Evil

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Welcome back!

I’m coming late to the RPG Blog Carnival this month, but better late than never, right?

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NPCs are an area where I either go very deep or very shallow. For example, a common theme I have in running a game is putting an Inn/Tavern in every town and there always happens to be an old man or woman at the desk or available when someone rings the bell.

This old person inevitably was a) cranky, b) hard of hearing, and c) difficult to deal with. So whenever the PCs would try and find a room for the night, they’d have to verbally spar with the desk jockey.

Desk clerk (DC): “Eh?”
PC: “We’d like a room for the night.”
DC: “A broom for flight?”
PC: [speaking up] “A ROOM FOR THE NIGHT.”
DC: “You don’t have to yell… I’m not deaf you know… I have a couple of rooms with one bed in them, but all 5 of you might have to draw straws… or there’s the [mumbles] common room…”

Yes, I like to torment my players. It’s part of the fun of being a GM.

On the flip side of the coin are characters like Lady Dagor, the female knight in charge of the Order of St. Greggor – a group of knights seeking the destruction of all demons in the world of Immortals’ Wake.

In her case, I always had a mental image of Sarah Douglas as Ursa (Zod’s second in command) in Superman II, but a bit shorter and wearing a combination of chain and plate mail. She buries her contempt for civilians well, but holds them somewhere above pond scum in the order of things.

Dagor focuses on two things. Firstly, she studies all the battles between the knights of her order and the Changed demons who control raw elemental energies. She feels she has a better understanding of how her enemy operates than they do in many cases and far more knowledge than many of the organizations also studying the demons (including other church members, the House of the Magus (mages), and the Chasers). This feeling of superior knowledge is both a good and a bad thing.

Secondly, she focuses on strategies for capturing, testing, and killing demons. Using her knowledge of how they operate and many of their tactics, she finds weaknesses to exploit and is constantly instructing those under her command to test such weaknesses vigorously in the field.

Lady Dagor is a stern task master and a good soldier, but also knows how to play the political game. As the first woman in charge of the militant order of the Church of the Mother, she knows she is empowered to do just about anything in the name of the Church. But even with this knowledge, she obeys the letter of the law and will rarely break with church doctrine.

It was her laugh that I settled on first. A haughty, full-bodied laugh that has been practiced and perfected over the years to throw off allies and enemies alike. She has few friends, and only “befriends” people if it is politically or strategically necessary.

But at the bottom of this superiority complex and the haughtiness, she devoutly believes in the teachings of the Mother. What she is doing is right on every level and that gives her the strength to do what she must. Is she evil? Not from her perspective.  But from other people’s perspectives? Yeah, probably.

Some NPCs, like Athena from Zeus’s head, come fully formed in my mind when they appear. Others sneak up on me. And others just pop up like that damn innkeeper. “Eh?”

–Fitz

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So from the first three parts of this series (part 1, part 2, part 3), you hopefully have seen some of the thought that went into our slightly different take on alignment for Moebius Adventures. Again, this is totally portable and could be used with any system I think.

RPGBlogCarnivalLogocopyBut does it work? The jury’s still out. Ultimately, this may not be a usable alignment system. But it provides some interesting flexibility that the traditional good/evil scheme may not. If nothing else, perhaps it offers some methods for fleshing out characters in addition to a traditional good/evil alignment.

I think that new players should focus on the basic alignment grid of Good, Neutral, and Evil. But more advanced players may want a bit more play in how they approach decisions for their characters in a given world.

When conflicts arise between different levels of morality, it definitely gets interesting.

Let’s say that someone is trapped in a burning building and your character has enough time to safely extract the individual from harm. A character with a light moral alignment (+6 to +10) would save the individual, since Man is more important than Nature (in order of moral codes). A character with a gray moral alignment (-5 to +5) may or may not aid the trapped person. Is the person a friend? Would there be a possibility of a reward? These things may tip the scale one way or another. A character with a dark moral alignment (-6 to -10) might have started the fire or help the fire burn other nearby buildings. Maybe they consider cities dirty, unnatural structures and seek to, like Nature, clear the area for new growth.

Considering these qualities of Morality and Virtue provide some interesting insights into how our characters deal with the world around them and the people in it.

Hopefully I haven’t put anyone to sleep with this series. I think it’s philosophically interesting to approach roleplaying from more abstract ways than the old “good vs. evil” scheme.

Thanks for your time!
–Fitz

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Ok, so we’ve chatted a bit about Morality and moral codes (back in part 2). Now let’s change our focus to Virtue and bring some pain into the equation…

What is Virtue? Virtue represents the mortal drive to ease or cause pain and suffering in themselves and others. Someone’s virtue isn’t determined by how they perceive the pain they inflict or receive, but in how they deal with that pain.

RPGBlogCarnivalLogocopyRules-wise, we use that same -10 to +10 scale. For Virtue Alignments, “Light” is 10 to 6, “Gray” is 5 to -5, and Dark is -6 to -10.

Let’s use the example of a gym teacher ridiculing a student for not being able to do enough push-ups. The teacher may feel that ridiculing the child in front of others will make them work that much harder at improving their performance. The adult teacher may truly feel he’s helping the child by forcing them to perform. However, the teacher’s behavior shows that their virtue is firmly set in the gray, not the light or dark areas of the scale. Regardless of whether the child’s performance improves, the teacher inflicting the pain is encouraging a potential change in behavior. Both may be changed by the process.

Not all pain is easily identified, but the result is the same – someone suffers. Some pain manifests in an individuals psyche or soul and may never be seen by others. Other pain is physical and more immediately apparent to others.

Prolonged exposure to the effects of pain and suffering may lead to permanent changes in a person’s mind, body, or soul. Physical pain may cause damage creating deformities, bodily weaknesses, or even death. Mental pain may manifest itself as insanity, depression, or an altered state of consciousness. And soulful changes may change a person’s faith in the divine, their will to live, or change how quickly they can recover from repeated abuses.

A Virtue Alignment reflects how a character views pain and suffering. Do they want to inflict pain or stop it? Virtue is more than just thinking about pain – it’s what a character will do when confronting a situation involving pain in themselves or others.

Characters with light virtues will attempt to ease the pain in others and not cause pain themselves. However, they may kill someone to ease the pain suffered from a terminal illness. And when interrogating a prisoner they might try to give the person hope of life without pain in exchange for information. They would never force an individual to watch others being tortured.

Characters with gray virtues might use torture to further a higher goal or achieve something important to them. They might watch a horde of barbarians enter a city and slaughter citizens, never raising a hand to stop the massacre. They aren’t necessarily inflicting the pain themselves, but they still have the ability to stop it or at least a portion of it if they choose.

Characters with dark virtues will use pain readily. They might torture a prisoner before asking any questions simply because they feel the prisoner deserves it.

When you consider villains from the standpoint of Morality and Virtue, I find that you end up with much more realistic bad guys. Everyone has a story. So you have an evil wizard that wants to destroy a kingdom. Why? What happened to that person to make them willing to commit evil acts?

Is it that they were in conflict with Society or an individual? Perhaps severe mental or physical damage was done in the process?

–Fitz

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