Category: Aesthetics

 

In fiction, race/gender swapping occurs when an established character’s race or gender is changed. For example, the original Nick Fury character in Marvel is a white man but was changed to a black man in the Ultimates and in the Marvel Cinematic Universe. As another example, the original Dr. Smith in the TV show Lost in Space is a man; the Netflix reboot made the character a woman. As would be expected, some people are enraged when a swap occurs. Some are open about their racist or sexist reasons for their anger and are clear that they do not want females and non-white people in certain roles. Some criticize a swap by asking why there was a swap instead of either creating a new character or focusing on a less well-known existing character. For example, a critic of the He-Man reboot might be angry that King Grayskull was changed from white to black and raise the critical question “what about Clamp Champ?”

Such questions can be asked in bad faith; the person asking them makes it clear that they are angry that minorities and women are allowed to take traditional white male roles. As such, it is not that they want new women or minority characters or more focus on existing characters, the question is a cover for their racism and sexism. These questions serve well in this role as they are not overtly racist or sexist. In fact, when raised in good faith, these are reasonable aesthetic questions. Unfortunately, these questions are now well-established as dog-whistles that allow people to hide their racism and sexism from “normies” while sending a clear signal to those in the know. That some people use these questions without racist or sexist intent helps maintain their innocuous appearance. Someone using them as racist or sexist tools can claim, in bad faith, that they are just asking reasonable questions. And then go on to rage against how “the woke” are ruining everything by compelling race/gender swaps and forcing diversity. Those who call them out on this can seem crazy to those who do not understand the context. But let us ask these questions in good faith.

The most obvious practical reason why race/gender swapping is used instead of creating a new character or focusing on an established character is money. Creating and branding a new character (and building up a fan base) takes time and resources. And it is a gamble, since there is also no guarantee of success. So, keeping the Nick Fury character while making him black made more practical sense than creating a new character to serve as the head of SHIELD. While less well-known characters can become a great success (for example, the Guardians of the Galaxy), this is risky as there  are often reasons why such characters are less well known. But this only explains why a new character was not created or why focus was not shifted, it does not explain why the race/gender swap occurred. Fortunately, this is easy to explain and even justify.

While some critics claim that the liberals, feminists and the woke are forcing companies to gender/race swap, these companies seem to be doing this for the same reason they do almost anything: money. Their marketing and research folks are aware that demographics and perceptions change. So, whereas fiction dominated by white male characters was the moneymaker in the past, more diverse characters appeal to some audiences now. If these changes were purely political and hated by most people, these swaps would be consistent and constant failures. This is not to make the absurd claim that they all succeed, just that they do not seem unusually prone to financial failure. Those who say “go woke, go broke” tend to cherry pick their example of failures and ignore the abundance of unsuccessful media that is “traditional” rather than “woke.”

No nefarious conspiracies are needed to explain swaps; this is just businesses trying to maximize profits by minimizing cost and exploiting established brands. Demographics and values change and this explains both the swaps and the rage at the swaps. 

It is also worth noting that despite the hyperbole about Hollywood not having new ideas, new characters do get created often. Netflix, for example, floods its service with new shows with new characters which often include females and non-white people. And attempts are made to focus on characters that have been overlooked. These efforts often make the people who ask, “why not create a new character?” angry as it exposes that they ask this question in bad faith. Aside from money, are there good reasons to race/gender swap rather than  create a new character or focus on an existing character?

One excellent aesthetic reason is that doing so can make for an interesting plot that explicitly explores the influence of race and gender on the character and story. For example, one episode of Marvel’s What If..? Explores what would have happened if Peggy Carter had become a super soldier rather than Steve Rogers. This swap has a meaningful impact on the story in part because of the assumed gender roles of that time (and now). I think this is one of the best aesthetic justifications for such swaps.  Obviously, some people get very angry about such explorations.

Another good aesthetic reason, especially in a reboot, is to use the gender/race swap to create new story and character dynamics. While the focus is not on exploring race/gender issues, these do become new elements for an old character in telling a new story. This also tends to make some people very mad.

There are also various moral reasons to make such changes. One reason is to provide people with characters they can more easily identify with. While critics will claim that people should be able to identify with any hero, ironically this would favor allowing such swaps. After all, if people can identify with any hero, then it should not matter if they were race/gender swapped. Another moral reason is to help foster parasocial relationships using the power of established characters. One reason racists and sexists dislike diversity in fiction is that people can form parasocial relationships and this can make them more tolerant which is something racists and sexists oppose. There are, of course, bad reasons to race/gender swap.

Some might consider the “make money” reason to be a bad one, which is not unreasonable from an aesthetic or moral standpoint. If the swap is purely to make money and it has no aesthetic or moral justification, then criticism would seem warranted. But a swap could make money and be independently warranted on ethical or aesthetic grounds. Also, one would need to be consistent in such criticisms. To use an analogy, the Toyota Corolla of today is radically different from when I was a kid; yet the brand name is kept because doing so is advantageous and helps make money. But people do not get very angry about that.

As noted above, some claim that the swaps are compelled by political actors such as the liberals, SJWs,  the woke, and feminists. If a swap were just the result of political compulsion and it lacked all ethical and aesthetic merit, then that swap should be criticized. But a swap could be compelled but also independently warranted on ethical or aesthetic grounds. It is also worth mentioning again that companies are motivated by profit; their political stances are shaped by the bottom line. And even if they were driven by politics or ideology, one would still need to show that their politics and ideology are bad. They usually are, but for different reasons.

While most swaps are motivated by hope of profits, there are good reasons to race/gender swap a character rather than creating a new one. But creating new characters or focusing on less well-known characters are also good options—it all depends on what one is trying to do. Ideally, the swap would be to tell a better story; but there is nothing inherently wrong with swapping for any number of other reasons.

Cuphead on SteamDirect

Inuendo Studios presents an excellent and approachable analysis of the infamous Gamer Gate and its role in later digital radicalization. This video inspired me to think about manufactured outrage, which reminded me of the fake outrage over such video games as Cuphead and Doom. There was also similar rage against the She-Ra and He-Man reboots. Mainstream fictional outrage against fiction involved the Republican’s rage against Dr. Seuss being “cancelled.” Unfortunately, fictional outrage can lead to real consequences, such as death threats, doxing, swatting, and harassment. In politics fictional outrage is weaponized for political gain, widens the political divide between Americans, and escalates emotions. In short, fictional outrage at fiction makes reality worse. 

I call this fictional outrage at fiction for two reasons. The first is that the outrage is fictional: it is manufactured and based on untruths. The second is that the outrage is at works of fiction, such as games, TV shows, movies, and books. Since Thought Slime, Innuendo Studios, Shaun, and others have ably gone through examples in detail, I will focus on some of the rhetorical and fallacious methods used in fictional outrage at fiction. These methods also apply to non-fiction targets as well, but I am mainly interested in fiction here. Part of my motivation is to show that some people put energy into enraging others about make-believe things like games and TV shows. While fiction is subject to moral evaluation, it should be remembered that it is fiction. Although our good dead friend Plato would certainly take issue with my view.

