Specific Narrative Kinks: Villains as constricts
What do I mean by this:
Usually, when I talk about negative power dynamics, there is a very consistent direction for the morality line. The principle is doing wrong in what they are doing to the constrict, and so the principles are the villains, while the constricts, generally, are the heroes. This is a dynamic that I like a lot and I get a lot out of. Sometimes, however, I like to reverse it. Sometimes, it is the heroes who are in power, and the villains who are the prisoners . This kink is about that dynamic.
The categories for this kink for me are generally about the attitude of the villain-constrict. At the moment, I can think of three in particular that I like.
This is for the repentant villains. They’ve come to see the wrong of what they’ve done, and now condemn themselves for it. They likely think their new status as the constrict is correct and deserved. As such, this is basically the setup for my rather enormous kink for guilt.
These villains get the amused kind of enjoyment out of their power and out of using it, and that hasn’t changed now that they’re on the wrong end of a power dynamic. They’ll never show that their situation bothers them (if it even does). When they reference it (and they usually do, with words or gestures) it’s always with a smile, often accompanied by ironic complements to their captors. They are, however, also likely to be pragmatic, and avoid outright provoking their more powerfully positioned captors. Since heroes are generally less interested than villains in torturing people for disrespect, they can thus create a situation where their attitude allows them to save face while they use their cooperation to advance their wellbeing. As such, they are excellent candidates for becoming boxed crook teammates for the heroes.
Examples: Loki in SHIELD custody in Avengers has elements of this (however, since he knows/feels himself to actually be in a position of more power, he also just outright acts like a principle a lot. You can see the two sides in the beginnings of these clips versus the rest of them).
Loki in parts of Thor: the Dark World also has elements.
Neal Caffrey of White Collar (at least the first few episodes, which is what I watched) is an example with somewhat less villainousness.
These villains are more interested in getting what they want than in having fun, and being on the wrong side of a power dynamic has in no way made them doubt their competence or success. It may be part of the plan, it may be an unplanned inconvenience that they’re sure will be dealt with shortly, but either way, they’re not going to be particularly concerned. They won’t pointlessly antagonize their captors because it’s just that – pointless. In fact, they’re unlikely to acknowledge their situation at all, and won’t act particularly differently from how they usually do when they’re not a prisoner.
Examples: an excellent example of this is John Harrison of Star Trek: Into Darkness.
The guilt type was the dynamic in one of my best scenes ever, and it was awesome. The irony type would be incredibly fun to act, I think, but since I do want to be beaten up and such, I’d be much more interested in playing the same attitude but as a hero-constrict. Likewise for the self-presence type.
 This could be seen as violating the “what the principal is doing is wrong” definition of negative dynamics. I still consider them in this category, because they’re still not positive and still specifically non-consentual. If the hero-principle is not seen as doing something wrong, it’s not because they’re acting with consent, but because their actions, in being toward a villain, are considered justified. Which can raise all sorts of interesting moral questions, but this is not the place for them.