If you've spent any time at all in RPG spaces, whether online or in-person, you've heard gamers talk about their favorite games. Whether it's one of the early games from the dawn of the hobby, something that exploded on the scene during the boom of the 90s, or one of the various settings that came out of the OSR revolution a few years back, gamers are not shy at all about bigging up the games we love.
However, a lot of these conversations devolve into arguments over time... particularly when we have a round robin regarding game recommendations. With that said, I feel like a lot of these arguments could be avoided if we took a moment to not only ask which games we like, but to actually take a moment to evaluate why we like them.
Really? That edition? Okay, make your case.
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One Man's Meat is Another Man's Poison
All of us have favorite games, but even if two different people adore the same RPG, they may love it for wildly different reasons. For example, Pathfinder Classic is still my go-to game for high fantasy RPGs, as it was for a lot of people. But while I loved it primarily because of the robust mechanics that carried on from DND 3.5, for other folks it was their first RPG, and they have a lot of nostalgia for it. Other people really like certain classes like the magus, or they love the Golarion setting, and enjoy exploring its various nooks and crannies.
While all of these players might share the same table, chances are good they're all getting something different out of this one game system. And while you can have that much variation among people who like the same game, you can also have one person who doesn't care for a game for the exact same reason another person absolutely loves it!
While a lot of the interest in the FATE Core System has fallen off over the past few years, I remember when this game was everywhere. If you were looking to adapt a property, or if you needed a fast turnaround, this was the system everyone recommended. Horror, fantasy, sci-fi, FATE could do it all! It was easy to learn, easy to play, and it was a story-forward, mechanics-minimum experience that removed a lot of the reading and number crunching from your game, allowing new and experienced players alike to get to grips with the action quickly.
All the stuff I just described is what a lot of people loved about this game. It's also a description of why I was never more than lukewarm on it at best.
Now, does my opinion that this game is primarily just an exercise in cooperative storytelling but which barely has enough components to it for it to claim to be a game mean it's bad? Absolutely not. I'm one RPG fan in a colossal sea of people, and it was plenty successful without me buying a copy and making it my game of choice. And just because I don't subjectively enjoy an experience, that does not mean it isn't the perfect experience for someone looking for that exact type of game.
It was just bad for me.
And this is what I wanted to get to as part of this week's update. Because a lot of the time we know whether we like a game or not... but we don't always stop and ask why we do or don't like something. Especially when the thing we do or don't like might not actually have been the game's fault; a bad GM, awful table mates, too many homebrewed mechanics that just didn't work... a lot of things can make or break a game that have nothing to do with what's between the covers. That's worth thinking about, not just because it can help give you a better sense of what appeals to you as a player (thus making things easier to recommend to you in the future because you can more precisely describe your enjoyments), but because it can help you figure out what experience someone else might be looking for before you tell them the game they definitely need to play next!
We can like our games for whatever reasons we want. We can dislike games for whatever reason we want. But if you can't articulate what about this experience sparks joy, and what does not, then you're going to get into a heated debate with someone while the two of you talk past one another because the fact that this game is a chopped down, rules-light affair where your characters have the survivability of a wet paper bag may very well be the reason one of you hates it, and the other loves it.
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That's all for this week's Moon Pope Monday. To stay on top of all my content and releases, make sure you subscribe to my newsletter at the bottom of the page!
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For folks who've been listening to the latest news, it seems that (at least at Paizo), alignment is going the way of the dodo. Whether this becomes the industry standard or not is something I talked about a little while ago on the Azukail Games YouTube channel (which you should subscribe to, if you haven't yet), but it seems there are a lot of folks who really want to keep the alignment system in their games going forward.
And it's for those folks that I thought I'd touch on something I've been noodling about for a while. Mainly that alignment shouldn't be something that just changes rapidly back and forth, or which is nothing more than ticks on a moral abacus.
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Giving Up Evil, and Eating More Salads
Most of us, at some point in time, have gone on a diet for one reason or another. Maybe you wanted to finally lose some weight. Perhaps you were diagnosed with a condition that meant you couldn't have as much sugar, fat, or red meat as you used to have. You might even have decided that you wanted to change your diet because you wanted to live a more cruelty-free life. These changes, though, require you to stick with them for the long-term, and to make permanent changes to who you are, and the way you live your life. A crash diet may get you some short-term results, but if you don't really commit to living in a different way, soon you're going to wind up right back where you were.
If you're looking for a way to think about alignment and how it shifts, I find that this metaphor works pretty well.
I know I said no more beheadings... but maybe one or two more before I stop completely?
Thinking of alignment as your morality diet may be helpful because, for your alignment to change, you have to actively alter the way you live your life, and to commit to it. It's hard to not fall into old habits, or to crave the things that used to be your go-to solutions, and this can be reflected in a character's attitude and struggles.
Lastly, while it's technically possible to use magic to shift one's alignment (through casting spells with the Good descriptor, failing the save against cursed items like the helm of opposite alignment, etc.) you could think of this as using extreme supplements, chemical treatments, or surgical solutions. Because while these things will work, they may not be able to stop you from falling into old habits, and dragging yourself back to the same place you were at.
Making a serious commitment to altering yourself is difficult... but more importantly, it can take a long time. And even if someone manages to take a shortcut through something like a sudden magical effect, they still have to maintain that effect. It's going to be tough, and occasionally frustrating, but it can make for a particularly rewarding character arc that's worth committing to.
Lastly, it's important to keep in mind that your actions still have consequences. Even if someone manages to alter their alignment to redeem themselves from evil to become good, they will still have to answer for the crimes they committed. And even if someone only dips from good to become evil for a brief time before they're redeemed, they'll still be held to account for any atrocities they were responsible for. And even evil characters who are doing good acts specifically to get a reward will still be rewarded for the good things they did.
