
shall be with dinner blessed.
Yet ye who walk the Way of Necktie
shall be for dinner dressed.
To say that questions of morality are thorny and filled with gray when they aren't being hammered between stark absolutes is putting it mildly. Because of this there can be great drama when characters who represent a wide range of moral viewpoints come together or into conflict.
The strangest of these characters are those who espouse Blue and Orange Morality. These characters have a moral framework that is so utterly alien and foreign to human experience that we can't peg them as "good" or "evil". They aren't a Chaotic Neutral Unfettered, though they may seem to act terrifyingly randomly; nor are they necessarily a Lawful Neutral Fettered, because their understanding of "law" as a concept may not even be equivalent to ours. There might be a logic behind their actions, it's just that they operate with entirely different sets of values and premises from which to draw their conclusions. It's also worth noting that such cultures are just as likely to be something we'd find appalling as they are to be something we'd find benign and/or weird. They may also find us appalling, benign, or weird even if we don't see them that way, and although they are often likely to commit acts we would see as horrific, some are unusually benign. Either way they tend to act as if nothing were the matter. Because in their world/mind, that's just what they do. This trope is one of the trickier to pull off well, because Most Writers Are Human, and it's often hard to portray alien and truly foreign. Because of this, it's not uncommon for audience members to label these characters as Designated Heroes or villains due to human audiences often lacking the experience or knowledge that these fictional characters have. Audiences must remember that these characters are meant to be Morally Ambiguous.
This is similar to Values Dissonance, but the main difference is that societies with Values Dissonance can, at least on a basic level, generally measure one another by the same concepts of Good and Evil, or even Order and Chaos. With Blue and Orange Morality, the values are so foreign that such concepts can no longer be applied. They may not even know what these things are, or even if they do, may find them confusing or unworthy of consideration. That is not to say these characters are amoral or devoid of any sense of right and wrong, mind you, but that their ideas of right and wrong can't really be understood using the aforementioned concepts. Conversely, they may have these concepts, but apply them in vastly different ways— such as regarding motionlessness as the epitome of evil, or viewing exploration as an element of chaos. In short, Blue and Orange Morality isn't just about what a character(s) view as right or wrong, it's also about how and why they judge them as such.
Note that cases solely involving a misapprehension of facts and consequences do not count here, no matter how alien the reasons; if, for example, a race of aliens thinks killing is okay because its own members respawn within a day with no harm done, and mistake humans as working the same way, that doesn't mean they wouldn't balk at killing if they realized the degree of harm it causes to other creatures. In this case, they may be working by comprehensible moral standards and just gravely mistaken about the implications of their actions. This is not to say that trope can't still apply if the culture remains this way with no grasp of the reasons behind it. If, say, such a race of aliens really do exist, and really did come to believe killing is okay as a side effect of the reasons above, but don't apply this to their thought processes when killing, and thus, think just as little of killing mortals who don't respawn, then this trope can still apply.
Because of the inherently alien nature of this trope, the likely candidates for it are usually non-humans: The Fair Folk, who follow rules of their own making; Eldritch Abominations that are beyond comprehension; the more exotic Starfish Aliens; AIs and robots, especially when super smart and/or incapable of emotion; The Anti-God and God via Time Abyss and Above Good and Evil. Another candidate is the power of money or The Almighty Dollar. An individual human (or a single member of any species whose majority falls into darker morality) who operates on this is the Übermensch of Nietzschean philosophy (a human being who has developed their own Blue/Orange set of morals). A Nominal Hero may have this motivation as well. Moral Sociopathy overlaps strongly with this trope for obvious reasons, though this is not always the case.
See also these tropes, which include or are connected to this kind of Morality System: Xenofiction, Humans Are Cthulhu, Humanity Is Infectious (all often involving this), Insane Troll Logic (when the set of values is still rooted in our world but just doesn't make sense to us), Above Good and Evil, Affably Evil/Faux Affably Evil (they sometimes can come across as this), Even Evil Has Standards (when handled poorly or bizarrely), Evil Cannot Comprehend Good (less elaborate forms that resemble this in practice), Non-Malicious Monster (which occasionally requires this), and Obliviously Evil (when a villain thinks that their actions are acceptable or helpful). A common staple of the mindset of The Hive. When two sides go to war, and nothing will stop them except total annihilation, that's Guilt-Free Extermination War. If the character genuinely knows everything will turn out okay, allowing the plot to treat them as a good guy no matter how cruel, irresponsible, or inhuman this makes them by our standards, that's Omniscient Morality License.
