Morality & Reality - meta-ethics in your game

What is good? What is evil? Are they real physical forces, purely mortal moral judgements, or what?

What started me thinking about this again - after I've already laid out my opinions and tool box for both gods and morality in games - was a rather heated discussion about a particular real-world religion and its morality or lack of it. I'm naming no names. The discussion got rather entrenched, but it made me think of a few things that I found helpful.

Now there are plenty of discussion threads out there on alignment, and some very serious heavy debate about religion. I'm not going to try to replicate those here - I want to look at how the different points of view can be used when creating your game world.

Like my article on gods, I think that one's attitude toward Good and Evil in the game setting can have profound consequences which may be more wide reaching than you'd expect. As in that article, I'm going to present some stances that  you might consider for your game setting, and look at how these influence the setting.

I'm going to talk about Good and Evil with capitals, in that I want to distinguish these grand concepts from the less important good (meaning beneficial, competent, fitting, etc.) and evil (meaning nasty, ill, etc.).
I'm also going to talk about gods, angels and demons, and mortals as creatures that have different moral scopes within a fantasy game setting - but I'm using these terms generally: I don't mean to refer to D&D 3.5's demons, WoD's angels, or Zoroastrianism's gods, or any other specifics.

Debating ethics

Good & Evil are Actual Forces?

In this stance, Good and Evil are real, measurable forces, like temperature or mass.

As well as conscious beings having morality, Good and Evil can inhabit objects and places. A book may be inherently Good, its presence harmful to Evil creatures - or dreadfully Evil, driving its readers insane. An Evil ring may corrupt the wearer. A Good, sacred place may heal the sick.

If Good and Evil are tangible forces, then are sapient creatures left with a fixed morality? Can Good be driven out of a person? Can an Evil being become Good?

Of course, it's a common complaint about alignment systems that characters' mortality becomes fixed, and this stance seems to reinforce that idea - but it needn't be like that...

A flexible alignment system in action?

Only Actions are Good and Evil?

Only the actions of sapient creatures are Good or Evil in this stance.

Things cannot have morality, only people - and then only as the result of their acts. By doing Good, Bobby the Barbarian is Good. By doing Evil, Winifred the Wizard is Evil.The Book of Nasty Tales, however, is just a book, the Sword of Demonslaying is just a magic sword, and the Chapel of Holy Rest is just a building.

Perhaps the build up of moral actions can be detected in a person - their Evil becomes tangible through their repeated acts, and we can sense it, through divination magic, or as a creepy feeling.

This stance inherently allows the moral standing of a person to change as they choose to act differently. Over time, a Good person can be corrupted by Evil acts, and vice versa. We can have redemption and damnation as story arcs - a rich vein of role-playing to mine!

While this stance is flexible and arguably more realistic, it lacks the supernatural element of Good and Evil that we enjoy from  fantasy literature.

The Middle Way

The above stances can be somewhat restrictive - especially for a fantastic setting, which is of course where we most commonly want to play with Good and Evil ideas.

Perhaps there are beings who are inherently Good and Evil, who are exemplars of those morals - Angels and Demons - but the common folk, the mortals of the setting, are free to choose their moral acts, and in choosing, to determine whether they are Good or Evil.

Perhaps objects can be imbued with Good and Evil by exemplars like Angels and Demons, or particularly pious or profane mortal magic users.

In such a setting, mortals retain free will, and can change their moral codes over time, but the existence of creatures of absolute morality is permitted. We can have our inherently Evil monsters, our literally holy ground, AND our ambiguous and mutable protagonists, struggling to do the right thing.

Sciatic nerve pinch!

It feels like I've somehow pinched my sciatic nerve - the leg nerve that runs from the back of the pelvis to the calf. It's a sharp pain in the back of my right hip, that gets worst when I raise my right leg, especially if I keep the leg straight.

No, it's not some Vulcan incapacitating technique, it's an injury.

Apparently this is common in runners, though I've only just experienced it after years of happy running.
Weight lifters also get it, so maybe the leg lunges with weights I was trying out to strengthen my knees started it off.
Lower back mobility is another issue - and I've always had difficulty touching my toes with straight legs, ever since I was a kid.