While alignment might be the general state of one's morality, never forget that the consequences of your actions (good or bad) may always be coming around the corner.
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When I say the word Viking to you, chances are it conjures a very particular image in your mind. You probably picture a huge warrior with a flowing beard, bellowing battle cries while he lays about with his ax, slaying men, burning towns, and stealing anything not nailed down. Even if you have enough historical literacy to know they didn't have horned helms, or that they may have had red hair instead of blonde, this image of the defiling raider is firmly etched into our collective consciousness.
And while this sort of individual certainly existed in the historical record (a Viking is, by trade, often a pirate after all), this one aspect has grown to encompass an entire people in the minds of a lot of us. Even if you were a trader, a farmer, a skald, or a normal sailor, there was the fear of what the most dangerous and violent of the Norsemen had done when one laid their eyes upon you.
Which brings me to orcs, and how we could have some fun examining them.
She was huge! Ten feet tall, with blood dripping from her tusks!
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What Contact Do You Have With Them, Really?
Despite the vast reach of Viking longships, which ranged from the shores of North America all the way to the heart of the Eastern Roman Empire, from the frozen Russian steppes to deep into the Muslim world, the Norse people weren't some huge players on the world stage in the way that empires tended to be. They were relatively small in number, came from a remote, frozen place, and though they did some very notable things (the raid on Lindisfarne and populating the ranks of The Varangian Guard as examples), they weren't some massive influence that was going to take over the world.
Probably the biggest thing about Vikings that has survived (we're talking specifically about the raiders and pirates, not Norse people in general) was the legendary fear they produced. Their raids were ruthless, they ignored the conventions that so many other cultures followed, and the sheer maneuverability of their ships meant they could turn up nearly anywhere. If there was water nearby (and even if the water was miles away) it meant the Vikings could reach you. And in the dark, with the fires barely holding the night at bay, it was easy to imagine dangerous pirates with minds full of murder and robbery, their hands tight on the hilts of their weapons as they drew ever closer at the behest of their strange, foreign gods.
Hope the waterfront property was worth it!
Because I've had orcs on the brain ever since my latest Species of Sundara dropped where I talked about several of the varieties of these creatures that populate my setting (available for both Pathfinder Classic and Dungeons and Dragons 5th Edition), this has been a natural connection that I figured might be of-use to players and GMs alike.
To be clear, I'm not saying to pattern orcs off of the culture and/or pop culture we associate with the Norse (there's more than enough GMs and designers who've taken a stab at that already). However, as orcs and characters of orc heritage have grown and changed over the years we've had to re-imagine them, and expand on their place in our worlds and our games. Original orcs were the Tolkien model of monsters who served dark masters, and this is very much in line with the outlandish myths of Vikings told by those who survived their raids, or who merely observed the carnage left behind. The idea that the children of orcs with other species could only have been the product of violence or threats of violence is also much in-line with the sorts of tales told about the brutality of the Northmen.
As we expanded orcs further, we've seen that their violence toward towns and cities may be for more reasons than sheer wickedness, or raw personal gain. They might have been pushed off their old lands, and are fighting against resettlement. They might be fighting against prejudices that have led others to shun and mistreat them. They might even be fighting for the families and communities that those on the other side never even thought about, because to them there are no children or civilians among orcs; they're just a nameless, faceless hoard of roaring warriors because that's all they've ever seen, or all the legends have told of them. Yet much like the Norse people there was a vibrant, shifting, ever-changing culture that went beyond the Ulfbehrt and the Dane ax, and that was more than golden armbands and berserkers. Those things were a part of it, yes, but they were by no means what defined the whole of who they were. There were multiple nations, holds, and smaller clans within the larger whole, and examined on that small scale you could see stark differences between the myths of their culture, and who they really were at ground-level.
For GMs and players alike who want to bridge that gap between the orcs of older RPGs who were brutal, savage raiders at the behest of a violent, one-eyed god of battle and death, and newer RPGs where orcs are diverse and varied, each with their own cultures and interior life, this strategy might be worth thinking about.
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"Every one of you will bow your heads," the snarling figure in the black iron helm bellowed as he walked among the gathered people of the square. The voice was deeper than it should be... more awful than any human throat could produce. "The Lord of Shadows will be merciful. You will be allowed your lives, in his service. Those who do not accept his terms will receive no others."
Men and women shrunk back from the figure as it stalked along the ranks. All but one. Dann Tanner stood tall and proud, his hands folded atop the hickory walking stick he always used when he made the journey into town. His rough woolens were patched with dirt and stained with sweat, his thick hair held back by a leather cord. He had his lips pursed thoughtfully, watching the creature. There wasn't a single line of worry, or fear on his face. The shadowy figure turned, and glared through its helm at Dann, but the farmer's son spoke first.
"Got to say, I don't think much of your master, or his terms," Dann said, shaking his head. "But I don't want people thinking I can't be fair. So you take your men, and you get on out of here. Show me a clean pair of heels, and we can all forget this ever happened."
"Or what?" The creature asked, a bloody laugh in its voice.
Dann lashed out, reversing his stick in his hands and putting his shoulders into the blow. The creature had ignored arrows and blades alike, but the knotted head of Dann's stick dented the side of its helm, and sent the figure sprawling into the dirt. It howled in agony, clutching at the steel, trying to roll to its feet. Dann kicked the figure with the strength of a mule, and the sound of bones cracking was audible to those who stood nearby. He hammered his stick down one more time, and the figure juttered before going still. Black blood poured from beneath the helm, smoking and scorching the ground where it touched. Dann looked round at the others, slapping the head of his stick into his meaty hand.