While someone can generate fictional outrage by complete lies, this is usually less effective than using some residue of truth. Hyperbole is an effective tool for this task. Hyperbole is usually distinguished from outright lying because hyperbole is an exaggeration rather than a complete fabrication. For example, if someone says they caught a huge fish they would be simply lying if they caught nothing but would be using hyperbole if they caught a small fish. There can be debate over what is hyperbole and what is simply a lie. For example, when the Dr. Seuss estate decided to stop publishing six books, the Republicans and their allies claimed Dr. Seuss had been cancelled by the left. While it was true that six books would not be published, it can be argued whether saying the left cancelled them is hyperbole or simply a lie. Either way, of course, the claim is not true.

   Even if the target audience knows hyperbole is being used, it can still influence their emotions, especially if they want to believe. So, even if someone recognizes that the “wrongdoing” of a games journalist was absurdly exaggerated, they might still go along with the outrage. A person who is particularly energetic and dramatic in their hyperbole can also use their showmanship to augment its impact.

The defense against hyperbole is, obviously, to determine the truth of the matter. One should always be suspicious of claims that seem extreme or exaggerated, although they should not be automatically dismissed as extreme claims can be true. Especially since we live in a time of extremes.

A common fallacy used in fictional outrage is the Straw Man. This fallacy is committed when someone ignores an actual position, claim or action and substitutes a distorted, exaggerated, or misrepresented version of it. This fallacy often involves hyperbole. This sort of “reasoning” has the following pattern:

 

  1. Person A has position X/makes claim X/did X.
  2. Person B presents Y (which is a distorted version of X).
  3. Person B attacks Y.
  4. Therefore, X is false/incorrect/flawed/wrong.

 

This sort of “reasoning” is fallacious because attacking a distorted version of something does not constitute an attack on the thing itself. One might as well expect an attack on a drawing of a person to physically harm the person. To illustrate the way the fallacy is often used, consider what happened to start the “outrage” over Cuphead. A writer played an early version of the game badly, noted that they were doing badly, and were generally positive about the game. All this was ignored by those wanting to manufacture rage: they presented it as a game journalist condemning the game for being too hard because they are bad at games. And it escalated from there.  

The Straw Man fallacy is an excellent way to manufacture rage; one can simply create whatever custom villain they wish by distorting reality. As with hyperbole, there is the question of what distinguishes a straw man from a complete fabrication; the difference is that the Straw Man fallacy starts with some truth and then distorts it. To use the Cuphead example, if a person had never even played Cuphead or said anything about it, saying that they hated the game because they are incompetent would be a complete fabrication rather than a straw man.

Straw Man attacks tend to work because people generally do not bother to investigate the accuracy of claims they want to believe; and even if they are not already invested in the claim, checking a claim takes some effort. It is easier to just believe (or not) without checking. People also often expect others to be truthful, which is increasingly unwise.

The defense against a Straw Man is to check the facts. Ideally this would involve going to the original source or at least using a credible and objective source.

A third common fallacy used in fictional outrage is Hasty Generalization. This fallacy is committed when a person draws a conclusion about a population based on a sample that is not large enough. It has the following form:

 

Premise 1. Sample S, which is too small, is taken from population P.

Conclusion: Claim C is drawn about Population P based on S.

 

The person committing fallacy is misusing the following type of reasoning, which is known as Inductive Generalization, Generalization, and Statistical Generalization:

 

Premise 1: X% of all observed A’s are B’s.

Premise : Therefore X% of all A’s are B’s.

 

The fallacy is committed when not enough A’s are observed to warrant the conclusion. If enough A’s are observed, then the reasoning is not fallacious. Since Hasty Generalization is committed when the sample (the observed instances) is too small, it is important to have samples that are large enough when making a generalization.

This fallacy is useful in creating fictional outrage because it enables a person to (fallaciously) claim that something is widespread based on a small sample. If the sample is extremely small and it is a matter of an anecdote, then a similar fallacy, Anecdotal Evidence, can be committed. This fallacy is committed when a person draws a conclusion about a population based on an anecdote (a story) about one or a very small number of cases. The fallacy is also committed when someone rejects reasonable statistical data supporting a claim in favor of a single example or small number of examples that go against the claim. The fallacy is considered by some to be a variation of Hasty Generalization.  It has the following forms:

 

Form One

Premise 1: Anecdote A is told about a member (or small number of members) of Population P.

Conclusion: Claim C is made about Population P based on Anecdote A.

 

Form Two

  1. Reasonable statistical evidence S exists for general claim C.
  2. Anecdote A is presented that is an exception to or goes against general claim C.
  3. Conclusion: General claim C is rejected.

 

People often fall victim to this fallacy because stories and anecdotes have more psychological influence than statistical data. This leads people to infer that what is true in an anecdote must be true of the whole population or that an anecdote justifies rejecting statistical evidence. Not surprisingly, people usually accept this fallacy because they prefer that what is true in the anecdote be true in general. For example, if one game journalist is critical of a game because it has sexist content, then one might generate outrage by claiming that all game journalists are attacking all games for sexist content.

A person can also combine rhetorical tools and fallacies. For example, an outrage merchant could use hyperbole to create a straw man of an author who wrote a piece about whether video game characters should be more diverse and less stereotypical. The straw man could be something like this author wants to eliminate white men from video games and replace them with women and minorities. This straw man could then be used in the fallacy of Anecdotal Evidence to “support” the claim that “the left” wants to eliminate white men from video games and replace them with women and minorities.

The defense against Hasty Generalization and Anecdotal Evidence is to check to see if the sample size warrants the conclusion being drawn. One way that people try to protect their claims from such scrutiny is to use an anonymous enemy. This is done by not identifying their sample’s members but referring to a vague group such as “those people”, “the left”, “SJWs”, “soy boys”, “the woke mob”, or whatever. If pressed for specific examples that can be checked, a common tactic is to refer to someone who has been targeted by a straw man fallacy and just use Anecdotal Evidence again. Another common “defense” is to respond with anger and simply insist that there are many examples, while never providing them. Another tactic used here is Headlining.

In this context, Headlining occurs when someone looks at the headline of an article and then speculates or lies about the content. These misused headlines are often used as “evidence”, especially to “support” straw man claims. For example, an article might be entitled “Diversity and Inclusion in Video Games: A Noble Goal.” The article could be a reasoned and balanced piece on the merits and cons of diversity and inclusion in video games. But the person who “headlines” it (perhaps by linking to it in a video or including just a screen shot) could say that the piece is a hateful screed about eliminating white men from video games. This can be effective for the same reason that the standard Straw Man is effective; few people will bother to read the article. Those who already feel the outrage will almost certainly not bother to check; they will simply assume the content is as claimed (or perhaps not care).

There are many other ways to create fictional outrage at fiction, but I hope this is useful in increasing your defense against such tactics.

