Racially diverse artwork in D&D...does it influence you?

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Threads like this always remind me of the guy who wanted to play a samurai character in one my games many years ago (really wanted a katana - go figure!), and when I explained that samurai come from an Afro-Asian culture in my setting he asked if he could play a samurai that was "a regular human".

We all know how "regular humans" are portrayed in most fantasy/D&D art. ;)

Anyway, I am all for more diversity in fantasy art - and in my own homebrew I have made most peoples not appear caucasian - with a lot of the "Mediterranean" ethnic ambiguity in the in-between places.

Oh, and I also want to give props to all the people taking part in this thread for keeping it in line with the board policy. As a moderator, I salute you!
 

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Yes, it is racist and I doubt that most people would be able to argue that it's not. However, we aren't talking about racism's dictionary definition.

I think everyone in the thread basically wants the same thing, which is a less racist world. We all want to be judged as individuals, rather than as members of some group identified by its skin color. We disagree only on how we are going to get there. Some of us think that actively promoting diversity will eventually achieve a lower level of racial consciousness. Others think that this is akin to trying to fight racism with racism, and all you will manage is to put society in a perpetual state of suspicion and mutual hostility.

Why do you use "white," "black," and then "Chinese"? There are multiple versions of white and black, and not all east Asians are Chinese. I've been trying to avoid talking about myself demographically, but as someone who is east Asian and NOT Chinese, this bothers me whenever I see it.

There is a tendency in the US to niavely imagine that ethnic/racial groups can be lumped into a few broad categories based largely on skin color and that these are perfectly descriptive. In this conversation we've all implicitly talked as 'white' was a single racial and ethnic classification, 'black' was another, and 'Asian' was another. These is even a tendency to assume that by racism, what is meant is whites hating non-whites (and very rarely perhaps the reverse).

In fact, the world is not nearly so neat. Outside of North America, 'whites' do not necessarily think of themselves as belonging to the same ethnic group as every other white person, 'blacks' do not think of themselves as belonging to the same ethnic goup as every other dark skinned person, and Asians certainly don't think of themselves as belonging to the same ethnic group as every other Asian person. In just the past 30 years, we've seen genocidal acts of racism by whites against whites, blacks against blacks, and asians against asians. The worst explosion of verbal racial hatred I ever witnessed wasn't with the redneck kid whose family was in the KKK, but from a Chinese and Korean friend who started talking frankly about what they thought of the Japanese.

I think we vastly overemphasis the role of skin color in 'diversity'. I think if we aim for real diversity, we will bring skin color along almost as an after thought. I think if we will diversity by just letting the hobby diversify, so that the players, referees, designers, writers and artists are diverse. I think we are getting there, but that we have a long ways to go and there are no shortcuts. I think if you make a symbolic act of putting a visual representation of someone with an unexpected skin color from the context before you do the hard part of creating the context, that you aren't really accomplishing much of anything at all.

To be honest, I'm really torn over how I feel about this. I'm not really objecting to the result of illustrations of characters with diverse hues, but the particular process for how we get there which some seem to advocate as, to overly simplify, "Don't add real diversity, but paint some colored folk in to make it look good." But I also recognize the reality that achieving a diverse hobby is hard, as unfortunately the evidence is that there are a large number of minorities out there that won't feel included until someone takes the first step of giving them something that they can racially identify with. It would be nice to imagine having been yourself been defined by someone who defines themselves according to thier skin color, that it would make you less likely to yourself repeat the mistake of defining yourself by your color. But it doesn't seem to work that way.
 

If you're running a medieval European setting, there is an easy explanation for "out of place" people. Roman Empire. It accepted people from anywhere into the legions, given enough time. The legions moved people all over the world. So, you could have an influx of people from almost any type, almost anywhere.


In 4th ed, the answer is Empire of Nerath. Same principle. Big empires enable people to appear in places you wouldn't expect them to be.

So, no, a diverse population doesn't break immersion for me.
After watching "Gladiator", I'd even go as far as to say that the average D&D setting has more in common with the Roman Empire than with the Middle Ages. From the downplay of horsemen to the variety of available weapons and armor and the pantheistic view of gods, it's a closer match than horsemen/chainmail for everyone/monotheism.
 

I think having multi-racial art is great -- at least as far as humans. I guess I assume the other PC races (elves, dwarves, etc.) are less diverse than humans. I don't really care if halflings are black, white, or chartreuse, but it is jarring to see two different races of halfling together in the same book. I think it flows from the idea that the "demi-human" races are represent a subset or charcature of a subset of human attitudes and traits.

As far as human races go, I think Greyhawk did an excellent job of setting the stage for diverse PCs. Baklunish, Flan, Oerid, and Suel all have defined origin points and migrations, but have reasons to generally co-exist. There are "cosmopolitan" areas and there are more homogenous areas. Good stuff. I also like the pseudo-Roman Legion explanation given above. There's no reason to force the issue in a fantasy setting.