"You all heard my terms," he said, glancing around. "You accepting? Or are we going to have ourselves a disagreement?"
I'm ready whenever you all are.
More Than Knights in Shining Armor
When many of us think of paladins, we think of members of knightly orders with flashing blades and shining shields. Even if they were raised in another fashion, we usually think of them as leaving that old life behind once they hear their divine calling.
The Farm Boy Paladin is in direct opposition to this idea/aesthetic.
How in the hell does anyone see out of this damn thing?
Rather than simply being a character raised on a farm who then goes on to become a knight, the idea is that this origin defines not just who the character was, but how they continue to be. Because while a childhood of hard work in a remote area would give them strength, endurance, knowledge of how to survive in the wilderness far away from a town and neighbors, while also teaching them to use a variety of tools, it could also set their personality in meaningful ways. Everything from maintaining the values of hearth and home, to a reliance on one's neighbors, to honest work and helping those in need, it shapes a character in interesting ways.
And as I mentioned in 5 Tips For Playing Better Paladins, this makes for an ideal organic paladin (which is to say a character who hasn't joined any organizations, formally taken oaths, etc.). While the character might be raw and untutored, they still have all the power of any other paladin to throw around.
For those who want to go all-in on the idea, you can even apply the aesthetic to their weapons, armor, and mount. Maybe they start off with leather armor that looks more like a butcher's robe, and a quarterstaff. Since smite ignores all DR on evil enemies, it's entirely possible for a paladin to lay some serious hurt onto anything wicked with a stick, a thrown rock, or even just a boot in the ribs. The stocky plow horse they ride might be seen as just a common animal, but much like their master that horse could have a spark of the divine power within them that lets them ride into battle, trampling the corrupt and wicked under their hooves, allowing them to fulfill the paladin's mount feature if the player goes that route. The longbow he carries might be the same one he used to hunt game for the stewpot back home, and the raw Charisma he boasts could allow him to make friends and earn trust wherever he goes.
The idea behind the Farm Boy Paladin is that it puts his class all the way in the background, allowing the character's personality and mannerisms to stay in the foreground. In fact, if you don't actually tell the rest of the table that you're playing a paladin, you might be able to go half a dozen sessions before one of them finally puts the pieces together and realizes you're not a fighter, a ranger, or an unusually friendly barbarian.
For those who'd like a bit of comedy to go with this week's concept, take a moment to check out The 5 Awful Paladins You Meet in Your Gaming Career... I have a feeling we've all shared a table with at least one of them. And for those who love little tidbits of obscure history, or who want some insight into how this class became what it is in our popular fiction, take a moment to read What is a Paladin? to delve into the etymology of the word itself!
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That's all for this installment of Unusual Character Concepts. Hopefully this one gave you something to chew over, whether you're a player, or a game master.
To stay on top of all my latest releases, follow me on Facebook, Tumblr, Twitter, and now Pinterest as well! To support my work, consider Buying Me a Ko-Fi, or heading to The Literary Mercenary's Patreon page to become a regular, monthly patron. That one helps ensure you get more Improved Initiative, and it means you'll get my regular, monthly giveaways as a bonus!
The city was once lost to the annals of history, the ruins forgotten in the dust and sand of an ever-expanding desert. The tumbledown stones faded into legend, and the legend became myths spoken of in hushed tones by the nomads who traveled the rim of the empty quarter. It wasn't until someone stumbled across the ruins, and managed to survive the dangers that lurked there, that the place was discovered again. And once it was discovered, the Silver Wraiths descended to claim it as their own.
The guild of necromancers used their arts to reclaim the city, and to rebuild it. Not only that, but it is through their endeavors that the necropolis has become a metropolis where the living and the dead now exist cheek-by-jowl. From the massive sand trains pulled by skeletal mammoths (with gray-robed necromancers sitting in the rib cage as their drovers), to the undead servants who clean the gutters, haul the garbage, care for crops, and more, the bodies of the dead were the tools used to build Moüd into the city it is today.
- Historian Demarcles Heralds, "The History of Great Cities"
The City of Bones has spun the raw stuff of death, turning it into a necessity for life.
For those who didn't see the announcement when it first came out, the second city in my fantasy RPG setting Sundara: Dawn of a New Age is finally out! Moüd: The City of Bones is available in both a Pathfinder Classic version, as well as in a Dungeons and Dragons 5th Edition version, whichever suits your style of play. And while this supplement made a bit of a splash when it first dropped, I wanted to talk a bit about some of what's going on between the covers, and how it fits into the overall vision I have for the setting as it develops!
Alternatively, if you're a DIY sort of person when it comes to world building, I'd recommend taking a look at 5 Tips For Creating Fantasy Towns and Cities, which gets into the process of how I've been building all these unique locations!
As usual, if you haven't signed up for my weekly newsletter, consider doing that to get all of my updates and fresh content as it drops. Also, if you missed the first supplement that introduced this new setting Ironfire: The City of Steel is also available both in a Pathfinder Classic and in a Dungeons and Dragons 5th Edition format!
Treating Necromancy as Just Another Tool
As I mentioned in What is "Sundara: Dawn of a New Age" All About?, one of the signature elements of this new setting is that it completely jettisons the traditional alignment system. While I have a more detailed guide regarding how that changes the rules (particularly for Pathfinder Classic, where alignment is so intimately tied to a lot of classes, spells, and concepts), the starting goal was to throw out the white hats and black hats that so many players reflexively reach for when they tell their stories.
This should be especially appealing for players who never get to really dig into all that necromancy has to offer, because so much of the really fun stuff comes with an Evil label on the spells.
This desert will strip your hide. Bess, here, don't got to worry none about that.
