The Latin Bechdels – Part 3: The DAGGER Test

Disclaimer: I’ve taken way, way longer than intended to get this post out. Why? Because I wanted to figure out the perfect way to talk about the DAGGER without offending anyone. I’m not sure that’s possible; the DAGGER Test is designed specifically to call certain elements of fantasy–some of them beloved–into question. I took pains not to mention any particular series or novel, but I’m sure that the DAGGER will criticize something you love.

That said, I’m not naming names in this post because the goal here is not to call anyone out. And also because the weird, exclusionary elements or ideas that the DAGGER points out are all institutional.

That in mind, I’m not saying that any of the elements herein need to be abolished forever or that they are universally, eternally wrong.

All I’m trying to do with this post–if I’m destined to be a popular author one day–is give a large audience food for thought. My goal is to challenge a few old story standards, not start a flame war. 

That said, here we go.

We’ve finally made it to a long, serious discussion about what I’m calling the DAGGER (Degrees of Archaic, Grandfathered, Generalizing, Exclusionary Racism) Test. Unlike the last two, this one does not focus on racism against Latinos in fiction; instead, the DAGGER is about institutional racism, as a whole, in the fantasy genre.

Now, despite the name of the test, I don’t think the DAGGER is a violent thing (which probably means I should change the test’s name . . . but no). What the DAGGER exposes shouldn’t be looked at as really harsh, intentional racism. Instead, what it exposes is institutional racism; most of the stories that fail the DAGGER on any level don’t fail because the people responsible for them are horrible bigots. In most cases, creators fail the DAGGER because fantasy, like the rest of the entertainment, has a long-ingrained tendency to white-wash everything.

I think that, for most writers, it’s strangely difficult not to be exclusionary with fantasy. After all, the genre has its roots in medieval England–with characters exclusively speaking with heavy, British accents so often that we don’t even notice it anymore. Many fantasy stories focus solely on a cast that comes from royalty (even stories where the young prince is trying to save commoners rarely deals with the actual commoners). And fantasy races are a major part of many fantasy settings; if you take that fact and pair it with America’s pro-white tendencies, of course things are going to get hairy.

What I’m trying to say here is, I love fantasy. I love fantasy races as well. I love the idea of a story taking place on an enclosed continent, with the sea standing as a big, mysterious barrier between our characters and the Otherlands/the Far-away/the etc.

But I do think that there are certain standards we need to question as fantasy writers. A few practices that are a bit quaint that we should try to steer away from.

Classifying these quaint standards and making them into degrees that can be applied to stories is all that the DAGGER Test is about.

Do you want to figure out if your fantasy story is quaintly exclusionary of real-life races? Take the DAGGER Test. The more degrees your story has, the more exclusionary it is.

The DAGGER Test

Criteria for Passing: Your fantasy story has none of the seven following degrees of institutional racism.