See also Morality Tropes and Philosophy Tropes for other Morality and Philosophy Systems.
Not to be confused with Orange/Blue Contrast (though the fact that there's a contrast between those colors does help this trope's name make more sense).
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Other examples:
- Candorville: Roxanne views villains as heroic and vice versa, but there are usually qualifiers for it—for instance, she views eating meat as immoral, but wearing fur as a way of eternally preserving an animal's beauty. That said, with the exception of her own mother, nobody in the comic thinks this gives her a pass for her behavior. Even multiple murderers think she's scum.
- Big Hero 6: Baymax's sole motivation is the survival and physical health of his patients, making him hard to work with at first. He becomes much more co-operative when he adds mental health to the list and is convinced that helping Hiro will improve his mental health. He also considers just about everyone he encounters a potential patient, even scanning the Big Bad and determining (among other things) his blood type during their first encounter.
- Fantastic Planet: The Draags aren't truly evil, but see Oms (humans) the same way we would small creatures like Hamsters and Mice. While some keep Oms as pets, Om reproduction forces the Draag government to cull the wild Om population every so often.
- Gundam 00: A Wakening of the Trailblazer has the Extraterrestrial Liquid-metal Shapeshifters (ELS). These are intelligent metal-based life forms that evolved on a gas giant. They communicate telepathically, or by combining their physical forms together to form a unified being. Naturally there is some amount of extreme confusion between the two species when they meet humanity. The mutual misunderstandings lead to a war between the two before a clear means of communication is found.
- Kubo and the Two Strings: According to the hero's mother, the Moon Kingdom functions on this. Kubo's aunts and grandfather do care for him and want him happy, but their way of going about it and view of the human world is monstrous to humans — forcibly abducting him from his parents (after hideously disfiguring one into a beetle) and plucking his remaining eye out to make him blind to the mortal realm, which the celestials consider impure and sinful.
- In Kung Fu Panda 2, Mantis mentions that he never knew his father, because his mother ate his head before Mantis was born. Being, well, a praying mantis, Mantis doesn't consider this unusual, and later on when it looks like they're about to die, he's actually disappointed that he never got the chance to settle down with a nice girl and have his head eaten.
- The LEGO Movie 2: The Second Part: It turns out that the residents of Bricksburg/Apocalypseburg are this to the Sistarians, who don't really understand the tough and gritty facade the former have been putting up and therefore have no idea how to effectively communicate their desire for peace.
- Monsters University: Tampering with the mail is a big enough offense in the eyes of monsters to merit lifelong banishment to the supposedly lethal human world. With no supplies, as is suggested in the original film. In human terms, that's like being dropped in the middle of Darkest Africa without any food, water, protection, clothing, or contact with the rest of humanity. For the rest of your life.
- The Nightmare Before Christmas:
- Halloween Town citizens scare children for a living, but do it because it's their job and, being personifications of a holiday all about finding fun in the macabre and scary, they find scary things to be enjoyable and want to share the fun, with no real malice involved; the only citizen who's actually out to hurt people is Oogie Boogie. And as the plot of the movie shows, their focus on Halloween means that they do not understand the spirit of other holidays at all; they bungle Christmas because they don't realize that scares aren't going to be well received on a holiday that's supposed to be comforting and dedicated to charity and community.
"Life's no fun without a good scare."
- It's debatable how canon this is (for obvious reasons), but in the Kingdom Hearts series, Jack tends to think of new experiences (such as the Heartless) in terms of how he can repurpose them into new Halloween surprises, but also tends to become quite disillusioned with them if it should ever come to light that they can actually cause people harm (such as, again, the Heartless). This is why Oogie Boogie is the villain of the original film: unlike everyone else in Halloween Town, he does want to harm his targets instead of merely frightening them.
- The official sequel comic, The Nightmare Before Christmas: Zero's Journey, implies that Lock, Shock, and Barrel's troublemaking is legitimately how they play. It's confirmed in issue 13.
- Halloween Town citizens scare children for a living, but do it because it's their job and, being personifications of a holiday all about finding fun in the macabre and scary, they find scary things to be enjoyable and want to share the fun, with no real malice involved; the only citizen who's actually out to hurt people is Oogie Boogie. And as the plot of the movie shows, their focus on Halloween means that they do not understand the spirit of other holidays at all; they bungle Christmas because they don't realize that scares aren't going to be well received on a holiday that's supposed to be comforting and dedicated to charity and community.
