The Heroic Tradition, Realistic Motivation vs. Heroic Motivation or What’s my Motivation?
The motivational aspect of Role-playing and the difference between Realistic Motivation vs. Heroic Motivation and the effects of Suspension of Disbelief has been a hot topic over the years. Realistic Motivation, Heroic Motivation, and Suspension of Disbelief all play critical roles in characterization.
The whole point of being an adventurer is going on real adventures.
Over the years, one of the quintessential questions in Fantasy RPGs (or any RPG) is “Why would my character do that?” and the classic “What’s my Motivation?” For example, in most Fantasy RPGs, players often play adventure characters. In this example, an adventurer is defined as a person who engages in an unusual experience, bold, risky undertaking with a dangerous series of events with an uncertain outcome, often in a fantastic setting.” The whole point of being an adventurer is going on adventures. These adventurers know and assume all the known and unknown risks for various reasons. These reasons or motivational factors are Power, Fame, Fortune, Excitement, or just plain Ego. These Heroic Character types are not content with a normal lifestyle and often feel they were meant for something more splendid, an extraordinary destiny.
It’s called “Dungeons” and Dragons for a reason…
In RPG games of genres of all kinds, from time to time, the Game Master will present the players with one challenging quest/adventure/mission. Over the years as a player and Game Master, I often heard the question, “Why would my character do that?” Before I continue, as a side note: the “D&D” concept of Alignment and the “Hero System” or “GURPS” system of Psychological Disadvantages as the Core Motivational factors have, of course, been removed from this particular argument. As a Game Master, my response would be, “You’re an adventurer; you go on adventures!” That is the point of the entire game. It’s called “Dungeons” and Dragons for a reason. I have always maintained that you can only fully experience a Fantasy RPG like experience Dungeons and Dragons if you go into an actual dungeon at some point or encounter a real dungeon.
Why would my character do that?
Nevertheless, the player will ask, “Why would my character do that?” Another one of my classic responses is, “It’s a game.” I’ve seen a tremendous amount of overthinking on this subject from players, and I haven’t heard video game players say, “Oh, on! That mission sounds dangerous! I’m going to hide under my bed! But, that $59.99 I paid for this game was well worth it for me to run in the corner and hide because the mission is too dangerous.” In the board games, I do it find it illogical for a “Top Hat” to own hotels on Boardwalk and Parkplace.
What if Bilbo stayed in the Shire?
Here’s a profound counterargument that I’ve presented to players who ask why my character would go on that dangerous quest. “What if Bilbo never left the Shire? What if he never found the One Ring?” Then, I guess there wouldn’t be many of the epic stories of “The Hobbit” or “Lord of the Rings.” The One Ring would remain in Gollum’s cave. The entire epic chain of events that followed The Hobbit, namely the Lord of the Rings trilogy, would be pretty pointless if Bilbo hid under his bed, “Oh No! Too dangerous, I’ll be late for dinner!” Instead, reluctantly, Bilbo finds his courage, rises to the occasion, and becomes a hero. Tolkien could have quickly written about Bilbo’s adventures in his garden, drinking tea, or enjoying the “the Finest Weed in all the Shire.” This type of story might interest some readers, but it’s not heroic and not an epic story. At the same time, Bilbo’s reaction to going on a dangerous quest with no guarantee of safety or reward would consider realistic, given the circumstances. Bilbo’s response would be consistent with the concept of “Realistic Motivation.”
Stallone, Schwarzenegger, or Norris never hid under the bed.
A lesser-known but the common term in film, literature, comic books, video games, and television is Realistic Motivation. Stories that use Realistic Motivation focus on Grit and Realism as the “Motivational Core” of the character’s behavior. These stories are less “over the top” than most popular action TV shows and movies, lacking the common “Heroic Themes.” Viewers will not see characters as the usual all-powerful, nearly indestructible, typical action heroes like Sylvester Stallone, Arnold Schwarzenegger, or Chuck Norris; not the action-oriented James Bonds film franchise either. Instead, the main characters of stories with Realistic Motivation do not permanently save the day or get the girl. These stories might focus on the realistic consequences of their actions and choices. Practical Motivation can be seen in police TV dramas like “The Wire,” “Hill Street Blues,” and “Law and Order.” Of Course, William Shatner’s character Sergeant Hooker on the TV show TJ Hooker was a clear example of Heroic Motivation. It’s arguable that Shatner’s performance lacked realism and was entirely over the Top. Mr. Shatner would disagree with me on this point.