In practice, I don't worry about it. My entire group is white and I've had very few non-white players (Iowa, go figure). As a GM, I've got a couple of notes on racial origins written down, but the implicit assumption is that the main campaign area is populated by Euro-looking folks. Which makes sense, because I run an extremely feudal European baseline. I feel a bit bad that the primary evil empire is Arabian looking, but that's more because they exist in the "Cradle of Life" than any deeper rationale -- the culture is based on psionics and could never be mistaken for any era of earth culture.
 

Everyone assumes that all non-white people get along, but the reality is different.

Now one of the more humourous examples would be the Indo-Canadian comedian Russell Peters who gets away with telling some of the most racist jokes around, in his belief that he feels that Asians, particularly Indians and Chinese are more racist than white people, with the whole, "What you're from that part of India, go away, I hate you :):):):):):):)!" In one of his stand-up routines.

And certainly among older Chinese people, they feel the same way about blacks and natives as a lot of white people do. And this is on top of mistrusting whites, hating other Asians, and hating other Chinese people who come from different parts of China than where they come from.

Anyways I do get slightly annoyed when people assume I'm Japanese rather than Chinese. They should figure out that it's more likely I'm Chinese when there's about 1.3 billion Chinese and only about 130 million Japanese. Which is why I don't assume other peoples nationalities, until I know more about them.

But the thing is with fantasy settings is that there's so much to draw from China or India or Africa or even under-represented Eastern Europe. That you don't need to paint everything over with the Western Europe paint-brush. Nowadays there's a lot of Chinese fantasy movies (as I wouldn't call any of those historical by any stretch, even if the movie claims to be during the Qin, Ming, Qing, etc dynasties).

I for example found the opening scene in Daywatch to be fascinating because it sort of depicted ancient Samarkand.

Now I'm someone who is slightly interested in anthropology, and I do find many of these cultural distinctions such as dress, architecture, history and myths to be fascinating. So it'll probably be reflected in settings I run where there's a large variety of nations who are culturally distinct and resemble particular human cultures.
 

I think having multi-racial art is great -- at least as far as humans. I guess I assume the other PC races (elves, dwarves, etc.) are less diverse than humans.

Check out the 4e writeups for races. With the exception of dragonborn, every single non-human player character race is described as coming in the same range of skin colors as humans are. I think that's awesome, myself. Of course, I did go out of my way to get Nyambe and Hamunaptra back in the 3x days, and snagged every bit of Al-Qadim I could find before then, so I'm naturally predisposed to see the main game openly embrace possibilities like that right in the core books.
 

I'm surprised that this thread has gone 9 pages, and no one has mentioned The Order of the Stick yet.

Roy Greenhilt is the main character of what is one of the most prominent pieces of D&D-related fiction currently being produced. And his race has, to my knowledge, never been mentioned by any character. He's not an outsider or a foreigner or a barbarian in his homeland, nor does he have any special culture or belief that differentiates him from other "northern" humans. It's simply a non-issue. But neither is it tokenism, because again, he's the hero, the main protagonist, the leader. It's Roy's quest, the others are just participating. Even 100 strips after his death, he's still had more appearances than any other character.

Further, a quick glance at any scene involving a crowd of people not in Azure City (the bandits, the Cliffport police, the village) will show a mix of different colors. And heck, even Azure City has a cultural mix, it's just not color-based: Chinese, Japanes, Thai, Vietnamese, and Korean names and cultural items all exist mixed together. And we've seen hints of non-hererosexuals, from Elan's experiments at Bard Camp to Haley's repressed bisexuality, to a prison guard who can't be lured by a feminine illusion because he's gay.

Does being a comedy dilute the message that this world has no bigotry, or does it enhance it because we're too busy laughing to think twice about it?
 

Does being a comedy dilute the message that this world has no bigotry, or does it enhance it because we're too busy laughing to think twice about it?
It's a very light comedy about the silliness of D&D, so having characters look like modern American players, but dressed for adventuring, seems like a cute nod to the notion of roleplaying.
 

It's a very light comedy about the silliness of D&D, so having characters look like modern American players, but dressed for adventuring, seems like a cute nod to the notion of roleplaying.

That doesn't explain why all the NPCs follow suit. At the very least, it's a depiction of a D&D campaign where the idea of a multiracial world has been successfully implemented by the DM, which is more than we see from Wizards. That the depiction exists might encourage people who see it to say, "Hey, you know, having a black person DOESN'T ruin the illusion after all."

(And I wouldn't have called it "very light" or "silly" for years...)
 

That the depiction exists might encourage people who see it to say, "Hey, you know, having a black person DOESN'T ruin the illusion after all."
Most D&D games are beer-and-pretzel games, especially the kind you joke about in a comic strip, and their lack of verisimilitude is legendary. I wouldn't read high-minded social goals into a D&D game where everything seems like modern America in medieval drag.
 

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