This contains many spoilers. When I first saw the trailer for The Tomorrow War my thought was “I wonder who that discount Chris Pratt is?” When I realized it was the actual Chris Pratt, my thought was “he must really need money.” Yes, it is exactly that kind of movie. I will start with some non-philosophical complaints and then move on to what is most interesting (and disappointing) about the flick: time travel.

Like many war movies of its ilk, this flick handles armored fighting vehicles by leaving them out. Instead, the human forces confront the aliens with infantry, Humvees, transport helicopters, and fighter-bombers. Oddly, the infantry is armed with standard guns that are largely ineffective against the aliens.  This is even though they know this and there are plenty of existing infantry weapons that would kill the aliens. No armored fighting vehicles (like tanks) are used, and Humvees are the mainstay of the forces. They get easily destroyed by the aliens charging into them like deranged moose (except when the main characters are in one). Maybe leaving out armored vehicles is a budget issue, but it mainly seems because the aliens, which are basically animals, would be slaughtered by modern armor. They could do no damage, and antivehicle weapons would slaughter them. My theory is that rather than come up with an alien that could beat armor, the writers just leave out armored vehicles. The transport helicopters, as one would expect in such a film, generally fly within the leaping range of the aliens and attack helicopters do not exist (they do have armed drones, though). The fighter-bombers exist, as always, as a stupid plot device: in one part of the movie the hero is tasked with rescuing research that is the last hope for victory, yet an air strike is called on the otherwise empty city and it cannot be called off. But enough of that, on to the time travel.

Time travel is always a mess in philosophy, science, and fiction. But it can be fun if used properly. The movie does have an interesting, though unoriginal, premise: humans in the future have built a time machine and are using it to recruit soldiers and supplies from the past to fight the aliens that have killed all but 500,000 people. As movies must, the movie puts limits on time travel. The biggest limitation is that the time “tunnel” has a fixed temporal range of 30 years. When people go forward, they go forward thirty years. When they go back, they go back thirty years. One of the minor characters explains it in terms of two connected rafts in a river: they always stay the same distance apart but move along with the river. One of the supporting characters asks the obvious question as to why they do not make more rafts. The answer is that the time machine they have is held together with bubble gum and chicken wire, so they cannot build another one. While not the worst answer a writer could come up with, it is stupid within the rules of the movie: people and equipment can move freely between the present and future. More time machines could be made in the past and brought to the future. They could even build a time machine in the present and open a time tunnel to 30 years earlier, giving humanity another 30 years of preparation time. And then do that repeatedly until the paradoxes destroy reality. A better answer would have been some techno-metaphysical babble about how the time stream can only permit one time tunnel to operate. But let us get back to the fact that people and things can move between the times.

At one critical point in the movie, the heroes have completed a toxin that will kill the female aliens. But just as they complete it, their last base is overrun, and Chris Pratt is recalled to the past, with the toxin. The time machine is done, so the war has been lost. Apparently having struck his head in the fall, Pratt thinks he has no way of getting the toxin to the future, so everything is lost. The nations of the world also just sort of decide to give up as well, which would make sense if everyone believed in metaphysical determinism. Pratt’s character apparently lost the ability to understand how time works: the toxin he has in the present will eventually reach the future. It will just travel one day at a time towards that future.

Going back to the raft analogy, the time machine is like a pneumatic tube that has a fixed length, it can quickly move things back and forth over that distance. But, and here is how normal time works, one can also walk an object to towards the other end of the tube in the future. As such, when the aliens show up, the humans will have as much toxin as they wish to make to use against them. This feature of time would also allow the humans to plan their missions very effectively. To illustrate, I will use a smaller version of the time tunnel thing.

Suppose that on 12/5/2026 I build a time tunnel that reaches back 1 year (roughly). On that day, the tunnel pops open on 12/5/2025 and Mike 2026 can hand Mike 2025 a usb drive full of useful information (such as winning lottery numbers, weather reports, news reports on disasters, and so on). How would this be possible? Here is how. When Mike 2026 arrives, he tells Mike 2025 to fill up the drive. Mike 2025 spends the year doing just that, so in 2026 the drive is full of information and Mike 2026 hands it to Mike 2025 when he arrives.  Mike 2025 can now use all that information.

In the case of the movie, when the time tunnel opens for the first time, they could do the same thing: as people come from the future, they just update information. Thirty years after the time tunnel opens, the travelers have all that information and can use it to change missions that failed, and so on, thus changing the future. This, of course, creates the usual time travel mess of changing the future based on information from the future. An analogous problem also arises from bringing objects back from the future that depend on the future to exist. I will use the toxin from the movie to illustrate this old problem.

As mentioned above, Pratt’s character helps create a toxin in the future and brings it back to the past. He is weirdly baffled about how he will get it to the future but decides to not give up the fight. With the help of some others, he manages to determine that the aliens landed long ago and were frozen in the ice (like in the Thing). So, he does the sensible thing: he goes to a government official and tells him he knows where the aliens are and has the toxin to kill them. So, the official does the usual movie thing: he just refuses. So, Pratt and his associates do the usual movie thing and go it on their own. They use the toxin to kill a couple aliens, then blow up the alien ship (so they did not need the toxin). Then Pratt and his dad beat up the female that escapes the ship. The movie ends with everyone being happy. Except, obviously, the aliens and anyone who might have wanted the technology in that ship. Because of this, the tomorrow war never occurs. Which leads to some problems, but I will focus on the toxin.

The toxin only exists because it was created in the future in response to the aliens. To steal from Aquinas who stole from Aristotle, “To take away the cause is to take away the effect.” As such, the defeat of the aliens would mean that the toxin would never exist, it could not be there in the past. Also, going back to the information problem, Pratt only knows about the aliens because of the tomorrow war, which he prevented from happening. They could, of course, have done a “Yesterday’s Enterprise” thing: the whole timeline changes or something. This is just one of the many paradoxes of time travel.

Another approach, which one could mentally write into the movie if one wishes, is that time travel is dimensional travel or creates time-line branches (which is effectively dimensional travel). So, the future Pratt goes to is real and does not change for it is what it is. When he comes back from that future (alternative reality) with the toxin and kills the aliens in his present, this creates a new future timeline for him. This means, of course, that his alternative adult daughter dies in that alternative future, but his new alternative daughter does not, since the war does not happen in the new timeline.

The movie, I think, would have a been a bit more interesting if they used the alternative timeline approach and they could have had a brief moral debate about obligations to help in an alternate future of one’s own reality. Or it could be a plot twist that the people doing the “time travel” knew they were going to another reality but decided to lie about it to get help.

In terms of the quality of the movie as a movie; well, it is what one would expect from either a store-brand Chris Pratt or a name-brand Chris Pratt who really just needs the money.

Some years ago, the right made Dr. Seuss and Mr. Potato Head battles in their manufactured culture war. When Pepe Le Pew was removed from the Space Jam 2 movie, there were cries that the boundary ignoring skunk had been cancelled. As I have noted in previous essays, these are all just examples of companies changing their products. While some attributed this to companies going woke, the more reasonable explanation is that they thought it would be profitable to make these changes and were trying to be smart capitalists. Sometimes their marketing efforts fail, as happened with Bud Light.