Players forget it’s just a game.
Now that we have established some differences between Realistic and Heroic Motivation, let’s apply examples to player behavior in tabletop RPGs. Even after thoroughly explaining the difference between a Heroic and Realistic campaign style to my player over the years, these still proceed from false assumptions. Players in RPGs, especially in a Fantasy setting, tend to intellectualize their character’s Motivation and behavior. Once again, I must point out that the concepts mentioned above of Alignment and the system of Psychological Disadvantages as the Core Motivational factors have also been excluded from this particular argument. Players keep attempting to apply Realistic Motivation to role-play their characters. They need to remember they are PLAYING A GAME, not a realistic simulation of human behavior, and not with concepts taken from the study of sociology, anthropology, and psychology.
Top Hat has got hotels on Board Walk and Park Place.
As I have already established in this example and throughout this article, the players are playing characters called Adventurers who go on adventures; remember Heroic Motivational factors such as Power, Fame, Fortune, Excitement, or just plain Ego. I can’t stress this point enough, it’s just a game, but players keep applying concepts of Realistic Motivation to their character’s behavior. Once again, the $59.99 video game example comes to mind. “Oh no! This mission is too dangerous. Why would my character go on this dangerous mission without guaranteeing success, reward, or safety? I’m not going on the dangerous mission. Instead, I’m going to hide in a corner where it’s safe. BEST $59.99 I ever spent!” If you’re playing Monopoly, do you overthink why you are playing a Top Hat acquiring real estate and wealth? Of course not; it’s just a GAME; you go with it and have fun.
Heroes transcend ordinary mortals.
In contrast to stories that use Realistic Motivation, in most High Fantasy and Super Hero stories and RPGs, characters can possess superpowers and superhuman abilities like Strength, Speed, and Agility. The use of magic and magic items in a familiar place. The idea of superpowers and magic being introduced into the “real world” is common and has profound effects on the character’s motivational core. The character is now at the beginning of his journey in the oldest traditions in literature, the Hero. The Hero, the main character in a literary work, is celebrated in ancient legends. They transcend ordinary mortals in skill, strength, and courage (not known for hiding under their beds.) Heroic Epics of as Beowulf, Gilgamesh, the Iliad, and Achilles are some of the earliest examples.
The Power of Myth
Dr. Joseph Campbell wrote a series of books called “The Power of Myth.” Dr. Campbell is a mythologist and celebrated author. Campbell goes into great depth and detail about Heroic Motivation. His series of books also became a documentary on PBS. Star Wars and Indiana Jones creator George Lucas also appear in the documentary. Lucas explains why the Heroic Tradition is at the very core of all his films. Heroic Motivation is the superior force that drives and defines George Lucas’s timeless characters, such as Indiana Jones, Willow, and Luke Skywalker.
Suspension of Disbelief is required.
As a Game Master, I often have to distinguish between a High-Fantasy and a Realistic style of the campaign when describing my game to new players (sometimes existing players.) On the other hand, if a Game Master is presenting a Historical Reenactment style of campaign, a higher level of realism and historical accuracy would be required to have a successful game. Examples of Historical RPGs could include Ancient Greece, Rome, Egypt, Mayans, etc. Elements of Realistic Motivation would present, rather than elements of Heroic Motivation. High Fantasy campaigns would have more details of Heroic Motivation, where the extended use of Suspension of Disbelief is required, and the usual Assumptions of Realism dismissed. Logically, the Game Master must maintain a minimum level of realism, or the campaign loses all cohesion entirely.
The line between Realistic Motivation and Heroic Motivation seems skewed.