There are a bunch of exercises to strengthen the core muscles, which should prevent it from re-occurring, and there are a load of stretches to ease it off in the mean time.

But the horrifying crux of the matter is - I should stop running till the pain goes, then build back up gently.

Yuk! Horrible idea!

I've got three and a half months till the Marlborough 33 miler - so I've got to rest if I'm going to get better.

In the meantime, I'll be back at the boxing and static bike - and I'm looking to get a rowing machine maybe - to keep the cardio up and help with the core flexing and strength.

Selling a load of mixed minis

Just so I can store the pics somewhere easy to point to, here's a list and pics of the minis I have for sale.

• Big GW case of assorted humanoids, hero figs and a few larger monsters. All painted to reasonable standard. 30 quid. SOLD

• Small GW case of assorted humanoids and heroes - painted reasonably. 20 quid. SOLD

• Assorted modern and sci-fi minis. Includes 2 helicopters in 1/72 scale & a bunch of matchbox cars. Mixed level of painting. In carry case with packing. 15 quid.

 

• Assorted dungeon scenery in a carry case. Includes floor tiles, walls, door, columns, crates and barrels etc. 30 quid.
 

 

Self-censorship in RPGs?

There are times when I wonder about my sense of good fun.

Last weekend, I ran a game where the players had fun battling through storm conditions on the high seas, getting excited by running the risk sinking and drowning - when that very night, in the North Sea, dozens of real sailors lost their lives in a shipping disaster.

Regularly, I run games where religious intolerance, inter-faith war, assassination, fanaticism and the like are sources of entertainment - while the so-called Islamic State and al-Qeda are organising and inspiring the murder of journalists and aid workers
.
Is it okay to use these horrible events, vile actions and situations as part of a game?

Yes - of course!

We can examine the world through RPGs. By playing roles, we can understand people better, empathise better. By imagining what brings a person to behave in a certain way, we aren't condoning it.

Would you say that Sean Bean is evil because he played the corrupt agent 006? That Alan Rickman is a bad person because of his portrayal of the Sherrif of Nottingham?
Would you say that Peter Jackson is promoting black magic because he made films about Sauron and the Witch King of Angmar and all those evil beings?

Story telling is one of our ways of coping with the nasty and horrible parts of the world - and roleplaying games especially so.

So let's not self-censor ourselves. You only have to answer to your player group. If it's cool to you, then it's cool.

Stealing settings for fun (and possibly profit)

Rather than trying to invent some wholly original game setting (and then trying to explain it to the players), often it's easier and more immediately fun to take an existing adventurous setting and modify it to your needs.

Love Star Wars and Spaghetti Westerns? Do both at once! Just watched Jason and the Argonauts and Pirates of the Carribean? Merge them!

How do you do that? Break it down into essential parts of the setting you want to emulate, and think about how to translate those into your planned setting.

So - what are the essential parts of the setting? Let's look at a couple of examples.

---

Cowboys in Space
(or wherever)

- making a Wild West themed setting in any genre

You will need:

• The Old World
• The planet (or planets) from which our Colonial settlers' ancestors hailed - representing Europe (and Asia and Africa) in our real world history.
• The Old World has its problems, which may still influence what happens in the New World, but usually only at arms' reach: a war in the Old World might send more emigrants to the New World
• Example: Earth-that-Was in Firefly. We assume this was our Earth, and Firefly is set in our future. Earth-that-Was is gone, and has no further influence over the setting.
• Example: Mundia in the Helios system is the Old World. It is home to the human race, and is thought to be the orignal planet on which humans evolved and developed all civilisation. Its continental superpowers fluctuate between cold and hot war.
• The New World 
• The region that has been settled by the colonials.
• The New World is largely virgin and unspoiled; rich in resources, but hard and wild.
• Including:
• The Established Colonies
• The early colonies which have had a hundred years or more to settle down and expand - the equivalent of the 13 colonies of the US.
  