If these companies had been coerced into making such changes, then this could have been morally wrong. If the state had tried to impose these changes, then it would be reasonable to raise the 1st Amendment as the state would be forcing companies to change their products and brands against their will. But if the state was not involved, then this Amendment does not apply as private individuals cannot violate this amendment when acting in their private capacity.

If non-state actors coerced these companies, then this could be immoral since using such power to violate rights is usually wrong. For example, an employer using their coercive advantage over their employees to interfere with their freedom of expression, is usually legal but is morally wrong. However, this does not seem to have been the case; no outsider appears to have forced these changes.

It could be argued that the companies were coerced by popular opinion, that the “woke mob” pressured them into making these changes.  But this does not seem morally problematic since consumers have the right to express their values to companies and companies routinely shift their products and brands to meet consumer demand. If companies making changes based on changing values is coercion, then companies would also be coerced as they responded to tastes and styles changing. But we do not think that the decision to stop making Tab was the result of coercion nor do we think that changes in fashion are the result of coercion: styles and tastes change over time and companies change along with them.

One matter that does not seem to be discussed is the remedy the right would want for the alleged harm of cancellation. That is, what should the state do in response to these changes? If there was adequate evidence of illegal coercion, then the state should step in. But there was no evidence of that, these companies seemed fine with the changes they decided to make. It is the right that was outraged, not Hasbro or the estate of Dr. Seuss. Should folks on the right be able to use the coercive power of the state to force these companies to change things back to how they were? In these cases, should laws have been passed requiring that the books be kept in print, that the “Mr. Potato Head” brand be kept and that Le Pew be returned to the movie, and so on for all that was alleged to be cancelled? This would, ironically, seem to be compelled speech and a violation of the first Amendment. If the folks on the right think the companies should have decided; well, they did. They just did not decide the way some of the right wanted at the time. The behavior of the Trump administration and Republican controlled states has shown how much they care about free expression. Based on their behavior, their concern is with ensuring the content they dislike is cancelled and the content they like is either unrestricted or imposed by the coercive power of the state.

A few years ago, the estate of Dr. Seuss decided to pull six books from publication because the works include illustrations that “portray people in ways that are hurtful and wrong.” This was taken by some on the right as an example of “cancel culture” and it became a battleground in the culture war designed to distract from real problems. There was speculation on the motives of the decision makers. They might have been motivated by sincere moral concerns, they might have been motivated by woke marketing (sales did increase after the announcement), or they might have (as the right suggests) yielded to the threat of “cancel culture.” While questions of motives are interesting, my main concern is with the philosophical matter of re-assessing works of the past in the context of current values.

This is not a new problem in philosophy and David Hume addressed the matter long ago. As Hume sees it, we can and should make allowances for some differences between current and past customs. He says, “The poet’s monument more durable than brass, must fall to the ground like common brick or clay, were men to make no allowance for the continual revolutions of manners and customs, and would admit of nothing but what was suitable to the prevailing fashion. Must we throw aside the pictures of our ancestors, because of their ruffs and fardingales?” Hume is right to note that elements of past art will be out of tune with our time and that some of these differences should be tolerated as being the natural and blameless result of shifting customs. Such works can and should still be enjoyed.

As an example, movies made and set in the 1960s will feature different styles of clothing, different lingo, different styles of filming, and so on. But it would be unreasonable to look down on or reject a work simply because of these differences. Hume does, however, note that a work can cross over from having blameless differences in customs to being morally problematic:

 

But where the ideas of morality and decency alter from one age to another, and where vicious manners are described, without being marked with the proper characters of blame and disapprobation; this must be allowed to disfigure the poem, and to be a real deformity. I cannot, nor is it proper I should, enter into such sentiments; and however I may excuse the poet, on account of the manners of his age, I never can relish the composition. The want of humanity and of decency, so conspicuous in the characters drawn by several of the ancient poets, even sometimes by Homer and the Greek tragedians, diminishes considerably the merit of their noble performances, and gives modern authors an advantage over them. We are not interested in the fortunes and sentiments of such rough heroes: We are displeased to find the limits of vice and virtue so much confounded: And whatever indulgence we may give to the writer on account of his prejudices, we cannot prevail on ourselves to enter into his sentiments, or bear an affection to characters, which we plainly discover to be blamable.

 

Hume thus provides a rough guide to the moral assessment of past works: when a work’s content violates contemporary ethics, this is a significant flaw in the work. Hume does note that such works can still have artistic merit, and one can understand that the artist was operating within the context of the values of their time but these flaws are blameworthy and diminish our ability to enjoy the work. Put in marketing terms, the work loses its appeal to the audience. Hume’s view can easily be applied to the Dr. Seuss situation.

When Dr. Seuss created these works, the general customs, and ethics of America (and the world) were different. While there were people who held moral views that condemned racist stereotypes in art, there was a general acceptance of such things. In fact, many people would not even recognize them as being racist at the time they were created. Since I hold to an objective view of morality, I think that racist images have always been wrong, but I do recognize the impact of culture on moral assessment. There are, of course, ethical relativists who hold that morality depends on the culture: so, what was right in the earlier culture that accepted racism would be wrong now in a culture that is more critical of racism.

There are also theories that consider the role of cultural context in terms of what can be reasonably expected of people and that shapes how people and works are assessed. That is, that while morality is not relative, it can be harder or easier to be good in different times and places. So, a person trying to be a decent human being in the 1930s faced different challenges than a person trying to be a decent person in 2025. Harms also need to be taken in context: while racist stereotypes in drawings are seen as very harmful today, in the context of the racism of the past, these drawings would pale in comparison to the harms caused by racist violence and laws. This is not to deny the existence of racist violence today; it is just to put matters in context: things are bad, but not as bad as the past (though the future might be worse).

Whether we think that morality has changed or that more people are moral, these racist stereotypes are now broadly rejected by people who are not racists. As such, it made both moral and practical sense for the estate to take these books out of print. From a practical standpoint, racism can taint a business’ reputation and unless one focuses on marketing to racists (which could be a profitable option) purging racist content makes sense. In terms of ethics, racist images are wrong. One could advance a utilitarian argument here about harm, a Kantian argument about treating people as ends and not means, or many other sorts of arguments depending on what ethical theory you favor. As such, removing the products from sale makes sense, especially since they are books for children. We generally accept that children need more protection than adults. While adults can (sometimes) make informed decision about possible harms from content, children generally have not learned how to do this. So just as we would not allow children access to firearms, alcohol, or pornography, it is ethical for a company to decide to protect them from racism.

While it is tempting to see children’s books as just amusements, children can be profoundly shaped by the content of such works. This is, perhaps, why many parents and groups have been instrumental in making Captain Underpants the most banned (cancelled?) book in America. Just as they are shaped by all their experiences. Children will generally pick up on racist stereotypes and can internalize them. Even if they do not become overt racists, these stereotypes will impact how they think and act throughout their life. As Plato argued, “true education is being trained from infancy to feel joy and grief at the right things.” Our good dead friend Aristotle developed this notion in his Nicomachean Ethics and he makes an excellent case for how people become habituated. Assuming Aristotle got it right, the estate made the right choice in discontinuing these works.