To lay the foundation for a new perspective on necromancy, I used the Silver Wraiths guild from my 100 Fantasy Guilds supplement that dropped a while back. Traditionally employed to stop random upsurges of undead, and to deal with angry spirits as exorcists (since necromancer is a profession, and one held by a wide variety of classes), the guild also put their magic to use in unexpected ways that have proven quite beneficial to commerce in general. Preserving the corpses of slaughtered animals for long journeys, ensuring they remain fresh, is one example. When the guild has needed to use corpses to complete its tasks (such as disaster relief, search and rescue, and more), they have strict rules about how bodies are acquired, what compensation must be rendered (inspired by The Taskmaster Necromancer), etc.
Moüd takes this idea of necromancy as a tool, which can be used for positive or negative ends, and ratchets it up to an industrial scale.
At first it was because the expertise of an entire guild of necromancers was needed to undo the remnants of a disastrous ritual that had been performed in the depths of the ancient city centuries ago (more on that in the history section), but once the immediate danger was passed the Silver Wraiths found themselves uniquely suited to solving the issues presented by the inhospitable environment surrounding Moüd. Because the city was still located in the midst of a forgotten trade route, but it was far too dangerous for living creatures to make the journey.
To reinvigorate the ancient trade route, the guild used undead beasts of burden to haul first supplies, and then passengers, across the wastes (similar to what I put in The Veterinarian Necromancer). The heat and dangers make labor dangerous for living men, so teams of undead workers handle menial tasks efficiently and effectively. The amount of labor means the guild declared it their new headquarters, which means apprentices are now trained there. The city grows, with new industries and new trade coming in every day, until Moüd is nearly as prosperous now as it was in its ancient days.
Digging Deeper Than Alignment
The key to remember with the City of Bones, and with Sundara as a whole, is that cultural beliefs will vary widely across the setting. For some people, and even some faiths, the body is sacred and must be respected. For others it's an empty husk once the soul has departed, no more holy than any other inert matter. Even individuals within an organization like the Silver Wraiths will have differing views and opinions regarding these subjects.
While I included a tracking system with consequences for over-use of certain spells (and of negative energy in general), that is meant as a way of showing the effects of living people dealing with energies that are antithetical to life; a purely physical toll, rather than a spiritual one. For folks who want necromancy to still have that edge of danger, but who would rather see it treated like radiation poisoning instead of a corruption of the soul.
What, me? No, I haven't been casting necromancy spells today... why are you asking?
The idea is that players and game masters should have the freedom to explore these ideas, traditions, and beliefs through that lens of differing cultural views, rather than with a single, divine rule that decided which actions are inherently good, or inherently evil across all cultures, species, and religions. Because, as so many folks have said, necromancy spells (even the dread and dire ones) could be used as tools to achieve good ends. Even the "harmless" spells could be used to perform some dire deeds, used to seriously hurt people. Alignment isn't concerned with motivation and uses in many cases, though, because things that are inherently good or inherently evil are good or evil in the moment the act is performed rather (or often in addition to) the ends they were meant to achieve.
And in this dawn of a new age, I'd like to see all of us choosing to think outside the boxes we've so often been stuck inside when it came to limits on our stories and character options.
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That's all for this week's Moon Pope Monday. To stay on top of all my content and releases, make sure you subscribe to my newsletter at the bottom of the page!
To stay on top of all my latest releases, follow me on Facebook, Tumblr, Twitter, and now Pinterest as well! To support my work, consider Buying Me a Ko-Fi, or heading to The Literary Mercenary's Patreon page to become a regular, monthly patron. That one helps ensure you get more Improved Initiative, and it means you'll get my regular, monthly giveaways as a bonus!
I've been dwelling on alignment a lot recently, but judging from the reactions my article The Punisher is Evil received, it's a topic that folks are interested in seeing more of. This week, though, I wanted to touch on the difficulty of shades of gray when it comes to our characters. When we want them to have a bit of an edge to them, but to stay out of darker realms.
What is the difference between a character who's bad, and one who is evil? I don't have an absolute answer to this question, but I have found some shadowy places that I think might be of interest to my fellow players out there.
The wearing, or not wearing, of skulls is not always an indicator.
While we're on the subject, though, are there any other characters you'd like to see me do a deep dive on their likely alignment? Or any particular alignments you'd like a 5 Tips post for, such as my 5 Tips For Playing Better Evil Characters? If so, toss a comment to let me know!
Where Do You Draw The Line?
Before we go too deep into this, first thing's first. Alignment by its very nature depends on absolutes in a setting. Moral relativism does not work with alignment because it's tied to games that have literal heavens and hells, angels and demons, etc. In these worlds there literally is a divine checklist and a neutral arbiter who decides whether your actions were good or evil.
How your character thinks about those issues, whether they feel justified, etc., is completely irrelevant. Whether they believe evil is good, or good is evil, doesn't matter. The divine laws of the cosmos have decided what is good and what is evil in many cases.
If there were no absolute goods, traditional LG paladins wouldn't be a thing.
Now, with that out of the way, the first thing you need to look at are what actions are considered inherently evil in your setting. This will vary from game to game and group to group, but we're not talking about small potatoes here. We're talking capital "E" evil actions.
Some of the more common options here include:
- Murder for profit (as well as just murder in general)
- Propagation of slavery
- Deliberate casting of evil spells
- Torture
The list goes on, but you get the idea. Evil actions are inherently bad things. Whatever your reason, whatever the character motivation, whatever the end result, it's fruit from the poisoned tree.
So, the first important consideration here is what actions are evil. Not just bad, or selfish, or harmful, but things that are outright evil. Because while it is true that characters who have committed evil acts in the past can redeem themselves and attempt to change their alignment, it takes a lot more work to climb out of that hole.
