Do orcs in gaming display parallels to colonialist propaganda?

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I

Immortal Sun

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Of course we don't. But my point was that people are going to have honest disagreements over whether something is racially coded, whether it is a problem, etc. Sometimes a cigar is just a cigar, and sometimes we can get too caught up in making things as wholesome as possible, and miss some of the rough contours. Your orcs would be an example. I could actually see people having issues with "This is Sparta Style orcs" on a number of grounds. Personally I think they sound very entertaining to have in a campaign. I wouldn't want people to start thinking the orcs you proposed should be off limits, because the over the top masculinity could be a problematic trope.

There also exists the perennial problem that outside of humans (though rarely depicted) and possibly elves (assuming you include such material) there is little depiction of internal diversity within a species. It's something I've endevored to include in any games playing on a "rule of 3" that each species should have at least 3 notable variants. Generally I include brown desert-dwelling nomadic or arab-styled orcs, green "jungle" savage or islander sailor orcs, and "black" militaristic or generally LE orcs.

So it can sometimes be rather glaring when an entire species is a play on a single racial or cultural trope. Especially when by comparison, the typical primary player race (humans) has been shown at length to have cultural, racial and physical (at least superficial) diversity both in the game material and in the settings themselves (exampled by having multiple different human civilizations with different cultures and sometimes physical appearances).

IE: It's one thing to have drunken scottsman parody dwarves. It's another thing to have those be the only kind of dwarves.

I'm not saying everyone must do this or that it's appropriate for every game. Only that it's worth asking the question: if humans are so diverse, why isn't eveyone?

Counter IE: I recently made a futuristic Drow-centric campaign. I stuck to my "rule of 3" but kept it narrower. There are "light Drow" running a rather monochrome grey-to-black spectrum. There are (self proclaimed) "high-Drow" running a purplish spectrum, and "common drow" running a royal blue (that almost indigo color) spectrum. Their society answered the question of "why don't they have a wide array of diversity by now?" with "they practice strict breeding programs, utilizing both social pressure and government incentives to produce more or less of one ethnicity than another. It's not a nice answer, but it is an appropriate one.

Sometimes the answers to important questions aren't nice. That doesn't necessarily make them wrong, but attempting to answer these questions with an answer other than "they just are" can be a god way to stem off potential perception problems.
 

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pemerton

Legend
A concrete example: I was re-reading the Iliad a little while ago. Women are being taken as booty, divided up (as spoils) among the Acheans, etc. How would I teach this to a contemporary literature class - which, in my country at least, will be more than 50% women in their late teens or early 20s (ie examples of the very spoils at issue in the story).

Am I just meant to observe that Homer and his (male?) audience didn't object to rape in war and move on? I'm not sure that's going to cut it.

Another example: the pulps are full of highly gendered sexual fantasy. Patrice Louinet, in the critical notes to his critical edition of REH's Conan stories, discusses this aspect of REH's writing and how it related to magazine covers of semi-naked women (which promoted sales). And this aspect of the pulps very obviously bleeds into D&D, and not just in respect of art work. The "random harlot" sub-table to the City/Town Encounter Matrix in Appendix C of Gygax's DMG isn't just an homage to the pulps: it's a reproduction of the sexual fantasy that those earlier swords & sorcery "harlots" were evoking.

If WotC has decided it wants to market D&D to an audience of women as well as men, it makes sense to re-consider whether it still wants its works to reproduce those particular tropes and ideas.

And if we, as hobby participants, are reflecting on the sorts of tropes and ideas we want to be taken as standard for our shared fictions, do we want pulp-era "random harlots" or not? This isn't about "erasure" - no one is burning old copies of the DMG, nor disputing the pulp origins of much modern fantasy. It's about what aesthetic and broader values we want to express in the works of art that we, here and now, are creating.
 

Dannyalcatraz

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The last Orcish variants I made for a homebrew included a lift from Nehwon Ghouls- transparent flesh. The subspecies were distinguished by the color of their bones (red, black, green).

Racist stereotypes not really possible. Racism still viable as a plot device.
 
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S'mon

Legend
And if we, as hobby participants, are reflecting on the sorts of tropes and ideas we want to be taken as standard for our shared fictions, do we want pulp-era "random harlots" or not?

In my Tuesday Thule game running 'Beyond the Shadow of a Dream' from White Dwarf #61, the PCs ended up spending a good deal of time in Clouds brothel. With my 11 year old son in the group, much polite conversation ensued!!
 

pemerton

Legend
I think when we engage in this kind of dialogue, where its simply assumed disagreeing over orcs is the product of racism, rather than a genuine disagreement about what the orcs themselves actually represent, it is difficult to have a real conversation.
Who is saying that disagreement over orcs is the product of racism? In this thread I (and others) have claimed that orcs as presented by JRRT and as inherited by D&D are expressions of racist tropes and ideas.

I think some who disagree with that are themselves trapped within (perhaps rather similar) racist tropes and attitudes. In my experience it's not uncommon for some white people to not be very sensitive to the way certain received elements of (say) British or American culture express and reproduce racist tropes.

Some others who disagree may be very capable at analysing racist tropes and disagree. For instance, if I recall correctly Bryan Magee in his book Wagner and Philosophy argues that Wagner's dwarves in his Ring Cycle are not anti-Semitic caricatures. I tend to think Magee is wrong, but I don't think Magee is insensitive to the expression of anti-Semitic tropes. (I think he may have been led a bit astray by his evident admiration for Wagner.)

What concerns me here, is I see more and more rules being laid down about what is acceptable in a fantasy gaming setting. And there doesn't seem to be a lot of room for differences in interpretation. You say the author's intent shouldn't matter, but I don't think we can just limit this to our own subjective reactions. There is a world that exists outside of us. We have to reach beyond our own minds and see what the intention behind the creation was.
To be honest, this reads like special pleading -why can't I still have my jungle savages and my harlots without anyone judging me for it?

