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myths around the world challenge: @ibuzoo & @thewinedarksea

The roaring success of the recent Black Panther film is another sign that fantasy worlds are changing.  The fictional African country of Wakanda as portrayed in Marvel comic books has been isolated and stagnant, a common problem with "Othering" of non-white cultures.  The plot of the film addresses its isolationist past and in doing so, blazes a trail for other fantasy universes in how they portray African-like nations. 

Marvel Deals With its "Other"

Othering is a process in which other cultures are viewed through a biased lens of exoticism and isolationism.  These cultures are not integrated into the world but are rather static, often amalgamating a region's various cultures into one homogeneous mass.  The culture may be portrayed as never having advanced beyond what defines it as exotic.

Any world creation will likely be influence by the beliefs of the time, and many fantasy worlds -- Marvel's superhero universe included -- paint different cultures with broad strokes for white audiences as a form of shorthand.  This is how we got Wakanda as a technologically-advanced culture that never fully engaged with the horrors of war that have rocked the world at large.  As Nate Jones puts it:

It refuses to trade with other nations, though as one line in the movie makes clear, Wakandans are still able to consume American memes.  As we see in a Western television broadcast in the movie, Wakanda is able to get away with this by masquerading as an impoverished third-world country, and since the country’s leadership refuses to take international aid, the rest of the world doesn’t ask too many questions.

The plot of Black Panther addresses this isolationism -- a byproduct of "othering" Wakanda as a a fictional nation in Africa -- head on, and makes it clear that the Marvel Cinematic Universe plans to integrate Wakanda into its narrative like any other nation.  It's a bold choice that will likely change the static nature of Wakanda forever.  Role-playing games face a similar dilemma.

RPGs and Africa

There hasn't been a great track record in nuanced representation of African nations in tabletop role-playing games.  G.A. Barber uses Rifts Africa by Palladium as an example:

...with a decided lack of POC in the art, and the entire continent serves as a place for non-Africans to adventure in.  There are 67 interior pictures in Rifts Africa, of which 54 depict non-Africans or landscape, and 13 depict Africans.  The first picture with Africans in it has them acting as porters for a white game hunter.  Four of the pictures (just under 25% of the pictures depicting Africans) depict Africans as monsters.  None of the pictures show Africans using modern or futuristic technology or weapons, none of them are of Africans fighting monsters or “looking cool”.  In a single book, ostensibly about Africa, only 19% of the pictures show Africans (omission), and the few depictions of them make it clear they are there as set dressing and nothing more (stereotypes and limited roles).

Dungeons & Dragons has slowly, steadily, been addressing this issue.  Fifth Edition has made efforts to be more inclusive, and that reflects in the diversity of character art.  The lead image for the human race in the Player's Handbook is of a black woman.  And yet, D&D still struggles with its broad strokes representation of African nations, as the controversy over the depiction of Chult demonstrates in Tomb of Annihilation:

Its point of inspiration is a campaign setting that, for years, has been written off as tone-deaf.  The new adventure draws on D&D co-creator Gary Gygax’s adventure Tomb of Horrors and combines that with source material detailing Chult, a jungle peninsula first conceived of in a 1992 novel called The Ring of Winter, in which an adventurer travels to Chult’s dinosaur-filled wilderness seeking the eponymous artifact...  The canonical Chultan peninsula finally congealed in a 1993 campaign setting as a dinosaur-infested jungle where heat wiped out even the strongest adventurers and insects carried fatal diseases.  Reptilian races and undead skeletons dominate the land and humans live in tribal clusters and clans.  Its major city, Mezro, “rivals some of the most ‘civilized’ population centers in Faerun,” the setting reads.  Slavery is mentioned about 40 times.  In D&D’s 3rd edition, it’s written that Chultan priest-kings worship “strange deities” in the city of Mezro.  In D&D’s 4th edition, Chult is located on what’s called the “Savage Coast.”  It’s said there that the city of Port Nyanzaru is controlled by foreign traders who often must defend against pirates.  Mezro has collapsed.  It just sank into the abyss.  What remains is this: “Human civilization is virtually nonexistent here, though an Amnian colony and a port sponsored by Baldur’s Gate cling to the northern coasts, and a few tribes — some noble savages, others depraved cannibals — roam the interior.”

Tomb of Annihilation works hard to create a more comprehensive African culture in Chult, but it may suffer from not enough nuance:

While many players I talked to enjoyed how the history and political structures of Chult were expanded in Tomb of Annihilation (and enjoyed the adventure’s plot generally), they were still unimpressed by its execution.  Its setting is an amalgamation of African cultures, a trope frequent in 20th century media that flattens the dimensionality of human experiences on the continent, which contains hundreds of ethnic groups.  There are nods to West African voodoo, Southern African click-based Khoisan languages, East African attire (like Kenyan kofia hats) and the jungle climate of Central Africa.  Its fantasy setting dissolves “Africa” into an all-in-one cultural stew that comes off as a little detached, sources I interviewed said.

Is it possible to depict a more nuanced fantasy Africa?  Nyambe: African Adventures for 3.5 D&D, by Christopher Dolunt, offers some hope:

My motivation for creating Nyambe was simple.  Africa was a major part of the Earth that has little or no representation in fantasy literature, let alone RPGs.  When it does appear, it usually follows the pulp fiction model: steaming jungles, bloodthirsty cannibals, and dark gods long forgotten by the civilized races.  Of course, historical Africa was nothing like that, so my goal for Nyambe was to create a fantasy version of Africa based on the actual history and mythology of Africa, rather than previous fantasy depictions.  So, I went about taking snippets of history or myth, and twisting them, adding fantasy elements or changing specifics to make them fit into an OGL world.

Now What?

Wizards of the Coast made considerable strides in increasing D&D's diverse representation and transitioning Chult from conquered land to fantasy nation, but there's still work to do.  As more people of color play D&D, the game will need to change to accommodate its players' diverse views.  With Black Panther leading the way, here's hoping future game designers will take note.

Mike "Talien" Tresca is a freelance game columnist, author, communicator, and a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to http://amazon.com. You can follow him at Patreon.

“It we can’t write diversity into sci-fi, then what’s the point?  You don’t create new worlds to give them all the same limits of the old ones.“ (Jane Espenson)

Recovering Nyambe sets sights on next season … relishing Championship challenge

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Otniel Hembapu

WINDHOEK – After enduring a horrific injury-ridden 2017/18 season, British-based Namibian international defender Ryan Nyambe, who plies his trade for English Championship outfit Blackburn Rovers, has strongly bounced back from a hamstring injury and has now set his sights on next season.

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