And if you commit more evil actions, it just means you dug yourself back into the hole again.
What Do Bad Actions Look Like?
Our morality as players tends to vary pretty widely. I've yet to be at a table where everyone agreed completely on what is good, and what is evil. However, a useful question to ask when it comes to characters who are bad, rather than being truly evil, is to ask what damage their actions do overall? Who is hurt by the things they do?
I said git out of my forest!
As a solid example of a "bad" character, take the classic thief. Your pickpocket, your burglar, etc. These individuals steal for a living, no question. They are breaking the law (as if that ever stopped an adventurer), and they are committing an act that most of us would really rather not have happen to us.
But under normal circumstances, I'd argue that action falls into the category of "bad" rather than "evil."
Why is that? Well, at its core, theft is a property crime. You are stealing a thing (gold coins, jewels, magic items, etc.) from another person. And in the case of pickpockets and burglars, the theft is usually the extent of the act. You might break a window to get into a home, for example, but at the end of the day you took a thing. There are going to be certain circumstances where this act is made more or less problematic (you knowingly stole the last savings from someone who then starved on the side of "makes it worse," to snatching food from a cart because you were starving and broke on the side of "well, that's not so bad"), but generally speaking property crimes aren't in the "evil" category.
What else might make you bad, but not evil?
Well, we've agreed that murdering people is generally an evil act. Murder is the deliberate killing of another person with malice aforethought, meaning that you set out to kill someone else deliberately after making the decision beforehand. However, most of us would agree that defending yourself from someone or something trying to kill you is not murder. Defending someone else is also okay, and often seen as a good act. A more questionable, "bad" thing to do might be to deliberately put yourself in a situation where someone will try to kill you, thus forcing you to defend yourself.
It's not evil, because they were actually trying to kill you. They could have chosen to walk away, and not attack you. You did provoke that response, though, which is... shady, shall we say.
Tangible Harm Versus Cultural Norms
There are dozens of different actions that might be considered unscrupulous, duplicitous, selfish, blasphemous, or otherwise "bad" that never cross over into real evil. A character might tell lies to hide their own actions, or to gain rewards they don't deserve. Someone might use threats and intimidation to force cooperation from those who don't want to help them, or to force someone else to back down from a fight. Someone might rob graves, commit adultery, burn down empty buildings, gamble illicitly, break religious covenants, or commit all sorts of other immoral acts.
But at the end of the day, it's important to ask if their actions cause tangible harm. And if so, what was the purpose of that harm?
This is where that divine slide ruler comes into the picture.
Let's go back to the thief. Did they need to steal whatever they stole in order to provide for themselves? If not, was the person they stole from tangibly harmed by that theft?
If a thief was starving and took bread from a merchant, they certainly broke the law. But did the loss of that one loaf of bread do the merchant any real harm? Probably not. But what if the thief stole a noble's jeweled ring instead? Well, given that the ring serves no real purpose other than ornamentation, the result is that some of the noble's wealth is now in the thief's hands. The noble may lose some face, and have to wear a different ring, but there hasn't been any true, tangible harm done to them. And if the thief broke into a crypt and stole the jewelry from the dead? Barring setting rules that involve the dead rising in wrath, dead people don't need money. Taking it from them harms no one, as it was just sitting there in the ground, unused and mostly unaccounted for.
Again, that doesn't make these actions good. It does, however, put them into that gray area of bad.
Anytime there's a question of whether an act should be labeled as bad or evil, it's important to ask what harm comes of it, and if the action is being taken to defend oneself against harm. And if you want a character who is bad, but not evil, don't try to justify them regularly committing evil acts. Try on someone who is irreverent, non-conformist, spiteful, or who is a little crass, vulgar, or illicit.
You'll have a lot fewer arguments, and you'll have to do way fewer mental gymnastics.
Also, as a pro tip, remember what I said back in The Risen Antipaladin. You get a lot more mileage out of someone who committed evil acts in the past, and who is trying to be a better person now. So when we meet them, they've managed to plateau at "bad" instead of being actively evil. That reputation might still be following the character around, but they don't create the friction of actively committing atrocities in team-based environment when some of your companions may feel morally obliged to stop what you're doing. Even if it might solve current problems.
Like, Follow, and Stay in Touch!
That's all for this week's Fluff post! If you've used this in your games, share a story down in the comments!
For more of my work, check out my Vocal archive, and stop by the YouTube channel Dungeon Keeper Radio. Or if you'd prefer to read some of my books, like my sword and sorcery novel Crier's Knife or my recent short story collection The Rejects, then head over to My Amazon Author Page!
To stay on top of all my latest releases, follow me on Facebook, Tumblr, Twitter, and now Pinterest as well! To support my work, consider Buying Me a Ko-Fi, or heading to The Literary Mercenary's Patreon page to become a regular, monthly patron. That one helps ensure you get more Improved Initiative, and it means you'll get my regular, monthly giveaways as a bonus!
If you're a gamer on any social media right now, then you've no doubt seen the firestorms surrounding the Why Orcs Are Problematicpost that's been going around. On one side of the argument you have players shouting, "We know, we've been saying this for years!" and on the other side of it you have players rolling their eyes and shouting back, "Orcs aren't even real, Jesus Christ not everything is racist!"
Artist's depiction of the comments section.
The problem here is that the argument is often couched in black-and-white, binary terms. Either orcs are problematic, or they're not. However, there's a lot going on beneath the surface, and a lot to think about. Not just in gaming in general, but also in terms of the fiction we draw on, the stories we tell, and the attitudes that are often baked-in with the games we consume.
So if you're looking for a deeper dive beyond the two options presented above (or if you're confused and looking for context) hopefully this Monday's post will help you out a bit.