    1. Your fantasy world features no people of color. The entire world has been explored, but nowhere in that thriving fantasy world does a person of color exist. This does not apply to a fantasy world where the entire planet has not been explored (i.e. analogues of medieval England). Not every series clarifies this point, but The Wheel of Time is a good example of a story that makes it clear that there are other cultures in distant lands and across the seas.
    2. Your fantasy world features people of color, but none of them are named and none find their way into your plot. Because it’s as unlikely as it is unwittingly exclusionary (in most cases [I choose to believe]).
    3. Your fantasy world features people of color who double as a character class. While fantasy cultures can be really cool, sometimes, they’re awkwardly one-note. For made-up example, if “He’s a Vaneth assassin” is synonymous with “He’s a Vaneth,” the end product is a very generalized culture. “He/she is Vaneth, which means he/she only does the one thing that Vaneth are good for.” To be clear, this does not apply in a case where the fantasy culture is shown to be complex, with varying social tiers, jobs, ideas, etc.
    4. Your fantasy world only features either white Humans . . . or abnormal/inhuman fantasy races of varied skin color. I feel like this one is a bizarre accident in most cases (a mixture of an enduring, old Hollywood preference for white characters mixed with a love of monster fantasy races [like orcs]). But still, if not handled correctly, that combo sends a really bad, subliminal message: “You’re white or you’re a monster person with weird-colored skin.”
    5. Your fantasy world features fantasy races that are also all white. The tendency to make all characters white often spills over to fantasy races. And, really, of course it does. There are some series that challenge this very well (The Elder Scrolls series does an awesome job of presenting elves of varying skin color and culture), but most of the time, its an all white cast of humans, dwarves, and elves saving the day. It’s neither better nor worse than the fourth degree; it’s exclusionary in its own way.
    6. Your fantasy story features a fantasy race that is better than all of the others. That race is also whiter than all of the others. Although I love them, elves, who typically sing better, dance better, make superior weaponry, and use superior magic, are often exclusively light-skinned, commonly with bleach blonde hair and bright blue eyes. In stories that feature drow, this degree doesn’t apply only if the drow are not portrayed as evil/thieves (Extra Disclaimer: I also love drow, but I have to call it like I see it).
    7. Your fantasy story features people from far away lands, but they’re all just white people who dress and/or talk differently. Because sometimes ethnicity in a fantasy world amounts to other white people getting wacky with their color choices. To be clear, this does not apply to people in a distant town on the same, enclosed continent; if I traveled south on horse back, I’m going to find people who sound different and dress differently from how I dress (it’s called the south and I’m scared of it). Here, the problem is when invaders arrive from a different continent, wearing crazy armor that looks like it’s made out of swords (or whatever) and they’re all . . . still white people for some reason. Now, hey, vikings. I know. It isn’t unrealistic for a race of white invaders to lay siege on a continent controlled by another white race. All I’m saying is that maybe we should question when the invaders/foreign delegates/etc. are also white but wearing different clothes. Is there a strong, creative reason for it? . . . Or was it just an easy, reflex choice? Are you trying to mirror actual history or are you just shying away from representing people of color?

Now, considering these degrees, you probably know a fantasy series (again, not naming names here) that has a little or a lot of DAGGER in it. And, really, almost everything does.

But, again, the goal here isn’t to point fingers or sling flame. It’s to cast an evaluative eye on fantasy as a whole–it’s weird, quaint predilections.

So, for anyone reading this, I’m not asking for you to raise arms against me or anyone else. I’m asking you to just consider the DAGGER. Particularly for aspiring fantasy writers, take the DAGGER with you. Please.

Because, if there was ever a time for us to start re-evaluating fantasy, as Americans, it’s now. Just the other day, I saw on Facebook that Chick-fil-A (seriously, Chick-fil-A) of all places finally stopped making contributions to anti-gay groups.

Hearing that and thinking about other recent events here in America, with our government and our people getting amazingly progressive . . . maybe it’s also time for us to question the standards of fantasy. Not to abolish elves, stories on enclosed continents, or stories logically dominated by white characters–I’d never suggest any of that–but to actually cast a raised eyebrow at those ideas. Time for some of us to reconsider putting them in our stories. Time to make harder, more complicated choices about the characters we put into our work. Time to acknowledge that America’s tendency to white-wash has gotten into everything.

And to work against that. Because slowly, finally, America, as a whole is working against the white wash and I don’t want fantasy–my beloved, amazing fantasy–to miss out.

—Project Updates—

LS-ProgressBar(3.0)-9.26.15As is almost . . . always the case with my sci-fi stories, I soft quit on “Reset.” What does that mean? Well, I definitely didn’t throw my hands up in frustration. There was no, “I can’t write this!” I just took a break from it (to figure out a snag that I totally figured out) . . . right as I found the perfect setting and tone for my fantasy short, “Rainwater’s Archaic Goods.” And, holy shit, wouldn’t you know it, the moment I started brainstorming details for “Rainwater,” I just forgot about “Reset.” At no point did I groan an exhausted, “I have to put this story on the back burner.” Nope. There was just a recent, “Oh, right! ‘Reset!’ I . . . was supposed to be writing that.”

And now, talking about it, I realize that “Dream Runner” was also sci-fi . . . I’m seeing a pattern here. I will go back to “Reset” at some point, but not while I’m burning to finish/polish/submit a group of strong fantasy pieces.

