gylian]] culture. The distinction differentiates "wickedness", which encompasses mischievous behaviour and harmless social and legal transgressions, from "evil", which encompasses malevolent, corrupt, and harmful behaviour.

The concept, which has antecedents among ancient [[Concordianism|Concordian]] teachings, was developed in its modern form by writer [[Angeline Dalles]] during the [[Gylian ascendancy]]. It achieved wide acceptance and has significantly influenced [[Culture of Gylias|Gylian culture]] and society.

==Terms==
Each language spoken in Gylias has its term for the concept; some have simply {{wpl|calque}}d or borrowed it from others. In [[Gylian English]], the use of the term "wicked" is comparable to other instances of linguistic {{wpl|reappropriation}} like the positive use of the word "bad". Gylian French uses the term ''malin'' in place of "wicked", and ''mauvais'' or ''maléfique'' for "evil".

[[Hellene Gylians|Hellenes]], who helped introduce the concepts of ''{{wpl|daimon}}es'' as guiding spirits to broader Gylian culture, often use the terms ''agathokako'' (ἀγαθοκακο) or ''kakagatho'' (κακαγαθο) as a translation for "wicked". The terms are derived from the {{wpl|Greek language|Hellene}} words ''agathodaimon'' (ἀγαθοδαίμοɴ, "noble spirit") and ''kakodaimon'' (κακοδαίμοɴ "malevolent spirit"), suggesting a state between ("bad-good" or "good-bad").

==Origins==
The wicked-evil distinction is a comparatively modern concept, although its earliest antecedents can be traced to ancient Concordianism, which developed a nuanced approach to morality. {{wpl|Ancient Greek religion|Hellene religion}} and [[Kisekidō]] had an influence through {{wpl|religious syncretism}}, as both Hellene and {{wpl|Japanese people|Miranians}} mythologies posit the existence of guiding spirits and {{wpl|Yōkai|supernatural beings}} that may be helpful or harmful to humans.

[[Angeline Dalles]] first named and developed the concept, particularly in her writings as "Madame Rouge". Her contribution emerged in the context of the [[Gylian ascendancy]], which developed a common Gylian identity based strongly on opposition to [[Xevden]]. Angeline's fusion of {{wpl|horror fiction}} and Juvenalian {{wpl|satire}} played on readers' identification as the oppressed, and gave them licentious pleasure in seeing hated oppressors and elites get gruesome comeuppances. Her celebration of harmless transgressions served as a blow against the restrictive morality of the Xevdenites, who had used [[Xevden#Religion|a monotheistic state religion]] to prop up their rule.

The wicked-evil distinction spread among Gylians during the ascendancy and afterwards; an admiration of rebels, {{wpl|libertine}}s and {{wpl|Rake (stock character)|rakes}} served as a tradition that distinguished Gylians from Xevdenites. The concept helped romanticise and glorify ''kyðoi'', Gylic {{wpl|bandit}}s and guerrilla fighters who had long resisted Xevdenite rule and evolved into modern freedom fighters. 

As radical ideologies, particularly [[Anarchism in Gylias|anarchism]], grew in popularity among Gylians, the concept added a notable element of {{wpl|insurrectionary anarchism}} and {{wpl|illegalism}} to radical agitation in Xevden. Many anarchists translated for Gylian audiences were also {{wpl|freethought}} activists, stregthening the concept's identification with resistance to dogma and totalitarianism.

During the [[Free Territories (Gylias)|Free Territories]] and [[Golden Revolution]], the concept served to fuel the drive for radical {{wpl|social revolution}}. The democratisation of [[Education in Gylias|Gylian education]], overseen by education ministers [[Rin Tōsaka]] and [[Sakura Tōsaka]], drew on {{wpl|anarchism and education|anarchist thought on education}} and Angeline's famous dictum, ''"A child that does not misbehave is not a child at all."'' The writings of [[Esua Nadel]], one of Gylias' most influential columnists, played a role in promoting and celebrating the distinction.

==Distinctions==
The concept posits that there is a difference between "wickedness" and "evil". "Wickedness" encompasses a range of behaviour that is transgressive but seen as less severe: rebelliousness, raucousness, and naughtiness. The main cultural archetypes that represent wickedness are {{wpl|lovable rogue}}s, {{wpl|social gadfly|social gadflies}}, {{wpl|trickster}}s, and a certain type of romanticised {{wpl|Outlaw (stock character)|outlaws}} that conform to the {{wpl|social bandit}} notion.

"Evil" is defined more straightforwardly as behaviour and beliefs that are actively malevolent, harmful, corrupt, or destructive. Beneath the emphasis on "wicked" characters' licentiousness and wit, the fundamental difference is that "evil" is understood as an active intention and willingness to harm others, and to go so far as to take pleasure in the act.

Consequently, "wickedness" is a quality that is viewed with good humour and a certain respect or "sneaky admiration", whereas "evil" is abhorred and ostracised. The distinction is subtle and recognises a line between the two: it is possible for someone "wicked" to cross the line and become "evil", but someone who is "evil" cannot be trusted to be simply "wicked" due to the exposure of their reputation.

==Impact==
===Popular culture===
The wicked-evil distinction is commonly accepted in Gylian society, and has been influential on its culture. Some of the best-known depictions of such characters in popular culture are charming burglars who live by their own code of honour, an archetype established by [[Aurelia Nyşel]] from ''[[Kleptechne]]''. Certain characters from foreign series have gained significant popularity by successfully embodying the "wicked" cat burglar archetype, including the Kasagi sisters from the [[Akashi]]an anime ''Cat's Eye'', Carmen Silva from the eponymous Delkoran franchise, and Faye Valentine from the [[Æþurheim|Æþurian]] anime ''Cowboy Bebop''.

