"Right or wrong is not what separates us and our enemies. It's our different standpoints, our perspectives that set us apart. Both sides blame one another. There is no good or bad side. Just two sides with different views."The most realistic portrayal of a conflict's morality. In an all-grey conflict, neither side is totally good nor completely evil. Both sides have a strong, justifiable reason for fighting, and contain a mixture of people of all kinds, from admirable, upstanding individuals to vicious, slimy scumbags. In most cases, one side has better reasons and more good people than the other. The protagonists usually fight for this better side, and if they don't, they'll switch sides before the end. While the audience roots for the better side, they still have sympathy for the opposition, and often specific characters from the other side will be seen as Worthy Opponents. The result of such a conflict depends on where the story lies on the Sliding Scale of Idealism vs. Cynicism. At the idealistic end, both sides will eventually realize that fighting is futile and end up putting aside their differences to learn from each other and make a new and better world. At the centre, one side usually ends up crushing the other; this brings about peace, but of a hollow, depressing kind, as a faction with noble ideals has been destroyed. At the cynical end, both sides gradually become more extremist and less sympathetic as the war drags on until eventually the stronger side utterly defeats the other, leading to harsh oppression (and/or elimination) of anyone who holds the weaker faction's views, which eventually results in the stronger side writing history books painting them as the noble heroes triumphant against the evil dissidents who threatened their ways. That, or both parties simply end up destroying each other, so no one wins in the end. In some cases, the story will end with both sides teaming up against an unambiguously evil third faction, who may even have been behind the war in the first place. When this villain is defeated, the grey sides almost invariably decide to live in peace (in the harsher version, the casualties from fighting that villain may find that there is actually now enough of whatever they fought over for all the survivors. Ultra-harsh version of this has the realization that the resources have been spent on the war). A result of the above is that Grey and Gray Morality has one potentially great advantage: It can be easier to maintain suspense regarding the ending. In Black and White Morality, Black and Gray Morality and even White and Grey Morality situations, the ending is almost always a foregone conclusion; good wins in the end, it's just a matter of how. In a Grey-and-Gray situation, either side might conceivably win, or both, or neither. Another great advantage of this kind of moral model is that the experience can end up entirely different between two viewers: one viewer may prefer to side with Faction A over Faction B for any number of different reasons, and another viewer may think the opposite for other reasons. Properly written, this can make for some very interesting story-telling. Video Games in particular are a good medium for this, due to their interactive nature. Can be the result of a long-term Graying Morality of a Black and White narrative. Note that the sides often will still be Dress-Coded for Your Convenience. Contrast with Black and White Morality. Compare Both Sides Have a Point, Black and Gray Morality, White and Grey Morality, Evil Versus Evil, Morality Kitchen Sink, Order Versus Chaos, The Horseshoe Effect and A Lighter Shade of Grey. Feuding Families and Cycle of Revenge stories tend to fall under this, as do many depictions of historical wars. A Mob War may be this, or may fall under Black and Gray Morality. Any betrayals within a Grey and Gray Morality Universe will, by their very nature, be Hazy Feel Turns.
— Squall Leonheart, Final Fantasy VIII
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Films — Animated
- Zootopia: Zootopia isn't as unified as it appears on the surface; almost everybody is shown to hold some kind of prejudice and/or stereotype. Everybody is a victim of bias, and everybody is a carrier of it, even if they don't realize it until they get called out. However, there are light and dark ends of the spectrum. Those on the lighter side, like Judy, Nick, or Gideon, who try to move past their biases, acknowledge and apologize for their mistakes are the ones who help Zootopia truly become better. Those, like Bellwether and the others involved in the anti-predator conspiracy who don't care who gets hurt/killed in their campaign, are definitely on the darker end.
- The Monkees' song "Shades of Grey" is about this.
But today there is no day or nightToday there is no dark or lightToday there is no black or whiteOnly shades of grey
- A Billy Joel song with the same name as the above is about how he goes from the Black and White Morality of youth to this, while simultaneously warning of Black and White Insanity.
- French singer Jean-Jacques Goldman titled one of his songs "Entre gris clair et gris foncé" ("Between Light Gray and Dark Gray"). Specifically, its lyrics are about the increase of ambiguous morality in fiction.
Devils aren't so black anymoreNor whites wholly innocent
- Angels & Airwaves have Epic Holiday, from the Love album.
