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D&D General "Red Orc" American Indians and "Yellow Orc" Mongolians in D&D

I think it's important to say WotC was trying to do with Volo's the age-old trick of justifying its premise: killing things and taking their stuff. It's been the concern of D&D since its inception that monsters (as the game defines them) are usually the antagonists there to challenge the PCs and serve rarely little purpose beyond that.

Comparing it to videogames for example, the reason Mario stomps Koopas and Goombas is because they are the bad guys trying to stop the player from winning the game. Nobody talks about how Mario crushes goombas without mercy or why goombas are trying to stop Mario or not-all-goombas are evil, we accept in a video game there isn't room for nuance and move on. (Although, that seems to be changing as well, as there appears to be some subtle pushback to video games using monstrous races exclusively for villains too, and if Mario games had anything resembling cohesive worldbuilding at this point, it'd be fair to question why Mario stomps koopas into pits in one game and goes golfing or go-karting with them the next).

D&D has wrestled with that issue since kobold babies were found in the Caves of Chaos, and WotC when working on the lore of 5e had basically two choices: simplify morality in D&D by creating two cosmic teams (good guy PCs vs bad guy monsters) and justify why the bad guys were always bad, or create a muddy world of gray morality where any creature is capable of complex moral thought and the lines of good and evil are blurry. It's obvious which one they opted for, and that they bet on the wrong horse.

To be fair, they were in a place where the majority of RPGs were at the time. Pathfinder, for example, spent plenty of ink on why goblins were cruel, savage beasts who hate dogs (!), reading (!!) and horses (!!!) just to justify attacking them on site. WotC used much of the MM and Volo to likewise justify why an orc is nearly always a monster, but an elf isn't. They spend a large chunk of Volo for example to justify differences between orcs, goblinoids, gnolls and kobolds by giving them different justifications for being universally antagonists. They wanted to create a clean narrative where you didn't have to, on a base level, worry about if killing orcs was morally justified. You just picked a monster from the Monster Manual, plopped them down and let your PCs fight them. It's fun and if someone asked, the DM shrugged and said, "orcs are the spawn of an evil god, they can't help being evil."

At some point though, the majority's opinion on this changed. (I feel that streaming games, and the new eyeballs on game with an eye toward narrative and inclusion, raised said scrutiny up to its current levels). And Paizo and WotC and even Critical Role were caught flat-footed by the scope of the changes that are being called for. (Paizo maybe less-so, they seemed more in tune with the currents while designing PF2e, but even then, there are some legacy blunders they opted to leave in that still look bad in hindsight). So WotC is trying to backpedal away from its "justify monsters with cosmic evil" approach, much like how Paizo has had to address this with its monsters and cultures (such as the notion of slavery in future products) or how Matt Mercer is going to have to backpedal on the Curse of Strife in future Exandria works.

In short, what has been acceptable is rapidly changing, enough so that products that are less than a decade old are eligible for the content warnings. And I don't feel the changes are done yet. We may be looking back in 5-6 years and say how 2021 WotC books didn't go far enough in distancing themselves from problematic legacy tropes. They only constant is change.
 

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I mean, that seems like an understatement of a pretty extreme degree, and I'm not saying that to burn Lovecraft, who I think as a fascinating nutter, and such a powerless weirdo I judge him less for his racism than others. Lovecraft's racism, his complicated fear, even terror of the Other, absolutely shaped his work, in pretty fundamental ways. It's not like his dark force that occasionally crept in, or like a bad habit which just made some of it seem sleazy (which is how it looks with Asterix, say). It's a significant, kinda major part of his complex and highly unusual psychology.
Every once in a while my advisor would return a paper I had written with some sentenced underlined and WC (Word Choice) written in red. You just handed me back my paper with a big red WC written on it. Yeah, I agree. It was an understatement. And, honestly, part of the reason I give Lovecraft a "pass" is because he was a nutter and powerless weirdo and I don't think many people read his work and think, "Yeah, he's right on the money about race!" I think the first time I read The Horror at Red Hook I thought to myself, "What the hell does he have against the Portuguese?" It was more baffling than offensive to me.
 

I think the first time I read The Horror at Red Hook I thought to myself, "What the hell does he have against the Portuguese?" It was more baffling than offensive to me.
Yeah, I mean when I first read Lovecraft aged like 11-12, I didn't even recognise some of it as racism, because it was so extreme, and kinda sci-fi that I assumed he wasn't describing actual human, but some sort of proto-humans or nonhumans, which errr, later (13-14-ish) I realized was kind of what he was saying, but by then I'd read one where a Scottish person was described in very similar terms, very clearly intended to be subhuman and I was just like "Oooooh okay I see..." and I realized fully at that point he was truly nuts about race.

