First of all, Crow Caller, from my expereince it is detrimental to try to create a setting from both flavour and theme at the same time – one has to flow from the other, tying to work from both ends towards the middle means inviting disaster. If not everybody is sold on a certain flavour (happens in my group most frequently when we are all currently inflamed by the same movie or book), starting outwith theme does in my experience wotk better. In your case that means posing the question what theme(s) underlie(s) ancient mythology.
Crow Caller wrote:
As far as Theme is concerned I think it would be interesting to tackle morality or perhaps more specifically morality pertaining to 'heroes' with the question "What really make a hero a hero".
Just speaking theoretically – I think that theme’s not only much too vague to begin with, it is also a theme present at least in parts in every half-way ambitious game where characters are not villains.
To proceed to the personal, such a theme would only interst me if it was much more specific. I don’t quite know what the core material you draw your inspiration from is, but if you are aiming for a
tone closer to Greek mythology than the Hercules series on TV, that theme won’t in all probability not ake you far. Greek heroes are frequently appallingly selfish, exhibiting near-total disregard for the averse effects their actions do frequently have on society – and still they are regarded as heroes.
Shooting from the hip I’d say that the Greek hero (and also Gilgamesh) follow a very knightly ethic, the morals of a noble caste untouched by Christianity’s notions of humility. For them, the unblemished honour and indeed thick-headed pride of the noble individual is
literally worth at least as much if not more than the physical well-being or indeed lives of the faceless multitude. Just look at Achilles, best-loved of Greek heroes, whose wounded pride caused him to sit by idly while countless of his countrymen where slaughtered and indeed his entire nation brought to the brink of ruin. A mere “what makes a heroâ€, especially if posed by men with modern sentiments, will never lead to a recreation of this flavour.
A thematic key seems to me to be what Nietzsche called the “aristocratic valuesâ€, as opposed to the “values of the massesâ€. The former are the morals by which pride, strength, glory, decisive action, honour, achievement, virility and wealth are thought of as “good†and meekness, humility, poverty, austereness, celibacy, temperance, forebearance and modesty as “evilâ€. These aristocratic values, the values adhered to by the strong and abhorred by the weak, are the values that the protagonists of a heroic age should be following, if it is at all to feel like a heroic age.
Another theme prevalent is that you are always accountable for your own actions – there simply are no mitigating circumstances. If by killing one man you save the lives of a million innocent, you are still as accountable as if you murdered him in cold blood and without provocation – not to the mortal law, but to the whimsical gods. Much of the tragedy in Greek theatre and mythology derives from the fact that the gods won’t give the hero a break and that they are not interested in wether he acted with good reason or to the best of his knowledge or indeed even on direct order of some other god. Greek heroes often find themselves in no-win situations where every possible action will antagonize some god – for it is only accountability to the gods I’ve been speaking of. Accountability to men isn’t important, only accountability to gods or else to certain men who have a god’s favour – which of course boils down to accountability to some god.
Greek heroes have much leeway to inflict harm on people, but I perceive three categories of actions that precipitate great problems:
1) Directly defying a god.
2) Hurting somebody who’s a god’s favourite, no matter wether justified or not.
3) Blasphemy, practically only ever oath-breaking or kin-slaying.
For all three of those it is past the point wether the perpetrator had a choice or did even know that he transgressed. The sin’s in the doing, inentions are meaningless.
The third thematic cornerstone I perceive is passion. Ancient heroes are passionate, and being passionate is considered good and noble – even though it may be convenient, temperance belittles a man and befits no hero. It’s part of the aristocratic morals of the age, where self-restraint is only good for the common herd. The passionate and impulsive nature of the hero does of course create a lot of problems, but then that’s what makes a hero’s life fun.
I don’t have an idea right now how to integrate these three cornerstones into a coherent theme, but I will think about it. Maybe somebody else has an idea.