Giving positive characters "wicked" or mischievous traits is also a standard technique to flesh them out, with examples including [[Meiko Kaji]]'s ''Woman in Black'' films, [[Judiciary of Gylias#Advocates|advocate]] Mitsuki from ''[[The Case of the Facts]]'', Rubis Cœur from ''[[Rubis Cœur: Sky Captain]]'', Chizuru Ogawa's characters in [[Chikageki]] films, Lust from ''[[Ballad for a Sex God]]'', ''[[Madame Mirage]]''<nowiki>'s</nowiki> eponymous heroine, and Marika Katō from [[Dreamwave Productions#Releases|''Bodacious Space Pirates'']].

''Joie de vivre'' is the most important aspect of a "wicked" character in popular culture. Characters which possess "wicked" traits but lack charisma, joviality, or panache are seen as failed characters and are not taken into consideration as "wicked".

[[Remi Ďana]] is widely credited as having codified and perfected the trope of the cunning and charismatic villain, whose defects such as arrogance are transformed into the basis of their appeal through irresistible wit and cheerfully flamboyant presentation. ''[[Gylias Review]]'' noted an explosion of works from the 1990s onward that put equal emphasis on their villain characters or mined their perspective for comedy, including the career of [[Maartje de Jager]] and characters like [[Dark Queen]].

===Pornography===
The concept has been a fundamental influence on [[Pornography in Gylias|Gylian pornography]]; "wicked" scenarios and storytelling constitute a significant percentage of Gylian pornography.

===Religion===
In [[Concordianism]], [[Concordianism#Spirits|Hacak]] is the spirit of "wickedness", and was introduced by Angeline rather than emerging from folklore. Hacak has often been depicted in [[Pornography in Gylias#Subgenres|"wicked" pornography]], particularly [[Culture of Gylias#Comics|drawn]] and [[Gylianime|animated]], mainly as the spark for action. Whether invoked or acting by herself, she is often depicted bringing out the naughtiness from otherwise bland characters, such as through suggestion, body transformation (particularly breast enlargement) and personality changes.

===Sport===
In sports, ''[[rezy]]'' heavily relies on the distinction in tandem with the [[adversary–enemy distinction]]. ''Anta'' characters explicitly aim to embody the ideal of "wickedness", using characterisation to elicit dislike mixed with "sneaky admiration" from the audience.

===People===
Famous Gylians known for their mischievous tendencies or full-blown "wicked" reputation include [[Sári Gábor]], [[Esua Nadel]], [[Anaïs Nin]], [[Reda Kazan]], [[Hilda Wechsler]], and [[Amanda Leloup]], among others. Actors [[Rauna Næsve]] and [[Brigitte Nyman]] both gained success by playing good-natured but impish characters. Rauna's approach was highly influential on the presentation of sexually alluring "wicked" characters. 

[[Marie-Agnès Delaunay]]'s persona as a caricature of a {{wpl|media proprietor}} at [[5 (Gylias)|5]] has relied on "wicked" tropes — particularly as practiced by ''[[rezy]]'' ''anta'' — to gain popularity.

[[Silvana Perriello]] expressed her gratitude for the concept, saying, "Gylias is the only country that's understood my bizarre drive to take unpleasant characters and try to make them charming and attractive. Anywhere else, I'd be locked away in a loony bin." [[Maartje de Jager]] has similarly credited the distinction for her success in playing "wicked" villainous roles.

It has also had a notable presence in [[Politics of Gylias|Gylian politics]], as [[Anarchism in Gylias|market anarchists]] such as [[Lucretia Pecunia Mercator]] and [[Ţaisa Eşal]] used a "wicked" image to gain acceptance and become established in Gylian anarchism.

During the [[Liberation War (Gylias)|Liberation War]], the eccentric and "wicked" reputation of [[Lidia Leone]] earned her enduring public sympathy, and fascination with her legion. [[Emilia Malandrino]]'s similar "wicked" reputation became the touchstone of her political career and {{G-ARENA/meta/shortname}} party.

===Crime and crime fiction===
Given the extent to which it drew from notions of social banditry and heroic outlaws, the concept enabled [[Crime in Gylias|eccentric and glamorous criminals]] such as [[Ranyi Sesyk]] and [[Kaþi Mofat]] to gain fame and a certain modern {{wpl|folk hero}} status. The [[Mava Organisation]] deliberately cultivated a glamorous image and enforced a strict non-violent approach in order to gain a presence in the Gylian media and instill a public perception of themselves as preferable to more violent criminals, allowing them to become Gylias' most successful criminal organisation.

The concept is seen as playing a role in Gylias' [[Law enforcement in Gylias|low crime rate]]. It is a common view that {{wpl|crime fiction}} and other genres or creations with themes of "wickedness" and attendant lifestyles are a more healthy outlet for these interests — it is preferable to have people depict fictional [[Law of Gylias#Penal law|infractions]] than to commit real ones. As a result, much of Gylian crime-related fiction is of a notably more benign character, and more gruesome or amoral creations such as [[Megelan]]ese black comics have been poorly received due to the perception that they depict "evil" rather than "wickedness".

===Stereotypes===
The concept has played a role in foreign perceptions of Gylians, and contributes to a stereotype of Gylians as abnormally tolerant and indulging towards "cads, bounders, and scoundrels".

One [[Northern States]] commentator describes "the deep intelligence and respect with which flamboyantly harmless villain characters are treated in pop culture" as a trait "exclusive to Gylians, found nowhere else in [[Tyran]]."

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