I don't care what Gygax intended with his random harlot table. Was his intention to pander to juvenile male fantasies about readily available sex? Was his intention to emulate and evoke the world of the fantasy pulps? Was his intention to celebrate the contribution made to humanity by sex workers? I am talking about the work he produced, not the work he hoped or wanted to produce. And this, as I take it, is [MENTION=22779]Hussar[/MENTION]'s point: we are not discussing what authors hoped to do, we are discussing what authors have actually done in producing these works with these tropes and evoking these ideas. If they didn't know what they were doing, or didn't care, or thought it was just innocent fun - well, that tells me something about them and their personal history, but it doesn't tell me anything about their work.

If someone wants to defend the presence of a random harlot table in their FRPG, then do that. Don't explain to me that Gygax meant no harm by it. Explain to me why it does no harm; why it is a good thing. After all, if you think there is such reason, that justifies Gygax's decision to include it, then you should be able to reproduce it. And if you can't adduce such a reason, then that pretty much speaks for itself, doesn't it?

To reiterate a point I made upthread, I am saying these things as a citizen of a country in which it is routine for prominent national newspapers to publish blatantly racist cartoons, and when criticised for doing so to hide behind arguments of we didn't mean it and free speech. But free speech is a red herring - no one is threatening to censor your latest RPG project that features inherently evil swarthy, scimitar-wielding orcs. And the fact that you didn't mean it - well, lot's of people do and don't mean lots of things, but the complaint is about the work produced, not the intention behind it.

I am just a bit worried because people are so quick to draw conclusions, and so fast to insist others share their conclusions. And often times we don't even disagree on the underlying points behind about society, we just disagree on what the art means.
Welcome to the world - often people disagree.

But you present this as if you are being asked to give something up - no more swarthy sword-fodder orcs - by unreasonable others. You're completely ignoring that you are asking others to give something up - you're asking others to tolerate the widespread presence in the shared gaming culture of tropes and ideas that directly draw upon and evoke racist sentiments about them. And why should they do that? Why should they yield to your preferences when you aren't prepared to yield to theirs?

If you now turn around an insist that they are wrong - that, say, these inherently evil swarthy orcs don't draw upon and evoke racist sentiment - well, now you're doing exactly what you've criticised others for doing, namely, insisting that everyone should accept your aesthetic judgement.

Appeals to toleration, or mutuality, or reciprocity, are at best ineffective and at worst hypocritical until a proper acknowledgement and account is given on all side of what people are being asked to give up, or to tolerate. And that's precisely what a thread like this is trying to unpack.

people are going to have honest disagreements over whether something is racially coded, whether it is a problem, etc. Sometimes a cigar is just a cigar, and sometimes we can get too caught up in making things as wholesome as possible, and miss some of the rough contours.
So if a cigar sometimes is just a cigar, are you asserting that JRRT's orcs do not draw upon and express racist tropes and ideas? If not, then what's the point of that remark.

And of course there can be honest disagreements over what is racially coded. But the judgements of people of colour on these things are generally where one would start. And I've not seen anyone actually present an argument, let alone a good one, that the stuff [MENTION=21169]Doug McCrae[/MENTION] quoted is not racially coded. Nor have I seen anyone explain how authorial intention is relevant to that. How is Gygax's opinion on what he believed to be the significance of the use of the word "mongrel" to describe half-orcs possibly relevant to whether or not he was reproducing racist tropes and evoking racist ideas?
 

pemerton

Legend
In my Tuesday Thule game running 'Beyond the Shadow of a Dream' from White Dwarf #61, the PCs ended up spending a good deal of time in Clouds brothel. With my 11 year old son in the group, much polite conversation ensued!!
I'm not 100% sure where you're inviting me to go with this anecdote, so I'll just respond with the thought it provokes in me - what would I do if one of my daughters (of a similar age to your son) pulled my DMG of the shelf and asked me what a Brazen Strumpet, Saucy Tart or Wanton Wench is? What's the answer to that question that explains how this random table is contributing something valuable to the FRPG hobby?

Admittedly I haven't thought as hard about an answer to that question as some other questions I've pondered in my life - but no obvious answer is springing to mind! What I have thought of, though, is that it is harder to explain its presence in the DMG than to explain (say) certain elements of REH stories that my kids might come across if they were to pull my Conan books of the shelf. After all, if they read Conan saying something of that sort to a woman I can always explain it's a depiction of a character whom, perhaps, one wouldn't want to emulate in all respects; and I can explain that the author of that character had views that, perhaps, one wouldn't want to emulate in all respects.

But the DMG table isn't in the voice of a character. It's a recommendation or a procedure for the creation of our own fictions, which (presumably) we want to be proud of rather than need to explain away in embarrassment. So why does it include advice about including Wanton Wenches in our fiction?
 

S'mon

Legend
W
I don't care what Gygax intended with his random harlot table. Was his intention to pander to juvenile male fantasies about readily available sex? Was his intention to emulate and evoke the world of the fantasy pulps? Was his intention to celebrate the contribution made to humanity by sex workers?

I expect the first two; but mostly the second.

IMC I just used a lot of euphemisms like "ladies who entertain gentlemen".

I don't think I've ever used that 1e AD&D table. I remember back when Gygax was alive, having a jokey dig at him on these boards for his including it in the DMG - I think this might have been my only interaction with him! He took it in good spirit. :)
 

S'mon

Legend
I'm not 100% sure where you're inviting me to go with this anecdote

Possibly a slight chuckle, especially if you remember that adventure, which is from 1985! BTW it treats the prostitute characters respectfully; the tone is quite adult, in the grown-up sense.
 

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