It's still harmful (esp. to people routinely exposed to that kind of racism - for me it was merely educational - I'd never had it implied that my being Scottish made me "an inferior race" before and to know some people had thought that was interesting, esp. as it was clearly a dead attitude outside of the odd insane person (where it often reeks of jealousy) - even by the early 20th century in Britain people had changed from hiding Scottish roots to seeing them as a source of pride - not so in wherever Lovecraft came from I guess) and worth acknowledging as wild and untrammelled racism, but despite being more extreme, it wasn't alarming the same way some of the stuff in the Narnia books was, which seemed like hectoring and demanding that you agree with him "or else", and that was bad enough with Aslan but got into full-creepy territory with the Calormenes and so on. Even as a kid I was frowning pretty hard.
 




If it's as simple as acknowledging his racism and how it crept into his work, okay. I don't know how that holds his legacy accountable, but okay.

Well, how do you hold anyone accountable for behavior that is not strictly illegal, but is still not acceptable? By denying them the fruits of their bad behavior. Now, what with him being dead, and most of his works being public domain, we cannot deny him financial fruits. But what do dead people still have?

A good name, and the propagation of their ideas into the future - that, ultimately, is the legacy.

So, making it so that whenever people hear "Lovecraft" among their first thoughts are, "oh, that racist shmuck who wrote horror," takes the good name.

Lovecraft Country takes his work, and turns it around and makes the targets of his racism into the protagonists. It makes people like Lovecraft himself into villains of the piece. Lovecraftian themes used in ways Lovecraft himself would not agree with, and indeed to counter his own ideas. It helps to have better written prose than Lovecraft, which admittedly isn't that hard. These things rob him of the propagation of the problem into the future.
 

Some DMs learn that power dynamics are awesome when they benefit from them and thus reinforce the problem though.
I guess it's the result of never having had to play with a really awful DM, well, I mean almost never. I've got extremely good creep-dar IRL, and I've certainly dodged a couple of DMs who I suspect might have been like that (and quite a few potential players who seemed like creeps).

Even the worst DM I ever personally played with eventually lost to power dynamics, because we the players said "Okay no, you're not DM anymore, this is a coup" after his DMPC just got a little too annoying (same dude who thought we should murder orc toddlers).

I've read stories of really awful DMs abusing power, but they always seem to feature some combination of the following:

1) Happening in the 1970s/1980s.

2) Really far-out rural location.

3) If more recent, they may be online with strangers rather than rural.

4) A metric ton of red flags. If it's online there will always be like 10x as many red flags.
 

Well, how do you hold anyone accountable for behavior that is not strictly illegal, but is still not acceptable? By denying them the fruits of their bad behavior. Now, what with him being dead, and most of his works being public domain, we cannot deny him financial fruits. But what do dead people still have?

A good name, and the propagation of their ideas into the future - that, ultimately, is the legacy.

So, making it so that whenever people hear "Lovecraft" among their first thoughts are, "oh, that racist shmuck who wrote horror," takes the good name.

Lovecraft Country takes his work, and turns it around and makes the targets of his racism into the protagonists. It makes people like Lovecraft himself into villains of the piece. Lovecraftian themes used in ways Lovecraft himself would not agree with, and indeed to counter his own ideas. It helps to have better written prose than Lovecraft, which admittedly isn't that hard. These things rob him of the propagation of the problem into the future.
Lovecraft Country is hardly going to stand the test of time.
 

Lovecraft Country is hardly going to stand the test of time.
What do you mean by that though? The TV series? The book?

The book probably will. The TV series probably won't because it's a bit of a hot mess. However, if people go looking for Lovecraft, they're very likely to encounter it, and it's what, probably the only TV series which actively is about the Cthulhu Mythos?

So I would suggest that a young person, ten or twenty years from now, is quite likely to learn about Lovecraft Country and watch the TV show, and whilst they might not think it's a masterpiece, it is still going to potentially point up the issues with Lovecraft rather handily.

Also the book is solid and likely to continue to be well-regarded. Further, it's not alone. It's part of a broader reckoning with Lovecraft's work, and that reckoning and reclamation is happening because, fundamentally, Lovecraft's stuff was interesting, original, and influential, but also incredibly problematic, yet he's more tragic the villainous. There's a whole body of modernized Mythos stuff, a lot of it by minority authors of all descriptions, whether it's Ruthanna Emrys, Cassandra Khaw, Premee Mohammed, or whoever. Not all of it is going to stand the test of time, as with any other non-Lovecraft Mythos writers. But some of it will, and even if it only stands it for a decade or two, it's going to change how people see Mythos stuff - indeed I'd argue it's already largely happened. No-one under 45 talks about Lovecraft without acknowledging his racism - few older people do even.
 

Into the Woods

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