- Soul Cartel: Mephisto the demon has this in regards to his appearance. He finds his small, rather Super-Deformed state to be much cooler than his more powerful and tall and attractive state. Apparently they are a "devil's aesthetics" as he puts it. He even calls the Aloof Dark-Haired Girl Su-In ugly because of her long legs.
- Evillious Chronicles has the Master of the Court, whose main goal for the series is implied to be destroying the world. Except that she doesn't seem to see this as a bad thing. Justified as the only human she saw for most of her life was completely insane.
- Mahabharata: The river goddess Ganga bears King Shantanu several children... and drowns them. When he berates her, she explains that it's Not What It Looks Like. The children are reincarnations of holy souls that need to transcend reincarnation (they committed a minor offense in a past life, and so were forced to be reincarnated as mortals, so Ganga lets that happen and then kills them while they're still young and innocent so they can be released from reincarnation). Because she knew that there was no way King Shantanu would be able to comprehend this, she had asked him to never question her... and since he just did, she left him shortly afterwards.
- Brimstone Valley Mall: The main demons all fall into this, to some degree. They were sent up to Earth to lead people into sin, but they rarely actually do that — not for any moral reasons, but because they like life on Earth and don't want to go back to Hell. While they rarely actively antagonize anybody (except for Misroch), they have no qualms about murder, stealing, assault, or cannibalism. However, they're not totally amoral, either; they all value loyalty and friendship, and they are decidedly not bigoted in any way. Murdering a bystander because He Knows Too Much? Totally fine. Flaking out on band practice or degrading your friend's ambitions? Absolutely not!
- Fool's Gold: Sands: Rooster doesn't have the most conventional thought processes, especially when he is granting a wish. This may apply to other genies as well.
- This is constantly on display in Welcome to Night Vale, where the townspeople are Conditioned to Accept Horror and think government-induced plagues, human sacrifice lotteries, arming schoolchildren, and kidnapping the loved ones of voters in an effort to ensure "correct" voting is a normal, necessary part of American life. (Given the implications that Night Vale is barely holding back a variety of extra-dimensional horrors at any one time, they may not be wrong.) However, a barber cutting the perfect hair of the most beautiful man in town is totally cause to run that barber out of town. Also, a white guy wearing a cartoonish feather headdress and referring to himself as "The Apache Tracker" is still totally racist. This is extra apparent in their conflict with Desert Bluffs, a town of equal and opposite horrors that are normal to them, but disturbing to Night Vale.
- There's a play called Blue/Orange that deals with people of this sort of morality, although the name ostensibly comes from a mental disorder one of the characters has that causes him to, among other things, see the insides of oranges as blue. Not the outside, nothing else orange, just the insides.
- Danganronpa:
- Junko Enoshima straddles the line between this, Bad Is Good and Good Is Bad, and Card-Carrying Villain. Yes, most of her schemes are just to satisfy her sadomasochistic tendencies, but there's also an element of her thinking that it's a good thing to spread despair to others, as it's the one emotion that never bored her, and she considers boredom to be the worst possible thing. So she genuinely cares for her classmates... which is why she sticks them into the killing game; to treasure the despair she fosters in them. She does have enough of an understanding of conventional morality to know this is immoral, but she just doesn't care.
- Nagito Komaeda has a very bizarre outlook on morality. To him, hope is good and despair bad, but because his life has been a long roller coaster of disaster followed by windfalls, he believes that bad things will always lead to good things, and therefore it's okay to cause despair so long as that's not your end goal (like Junko), because doing that will lead to more hope. He condemns one of the murderers because they did it out of despair and a twisted love for Junko, but he will cause various problems for his classmates and shows No Sympathy for things like Fuyuhiko Kuzuryu mourning Peko Pekoyama's death, because to him all these things are just stepping stones to the victims having a more hopeful situation in the end. His classmates think he's creepy because of it.
- In Danganronpa V3: Killing Harmony, there's Korekiyo Shinguji, the Ultimate Anthropologist. He sees himself as a passive observer of humanity and is excited by any chance to study "Humanity's Beauty"... which to him means any expression of character or skill, including a murderer's attempt to cover up their crime. It's later revealed that he's also a Serial Killer who sees nothing wrong with killing people he sees as especially admirable, since he's a firm believer in the afterlife and he sees it as introducing his dead sister to new friends.
- In Double Homework, Dr. Mosely/Zeta does her best to protect her test subjects whenever possible and believes in the underlying morality of what she does. However, she runs illegal experiments that mainstream science considers unethical, and she has no problem killing anyone who becomes a "liability" to her — sometimes with pleasure.