Nobody's rightNobody's wrongLife's just a gameIt's just one epic holiday
- The Dave Mason song "We Just Disagree"
So let's leave it alone, 'cause we can't see eye to eyeThere ain't no good guy, there ain't no bad guyThere's only you and me and we just disagree
Mythology, Religion & Folklore
- The Norse view of the world was pretty much entirely founded on this trope. While the Gods weren't all that bad, Odin could be an unreliable jerkass and tended to decide men's fates on a whim. Similarly, despite their horrific nature, the Gods' enemies could be portrayed as sympathetic, especially in the case of Loki. He constantly broke rules, but on the logic that too much order would stifle creativity. The real conflict is more one of order versus chaos, although it's clear which side the audience was rooting for.
- Reynard the Fox fables evoke this. Reynard is a trickster, and frequently the bane of other characters, but all characters are flawed. They are all animals (just like we are) and act according to their instincts. Reynard is the folk hero, but is not "good" or "bad", he is just as flawed as all the other characters.
- Similarly, Wolf and/or Coyote, depending on the region and tribe (and even storyteller). Sometimes, he's a Prometheus-like creature who stole fire from the Gods to give birth to or help humanity. Sometimes he's just looking for a meal, and isn't any more harmful than Bugs Bunny. Sometimes, he's a rapist coward who murders men, women, and children by tricking them into deadly games. One rape of a woman leads him into pitying her and helping her give birth, while other tales have him return food and protect those he stole from. He's a complicated case.
- The Revolution vs Palaestra conflict in Super World Of Sports, a homage to the various dojo wars of sumo wrestling and another form of the All Japan\New Japan rivalry. It crossed over into Grey and Black morality when Geki Dojo entered the picture though, as their manager KY Wakamatsu was transparently evil.
- While observing the happening of various promotions in the USA and Japan, Pro Wrestling Is Art found this response.
“Pro Wrestling Is Destroying Someone Else’s Dreams To Achieve Yours”– Ice Ribbon – 2011-12-25 – Korakuen Hall – Tokyo, Japan
- Vince Russo believes pro wrestling ought to work this way where the concept of a heel and a face isn't a line down the middle and characters should act naturally to achieve their objectives rather than abiding by their defined alignment. Unfortunately he isn't very good at making this happen so when it's attempted it just ends up confusing and everyone winds up with weak characterizations across the board.
- In Troll Cops, the Magpie comes back from her Bad Future with a very strong belief in a clear Black and White Morality, getting her in trouble very quickly. In the first midseason finale, Rose finally drills home for her the fact that there is no black and white, and what really exists is one of these.
Rose: Those of us who fight for good, even as grey as we are, do our best to save as many lives as we can. We do the best we can, but sometimes we have to make sacrifices. Sometimes we do unsavory actions like lying, cheating and stealing. Like taking bribes, helping criminals, or killing unsavory people. But despite all our problems we are still trying to do the right thing.
- William Shakespeare's historical plays sometimes work this way. In others he rewrites history to upgrade heroes and villains to create a Black and White Morality that appeases the reigning dynasty.
- Into the Woods uses this in relation to fairy tales; for example, Jack might be the hero, but he still killed someone's son. The point of the musical is to show that people are not good or evil, but just people.
There are rights and wrongs and inbetweensNo-one waits when fortune intervenesWitches can be right, giants can be good.You decide what's right, you decide what's good.Someone is on your side.Someone else is not.While we're seeing our sideMaybe we forgot: they are not alone.No one is alone.
- The main characters' dilemma in the second act is choosing whether they want to give Jack to the giant and save themselves or spare him and let the giant kill everyone in the kingdom.
- Peer Gynt plays this straight on the title character. Come the fourth act, he lampshades it heavily, relating this as his philosophy of life: balancing out the bad deeds with good ones. For instance, he deals with slaves, and also trades in pagan idols. For every pagan idol he sells, he makes sure a heathen is baptized.
- The Pillowman uses it to stunning effect. From the beginning, Tupolski is clearly the hero of the story, Katurian is a Magnificent Bastard writer and murderer, and Ariel is the grey between the two, clearly being opposed to Katurian but constantly going against Tupolski. It's turned completely on its head when Katurian is revealed to be innocent, or at least under extenuating circumstances for the three murders he did commit. From that point onward, Tupolski is still pushing to execute Katurian and Ariel loses all of his nerve. It ends on a technicality, that Katurian confessed to murders he didn't commit, and the agreement was that they would save his legacy if he confessed truthfully, so they are "entirely within [their] rights to burn all of Mr. Katurian's work".