But if that's not really your bag, well, my latest Critical Hits module from TPK just dropped this weekend, so you could go check out The Ghosts of Sorrow Marsh instead!
Seriously, go give it some love!
First Things First, What is an Orc?
Most of us already know the answer, so go ahead and say it with me! Orcs, as a creation of J.R.R. Tolkien were inherently evil humanoid creatures who served the dark lord and made up the ranks of his foot soldiers. They were corrupted, wicked, and they made up the muscle of the threat our heroes had to face.
Check out so far?
In their original incarnation, the orcs were symbolic as much as they were an actual threat to be dealt with. They were also monolithic; the orcs were a hoard, and there was no real, important difference between them. Some might be bigger, some might be meaner, some might be more skilled, but orcs were generally painted with a pretty broad brush. Which, one might argue, was one part of the initial problem.
The Depictions (And Evolution) of Orcs
Elements of this mythology maintained in Dungeons and Dragons' early days. Orcs were repulsive creatures who were brutal, violent, disorganized, and they typically worshiped/were bound to a dark god who demanded slaughter, sacrifice, and debased acts. While I would argue that maintaining a monolithic culture, and not giving orcs a great deal of depth were issues in the writing, the other issues actually came from their art in the early days.
And speaking of problematic art...
As was mentioned in the article, orcs were often depicted bearing weapons and armor inspired by non-European nations of the real world. Now, this was definitely fantasy, and there was no one issue of an orc carrying a kukri or wearing mirror armor that was a problem individually... it was the trend. It was the broad overall pattern that drew the battle lines in purely visual terms. Orcs were universally savage, brutal, and they carried weapons that bore a striking resemblance to India, China, Mongolia, and the Middle East. The heroes were drawing on the aesthetics and inspiration of Western European heroes, and so we have what might literally look like caricatures of East v. West.
Was that intentional? No, probably not. Just as Tolkien didn't state in his books that orcs were supposed to be based on any particular ethnicity or to represent any one group (though he did state in his letters he was drawing on specific ethnicities to make them seem more foreign to his projected European readers), the initial intent was probably not to say Europe good, non-Europe bad. Doesn't mean that's not how it came across, though.
Things got more problematic when orcs stopped just being corrupted evil beings and were given free will and choice. The creation of half-orcs (and eventually of orcs becoming PCs) meant that monsters who had once been entirely used for plot devices now had to become a varied and organic part of the world. But as we saw in Volo's Guide, as mentioned in the original article, there is still a clinging to the idea that all orcs are brutish, savage, and incapable of true empathy and understanding. They're always, at their core, monsters by their very nature. Inhuman. Other.
This becomes really problematic when you look at orcs as a big picture under those circumstances. Because if they can have children with humans, that raises questions of agency, of decisions, and of stereotyping. What was once a generic plot-filler threat is now an entire category made up of individuals who by the lore can be, do, and become what they want the same as any other character. Yet they're still treated as savage, backward, and lesser at the same time. That's frustrating for players who want to be orcs, but it also continues the trend of maintaining that problematic message.
Our Fiction Inherits Baggage (Whether Like It Or Not)
I grew up reading pulp fiction, and there is a breathtaking amount of racism and sexism in those stories. A lot of it was a product of its time, but many among us forget that the stories and tropes of that time didn't just get uprooted and replaced with shiny, new stuff that nixed the problematic descriptions. Many of these elements endured and maintained, until we didn't see them as products of prejudiced attitudes; they were just the way these stories were told.
Bob Chipman explained it particularly well using the trope of The Lost City.
For those who didn't watch it, the trope of The Lost City has its roots deep in European colonialism to Africa. Explorers would find these ancient ruins, and they would be flabbergasted that something like this could be found in Africa. They turned themselves inside out trying to explain it, ignoring the obvious that perhaps they were built by the ancestors of the people who still lived there. Nonsense! Black people could never comprehend the skill or ability it would take to build a castle, ridiculous!
And as Bob points out, that trope kept coming back over the generations. It existed in the time of the pulps, and early adventure fiction, it showed up in Indiana Jones, it was latched onto by games like Tomb Raider and Uncharted... it's a part of so many stories it would take a huge list to lay them all out.
Does that make all the stories who used this trope racist simply because they have their roots in a colonialist view? No, it doesn't. But it is important to hold these stories at arm's length, and ask what part of the original ancestor has survived and thrived in the current example, and how it was able to make it all the way into the modern incarnation. And, perhaps, what to do to fix it so that baggage doesn't weigh on the narrative.
For those looking for a real-world example, The Liberal Redneck Manifesto talks about the battle flag of northern Virginia... what a lot of people immediately think of as the Confederate flag. It was flown in a losing war, and then it was resurrected as a symbol of hate by organizations like the KKK, and by segregationists who wanted to cow and frighten black people. The flag became a symbol of several Southern musicians as well, and it was adopted by many who saw it as a rebel icon... the problem was that it still held all those older, more awful connotations for black people, and other ethnic minorities. So even if someone wears that flag because it's something waved around by a musician they like, or it's something they associate with family and good times at home, it's important to recognize that there's more to its legacy than the parts you've seen and know. You have to look at all of it, and at what message it sends to other people.
Oh, So Now It's Racist To Have Orcs as Bad Guys?
This is probably the dumbest thing I've seen come out of this conversation, so I'm going to address it here. It is not racist to have orcs as bad guys in your game. It's not racist to play an orc character. The issue arises when people ignore the history of how orcs have been depicted (and the real-life cultures often associated with them through their art, cultural trademarks, etc.), and when they don't put in the work of actually developing orcs in their settings.
There is no replacement for hard work.
