Editing LeviathanTempest:ChapterFive (section)

==== Where Hell meets Good Intentions – The Idealists ====
	One of Leviathan's themes is the concern about motivations and desires. One of the ways that this plays out is in the focus on power – having it, using it, and abstaining from use. Unlike Mage, which focuses on the ethical concerns of power as an absolute quality, Leviathan is more concerned with the possession of power which can only be deployed cruelly. The Tribe has the power of demigods, but it manifests itself in a distinctly vicious fashion. A Leviathan has more power to distort or destroy than they do to build or mend. In some games, this is a matter of temptation – “what would you do if you absolutely could just force your will on others?” However, in this campaign style, the attempt to use evil means for good ends is a primary concern.

	The Idealists campaign type deals explicitly with the concepts of youth, dissatisfaction, and powerlessness. The last is not, in the case of members of the Tribe, the lack of power, but rather the lack of a voice. In this campaign model, characters are assumed to be in positions of weakness and marginality, but also to be motivated by a desire to establish some more correct or ideal world. Perhaps they're concerned with the environment, or social justice, or political reform. The reasons are secondary to a primary thematic concern: violence enacted for just motives is practically indistinguishable from any other kind of violence. In this campaign type, the motives of the characters come into conflict with their ability to be efficacious. How much wickedness does a noble ideal justify? For a member of the Tribe, whose mastery of their own mind and emotions is tenuous, is is possible to distinguish between a desire to reform the world through violence, and a desire to destroy it?

	One of the key elements of this style of campaign is cultivating a connection between the characters and their causes, but the cause-as-movement and the cause-as-ideal are not necessarily identical. People get involved in ideals and movements for all sorts of reasons, and not all of them are noble. This campaign style operates in that uncertain space. Some people light fires to oppose their oppressors and break their chains. Some people just like to see buildings burn. A member of the Tribe can never be really certain which they are. A good backdrop for this sort of campaign will be oppressive, homogenous, and emotionally unsatisfying, emphasizing the diversity and vitality of the marginal. The “movement” that the characters participate in might be focused on a specific issue, but it's not even necessary to be a cohesive movement. The Cohort might be in a community of artists, or a small ethnic neighborhood. The important thing is that they're in a position of weakness and presented with an adversary that seemingly deserves everything they can throw at it. Violence can be a source of mixed impressions – something troubling but also beautiful. 

	For a campaign that's focused on acting, the primary focus of this style is not necessarily action.  Far more important than the destruction of the adversary is the consideration of moments of intense, violent emotion, and the difficult way in which actions are contextualized by motives – or, more accurately, the difficulty of discerning one's true motives. Ideally, the characters will be uncertain about their own motives, permitting a great deal of exploration of their desires, both noble and not-so-noble.