In closing, it is worth wondering why the right was so concerned about these works. If they were consistent defenders of freedom of expression and freedom of choice, then they could argue that they are merely applying their principles of freedom. However, they are not consistent defenders of these freedoms and one must suspect that they are fighting for racism rather than freedom.

Back when Black Lives Mattered, (HBO) Max briefly pulled ‘Gone with the Wind’ from its video library as an indirect response to protests about racism. The movie was later returned with a disclaimer to provide context. This struck a reasonable balance between the aesthetic importance of the work and the moral importance of presenting slavery honestly. The disclaimer also provided context for the film, such as how racism impacted the black actors. Perhaps because of the success of this approach, Max also added a disclaimer to the classic comedy ‘Blazing Saddles’.

This classic comedy-western engages with racism and prominently features racist characters using racist language. But, as the disclaimer noted, it is anti-racist. The racists are the villains. Racism is savagely mocked. As such, it might be wondered why the film required a disclaimer. This seems like putting a disclaimer before ‘All Quiet on the Western Front’ to make it clear that the famously anti-war film is not pro-war.

One concern about putting a disclaimer on a film like ‘Blazing Saddles’ is it could provide ammunition to those saying the “politically correct cancel culture of the left” is out of control. It could be used as “proof” that “the left” is wrong about criticisms of racism in aesthetic works. In reply, the right can create outrage ex nihilo and thus a disclaimer will have no meaningful impact aside from providing a focus of the outrage. That said, the disclaimer might have some impact on those critical enough to check to see if the target of the outrage exists, yet not critical enough to be thorough critics of the outrage.

This might seem a silly concern, but things like a movie disclaimer can  strike “normies” as ridiculous and this can be exploited as part of the radicalization process. The strategy is that an “absurd” response from “the left” can help build a gradual ramp leading into the pit of, for example, racism.

Another concern is the disclaimer might be seen as insulting. It seems to suggest viewers are too stupid to understand the obvious point of the movie, that racism is bad. As a counter, people do misread comedy. A good example of this is the character of Stephen Colbert once played by Stephen Colbert on the Colbert Report. While Colbert is a liberal who mocks conservatives (and liberals) some conservative viewers believed that he was serious about being a conservative. They understood he was doing comedy (the show was on Comedy Central) but did not get his point. While it is anecdotal evidence, I know conservatives who thought this. Since we all enjoyed the show, I was careful not to spoil their fun with the truth.  As such, it is possible that the movie might be seen by some people as endorsing racism

As another example, the 1975 “Germans” episode of “Fawlty Towers” includes the use of the N-word by the character of the major. In the episode, the major corrects someone for using a racist slur by suggesting they use another racist slur. In 2013 the BBC edited the episode to take out the word, which created a negative reaction in some quarters. A few years ago the BBC pulled the episode from streaming.

John Cleese, who played the main character on the show said that the racism of the major was presented in a negative light and that the point of the line was to criticize (with comedy) rather than commit racism. According to Cleese, “You see, what people don’t understand, there’s two ways of criticizing people. One is a direct criticism. And the other is to present their views as they would present them, but to make sure that everyone realizes that the person presenting those rules is a fool. And literal-minded people, who are the curse of the planet, can’t understand that. They think if you say something, you must mean it literally.” The decision makers seem to have come to agree with Cleese.  The episode was eventually restored, but some streaming services included a disclaimer or warning.

While these are only two examples, they do show how people can be mistaken about the intent of comedy. As the “Fawlty Towers” example shows, people can be confused about the intent of the use of racism in comedy. As such, the use of disclaimers even for comedies critical of racism would seem justified. The explanation provided can help people understand the intention of the work and realize that the racism in the comedy is not intended to be racist but is critical of racism. As such, the use of disclaimers could be a reasonable means of preventing such confusion. This benefit must be balanced against the possible harm, though. It can be argued that a reaction from “the left” about a work they mistake as racist would provide even better fodder for the right-wing outrage engines than the disclaimer. If the argument is a good one, then this would serve to justify the use of disclaimers.

As a final point, it is certainly sensible to inform potential viewers about content that they might find problematic, but it might suffice to add a text warning at the start (“contains comedy critical of racism that references racism”) rather than a disclaimer.

As noted in previous essays, Wizards of the Coast (WotC) created a stir when they posted an article on diversity and D&D. The company made some minor changes to the 2024 version of the game which generated some manufactured controversy.  The company took the approach of “portraying all the peoples of D&D in relatable ways and making it clear that they are as free as humans to decide who they are and what they do.” They also decided to make a change that “offers a way for a player to customize their character’s origin, including the option to change the ability score increases that come from being an elf, a dwarf, or one of D&D’s many other playable folk. This option emphasizes that each person in the game is an individual with capabilities all their own.”

While the AD&D Monster Manual allowed individual monsters to vary in alignment and Dungeon Masters have always broken racial stereotypes in their campaigns, there has also been a common practice to portray races and species in accord with established in-game stereotypes. Drow and orcs are traditionally monstrous and evil while elves and dwarves are usually friendly and good.

AD&D also established the idea that fantasy races have specific physical and mental traits. AD&D also set minimum and maximum scores for the game stats. For example, half-orcs have a maximum Intelligence score of 17, a Wisdom score limit of 14, and their highest possible Charisma is 12. The game also divided characters by sex; females of all the races could not be as strong as the males. A PC’s race also limited what class they could take and how far they could progress. Going back to half-orcs, they could not be druids, paladins, rangers, magic users, illusionists, or monks. They could be clerics, fighters or thieves, albeit with limits on their maximum level. They were, however, able to level without racial limits as assassins. This is why AD&D players are suspicious of half-orc PCs; they are probably evil assassins. As a side note, the only PCs I have killed as a player have been half-orc assassins who decided tried to assassinate me. Given that race has been such an important part of D&D, it is no wonder the changes upset some players.

While some assume all critics of the changes are racist, I will not make that mistake. There are good, non-racist arguments for not changing the game. The problem is that racists (or trolls using racism) also use the same arguments. A difference between the two, aside from the racism, is that honest critics are arguing in good faith while racists (and trolls using racism) are arguing in bad faith. The main distinction is in their goals: a good faith critic opposes the changes for reasons they give in public. Those arguing in bad faith conceal their true motives and goals.

Some claim the people making the bad faith arguments are probably just trolls and not racists. But this distinction does not matter. Consider the following analogy. Imagine Sally takes communion at church. The wine tastes odd and later someone Tweets at her “did u like the atheist piss in ur blood of Christ? Lol!” Consider these three options. First, the person does not have a real commitment to atheism and is just trolling Sally to get a reaction. Second, the person hates Sally personally and was out to get her. Third, the person is an atheist who hates religious people and went after Sally because she is religious.