As an example, I'm going to turn to Paizo's Golarion setting. When most people think of orcs in this world, they tend to think of the orc hold of Belkzen. This nation is a loose confederation of warring tribes who worship harsh and brutal gods, who value strength, and who were the foot soldiers of a powerful lich king who sought to conquer the world a handful of generations ago. They are, in a very real sense, one of the best takes I've seen on Tolkien's orcs as an organic part of a setting.
However, they are one of dozens of different settlements around the world, and each of them has their own unique culture, background, history, and feel in the context of the setting. The settlement of Averaka is a hard-working fishing village on a northern coast. Orcs and half-orcs in the Mwangi Expanse are often valued for their strength and durability, and they often hold important positions in tribes. Orcs in the deserts form their own familial groups, trading and intermarrying with others. Orcs and half-orcs have a wide variety of traits players and DMs can pick to customize them to a given area, but more importantly the lore of the setting makes it clear that attitudes, styles of society, etc. are a product of their history in a given area, rather than some in-born sameness that all orcs share.
That's the level of work it takes to make a sentient race a real, breathing part of a world and setting, and all of that has to carry through to how they're treated in the world as well. If a settlement is being raided by orcs, ask why, and build that into the adventure. Are they a war band who can't find a master, and they would rather take from the farmers than lay down their swords? Are they starving and pushed out to the edge of the badlands, so they have to steal in order to live? Is there a disagreement over the terms of a peace treaty, or are they mercenaries whose services have been bought by a bigger NPC with a hidden agenda? Is this a land-bound group of pirates looking to get back on the river, but they need the resources to repair their ship?
All of those are workable, and they add extra depth and meaning, allowing orcs to stand on their own as characters instead of as caricatures.
Lastly, Consider The Problematic Core of Many Adventures
Now, I know we're talking about orcs here, but this is something that Mark T. Hrisho brought up on his blog and I think it's a point worth adding to the discussion. Because a lot of our fantasy RPGs have another piece of baggage that has colored many of our monstrous races; mainly that if a given area of the map doesn't have people who look like our party living in it, then it doesn't really qualify as settled or explored territory. It is, instead, the edge of the known world, and the last edge of real civilization beyond which lives only darkness, and savagery.
Helmets on, I hear comments coming!
How many adventures have you played in tabletop RPGs, or even in video games, where you took on quests to "clear out" local monster infestations in the area? Caverns full of goblins, hills teeming with kobolds, mountaintop ogres, or the ever-present roving bands of orcs? If you've been in the hobby any length of time, you can probably think of several games that started you off this way.
And I'm not the first one to point out that in these scenarios we're basically barging into these creatures' homes, killing their families, and taking their stuff.
Even if it's not a job to kill a certain number of non-humans, these scenarios are often painted as, "protecting the light from the darkness of the savage lands," or something similar. Which basically states that none of the cultures of the other beings who call this region home, from the lizard men, to the catfolk, to the gnolls, are "real" people. They're just savages. Monsters. Little better than animals, and often not even worth as much XP.
Am I saying that fantasy RPGs who use this framework purposefully set out to be some kind of subliminal argument for the ideas of Manifest Destiny, or declarations in favor of colonialism? No. However, messages exist in fiction whether they're intended or not. Just like how early Disney princesses being damsels in distress wasn't likely intended to send the message to young girls that they had no agency and should wait to be rescued, but it can be argued that message is present regardless of the intention.
"Problematic" isn't a term reserved only for racial slurs and misogynist rants; it means that we need to look at the history of something, the messages within it, and how it came to be what it is. We need to be intellectually curious, honest with the history, and we need to understand that just because someone didn't intend something to send the wrong message, say the wrong thing, or to smuggle in an offensive attitude, that doesn't mean it didn't happen. Because it's only by looking these elements full in the face that we can make the games we love better, deeper, more complex, and in the end, less problematic.
And like I said in It's Okay To Admit There Are Problems in Your Hobby, you can like something problematic without being problematic by association. But we should all seek to be intellectually curious about these issues, and to remember that just because it may not affect us personally, that doesn't mean it's somehow not a real issue.
Again, for more of my work, check out my Vocal archive, and stop by the YouTube channel Dungeon Keeper Radio. Or if you'd prefer to read some of my books, like my sword and sorcery novel Crier's Knife or my latest short story collection The Rejects, then head over to My Amazon Author Page!
To stay on top of all my latest releases, follow me on Facebook, Tumblr, Twitter, and now Pinterest as well! To support my work, consider Buying Me a Ko-Fi, or heading to The Literary Mercenary's Patreon page to become a regular, monthly patron. That one helps ensure you get more Improved Initiative, and it means you'll get my regular, monthly giveaways as a bonus!
I've talked a lot about alignment over the years on this blog, with previous posts like Alignment is Performative as well as the installment that started this occasional feature Absolute Good, Absolute Evil, and Alignment in RPGs. However, since a discussion on this particular topic keeps cropping up in my feed over and over again, I figured I'd leave my two cents on it this week.
Because it disturbs me that so many of my fellow gamers are rooting for the fascist power fantasy, while missing the satirical soul of Judge Dredd.
Because if this doesn't look like a poster from Franco's Spain, I don't know what does.
So this week I thought I'd dedicate some time to this, and get us thinking a little deeper.
Also, for those who haven't seen it, this ended up becoming the first in my series of Alignment Deep Dives, so if you like this format and subject matter stop in and check those out!
Who is Judge Dredd?
For those of you who somehow aren't familiar with this character, let me catch you up on the basics. Dredd lives in the post-apocalyptic future of world of 2000 AD. The character is a Judge, empowered by the legal system of Mega City One to dispense justice according to the laws. The unbroken concrete hellscape is not a forgiving place, though, which means that the offenders who cross Dredd's path can expect to spend decades in total isolation at best, or summary execution at worst.