When it comes to my goals from last time, I wound up spending all of my recent writing time editing “Aixa,” which I’m submitting this weekend. Memory edits have been slow because–full disclosure–I burned out on edits and I had no idea if some of the changes I was making where hurting or helping the novel. So I had to step away, although I’m going right back after I send “Aixa.”

Well, that wraps up this controversial series of posts on racism. And man am I grateful; this one in particular was a study in, “How can I write something that’s guaranteed to piss people off . . . without pissing them off?” Oy.

If you enjoyed this post, I always appreciate a Like or Follow. But, regardless of all that, thank you just for passing by. And, as always, write well.

The Latin Bechdels – Part 1: The CAR Test

It’s been almost two years since I first talked about Earth-Modern race in fantasy on this site. Two whole years and the world has changed a lot. At least, lately, America is coming along. Same sex marriage has been legalized. The confederate flag has finally been thrown into question. And I’ve lost at least two pounds (seriously, I got weighed at the doctor’s office the other day and I’ve lost two whole pounds).

Being a latino though, the bit of news I’m most grateful for is Donald Trump’s racist rant against Mexicans. Not because I’m an impossible idiot who agrees with him–I don’t–but because it’s finally opened the door for casual talk about Latin American and Hispanic culture. People are finally aware that–specifically–Mexicans have a voice and aren’t just a silent work force, and–more broadly–that Latin American culture is a thing that can’t be trivialized or ignored. People are out there, right now, watching videos about the difference between “Latino” and “Hispanic.” Or they’ve at least seen that video of the Mexican construction worker talking smack on Trump. That means there’s an opportunity for people like me to speak up–say things like, “Yes. Yes, latinos are also here in America–hello–and no, we aren’t just drug dealers or gangbangers, like you see on TV.”

And, for me (closet bureaucrat that I am) it’s also an opportunity to create three tests–in the spirit of the Bechdel test–that dictate whether fictional stories are archaically racist against Latinos!

And write a whooole mess of posts about them!

Ladies and gentlemen, this is the first of a three parter, The Latin Bechdels. I was fully intending to make this one post, but talking about the very first test ran on way, way longer than I intended. So, instead, I’m devoting the next month to discussing my three tests for racism. Two of these tests are applicable to all fiction, but the last one is only for fantasy. They are the Cops and Robbers (CAR) Test; The Latin Lover Test; and the Degrees of Archaic, Guiltlessly Generalizing, Exclusionary Racism (DAGGER) Test specifically for fantasy. That’s right–DAGGER. Because I could and it sounded awesome.

Today, we’re starting with the CAR Test.

The CAR Test

Criteria for Failure: the named Latino or Hispanic characters in your story are either criminals, cops who are reformed criminals, cops who are related to criminals, or civilians . . . who are related to criminals.

Not having a Latino or Hispanic character to begin with is an automatic failure.

I was considering naming this one “the Trump Test,” but I don’t want his stupidity to live on, so instead, we’re going with a disarmingly playful name for a facet of fictional racism that has bothered me since I was young.

You’d be surprised by how completely everything fails the CAR Test. Seriously, when it comes to general fiction, you are almost guaranteed two things: 1) you will not get a named Latino character, but 2) if you do get a named Latino character, their arcs will always depend on being, having been, or knowing a criminal. I think the implications are clear here; if you’re Latino, you either are a criminal or know someone who’s a criminal. The inherent racism and slack-jawed assumption in that kind of thinking is obvious, so I won’t delve into it.

Instead, I’ll tell you to just take the CAR Test for a spin (don’t think about that pun–I hate myself for it). Test it out and discover that, in most movies, any Latinos who appear have a depressingly high chance of being gun-toting drug dealers, or cops who are only cops because they grew up with gun-toting drug dealers.

Of course, you can apply CAR to any race, but it’s at its best (worst) when applied to Latino or Hispanic characters. There are stories that pass (I mention two below), but if the stars align and a movie or show even features a named Latino, chances are it’s going to fail the CAR anyway. Like these fantastic examples:

Properties that Fail

The Walking Dead – In season one, Felipe is the leader of the Vatos gang. Yes, they were taking care of elderly people. But, no, the plot twist, “The Hispanic criminals are actually nice! Whoa!” isn’t a plot twist that excites me in any way. Felipe and his thugs are around for a single episode.