On the one hand, the person’s motives do not really matter: Sally still drank their urine. That is, the harm done does not depend on why it is done.  On the other hand, one can debate the relative badness of the motivations—but this does not seem to change the harm. Going back to racism, the person’s motivation does not matter in terms of the harm they cause by defending and advancing racism. Now, to the argument.

A good-faith argument can be made by claiming there is in-game value of having distinct character races, such as allowing people different experiences. Just as having only one character class would be dull, only having one basic race to play would also be dull. So, just as the classes should be meaningfully different, so too should the fictional races. While there are legitimate concerns about how racists can exploit the idea that races differ in abilities, it can also be argued that people understand the distinction between the mechanics of the fantasy world and reality. It can also be argued that we can stop the slippery slope slide from accepting fantasy races as different while not embracing real-world racism. One could even make a positive argument: people playing the game get accustomed to fictional diversity and recognize that PCs of different types bring different strengths to the party, something that extends analogically to the real world.

Unfortunately, this same sort of argument can be used in bad faith. One tactic is to use this argument but then slide into alleged differences between real people and then slide into actual racism. As a concrete example, I have seen people begin with what seems to be a reasonable discussion of D&D races that soon becomes corrupt. One common racist (or troll) tactic is to start by bringing up how D&D has subraces for many PC races. There are subraces of elves, dwarves, halflings and others that have different abilities. The clever racist (or troll) will suggest there should be human subraces in the game. On the face of it, this seems fine: they are following what is already established in the game. At this point, the person could still be a non-racist who likes the idea of fantasy subraces and thinks it would be cool to have different options when they play a human. But the racist will move on to make references to real-world ethnic groups, asking how one would stat whites, Asians, African-Americans and so on. The person can insist that they are just following the logic of the game and they seem to be right. After all, if the game has many sub-races with meaningful differences, then the same could apply to humans. And this is exactly how a racist can exploit this aspect of the game. A persuasive racist can convince people that they never moved from discussing D&D into racism and they can use the honest critics as cover. This shows why the change has merit, it could deny racists a tool.

Being an old school gamer, I do like the idea of distinct races in games. This is because of the variety they offer for making characters. While I do not want to yield this to the racists, I can see the need for a change to counter the racists. This would be yet another thing made worse by racists.

A second argument is a reductio ad absurdum argument. The idea is to assume that something is true and then derive an absurdity or contradiction from this assumption. This shows that assumption is false. In the case of races in D&D, some people have noted that the proposed approach would logically lead to all creatures in the game being the same. One person, I recall, asserted that the proposed changes entail that tigers and beholders would have the same stats. Another person joked (?) that this would also mean that gnolls would be “friendly puppers.” The idea was, of course, to show that assuming the changes should be accepted would lead to absurd results: no one wants monsters to all have the same stats and no one wants all the game creatures to be good. 

While this could be a good faith argument, there are some concerns. One is that reducing the changes to absurdity in this manner seems to require using the slippery slope fallacy or at least hyperbole and the straw man fallacy. No one is seriously proposing to give all monsters the same statistics or that they will all be morally good. In terms of the slippery slope, no reason has been given that WotC would take the changes to these absurd extremes. At best these would be poor good faith arguments. Depending on where a person goes with them, they could also be bad faith arguments; after all, they do mirror the real-world racist arguments that claim it is absurd to think everyone is perfectly equal and then argue for racism.

I obviously do not think that all monsters should have identical stats nor that all monsters should be good. But this is consistent with the changes and one can easily adopt them and avoid the slippery slope slide into absurdity. In closing, whatever changes WotC makes to D&D, they have no control over what people can do in their own campaigns.

When the culture war opened a gaming front, I began to see racist posts in gaming groups on Facebook and other social media. Seeing these posts, I wondered whether they are made by gamers who are racists, racists who game or merely trolls (internet, not D&D).

Gamers who are racists are actual gamers that are also racists. Racists who play games (or pretend to play them) are doing so as a means to recruit others into racism. While right-wing hate groups recruit video gamers, there seems to be no significant research into recruitment through tabletop games like D&D. My discussion does not require any racists who game; all that is needed is gamers who are racist. Unfortunately, you can easily find them on social media.

An easy way to summon racists is to begin a discussion of diversity in gaming or mention of the revised 2024 rules. But surely there are non-racists who disagree with diversity in gaming and the changes WotC has made in the 2024 rules? Is it not hyperbole and a straw man to cast all critics of diversity as racists? This is a fair and excellent point: to assume every critic of diversity and the game changes is a racist would be bad reasoning. But while some racists are openly racist, others use stealth. They advance arguments that seem reasonable and non-racist while occasionally letting a hint of racism show through. But not so much racism that it cannot be plausibly denied.

There is also another problem: the honest non-racist critic and a stealthy racist will often advance the same arguments. So, what is the difference, other than the racism? The answer is that the critic is arguing in good faith while the racist is arguing in bad faith.

As a philosopher, I will start with the philosophical definition of an argument. In philosophy, an argument is a set of claims, one of which is supposed to be supported by the others. There are two types of claims in an argument. The first type of claim is the conclusion.  This is the claim that is supposed to be supported by the premises. A single argument has one and only one conclusion, although the conclusion of one argument can be used as a premise in another argument.

The second type of claim is the premise. A premise is a claim given as evidence or a reason to logically accept the conclusion. Aside from practical concerns, there is no limit to the number of premises in an argument. When assessing any argument there are two factors to consider: the quality of the premises and the quality of the reasoning. The objective of philosophical argumentation is to make a good argument with true (or at least plausible) premises. Roughly put, the goal is to reach the truth.

Philosophical argumentation is different from persuasion as the goal of persuasion is to get the audience to believe a claim whether it is true or false. As Aristotle noted, philosophical argumentation is weak as persuasion. Empty rhetoric and fallacies (errors in reasoning) have greater psychological force (though they lack all logical force). The stage is thus set to talk about bad faith.

The foundation of arguing in good faith is the acceptance of the philosophical definition of argument: the goal is to provide plausible premises and good reasoning to reach the truth. This entails that the person must avoid intentionally committing fallacies, knowingly making false claims, and misusing rhetoric. A person can, of course, still employ persuasive techniques. Good faith argumentation does not require debating like a stereotypical robot or being dull as dust. But good faith argumentation precludes knowingly substituting rhetoric for reasons. A person can, in good faith, argue badly and even unintentionally commit fallacies because a person can make bad arguments in good faith. A person can, obviously, also make untrue claims when arguing in good faith. But as long as these are errors  rather than lies and the person put in effort to check their claims, then they can still be arguing in good faith. 

Arguing in good faith also requires that the person be honest about whether they believe their claims and whether they believe their reasoning is good. A person need not believe what they are arguing for, since a person can advance an argument, they disagree with as part of a good faith discussion. For example, I routinely present arguments that oppose my own views when I am doing philosophy.

