Joshua Horn

Prophecies and fate are heavily thematized throughout the God of War video game series. In the original trilogy, prophecies are given to Kratos, Zeus, Kronos, and others by a range of beings with purported foreknowledge including the Fates and Oracles In the Norse duology, the Norns, Giants, and others also provide prophecies. In line with the common trope of Greek tragedies, Kratos, Zeus, and Kronos’ actions, in trying to avoid their fates, created the very conditions by which those fates came to pass. In the duology set within Norse mythology, the themes of prophecy and fate are also thematized. However, in these games, it is shown that prophecy can be overcome, and that fate is flexible. This chapter considers some of the historical solutions to the problem of prophecy within classical theism and evaluates their applicability in the God of War series. It will also be argued that the two sets of God of War games present different accounts for the way in which prophecy operates. More specifically, it will be shown that the Greek Trilogy uses prophecy to maintain a deterministic understanding of the universe. In contrast, the Norse Duology uses prophecy to maintain an indeterministic account of the universe.

In this essay, it is argued that Leibniz’s theodicy is even stronger than it might first appear, but only if we also take into account his super-essentialism, the view that every property of a substance is essential to it, and theory of compossibility, the notion that possible worlds are intrinsically possible just in case they are compossible—that is, they are internally consistent. After describing how we should understand these principles in Leibniz’s thought, I argue that although there are obvious cases of evil in the best of all possible worlds, if such cases of evil did not occur, then the overall goodness of the actual world be diminished. Due to the unique nature of his solution to the problem of evil, Leibniz remains an important interlocutor even today in metaphysics, theology, and philosophy of religion.

The protagonist of the wildly popular recent video game, The Last of Us, makes a difficult decision at the end of the game by refusing to sacrifice his surrogate daughter so that scientists could try to find a cure for a disease that has devastated humanity for decades. I will take seriously The Last of Us as a piece of moral philosophy and argue that Joel has been interpreted as a villain primarily because many understand morality in terms of a consequentialist or deontological framework. On those frameworks, Joel could be interpreted as a villain because he is not acting in a way that maximizes the good on the one hand or not acting in a way consistent with the universal moral law on the other. Against this interpretation, I argue that Joel’s actions are morally justified based on a view articulated here called teleological particularism. On this view, an agent is morally justified in their actions if and only if the action is in conformity with a role they occupy. It is teleological because it demands that we consider the roles, goals, and purposes of each individual, and it is particularist because it recognizes that those very roles, goals, and purposes can change from subject to subject, time to time, and culture to culture. The role of “father” demands that he protect and provide for the child, and that the father helps the child become autonomous. Joel’s role then demands that he put his child’s interests even above the interests of the rest of humanity, even if those interests are absolutely dire. According to teleological particularism then, Joel is not a villain and his actions in defense of Ellie are permissible.

In the massive plot twist at the end of BioShock Infinite, the writers beautifully put forth a hypothesis that individuals might exist in more than one possible world. In philosophy, the idea that an individual can exist in more than one world is called transworld identity. An important rival to transworld identity theory is counterpart theory, the idea that individuals cannot exist in more than one possible world and are therefore “world bound.” Modal realism is the thesis according to which there is an infinite number of possible worlds that really exist in the most robust sense, relative to themselves. The world of Columbia is one possible world. The world of Rapture is another possible world. Both the actualist and the possibilist agree on these claims. Most important to the themes present in BioShock, transworld individuality has profound implications for differing notions of freedom.