A look at the philosophical basis for morality as a mechanic in choice-driven games.
The agony of choice is all the rage in modern story-driven gaming. Moral and ethical decisions have become the go-to method of injecting substance and weight into interactive narrative, and the trend shows no sign of stopping. Indeed, choice is unique to interactive media, and is arguably its most fundamental aspect. What is interactivity if not some level of choice in how one experiences an environment? Even something as simple as selecting the right weapon to slaughter a demonic posse in Doom demonstrates that agency is always at the heart of interactivity.
The exploration of agency has come a long way over the short life of video games as narrative media. While the possibility of games with multiple endings was already being explored in through the 1980’s, from Nobunaga’s Ambition to Sweet Home, the concept of an ethically-driven choice system would develop through the 90’s, and particularly in the RPG genre. The offerings of Interplay and BioWare, including such classics as Baldur’s Gate, Planescape: Torment, and Fallout, introduced characters with independent agendas who would react to the player’s behavior in the world. This could lead to all manner of emergent narrative developments, with characters abandoning or even attacking the player for veering too far along an opposing ethical axis. With the popularity of Fable, the notion of a binary morality system became standard issue in many RPG’s, and was soon picked up by shooters like BioShock.
As the medium matured, however, there emerged a certain disillusionment with these dichotomous systems. The cracks began to show in its narrative applicability. The choice became less about immersive, situational decision making and more about commitment to one of two paths. BioWare’s Jade Empire provides a particularly egregious example, allowing the player to go through the entire game before the final decision rockets you all the way to one end of the morality scale. While it can be great fun to choose between life as a saint and life as an utter bastard, it hinders interesting storytelling by glossing over the gray areas that makes morality so fascinating in the first place.
When we talk about how choice has developed in games over the decades, what we’re really talking about is feedback. When I make a decision as a player, how does that affect the progression of my experience? Is it a simple matter of life or death? Does it affect my character’s personal arc? Are the ripples of my choice felt throughout the whole world? One approach to choice-feedback is to have an event-based system of consequences that actually changes the outcome of one or more of the game’s story arcs. It may be the death of a beloved character or the fall of an great empire, or even the unlocking of a unique ability or item. The more responsive the game world, the more likely a player is to feel powerful within that game world. We’ll call this “active feedback,” in which the game explicitly responds to a given player choice.
Another sort of feedback emerges from the design of interesting dilemmas in themselves. This means that the player is presented with a choice that is contextualized by the narrative substance of the game world. While this choice may or may not tie directly into an active feedback mechanic, the heavy lifting is done on the part of the player based on the ideas the ethical choice presents. Adventure games like SOMA and Kentucky Route Zero have deftly applied this sort of choice system, which allows the player to define the interior world of the character rather than the external game world.
For instance, in SOMA, the protagonist, Simon, learns that he is simply a copy of his own brain from a century ago, transfused into a robot body. In one of the game’s subtler moments of choice, Simon finds the computer where his brain scan is stored and can opt, with little prompting, to delete the file. The decision has no bearing on the outcome of the game, but it is given significance by the narrative context, and so it gave me lengthy pause when I came across it. I debated over what to do, and it’s a decision that still stands out to me. The game effectively communicated consequence without a direct supporting event. We’ll call this “passive feedback.”
From a narrative perspective, crafting an interesting dilemma is far more valuable than simply providing the player with the opportunity to “opt in” to either good or evil. There’s little drama in being presented with a flagrantly Good or Evil option and then having the outcome reflect the proscribed morality of the choice. Even in titles such as Fable III, where a sort of tragic irony colors the moral binary, it does more to demonstrate the latent sadism of a binary ethical system than it does to offer anything truly innovative to the concept of choice and consequence in games. We as humans are conflicted, doubtful, anxious beings, and in life we never come across simple moral binaries. Our ethical dilemmas are defined by their agonizing, tragic quality, and the passive feedback of an ethical choice should reflect that complication and depth. The pain of such decisions is the spark of good drama.
But we can go one step further, and say that this pain is also central to morality itself, and how human beings experience satisfaction from making moral judgements. As game designers, understanding the philosophical basis for this satisfaction can be useful in constructing systems of morality within our games. For that, we should look to Immanuel Kant, the quintessential moral philosopher.
Kantian morality is complex and multifaceted, and the philosophically inclined should read The Critique of Practical Reason to understand it fully. For the sake of simplicity, we can say that it’s less about what is moral and more about how morality is determined in the first place. For Kant, morality is a logical form, a set of criteria by which human reason determines an ethical course of action. This opposes Kant to the common assumption that what is “good” is determined by a goal or objective, i.e. happiness, pleasure, ensuring future good, etc. Kant argued that morality must be more than a means to an end. It must be universally and unconditionally good in itself, independent of any consequences.
This is particularly interesting, since it separates moral choice experientially from the rote, reward-based logic that generally governs how we think of game design. We can see this at play in a title like TellTale’s The Walking Dead. The game is an endless succession of “damned-if you-do” moments culminating in devastating tragedy, and yet we remain absolutely rapt even in the absence of a definitive win-state or reward. According to Kant, this isn’t a fluke. It’s the entire point. Given that a morality is opposed to any self-interested inclination, he determines that there is only one form of feedback that tells you without a doubt that you are being moral:
Pain.
Physical pain, psychological pain. It doesn’t matter what sort of pain as long as it hurts. It sounds brutal and sadistic, and it absolutely is, but it creates, as Kant notes, a quality of morality whereby we can appreciate it intellectually even though viscerally we experienced it as suffering. In his introduction to The Critique of Practical Reason, Stephen Engstrom explains that this pain gives way to “a feeling of respect for the moral law, a feeling that can come to have a positive aspect to the extent that we recognize that it is in the judgment of our own reason. Through this recognition, the feeling of respect takes on a certain elevating and ennobling character, insofar as its object is recognized to be a law that has its source in our own rational nature.”
To my mind, this concept perfectly accounts for the power of meaningful choice in games. Players are engaged by challenging, ethically complicated decisions against which they can apply judgment reached through their own reason. To have this effect, these decisions must confront us to some degree with a tragic pain. In the context of a game’s narrative, this pain manifests as guilt. The way in which the player considers this guilt, from an intellectual standpoint, is what allows the experience to resonate with the player and gives depth to their engagement with the game.
It is important to understand the primacy of passive feedback in the implementation of guilt as gameplay. While there can certainly be active feedback systems to support them, the narrative design and the implications of the choices within the context of the story must effectively convey passive feedback, ensuring that the decisions made have gravity, and stick in the player’s mind long after the deed has been done. An active feedback system that is devoid of any passive feedback, which allows you to simply select between desired outcomes, does little aside from propping up a superficial fantasy. By contrast, passive feedback can color a player’s experience by playing with how they experience the context of their journey. Well executed player choice fully embraces this, relying upon the cultivation of guilt for its emotional yield.
In his talk at GDC 2014, Unreal 2 and Dead Space 2 designer Matthias Worch explained how agency is afforded to players in combat scenarios through an interplay of complicating mechanics which can be learned and beaten through applied knowledge. This deployment of guilt in the context of deep, ethical dilemmas ultimately serves the same purpose, of creating systemic challenge against which the player can apply their rationality, thus granting the player ethical agency.
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