One must also be honest about one’s goals when arguing from good faith. To illustrate, a critic of changes to D&D who is open about their belief that they are detrimental to D&D would be acting in good faith. A racist who argues against changes in D&D hoping to lure people into racism while concealing their motives would be arguing in bad faith. As would be suspected, a clever racist will conceal their true motives when trying to radicalize the normies. There is also the possibility that a person is trolling. But if someone is trolling with racism it does not matter that they are a troll for they are still doing the racist’s work for them.

While there are objective methods for sorting out the quality of arguments and the truth of claims, determining motives and thoughts can be hard. As such, while I can easily tell when someone is committing an ad hominem fallacy, I cannot always tell when someone is engaged in bad faith argumentation. This is more in the field of psychology than philosophy as it involves discerning motives and intentions. However, sorting out motives and intents is something we all do, and we can divine from a person’s actions and words what their motives and intents might be. But we should use caution before accusing someone of arguing in bad faith and this accusation certainly should not be used as a bad faith tactic. To use accusations of bad faith as a rhetorical device or an ad hominem would be bad faith argumentation and would, of course, prove nothing. But why should people argue in good faith?

There are two broad reasons why people should do so. The first is ethical: arguing in good faith is being honest and arguing in bad faith is deceitful.  Obviously, one could counter this by arguing against honesty and in favor of deceit. The second is grounded in critical thinking: bad faith argumentation generally involves bad logic, untruths, and a lack of clarity. As such, arguing in good faith is ethical and rational. Bad faith argumentation is the opposite. Why, then, do people argue in bad faith?

One reason is that bad faith reasoning can work well as persuasion. If one rejects truth as the goal and instead focuses on winning, then bad faith argumentation would be the “better” choice. 

A second reason is that a person might risk harm, such as social backlash, for arguing their views in good faith. In such cases, hiding their views would be prudent. As a good example, a person who wants to get people to accept human rights in a dictatorship might argue in bad faith, hoping to “trojan horse” people into accepting their views. If they openly argued for human rights, they risk being imprisoned or killed. As an evil example, a racist might argue in bad faith, hoping to “trojan horse” people into accepting their views. If they were openly racist in a D&D Facebook group, they would face censure and might be kicked out of the group. So arguing acting in bad faith is the only way they will be able to poison the group from the inside. A third reason is that bad faith reasoning can lure people down a path they would not follow if it were honestly labeled. Such a use does raise moral questions; some might advance a utilitarian argument to defend its use for good while others might condemn such deceit even if it is alleged it is to achieve a good end.

In the next essay I will look at some arguments against some of WotC’s policies that can be made in good or bad faith

A few years ago the owners of D&D, Wizards of the Coast, issued an article on diversity. In the previous essay, I advanced two arguments in defense of some of what Wizards proposed. One is the utilitarian argument stolen from Plato that harmful aspects of art can harm a person’s character and could increase their chances of behaving badly in the real world. The second is a Kantian style argument that it does not matter whether immoral content causes harm, what matters is that the content is immoral. I ended the essay noting an obvious concern with my argument: the same reasoning would seem to apply to two core aspects of D&D: killing and looting.

As an aside, I lived through the Satanic Panic D&D faced in the 1980s. The argument against D&D was like Plato’s argument but with a Christian modification that D&D would lead people to Satanism and other cults. Like most other moral panics from the right, this was debunked long ago. Now back to killing and theft.

Using Plato’s argument as a template, it is easy to argue that violence and looting should be removed from D&D: engaging in fictional violence and theft could corrupt people and make them more likely to behave badly in real life. I can also reuse the Kantian argument: even if hacking up dragons and looting their hoards had no impact on people, allowing the immoral content of killing and stealing would be immoral. This would allow for an argument from analogy: if D&D should be cleansed of racist elements for moral reasons, then it should also be cleansed of violence and theft on moral grounds. There are two main options in terms of where this reasoning should take us.

The first is to accept the analogy and agree D&D should also be cleansed of violence and theft. This would radically change the game, although some people have run violence-free campaigns. The second is to take this analogy as a reductio ad absurdum of the original argument. If using the same logic (what is known as parity of reasoning) leads to an absurd conclusion, then this can be taken as refuting arguments with the same logic. A well-known example of this is philosophy is Gaunilo’s reply to St. Anselm’s ontological argument.

Since D&D is inherently a game of combat and looting, it would be absurd to remove these elements. This would be analogous to removing cars from NASCAR. Since the violence argument is reduced to absurdity, the diversity argument is absurd as well. D&D should remain unchanged: killing, looting and no diversity changes. While this line of reasoning is appealing, it can be challenged.

For this reasoning to be good,  fictional violence and theft must be analogous to fictional racism within the game. Interestingly, someone agreeing with this reasoning would need to agree that racism, killing and looting are all bad but they should not be removed from the game. Someone who thinks that racism, killing, and looting are all morally fine would not need to make the absurdity argument. They could just argue there is no moral reason to remove any of these from the game. So, can a person believe that killing, stealing and racism are bad while consistently supporting diversity on moral grounds while also allowing in game killing and looting? The answer is “yes” and supporting this requires arguing that the analogy between killing and racism breaks down.

The obvious way to do this is to point out a relevant difference between racism and killing: while racism seems to always be wrong, there are arguments that support morally acceptable violence. These include such things as Locke’s moral argument for self-defense and centuries of work in just war theory. In contrast, there seem to be no good forms of racism or cases in which racism is morally defensible. While someone might use violence for self-defense against a wrongful attack and be morally justified, there seem to be no cases of racism in self-defense: that one must use morally acceptable racism to protect oneself against wrongful racism. Likewise, there is no body of ethics that constitutes just racism theory. To be fair to the racists, they could argue in favor of the ethics of racism and I certainly invite good faith efforts to publicly make such a case.

Because there are moral distinctions in violence, D&D could include ethical violence with no moral problem. It would not be corrupting, nor would it be inherently evil. In D&D people typically play heroes doing heroic deeds such as fighting evil foes and looting their foes to continue their heroic efforts. There are, however, three obvious counters to this argument.

One is that there are arguments that violence is always wrong, and one could be a moral absolutist about violence. If violence is always wrong, then it would be wrong to include it in D&D. While not without its problems, pacifism is a coherent moral view and would certainly make D&D morally problematic if it were correct.

The second is that people play non-good and even evil characters in D&D who engage in evil acts of violence. I have played evil characters myself, my favorite being my delusional anti-paladin D’ko.  One could argue that playing evil PCs would be immoral. The obvious reply is that if one is playing the role and it is not impacting the person, then there would be no moral problem: no one is being harmed, and the evil deeds are fictional. If someone were to get into the role too much and engage in behavior that did hurt other people then that would be wrong as real harm would be done. This could even be harm done at the table. For example, a player who has their character rape defeated foes and graphically describes this to the other players could be doing real harm.  Also, a Kantian might disagree about the distinction between fictional and real evil and argue that to will evil even in play would still be evil.

The third is that even in games where all the PCs are good (or at least not evil), the DM must take on the role of any evil NPCs the players interact with and engage in fictional acts of evil. As such, it would seem hard to avoid including unjust violence in D&D. From a utilitarian perspective, this would be morally acceptable if the fictional violence did no harm, either in terms of corrupting people or inflicting suffering on those involved. Again, a Kantian approach might forbid even harmlessly playing an evil being as a DM but some Kantians are notorious as killjoys.