Two seasons later, another Latino finally appears, but, of course, he’s Tomas, the most unlikable of the criminals holed up at West Georgia Correctional Facility (or “the prison,” as it’s usually called). By the end of his second episode, Tomas is dead at the hands of our protagonist.

Another season later, the show finally introduces Rosita Espinosa. But, of course, by this point, The Walking Dead has already super–ultra–failed the CAR Test.

Ant-Man – This was pretty depressing for me, but Marvel’s Ant-Man actually goes above and beyond with the CAR Test, failing so spectacularly that it’s actually offensive for all races.

In a predominately white cast, the protagonist is Scott Lang, an altruistic, tech-saavy ex-con. His partners–who are all completely unapologetic and active criminals–are a Hispanic man, an African American man, and a Russian American immigrant, all three of whom act as bizarre race caricatures for comic relief, their intelligence routinely jabbed throughout the film for laughs.

The Hispanic man, Luis, spends most of his screen time talking very quickly and acting masculine in front of the female lead, Hope Pym, in an obvious attempt to get into her pants.

The African American man, Dave, only makes a significant contribution to the story by quickly stealing a car to divert police attention–a contribution he squanders by over-excitedly throwing his hands around in celebration and accidentally honking the gag horn of the team’s disguised truck.

The Russian American immigrant, Kurt, is the tamest of the bunch–a hacker who seems intelligent–but is still portrayed as an idiot whose most notable character trait is arguably his heavy accent.

All three of these characters are, at one point, literally science-talked to sleep. Not as a side note but as one of the movie’s direct jokes; the protagonist displays his powers and all three of his minority side kicks freak out. The following scene has Hope Pym explain that she fed them some drugs and explained the science of the Ant-Man suit to them, which made them fall asleep almost instantly.

Let me just rephrase and restate that joke: after the movie’s only three minorities freak out over a character’s super powers–in a universe where super powers are now common and accepted–a white scientist says to a white super hero, “I gave the minorities some Xanax and talked science at them for a few minutes. The combination of a name brand anxiety drug with smart person talk shut off their stupid, minority brains like a bird cage cover puts a bird to sleep. Even the Russian hacker couldn’t stay awake . . . Comedy!”

. . . Yeah. I think that just about captures all of the weird racism of that joke.

Moving on . . .

Properties that Pass

The Flash At first, I thought Cisco Ramon was really annoying. It’s the villain naming thing; the villains’ rebooted, TV aesthetics really, really clash class with their old-timey, Silver Age names, making each naming really cringey. Cisco decides, “He’s the Pied Piper,” and I think, “Why? Because he has gauntlets that make sound? That’s a pretty big stretch for Pied Piper; he doesn’t even have an instrument. Why not Shockwave or Soundwave or–oh right. It’s because this character was created in 1959.”

But then I realized, “OMFG he actually isn’t an ex-criminal! He’s just a smart Latino! Who does science!” Of course, I’m still waiting for the day when we get more of his backstory and find out about . . . fuck–I don’t know–Ignacio the Dragon, Cisco’s other brother who leads a drug cartel somewhere and gets super powers from . . . I don’t even know who. <sigh> It’s going to happen.

Daredevil – (I’m sorry. I watch a lot of super hero shows, alright? It’s technically fantasy–what do you expect?) Claire Temple is at least portrayed by a Latina (Rosario Dawson). Granted, I grew up with the disappointment of seeing Latino actors and actresses playing non-stereotypical characters in movies only to learn that they’re portraying other ethnicities, so Claire Temple is a hard call; she might not be Latina at all. Still, she seems to be an intelligent, well-spoken Latin American character who isn’t a criminal or related to criminals.

And, regardless, Elena Cardenas (Judith Delgado) is an adorably accurate depiction of an abuela. Yes, she’s a side character, but she’s still a named Hispanic character with no connection to criminals. It happens so rarely that I’ll take it as a win!