The character and his world are a satirical take on the power fantasy we see in a lot of action movies, which is one reason Dredd seems like an amalgamation of famous musclebound stars. Stallone's chin, Arnold's chest and biceps, Lundgren's sheer towering height, etc. He also tends to fall into the same category as Rorschach from Watchmen... which is to say that the British audience he was made for understood that he was a totalitarian nut job who believed he was doing what it took to keep order, while the American audience mistankenly thought the character was a hero.
The reason we never see Dredd remove his helmet is that he is not a human being. Dredd is an idea; he's the police state if it was a person. He is the militarization of law enforcement to the point that it exists for its own sake; an arbitrary force of nature that rains down hellfire on those who break the law.
Why Dredd is Not Good, Nor Neutral
Don't misunderstand me, here. The character of Judge Dredd is a ball, and the world he exists in is full of batshit bonkers stuff. State-sponsored cannibalism, raves of mutagenic drug addicts, ghoulish parodies of justice from other dimensions, and so on. If you don't have the film Dredd on your DVD shelf, and you haven't taken a look at Judge Dredd and The Worlds of 2000 AD Core Rulebook, then you should totally go do that.
You will thank me for it later. Now, let's get started.
To address the folks in the, "lawful good doesn't mean lawful nice camp," I agree with you on principle. Just because you have an LG in your box, that doesn't mean you visit orphans on the weekends, and plant daisies in your front garden. But it does mean that you attempt to do what is right. This is an important distinction, because you'll notice that Dredd often talks about bringing judgment, but never justice.
Because Dredd is not concerned with what is right; he is concerned with the law, and only the law. Sometimes enforcing the law means he saves people from vicious gangs. Sometimes it means he ends up splashing people's brains all over the wall for nonviolent offenses. His obsession with the penal code, and the fact that everything is filtered through it (along with the fact that mercy is not a quality he possesses, though he is well within his rights to exercise discretion should he so choose), is further evidence that doing what is good does not cross his mind.
And if performing any of the atrocities we see him commit on the regular bothers him, we never see that either.
Judgment Intensifies
As far as the, "He enforces the law, and that makes him neutral," crowd, I also acknowledge that you have a point. Someone who applies the law equally and fairly would normally fall into the LN category on a character sheet. They're impartial, trusting in the law to bring justice.
However, the system that Dredd supports is blatantly and satirically broken. The answer to every problem in the 2000 AD world is the most cartoonishly evil one you could possibly have that still solves the problem. People are hungry because most of the nation is an irradiated wasteland? What if we made it an open secret that we were recycling all the dead bodies into meat products to keep people fed? And increased the penalty for a lot of crimes to summary execution to make sure the supply stayed fed? Unemployment is skyrocketing! Well, let's crack down on more crimes to store unwanteds in a colossal prison complex to keep the population under control. There are too many crimes to deal with processing offenders and accused offenders? Eh, just do away with the whole court system, and put all of our trust in a single person to carry out the sentence.
Dredd is just doing his job. The same way certain jackbooted personnel during Hitler's Germany or Franco's Spain were just doing their jobs. Perhaps the best statement on the whole matter is from one of the corrupt judges in the Karl Urban film. "You know what Mega City One is? It's a fucking meat grinder. We just turn the handle."
These policies are not huge secrets in Dredd's universe. He's witnessed plenty of them firsthand. He sees people being executed in droves, he sees the riots and the fear, and he knows that what he is doing is perpetuating the system. He does not question it. He turns the handle, because that is his job. And by willfully participating in this kind of structured evil, he has become a willing party to all of its acts. He is, in many ways, the best representation of the State he serves; the glitz and polish of militarized force, barely concealing savage violence, the gold accents of his uniform spattered with blood.
Why We Want Dredd (And Characters Like Him) As Heroes
If we take a step back, and look at Dredd objectively, we realize that he is exactly the sort of character we typically use as a lieutenant villain in RPGs. Someone who summarily executes people without gathering evidence or presenting it to a court is exactly the kind of sign DMs give to players to let them know they're in an evil kingdom. The only way to make it more blatant is to have him beat a confession out of someone.
We saw it with Rorschach in Watchmen, and we see it in a lot of takes with Batman. We see it in every iteration of Superman when he decides to rule the world. We see it in the Deathwish films, and to an extent we see it in the Punisher. Part of it is that they play into the myth of victory by force. The vigilante, the hero cop, the old soldier, and other archetypes that all poke the American psyche in its happy places. They allow us to justify might-makes-right without putting ourselves into the category of the cruel ogre, the slave driver, or the wicked knight because their goals have been painted as noble, or necessary in some way.
It lets us have our cake and eat it, too.
The other part of the appeal is that these characters are often presented with the right beats that we don't think about the implications of what's beneath the skin. Something Paul Verhoeven did with Starship Troopers, for example.
For more on this topic of casting the folks we should see as villains as heroes, and the tricks we often fall for, check out the following video by Wisecrack!
Final Thoughts
Does liking characters like the protagonists mentioned above make you a bad person? No, of course it doesn't. Hell, I've actively enjoyed reading/watching most of what I've mentioned in this article. And sometimes you just want a game where you can mow down waves of unthinking, particularly evil enemies without worrying about your conscience, or what effect it could have on your alignment.
I get that.
However, discussions about alignment often reveal more about us than we think. And if you find yourself arguing that the billionaire who puts himself above judges while ignoring the law of the land, or the masked lunatic who tortures people for information deserve to have a G or an N in their alignment boxes, stop and ask why. Because no one ever claimed that Jack Bauer, Dredd, or even Charles Bronson's leads weren't effective at achieving their goals. But getting the job done doesn't make you a good person.
