It is undeniable that folklore has been a crucial aspect of human expression and connection for thousands of years. The nineteenth century saw interest in folkloric stories bloom thanks to the work of folklorists like the Brothers Grimm and fairy tale writers like Hans Christian Andersen. With these minds came widespread recognition of the literary fairy tale genre. Since then, fairy tales have skyrocketed in pop cultural prominence. Taking into account the fairy tale genre’s pervasiveness in storytelling, this thesis examines how the computer role-playing game (CRPG) series, Baldur’s Gate, utilizes this genre in an attempt to create a set of adult fairy tales for their players. In three separate chapters, this thesis will connect the Baldur’s Gate games to fairy tales in a way that exemplifies the latter’s influence on the former. The first chapter will focus on the “leaving home” plot arc as it is presented in the first Baldur’s Gate game from 1998, and we will examine how this narrative format is used in fairy tales to convey a message about self-actualization. In the second chapter, we will examine the hag character type, and how Baldur’s Gate 3 Early Access (2020—present) both reiterates and subverts this feminine archetype. Finally, the third chapter will focus on perhaps the most important aspect of RPGs and fairy tales both, which is choice. Essentially, we will analyze how the Baldur’s Gate series honors the fairy tale principle of moral exploration through choice. Additionally, we will examine how the Baldur’s Gate series takes this aspect of moral exploration from fairy tales and amplifies it according to their targeted demographic of adults.