And, with that, I think I’ve said enough about the CAR Test. Did I say too much? Maybe. But has the CAR been brewing in my mind for decades? Really frustrating decades? Absolutely.

Hopefully, you were as horrified by the test. If you were–if you stopped to test some of your favorite movies and found that they failed miserably (even The Avengers! Hooray!)–drop a comment below. I’d love to hear about it–although I’d really, really love to hear it if you found a movie that passes the CAR.

Drop by again in two weeks, when I’ll dish on the Latin Lover Test, which forces us to consider a really overused and incredibly frustrating racial stereotype that people still laugh at to this very day.

— Project Updates —

LS-ProgressBar(3.0)-8.12.15-(InPost)Disclaimer: Apologies about the how tiny this Progress Tab is. The next biggest size was obnoxious. If you’re reading this after my next post, click the Tab here for a better look.

I made a new Progress Tab to reflect my weird, unexpected, on-going writing trends. That surge of short stories? That never really calmed down. The result: I’m working on a ton of ideas that I quit on a long time ago (including a few that I didn’t list there because I’m still figuring out how to make actual stories out of them). “Rainwater,” “Reset,” and “Dream Runner” are stories that I’ve already started, however–all halfway done.

Thus the change; I kept making new tabs with progress bars that never moved (the last few months I’ve started “Writing” projects that have always jumped to “Editing” two weeks later), so I’ve streamlined. The only progress indicators that remain are the terrible, ever-present ticks for submissions.

 

— Acknowledgements —

Thanks for the Follows . . .

. . . Siuquxebooks! It’s a blog that posts recommendations for Mystery/Thrillers, so it’s not really my thing, but I appreciate the Follow regardless, of course!

. . . and Jack J. Binding! His post on social media is absolutely fantastic. As a man who tries and fails to find patience for Twitter on a daily basis, absolutely hates Facebook, and also says an unabashed “fuck you” to Pinterest, how could I not love that post?

And thanks for the Likes . . .

. . . Megan Manzano! Her latest post, on YA’s over-dependence on romance, posed some pretty interesting questions about the genre. Full disclosure: I haven’t read a lot of YA, but I always love challenging tropes. And I’m pretty anti-romance (not the genre, but the plot element), so, naturally, bitter fuck that I am, I had to like that post . . . Give it a read!

. . . Siuquxebooks! Thanks again!

. . . Damyanti! Seriously, I could not help linking this post about the Insecure Writer’s Support Group. I was once a super secure writer, but now, I can safely say that the submissions process has completely changed my mind about that! So I absolutely have to support any group that supports struggling writers. It is a rough business. If you’re a writer struggling with the craft, check out IWSG. I definitely will.

. . . and James Radcliffe! His latest post takes a look at why he’s getting happier as he gets older, which turns into a listing of the five elements of his life that contribute to his on-going happiness. As someone who absolutely needs an outlet for some bad and inlet for some good, I have to give you a firm thanks, sir; your post gave me a few interesting ideas.

That’s it for this week. If you’ve liked what you read, consider giving me a Like or Follow; it’s fine if you don’t, but I’d appreciate it if you do! As always, you can find me fitfully posting on Twitter as @LSantiagoAuthor.

Either way, thank you for reading. And, as always, write well.

Earth-Modern Race in Fantasy: The Balance No One Talks About and the Quest for “Nobody Cares”

After my last article, it’s become essential to talk about something I’ve considered for a long time. My last article, of course, was all about the uncanny in fantasy—the strange balance there has to be between elements that are familiar and unfamiliar (on a scale skewed by theme and tone).

However, there’s a particular topic that’s always stuck out as… the most unwieldy of all of the possible things you could weigh on the uncanny scale. Race. And no, not inhuman races in fantasy; we’re not talking half-orcs and dwarves here. We’re talking about modern-Earth races—Caucasian, Asian, Hispanic, African American, etc.

Aaaaand immediately…

Disclaimer 1: I fully understand that this is immediately a sensitive topic. Not just because race is always a touchy topic, but because I’m also going to discuss very general writing trends. So whether it’s because I accidentally say something that bothers a particular group (I really can’t see how I would) or because I implied that major writing trends should change, all I can say is, didn’t mean to offend anyone—promise.