Real-world Heroes exist in everyday life, such as firefighters, police officers, and Search and Rescue team members. These real-world adventurers are driven by Realistic Motivation even though their occupations are inherently dangerous. Professional athletes are exposed to potentially career-ending and life-treating regularly, such as in American Football, Mixed Martial Arts, and Boxing. Johnny Knoxville, the star and creator of the show “Jackass,” was hospitalized several times. Knoxville narrowly avoided permanent paralysis from a spinal cord injury he sustained while filming his show. Martial Arts star Jackie Chan, who also performed most of his stunts in his film, reportedly broke almost every bone in his body at one time. These examples make the line between Realistic Motivation and Heroic Motivation skewed. The idea of Heroic Motivation isn’t inherently unrealistic, after all. In the Heroic Tradition, Heroes are risk-takers and are often addicted to the Action. Some Heroes are fearless, and some are insane. Does that sound familiar?
Not meant for an ordinary life, meant for something unique.
One of my favorite examples of Heroic Motivation and the beginning journey of the Heroic Tradition appeared in the 2009 version of “Star Trek,” directed by JJ Abram. A profound conversation occurred between Captain Pike and a young James T. Kirk “…you can’t be content with an ordinary life; you feel like you were born for something better, something special.”
The ethical axis of Law and Chaos, and the Moral axis of good and evil
In RPG systems such as Palladium and Dungeons and Dragons, the concept of Alignment defines character motivation. This provides a foundation and categorization of the ethical and moral dimensions of people and societies, the ethical axis of Law and Chaos, and the Moral axis of good and evil. Several classes and sub-classes exist with their Codes of Conduct, and race and selection of Deity add additional layers to character design. I (playing since 1981) and other players have noted that the Alignment System could be better, providing a bare-bone Motivational Framework for a given character created with that system.
Blind, quadriplegic, schizophrenic, homicidal, lecherous mutant alien, eunuch character with incurable, terminal illnesses who misunderstood society
In contrast to Dungeons, Dragons, and the Palladium System, The HERO and GURPS systems take a different approach. GUPRS and HERO System uses an extensive set of psychological and social disadvantages, as well as personality quirks, instead of Dungeons and Dragon’s outdated cookie-cutter Alignment System. Of course, after playing GURPS and HERO System for years, I discovered all the numerous flaws. I thought Dungeons, Dragons, and the Palladium System had severe problems with Min-Maxing, but in reality, Min-Maxing in GURPS and HERO System is even worse. As a Game Master, I’ve seen some seriously unbalanced and extremely unrealistic characters presented by players. These characters often needed more purpose or party cohesion and could have effectively contributed to the game or story cohesion. One player, who will only be referred to as “Father John,” created a Super Hero character for a HERO System campaign I ran. Father John was a quick study and comprehensively understood the system. He made a hero who was blind, quadriplegic, schizophrenic, homicidal, lecherous mutant alien, a eunuch with incurable, terminal illnesses, and that Hero was misunderstood by society. Father John was the type of player who demanded compelling content from his Game Masters in every session. I found it challenging to create persuasive adventure content for Father John’s “blind, quadriplegic, schizophrenic, homicidal, lecherous mutant alien, eunuch with incurable terminal illnesses who simply was misunderstood by society” character. As a game master, I requested Father John make reasonable concessions regarding his character and my campaign. Father John accused me of limiting his creativity and trying to railroad the player in the campaign. This would be a great example of how “a minimum level of realism must maintain, or the campaign loses all cohesion entirely.”
Finding good players who want to play, know how to play, and get involved in the game is hard to find
In conclusion, the point of playing an adventurer in a Fantasy Role Playing Game is to go on adventures, not hide under your bed because it’s too dangerous. Core Books for most RPGs these days are $49.99 and up. It could take several hours to create a character. The Game Master could spend days, weeks, or months planning an adventure. Not to mention the time and effort it takes to organize and plan a game day, secure a location, get the players to the game, have the Game Master set up the game, and have the host of the game prepare the gaming environment for the guests. After all the discussion about Realistic Motivation and Heroic Motivation, including the time, expense, and effort it took to put into the game, you still get that one player who will say, “No, why would my character do that? The adventure is too dangerous. My character will hide in the corner where it’s safe.” Then that player will sit off the side, put on their headphone, or stare at their phone for the duration of the game; then they have the nerve to ask, “what time is the game over?” or find some lame excuse to bail from the game early. These situations can have a very demoralizing effect on the other players, who have invested their time, money, effort, and energy in the game. Good players, who want to play, know how to play, and get involved in the game, and gaming venues can be hard to find. Game Masters know these struggles all too well.
Topics
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