The Tool Desk
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What makes a protagonist or choice morally ambiguous?
Ambiguity is not simply a choice between a “good” button and an “evil” one, or a meter that rewards one side. It works when options arise from the situation, involve competing interests, and have consequences that matter to the people or world around the protagonist. A design interview with developers Emil Pagliarulo and Jordan Thomas argues that moral choices need a connection to the game’s world and significant moral weight; a decision that amounts to optimizing experience points can feel hollow. Game Developer’s discussion of morality design is a useful lens for judging whether a choice feels like a dilemma or a disguised reward.
Also distinguish the source of the ambiguity. It may come from the protagonist’s history and motives, the player’s ability to shape a role, the consequences of decisions, or the way people in the game judge the character. These are different experiences, not a single quality score.
Choose the kind of ambiguity you want
A defined character with plausible options
If you want to ask “What would this character do?”, look for a protagonist with an established identity rather than a blank role. The Witcher 2 developers described a deliberate effort to make choices gray rather than a simple good-versus-evil split. Gameplay producer Marek Ziemak said, “We’re trying to make it as gray as possible. We never have choices between good and evil.” Lead gameplay designer Maciej Szcześnik explained that the aim was to offer two viable choices that both seem like something Geralt might do. Their account of The Witcher 2’s approach points to a useful selection test: do both options fit the character, even if each carries a cost?
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The Witcher 3: Wild Hunt is another starting point for players interested in this style of story decision. Assassin’s Creed Odyssey director Scott Phillips cited it as an example where players may not know how an option will pay off. That does not mean every decision changes the whole plot; it means uncertainty about the result can be part of the choice. Phillips’s GameSpot interview also describes the Odyssey team’s goal of making choices morally gray rather than black and white.
A role shaped through skills and conversation
For an RPG with no single prescribed answer to who the protagonist is, look for systems that make character-building part of the writing. Disco Elysium’s lead designer and writer Robert Kurvitz described interactive writing as a story that adapts to player choices and consequences, “a bit like a big Rubik’s Cube.” The game’s early FAQ also describes skills and traits that carry across conversations, linking the character’s capabilities to how interactions play out. Kurvitz’s account of interactive writing and the official FAQ help explain why it suits players who want to shape a flawed, evolving role rather than select from a fixed moral menu.
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Choices whose consequences arrive later
Some games make decisions difficult because their effects are delayed, local, or spread across relationships and the world. Phillips described Assassin’s Creed Odyssey decisions whose outcomes can surface later as changes in who is present, alive, allied, or hostile. He also described consequences at different scales, from small to major. Treat that as a reason to expect varied feedback, not a promise that every conversation branches the entire story. The director’s comments are in the GameSpot interview.
A mixed past and motives
If your interest is a complex protagonist rather than a large choice system, Red Dead Redemption offers a different reference point. Rockstar’s representative described John Marston as a former outlaw trying to live peacefully, a character who combines “good and bad” as well as “cynicism and idealism.” The tension is rooted in the person’s history and aims, not just in a visible morality score. Rockstar’s GameSpot Q&A is the source for that characterization.
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Reputation shaped by observers
A reputation system can make morality social rather than universal: actions witnessed by some people may lead to a reputation, and different people may interpret that reputation differently. In a January 22, 2026 Xbox Wire interview, Fable’s developers described this as part of the game’s announced design. The interview records developer intent, not confirmation that every detail behaves this way in a released game. If this kind of socially interpreted reputation is what interests you, treat Fable as a design proposition rather than a verified example of final gameplay. Read the Xbox Wire interview.
Use these questions to assess a game
- Who is the protagonist? An established hero invites you to judge what that person might do; a more customizable role gives you greater room to author a stance.
- What do the options represent? Competing duties, loyalties, needs, or risks tend to create a different dilemma from explicit “good” and “evil” labels.
- What can a choice change? Look for the stated scale: a conversation, relationship, character’s fate, later encounter, or wider world. Do not assume each decision rewrites the whole plot.
- When will you see the result? Immediate feedback is easy to read; delayed effects may make a choice more uncertain, but can also make the connection less obvious.
- Is the decision integrated into the story? If the main incentive is an experience-point bonus, consider whether the choice has enough narrative or human weight to satisfy you.
- Where does the complexity come from? It may be mixed motives, the player’s authored identity, delayed consequences, or other characters’ judgments. Pick the form that appeals to you rather than relying on the label “morally gray.”
A shortlist by player preference
| Game | Best fit if you want | What the cited material supports |
|---|---|---|
| The Witcher 2 | A defined protagonist and two plausible, costly options | Developers explicitly described aiming for shades of gray and choices that both seem plausible for Geralt. Game Developer interview |
| The Witcher 3: Wild Hunt | Story decisions with uncertain payoffs | The Assassin’s Creed Odyssey director cited it as an example of players not knowing how an option will pay off. This does not establish current edition or platform availability. GameSpot interview |
| Disco Elysium | A role shaped through skills, conversation, choices, and consequences | The lead writer described adaptive interactive storytelling; an official FAQ describes skills and traits carried across conversations. Devblog · FAQ |
| Assassin’s Creed Odyssey | Branching dialogue and outcomes that may emerge later | The game director described delayed character and world effects at different scales, while emphasizing morally gray choices. GameSpot interview |
| Red Dead Redemption | A protagonist whose peaceful aims conflict with a violent past | Rockstar’s representative characterized John Marston as combining good and bad, cynicism and idealism. GameSpot Q&A |
| Fable (announced design) | Reputation shaped by witnessed actions and differing social interpretations | Developers described this design in a January 22, 2026 interview; that description is not verification of final release behavior. Xbox Wire interview |
Make the choice based on the experience, not the label
For a defined hero and dilemmas that fit an existing personality, start with The Witcher 2. For a role built through conversation and skills, consider Disco Elysium. For outcomes that may surface later, consider Assassin’s Creed Odyssey. Red Dead Redemption is a useful reference for character complexity rooted in a troubled past, while Fable’s described reputation system is best understood as an announced design. In each case, the relevant question is not whether the game calls itself morally gray, but whether its particular kind of uncertainty matches what you want to play.
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