This is when either an enemy of a major villain, or maybe a minion who turned against them, explains to others the nature of their conflict, typically when the villain is not around, likely after the villain has either been defeated or is at least temporarily out of power. An alternative title for this, "explaining the villain explains the conflict," refers to the notion that explaining what happened makes the actions of the villain's enemy or former rival more understandable.
Note that this is not a Motive Rant; the tone of the conversation will be very calm and gentle despite the subject matter, as indicated by many of the examples...
Named for the after-action reports filed by military officials following a combat engagement, also used for post-game play-by-play analysis of sporting events; not directly related to After-Action Report as a form of fan literature. Compare Kirk Summation, which is addressed to the actual villain. See also You're Insane!.
Not to be confused with How We Got Here.
- Bleach has Ichigo deliver one about Aizen.
- Many a Batman story ends on this note. In Lighter and Softer stories of past generations, he's more likely to shake his head at the villain's wasted potential as a benefactor of humanity. In Darker and Edgier modern stories, he's more likely to reflect on how the villain is a Shadow Archetype and reflection of what he could've become had just one thing gone wrong with his upbringing.
- Robin Series: Tim often reflects on the circumstances which led to the villain he fought in the issue to a criminal lifestyle. He's usually sympathetic to their plight but never feels it excuses whatever they did to bring them to his attention.
- In The Lion King II: Simba's Pride.
Simba: Scar couldn't let go of his hate, and in the end, it destroyed him.Kovu: ... I've never heard the story of Scar that way. He truly was a killer.Simba (while brushing the remains of burned plants): Fire is a killer. Sometimes what's left behind can grow better than the generation before, if given the chance.
- Chuckles the Clown does this in Toy Story 3 to explain Lotso's turn to evil.
- Perhaps most famously (and more than a little extensively) in the Alfred Hitchcock film, Psycho.
- Troy: The Trojan priest says this when they find the beach abandoned. (It's a Trap.)
Plague! Don't get too close, my lord.King Priam: What happened here?They desecrated the temple of the gods, and Apollo desecrated their flesh.They thought they could sack this city in a day. Now look at them... fleeing across the Aegean.
- The film (and comic) version of Sin City has a scene in which Cardinal Roarke explains to Marv why his adopted son ate people and subsequently admitted to joining in.
- Predator (1987).
Mac, to Dillon, describing the encounter with the Predator: Those eyes...disappeared. But I know one thing, Major... (pause) I drew down and fired right at it. Capped-off two hundred rounds and then the Mini-gun; the full pack. Nothin'...nothin' on this earth could have lived...not at that range.[Later]Schaefer: He uses the trees.
- Aliens has an expository scene with the surviving marines hypothesising about the life cycle of the aliens and that there has to be a queen laying the eggs. They're right.
- Happens frequently in the Sherlock Holmes stories.
- Also a recurring feature in the work of Agatha Christie as an alternative to a Summation Gathering, with villain exposés delivered by Hercule Poirot, Miss Marple or another detective to an assembled group of people after, not before, the villain has been identified and taken into custody, committed suicide, or been killed. This usually happens following a Wham Line, a surprise arrest, or another very sudden and as yet unexplained reveal of the villain.
- In Another Note, Mello does this for Beyond Birthday, saying he could understand why B did what he did.
- Perry Mason often employed these to tie up loose ends after badgering the real culprit into a dramatic courtroom confession.
- It Conquered the World. "He learned almost too late that man is a feeling creature, and because of it, the greatest in the universe..." A catchphrase of Mystery Science Theater 3000. Doubles also as a Patrick Stewart Speech.
- Game of Thrones: After trying and executing Littlefinger for treason in Season 7, Sansa and Arya stand on the battlements of Winterfell and discuss him, with Sansa admitting he did have some redeeming qualities.
- In the postgame in Pokemon Platinum, you come across an old man who explains why Cyrus was after a world without emotion. Of course, the old man (probably) doesn't know that you're the one who defeated Cyrus, or even that you ever met him. He's just a grieving grandfather who blames himself for his grandson turning out like that.
- Subverted towards the end of The Legend of Zelda: Ocarina of Time: After Link defeats Ganondorf's first form, Zelda's Crystal Prison slowly moves towards the roof and dissipates, and Zelda looks at Ganondorf's body and says "Ganondorf, pitiful man. Without a strong, righteous mind, he could not control the power of the gods." Then they realize the place is collapsing, that Ganondorf is using his "last breath" to bury Link and Zelda in the remains of the castle...of course, after they escape, it turns out Link has to fight another of Ganondorf's forms, confirming that Zelda's earlier line isn't really an AFTER action villain analysis.
- When she defeats Kefka one final time in Dissidia Final Fantasy, Terra reflects on his lust for destruction and concludes that he was trying to fill the void left by his broken heart.
- Star Fox: Assault: After beating the final boss, Fox pauses before making his escape to calmly muse on what the enemy was trying to accomplish and how it couldn't have worked.
- Injustice 2: After Regime Superman was defeated in the previous game, Batman reflects on his Start of Darkness in the opening, noting how the Joker, who is usually Batman's Arch-Enemy, goaded the Man of Steel into killing his own wife Lois Lane and nuking Metropolis out of pure sadism. Batman may be sympathetic to Superman's plight, but doesn't feel it excuses any crimes he committed in Lois's sake.
- The Last Story: In the epilogue, Lowell and Zael will discuss about Dagran's motivations. Among which is the fact that while this is all his own fault, Lowell feels that maybe they could have reached out to him more. Zael wonders whether he really meant when he called the mercenaries nothing but pawns for his revenge, considering how much Dagran seemed to genuinely care for them. In the end, they acknowledge that with him gone, they'll probably never know, but the mercenaries still make a grave for him, leave him flowers and thank him, since it was under his leadership and care that they even managed to survive for so long.
- A variant is done in the Ace Attorney trials. While Phoenix pieces together the actions of the guilty party to the court as the trial proceeds, it's usually not until the very end of the trial that all the pieces come together and the full motives of the killer are figured out. One notable case that plays this straight is Case 5-2, in which, following Le'Belle's freak out, Simon Blackquill revives him long enough to get his testimony offscreen. He then reports to the courtroom that Le'Belle's criminal activities were motivated by being bankrupt, something which hadn't been revealed before then (while the goal of Le'Belle was determined, why he did it all exactly was not).
- In the Unlimited Blade Works route of Fate/stay night Shirou analyzes Archer who has already been defeated. He realizes that despite his cynicism and attempts to Ret-Gone himself by killing Shirou, Archer never regretted his choices in life, only the consequences he faced after dying. That was why during their last fight Archer did not counter Shirou's final attack.
- In Worm, Villain Protagonist Skitter is analyzed several times in this fashion. Dragon notes her sliding further into acts of villainy and speculates that her past as a bullied teenager has led to a severe distrust of authority, and the government's therapist for superheros, Mrs. Yamada, analyzes her repeatedly and discovers a pattern with her escalating her levels of force in response to threats to her father.