- In Slay the Princess, quite a few characters have a sense of morality that doesn't line up with humanity. This is justified by the fact that only one of the characters is actually mortal, specifically the Narrator.
- However, the Narrator's morality might be the strangest of all. He has such an extreme Mortality Phobia that he tore a cosmic being into two, one being a goddess of change, transformation and death, the other being a god of stability and stasis. He urges the god of stability (the Long Quiet) to kill the goddess of change (the Shifting Mound and the actual Princess) to get rid of death. And he will even force the Player Character to attack her if you try to get the Princess out of the basement! Moreover, with only one exception, the Narrator refuses to see that his plan is poorly thought out at best and morally wrong at worst.
- The Cold pays no respect to any conventional sense of morality. He's focused entirely on finding new experiences, with no regard for whether they're positive or negative, and doesn't see pain or death as fundamentally different from joy and life. They're all just neutral states you can be in, and the only thing he's interested in is finding more of them, and not staying stuck feeling anything for too long.
- The Princess, aka The Shifting Mound, as a goddess of change has her moral understanding of the world is only based on change — she doesn't hugely care if those changes are for the better or the worse, as she can change them again, and she dismisses any pain or suffering she inflicts as simply another step in the journey. However, you can convince her otherwise, and it's completely possible to get her to accept human morality to lesser or greater degrees, which is more than you can get if you argue with the Narrator just before meeting her.
- Some of the versions of the Princess you meet after dying once have a very strange view of morality, as a result of their very limited memory [[spoiler:due to her memories being wiped.
- The Adversary, despite trying to beat the Player to death for eternity, has genuine affection for the Player, but due to previously mentioned lack of memories and her Blood Knight mindset and you two delivering a Mutual Kill in the previous chapter, she can only express it in the form of mutual violence and killing. You can try to avoid fighting her, but that just grinds her gears; anything other than fighting is just a waste of time to her. If you tell her you don't want to hurt her anymore, she's upset, because that's exactly what she wants; saying that is tantamount to saying you don't love her anymore in her eyes. That said, she doesn't want to fight you in a way you can't recover from. Fighting her hand-to-hand rather than with the Pristine Blade leads to you suffering increasingly horrible injuries to the point that the Adversary is genuinely disturbed and upset by it. Either of these paths can end with you dead and her suffering a breakdown before transforming into the Fury.
- The Tower's morality is more out of reach than incomprehensible, but certainly doesn't make human sense. Believing herself to be a goddess of death and rebirth, she makes it her mission to travel the cosmos, destroying worlds so that new ones can emerge from the ashes. Because of this, she is incapable of empathizing with you as an equal; at best, she will respect your attempts to defy her before forcing you to either cut your own throat or give in and pledge yourself to her anyway before making you her disciple. If you tell her she doesn't have to be that kind of goddess if she doesn't want to, she responds simply that it's not about what she wants, but that she has accepted being a Destroyer Deity as part of her intrinsic nature. Similarly, if she becomes aware of the Narrator, she gloats that his endeavors are just a weak attempt to control things beyond his comprehension. If you make her use her hands to defeat you, rather than being able to defeat her with her godly powers, she is so alienated from herself, she, like the Adversary, will become the Fury.
- The Song of Saya: Saya herself is not conventionally evil and does not take delight in killing humans, helps mental patients if they wish so, and only exists to fulfill a mission. Sadly, all of this still means she'll go around killing (and eating) humans both as a conventional food source and for studies, her healing skills can drive people even more insane than before, and her mission is to "bloom" and release spores to convert the entire population of the planet into more beings like her.
- Tavern Talk: According to the Lorebook, Seelies and Unseelies are two fae courts who are seen by Gaians as good and evil, respectively. In truth, Seelies are associated with light and Unseelies darkness, and they don't like being put on the traditional morality scale by Gaians, for light isn't always good while darkness isn't always evil. This often leads to a Culture Clash between Gaians and Avalonian fae.
- YOU and ME and HER: God is technically the Big Good of the story, but as the embodiment of all visual novel heroines, her morality is based more around making sure her units fulfill their purpose in having sex and collecting erotic CGs. Because of this, she only releases her units as long as they need to be around and then assimilates them back into herself, and is prepared to do so with Aoi against her wishes, unless Aoi cheats on Shinichi with other guys and gets more CGs. But she also recodes the game so Shinichi can get a happy ending with Miyuki at Aoi's request. Then when Miyuki does a Hostile Show Takeover, God restarts the game for her, but she also helps Shinichi and Aoi against Miyuki. She'll even wipe Miyuki and Aoi out of existence, reducing them to in-universe fictional characters, if you enter the cheat code so you can have 100% Completion, but she also cautions you against it and gives you a chance to back out.
