Cruella de Vil
One Hundred and One Dalmatians · 1961
No magic, no army, just a coat she wants very badly
The most valuable argument any hero has ever had
Editorial estimates on a 0–100 scale, calibrated against every other character in the index. Not official canon.
The Joker works because he is the exact inverse of the man he torments: no plan that survives contact with reality, no fixed origin, no interest in money. Batman imposes order on chaos; the Joker exists to prove that order is a costume. He has been a goofy prankster, a mass murderer and a philosophical opponent depending on the decade, and all of those versions are canon.
He does not want anything you can give him, which removes every negotiating tool a hero has.
He needs Batman. Remove the audience and the performance loses its purpose.
The only major comics villain with no fixed origin, which is why he has survived eighty years of contradictory interpretations without losing coherence.
Eight decades, dozens of interpretations and two Academy Awards for two different actors. He is the only character on this list whose contradictory versions have all become iconic independently.
Every actor who has played him has been the most watchable thing in their film, across eight decades and wildly different tones.
The fear is that he wants nothing you can offer. Every negotiating tool a hero has is useless against someone who is not trying to gain anything.
One Hundred and One Dalmatians · 1961
No magic, no army, just a coat she wants very badly
Gravity Falls · 2012
A floating triangle that is far worse than it looks