• Example: The Sapiens Cluster. The initial colonisation of the Cluster was acheived through the creation of an artificial wormhole, allowing vast insterstellar distances to be travelled in a single short hop. The Cluster's several adjacent star systems were swiftly colonised by sub-light expeditions, and are now teeming hubs of industry and commerce.
• The Wild Frontier
• The regions of expansion, where the established colonies are pushing into the hinterland - the Wild West of the mid-19th Century.
• Example: Since the colonisation of the Cluster, the invention of the FTL jump drive has allowed for interstellar expansion beyond the Old Colonies. The dozens of new frontier systems see explorers pushing back the edges of the known systems, prospectors following mineral rushes seeking fast riches, terraformers trying to create new farm lands, emigrants looking for a new chance - and the inevitable opportunists who support and prey on those waves of migrants: gamblers, grocers, doxies, doctors, engineers, bandits and marshalls.

Optional content: 
Some of the elements that go to make up the Wild West genre may be contentious and delicate, touching on real-world issues that are distasteful and perhaps out of place in an adventurous game setting - treat these with care.

• The Recent Civil War
• The Established Colonies and certain of the New Frontier regions have engaged in a bloody and devastating war over slavery or some similarly divisive ethical issue. The slump experienced by the losing faction causes resentment and division for decades to come. 
• Various Natives - oppressed, belligerent, friendly, etc
• Attempts to civilise the natives
• Annexation of native land and resources

---

Pirates of the Mediterranean
(other seas are available)

- a Greco-Roman themed take on swashbuckling piratical adventures

You will need:

• Civilised trading nations
• The sophisticated empire and other regions between which expensive and exclusive goods are traded - so that the pirates can steal them
• These will be your stand-ins for England, Spain and the "exotic" regions they traded spice with.
• Example: Greece and Carthage trade around the Mediterranean and beyond, clashing with each other, but more usually coexisting as rivals - up to a point.
• Naval authority
•  The civilised nations have their navies who protect their trade ships.
• Unexplored regions full of native riches
• Standing in for the Meso-American civilisaitons plundered by the European colonials
• Example: The African and European hinterlands are largely unknown lands to the Mediterraneans - so we can have hot and cold lands to explore and exploit, and all the alien cultures to go with them. With our mythic theme in mind, we can add legendary monsters and dangerous wizards into the mix.
• Lots of uncharted islands and coasts
•  Standing in for the islands of the Carribean, the Mexican Gulf, etc.
• Example: The Greek Islands themselves, as well as invented myriad islands for adventures among hidden coves, smugglers' stashes, pirate havens and isolated cultures. In this mythic setting, these islands can be plucked straight from the Odyssey, with cyclopes, harpies and all.

Playing roles - revisited

In my first "Playing Roles" post, I talked about the different forms of role playing that I've noticed people tend to do. Here, I'll talk about overcoming embarrassment - the idea that by acting up a role, you're making a fool of yourself.
 
Recently, I was chatting online with a mate who has trouble getting into character at the game table.
At the end of it all, he suggested it'd make a good topic for a blog - so here's an editted transcript of our chat, and a few comments to expand on it.

Via messenger

Me: As far as RPing goes, you seem to me to be a bit embarrassed about actually playing "in character".

Jack:Yeah. I get too shy doing it.
I always try to make a character based on someone from TV so I have a rough idea.

Me: Nicking other people's characters is fine - we all do it a bit. The point is to put yourself in their shoes.

Jack: I know we are all nerds together but I hated drama and stuff at school.
I can do the whole loud, blunt Jack act quite well, but that's it.

Me: Sure - make characters who are easy for you to play before you try hard stuff. You know - play Jesse from Breaking Bad. He'd be right up your street.

Jack: See, Vin [Jack's rogue character] was always Mike from Breaking Bad in my head. Sutrin [Jack's warrior character] was always going to be the Hound [from Game of Thrones] - but I never really got the ball rolling with him.

Me: Okay  - but you aren't a grim tough guy, yourself. You're more of a gobby youth, innit blood! That's what made me think of Jesse.
Me, I like to play clever, slightly posh chaps who want to do the right thing, but get out of their depth and have to bluff and blag their way through.

Jack: Is that why you are always a mental wizard? ;)
I was thinking gruff type dude would be easy as I can just be blunt.

Me: You may be blunt, but you're not gruff.