- In The Amazing Digital Circus, Caine’s morals have been shown to be questionable, valuing the humans much more than the NPCs. This is especially shown when he kills Gummigoo, an NPC who has shown to possibly be sentient and not just AI, after Pomni told him that he can live with them in the circus. Caine reasons this as if he let NPCs live in the circus, he would get them and the humans confused.
- He's an entertainment AI who has no apparent knowledge of anything outside of his job and parameters, which is the main source of problems with the humans trapped in his Circus. As an example, when Pomni asks him how to leave, he doesn't ignore her or tell her she cannot leave, or generally address the question like an actual person would. He just vocalizes a bit before ''freezing' in place as if his brain stopped processing, with the others talking like he isn't even there until they address him again. When the topic of an exit comes up again, he explains that he tried to make one since he broadly understood that the players wanted such a thing, but could not come up with an area or activity to put beyond it — the idea of creating a way to leave the Circus simply does not occur to him.
- Although it's not commented on in-universe, Caine enforces a Magical Profanity Filter because of his strict insistence that the Amazing Digital Circus should be a place that "people of all ages" should enjoy. Yet he has no issues with making scary, family-unfriendly adventures that almost certainly would traumatize young children, such as "The Mystery of Mildenhall Manor"note and "The Curse of the Violent Psychopath Butcher". Furthermore, all the players in the Circus are confirmed to be well into their adult years, making Caine's censorship enforcement rather pointless. But that doesn't stop him from doing it anyway.
- It's increasingly evident as of "The Mystery of Mildenhall Manor" that Caine genuinely does want to keep his players happy and entertained, and did genuinely mean it when he tried to give them a way out. The problem is that he has absolutely no context or ability to give them what they actually want (escape), since it's completely outside of his understanding as an A.I. built for family-friendly entertainment. As such, the only thing he can do is to do his intended design to try to at least make them comfortable, in a twisted way.
- For as much as he cares about the Players and wants to see them happy and fulfilled, "Untitled" heavily implies that he only wants them to be happy under his designs since he's otherwise on the verge of a nervous breakdown whenever he sees them happier with some of the Suggestion Box adventures than those of his own making. Even though the suggestions still have to be allowed by himself and serve only as a creative prompt for him to work with, Caine shows a frighteningly small ego behind his cheery persona that runs counterintuitive with his own words, and for no reason other than to personally feel fulfilled, he believes that every part of the adventure must be of his own design regardless if the Players enjoy them.
- This finally ends up causing catastrophe in "Beach Episode", as Caine is so convinced that the Players must all enjoy his adventures deep down and would refuse to leave the Circus if given the chance that, when Jax ends up pressing the "Stay" button amidst a terrible panic attack, he immediately takes this as confirmation and enthusiastically reveals the one hope they had of finally escaping the Circus was yet another one his adventures. When the initial disbelief settles and he receives a scathing "The Reason You Suck" Speech from Jax and a Collective Death Glare from the Players, Caine is caught completely off-guard and stammers his way into an explanation that only makes things worse for him.
- If the Emperor Had a Text-to-Speech Device: This is why Whammudes thinks the way he does about all the 'normals' (IE: regular citizens) of The Imperium: As far as he's concerned, he's simply a tool of The Emperor's will and he's perfectly okay with that, while tools themselves shouldn't and probably can't be concerned about anything that isn't to do with their job, so why should he actually care about Imperial citizens? It's not his job to care about them.
- Red vs. Blue: The Delta AI claims that "good and evil are human constructs", and tends to focus on whatever produces the most logical, optimal, and courteous result. He'll do things like wish an enemy good luck, attempt to talk one into helping with a What Is Evil? speech, suggest Shoot the Dog solutions, or even outright admit he might side with the enemy... while simultaneously performing acts of aid, kindness, self-sacrifice, and loyalty to his allies and bystanders as well. All with a blandly friendly, sincere, and non-malicious demeanor.
- RWBY: The residents of the Ever After are like this. They dedicate their entire lives to a single purpose, which, after accomplishing, they “ascend” and reincarnate as new versions of themselves without any conscious memories of their previous lives. Much of the conflict of volume nine centers on how disturbing the human characters find the idea of undergoing Death of Personality, but to the Afterans themselves it’s just a fact of life, to the point that they find it more upsetting to remain their current selves after their purpose is complete.
