Modern Games Can’t Tell Good From Evil

Summary

The video argues that some modern games struggle to portray good and evil consistently. Its central distinction is between morality as a set of principles that apply to everyone and morality based on whether a character or group is favored by the writers. When actions are judged mainly by who commits them, the video argues, heroes can behave cruelly without being treated as villains, while opponents may be condemned regardless of their actions.

Examples Discussed

• The Outer Worlds 2: The video criticizes Augustine de Vries for triggering a station disaster that kills the protagonist’s crew and contributes to a system-wide crisis. It argues that the game’s later framing of her as justified—and potentially heroic if spared—does not adequately reckon with her betrayal or the possibility that she could have explained her plan.
• Assassin’s Creed Shadows: The creator says that allowing Yasuke to destroy a real-world temple without meaningful in-game consequences makes the setting feel morally and socially unconvincing. The video also says Ubisoft made changes in a day-one patch after criticism.
• Tyranny: Presented as a stronger example of fictional morality. Its factions have distinct beliefs and internal logic—even when those beliefs are brutal—so players can understand and anticipate how they will respond.
• Avowed and Dragon Age: The Veilguard: Cited as examples where, in the video’s view, resistance groups or favored characters commit serious acts without the story treating those acts as morally significant, while other characters or factions are judged more harshly.
• Fable: The reboot’s removal of the traditional good-and-evil scale is presented as evidence of the industry’s move away from objective moral judgments.

The Video’s Explanation

Drawing on Christopher Lasch’s account of narcissism as a cultural pattern—not a clinical diagnosis—the creator argues that some writers may identify with favored characters and treat their actions as good by default.

The video contrasts this with heroism based on admirable deeds: a compelling hero should be defined by what they do and the limits they refuse to cross, not simply by their resemblance to the author.

The closing point is that fictional worlds need not share real-world morality, but they should have consistent moral rules of their own. Without such rules, the creator argues, villains lose their moral force and heroic deeds become less meaningful.

This is a critical essay rather than a gameplay guide; it offers no strategies or step-by-step tips.

Games and Sources Mentioned

• The Outer Worlds 2
• Assassin’s Creed Shadows
• Tyranny
• Avowed
• The Pillars series
• Dragon Age: The Veilguard
• The Fable reboot
• Mass Effect (Shepard)
• The Witcher (Geralt)
• Christopher Lasch, The Culture of Narcissism (1979)