As my closing argument, I contend there is a meaningful distinction between playing an evil character doing evil acts of fictional violence and having the game content mirror the racism of the real world. To use an obvious analogy, this is the distinction between an actor playing the role of a racist in a movie and knowingly acting in a movie that serves as racist propaganda.  As such, D&D can retain violence, and players can play evil characters (within limits) while avoiding moral harms. But the racism should certainly go.

A few years ago, Wizards of the Coast(WotC), who own Dungeons & Dragons, issued a statement on diversity. As would be expected, the responses split along ideological lines and the culture war continues to this day. The D&D front of the culture war is personal for me. I started playing D&D in 1979 and have been a professional gaming writer since 1989. This ties me into the gaming aspect of the war. I am also a philosophy professor, so this ties me into the moral and aesthetic aspects of this fight.

The statement made by WotC has three main points. The first addresses race in the real world. The second addresses the portrayal of fictional races, such as orcs and drow, within the game. The third addresses racism from the real world within the game, with the example of how a Romani-like people were portrayed in the Curse of Strahd. In this essay I will focus on the in-game issues.

Before getting to the in-game issues, I will pre-empt some of the fallacious arguments. While it is tempting to use straw man attacks and hyperbole in this war, WotC cannot prevent gamers from doing as they wish in their own games. If you want your orcs to be evil, vegans, mathematicians or purple, you can and there is nothing WotC or Hasbro can do. Any change of WotC policy towards D&D races (or species) only applies to WotC. As such, the only censorship issue applicable here is self-censorship.

As always in the culture war, there were (and are) ad hominem attacks on folks at WotC. Most of these attribute “wicked” motives to them and take these alleged motivations as relevant to the correctness of their claims. In some cases, the criticism is that WotC is engaged in “woke marketing” to sell more products. While this can be evaluated as a business strategy, it proves nothing about the correctness of their position. In other cases, those at WotC have been accused of being liberals who are making things soft and safe for the dainty liberal snowflakes. This is also just an ad hominem and proves nothing. One must engage with the actual claims rather than flail away with insults.

To be fair, one can raise legitimate questions about the ethics of the folks at WotC: their motives do matter when assessing them as people. If this is merely cynical snowflake marketing, then they could be criticized as hypocrites. But their motives are still irrelevant to the assessment of their position and plans. It is to this that I now turn.

While the Monster Manual from AD&D does allow for monsters to differ in alignment from their standard entries in the book, many fictional races in the game have long been presented as “monstrous and evil.” These famously include orcs and the drow (a type of elf). The concern expressed by WotC is that the descriptions of these fictional races mirror the way racism manifests in the real world. Their proposed fix was to portray “all the peoples of D&D in relatable ways and making it clear that they are as free as humans to decide who they are and what they do.” In the case of real-world racism manifesting in their products, such as the depiction of a fictional version of the Romani, they plan to rewrite some older content and ensure that future products are free of this sort of thing. These changes raise both moral and aesthetic concerns.

One way to defend the traditional portrayal of fictional races in D&D is to, obviously enough, appeal to tradition. Since Tolkien, orcs have been portrayed as evil. Since the G and D series of modules,  D&D drow have been evil. The obvious problem with this defense is that it the appeal to tradition is a fallacy, one I have addressed at length in other essays.

Another way to defend the idea that some fictional races are inherently evil (or at least almost always evil) is to use in-game metaphysics. Until recently, good and evil were objective aspects of the standard D&D world. Spells could detect good and evil, holy and unholy weapons inflicted damage upon creatures of opposing alignments, and certain magic impacted creatures based on their alignment. Demons and devils are, by their nature, evil in classic D&D. Angels and other celestials are, by nature, good in classic D&D. While alignment does have some role in D&D 5E, this role is miniscule by way of comparison.

In most D&D worlds, gods of good and evil exist and certain races were created by such gods. For example, the elves have mostly good deities, with the most obvious exception being the goddess Lolth, the queen of the demonweb pits. As such, the notion of races that are predominantly evil or good makes sense in such game worlds. As good and evil are metaphysically real, creatures could be imbued by divine and infernal powers with alignments.

While this defense does have its appeal, it raises an obvious concern: in the real-world people defend real racism with appeals to good and evil. They invoke creation stories to “prove” that certain people are better and others inferior. As the folks at WotC note, fantasy worlds often mirror the racism of the real world.

One reply to such concerns is to point out that most people can distinguish between the fictional world of D&D and the real world. Casting orcs and drow as evil and monstrous, even using language analogous to that used by racists in the real world, is nothing to be concerned about because people know the difference. The player who curses the “foul green skins” in game will not thus become a racist in the real world and curse the “wicked whites.” Thus, one might conclude, WotC stands refuted. There is, however, an ancient philosophical counter to this reply.

In the Republic Plato presents an argument for censorship based on the claim that art appeals to emotions and encourages people to give in to these emotions.  Giving way to these emotions is undesirable because it can lead to shameful or even dangerous behavior. On his view, viewing tragic plays might lead a person to give in to self-pity and behave poorly. Exposure to violent art might cause a person to yield more readily to the desire to commit violence. While Plato does not talk about racism (because the ancients had no such concept), his argument would apply here as well: engaging in fictional racism can lead people to racism in the real world. As such, Plato would presumably praise WotC for this action.

At this point it is reasonable to bring up the obvious analogy to video games. While the power of video games to influence ethics would seem to be an empirical matter, the current research is inconclusive because the “…evidence is all over the place” —so it currently comes down to a matter of battling intuitions regarding their power to influence. So, I will turn to Plato’s most famous student.

As Aristotle might say, players become habituated by their play.  This includes not just the skills of play but also the moral aspects of what is experienced in play. This, no doubt, is weaker than the influence of the habituation afforded by the real world. But to say that D&D games with moral components have no habituating influence is analogous to saying that video games with hand-eye coordination components have no habituating impact on hand-eye coordination beyond video games. One would have to assert players learn nothing from their hours of play, which seems unlikely.

I am not claiming that D&D takes control of the players in a Mazes and Monsters scenario, just that experiences shape how we perceive and act, something that is obviously true. So, I do not think that people who play in D&D games casting orcs and drow as monstrous and even those that mirror real world racism would make players into white supremacists. Rather, I agree with the obvious claim: our experiences influence us and getting comfortable with fictional racism makes it slightly easier to get comfortable with real world racism.

For those who prefer Kant, one could also advance a Kantian style argument: it does not matter whether the in-game racism that mirrors real world racism has an impact on people’s actions or not, what matters is whether such racism is wrong or right in and of itself. If racism is wrong, then even fictional racism would thus be wrong.

As someone who regularly games, I can see the obvious danger in the arguments I have just advanced: would not the same arguments apply to a core aspect of D&D, namely the use of violence? I will address these matters in the next essay.