How can I establish protagonism for characters in a setting that by modern western sensibility admits mostly of evil?

I have been playing with Sorcerer settings as an exercise. Most of them have turned out reasonable, playable games with interesting ideas to explore. The one I'm working on now, has me stumped. I don't know if it's a really tough nut or I'm having a brain fart.

I'd like to set a game in ~1830 southwest Kansas (or thereabouts) where the players are Comanche witches. The problem that I'm having is that, as I read it, murder and torture are considered OK (actually, good) things under many, many circumstances. How do I define Humanity broadly and definitely enough enough that it works as a game mechanic and still permits such a setting? How would 'healthy' players be able to empathize enough with these characters to really consider them protagonists?

Ten Bears, as portrayed in The Outlaw Josey Wales and even Buffalo Hump as portrayed in Comanche Moon can easily be grasped as protagonists. But how do I set it up in Sorcerer and stay true to the genre?

Chris

What makes Ten Bears and Buffalo Hump human? If the answer is nothing, then you haven't found a moral center from which to construct a version of humanity (and I wouldn't be surprised if two pop culture references to Native American cultures portrayed them as having no humanity). You might do better to read a good ethnography. Remember, the PC Sorcerers are protagonists. So the source material has to be about protagonists.

Do you remember the movie Sling Blade? I always liked to chide that it was the "feel good slasher film about a guy who kills for all the right reasons."

I think that a game where Humanity was knowing when killing was ethical, and not doing it for selfish reasons, would be interesting. In a way, it relates to the game I'm playtesting right now called Unsung. Killing is what it's all about. The question is whether or not you're killing for the right reasons.

Mike

Hi Chris,

One possible solution is to focus the Humanity definition quite tightly, to something like "my family vs. my friend," and let any and all other activity in the game simply be irrelevant to Humanity checks and gain rolls.

Another point is not to worry much about the Humanity of NPCs, in many game situations. Mike correctly points out that Humanity is an issue for protagonists.

Best,
Ron

Mike Holmes wrote: What makes Ten Bears and Buffalo Hump human?

Ron Edwards wrote: One possible solution is to focus the Humanity definition quite tightly, to something like "my family vs. my friend," and let any and all other activity in the game simply be irrelevant to Humanity checks and gain rolls.

I'd call it the "plains" honor thing (and make sure your players understand what constitutes that per your examples). Saying it's Reputation seems to cheapen it to me. It's not what other people think about the character, it's what he thinks of himself that makes up his identity, and humanity if that identity is human.

I'd play the honor thing. I can see a lot of settings where this sort of sacred honor includes killing people. Samurai come to mind instantly.

And if Ten Bears in the movie is protagonistic, but the real one was not...so what? Or were you getting at something deeper?

Hi Chris,

I'm indeed referring to the two-definitions issue regarding Humanity, which is a pretty good idea when you're dealing with very tightly focused definition(s) for the score.

But let's not get hung up on that. Your question is more important:

If you define it that way, why does sorcery have a negative impact?

Hey Chris,

Humanity as described in &Sword has some of the same traits that you're describing here, though with a somewhat different setting. It might be useful to page through it with an eye for your setting.

-Tim