Jack: Sure. Right then - that's my plan. I will make a Rogue for [the next] game, and he can be a street urchin type - BITCH! Totally works, yo!

---

Play yourself

The short version is this: play yourself - or a version of yourself. 
It's usually within your comfort zone, you don't have to stop to think about character motivations so much - it reduces the strain and lets you enjoy the game.

Acting like yourself is far less out there than acting like a large ham, booming all your statements and trying to sound like Brian Blessed or Laurence Olivier.

I've seen the same sort of embarrasssment in LARPing - it's far easier to get people to come and play contemporary or near future LARP where they get to wear their own clothes than it is to get them to dress up like Robin Hood.

Once you've got the hang of playing a version of yourself, you might want to try assembling a character out of part of yourself, rather than just slotting your whole personality into the setting. 
Maybe you're a bit of a science nut, who finds social niceties difficult - then you might find it easiest to play a bookish wizard with little time for social skills.

Myself, my day job is working in product safety compliance, applying laws and safety standards rigidly: so aside from clever-but-naive idealists, sometimes I like to play strong enforcers of some code of ethics - cops or paladins or whatever the setting has - who have to learn to moderate their black-and-white morality.

Great actors talk about finding a connection with their character from their own experience, so that they can channel their own real emotions into the performance. 

You'll need to know yourself to play like this - but I've found that playing various versions of myself over the years has given me a better understanding of those parts of my own personality, which in turn makes me better at playing other roles.

If you start by making an alter-ego of yourself who shares much of your own personality, then their behaviour in the face of the game's scenarios starts out as easy - and in time, that behaviour and expeience will change the person that the character is, as their life moves away from your own. 
Then you'll find you're playing a well-rounded character, with just a hint of you buried under the wealth of experience they've gone through.

Snowdonia Marathon - earning XP

I knew Snowdonia was going to be tough, but I didn't think it'd be that bad.

I trained at running up and down hills, because I live a relatively flat part of the world. The nearest steep hill I've got is a couple of miles long, with a maximum gradient of 20% - whereas the three Snowdonia ascents get up to nearly 30%. So I trained with ankle weights on.

I'd heard that for marathons, it's better to run three days of 10 mile runs than to do marathon length runs as training - so I did that.

I'd been told that the Snowdonia marathon was mainly road, with a little bit of track and path - so I mainly trained for road, with a little off road.

On the day, I slogged up the first ascent and down again without much trouble. The long down hill and flat section was steady, then the second ascent went reasonably well.

Some loon who thinks he can run

More loons

It was about 20 miles that I started to really tire out. My feet ached from pounding down the hills as well as the long distance. I had to stop for a moment and massage my legs and rest my feet - just for a moment. I spent the rest of the flat section shuffling slower and slower.

The last mountain was where I picked up the pace again - going up hill puts less pressure on your feet. I'd trained and trained at the uphill running. From mile 23 or so, I climbed about 200 metres in single run, then as the ground was just levelling out, I had to slow to walk. The road turned into a rocky path, all uneven footing and sharp edges. My knees and all the fine-control muscles hurt like hell, and my feet ached.

When I'd made it to mile 23, I'd been on track for a personal best marathon. If I'd had that bit more stamina to manage the flats and the hard terrain at the top, I'd have managed it.
As it was, I still made a respectable time for my first Snowdonia - just under 5 hours. I'd been hoping for under 5.5 hours. I'd have been happy with under 6 hours.

My brother, the rugby-playing runner, by contrast - he passed me at the top of the last climb, and bounded down the rocky descent.

So - the lessons:

1. Train the long distances till they're routine.
   I want to run marathons fortnightly, so I'm prepared for those last six miles.
2. End on bigger hills, including the descents.
   Going downhill when you're tired is hard. I need to condition myself to run down hills after a long tiring run.
3. More off-road.
   The surprisingly tough surface at the end ofthe run threw me. I do a fair bit of off road running, but I should have done more long distance off-road for this one.

The subtext here, of course, is that I'll be back - Snowdonia is an amazing marathon.

They print your name on your number sheet, so everyone calls it out as you go past - "Come on, Alastair! You can do it, Alastair!" That's still with me - but my knees don't hurt anymore.