Disclaimer 2: As always, all of this is written by someone who is not published and does not claim any official expertise on the topic of writing fantasy. These are just the thoughts of an amateur who writes fantasy on a daily basis. What follows is intended to inspire thought, not to stand as indisputable fact.

Disclaimer 3: Finally, more so than any other article, this one focuses pretty exclusively on a particular kind of fantasy story—ones set in completely fictional worlds (so, once again, not modern-Earth settings or modern-Earth analogues). So, if you don’t write fantasy, this article probably won’t be useful for you.

Still here?  Good. Let’s get to it.

Race in Modern Media

A weird thing happened to me the other day. I was playing Saints Row III with a friend. We got to a point where we had to fight an important boss character named Kia, who I liked. I thought it kind of sucked that we had to kill her instead of her commanding officer, but I have to admit that I was kind of biased in that regard; I decided that I liked her at the exact moment when I realized Kia was a lot like one of my own characters—she was tough, she was a soldier, and she was African American.

And as we fought her, something clicked in my head. She was African American. It wasn’t shocking or weird; no, the facet of it that was interesting—what made me smile—was realizing that she was African American and I’d completely missed that. It didn’t stand out that she was, and that was kind of beautiful. Not because I wouldn’t want her to stand out because of her heritage or something—this has nothing to do with her characterization. What this has everything to do with is the world I live in.

Because I grew up in the 80’s and 90’s. And back then, the only reason why Kia wouldn’t have stood out in a game or movie is that she wouldn’t have been in it at all.

If she was in it, she would’ve stuck out like a sore thumb. Because she would’ve been the very first character to die.

I don’t want to get into 80’s and 90’s movie trends, but the old adage? That the black guy always dies first? Pretty true. There were obviously cases where it wasn’t, but I remember going to see movies when I was young, seeing a black guy walk onto the screen and thinking, “Well… He’s not going to make it,” and being correct about 80% of the time. It was typical enough of a phenomenon that Deep Blue Sea ultimately made more waves not because it was a monster movie that had intelligent sharks, but because it was the first movie where, despite all expectations, the black guy didn’t die. I still remember watching the ending. The pretty love interest jumped into the water with science murder shark and it was like realizing where the final piece of a puzzle fit. “Oh. Male protagonist jumps into the water, gets her to safety, then LL Cool J jumps in or falls into the water and—oh my fuckin’ God that shark just ate her!” By horror movie standards, it was a perfect way to catch us off guard (cat in the closet’s got nothing on the last moments of Deep Blue Sea), and it made the final, cathartic scene—with LL Cool J and… the… other guy rejoicing that they survived—all the more awesome.

Disclaimer 4: I’m not a crazy Deep Blue Sea fan.

So, in contrast, having Kia play such an important role in Saints Row III made me smile. It made me think of Sir Hammerlock, Coach and Rochelle, and all of the other African American characters that have featured in video games without it being “a thing” in any way.

And it made me wonder where race, in general, fit in the fantasy genre.

Race in Fantasy

To be honest, that was not the first time I wondered about the topic. This will also not be the first time I’ve discussed it.

I forgot who I talked to about it—it was a long time ago—but I remember giving someone a brief description of one of my main characters. As I recall, I summed her up by saying, “She’s basically and blatantly Hispanic.” The person I said that to scoffed. Or… gave a frustrated grunt is more like it. “I kind of hate when race pops up in fantasy.” That devolved pretty quickly into a debate over why it was a problem. I don’t remember the details, but I remember what I came away from that conversation with:

A) Some people won’t like it if you inject race into a fantasy story.

B) In some cases, ethnicity and race totally don’t make much sense in fantasy.

C) In other cases, they absolutely do.

A)

In general, there’s an enduring silence about ethnicity in the fantasy genre. In part, it’s because “race” applies to something completely different when we use it in the same sentence as “fantasy.” But, as can happen with all intellectual properties, there’s also a severe reluctance to let an agenda dictate any facet of the experience; people don’t want race (or rather, race as it is in our society) to play an important role in their stories for the same reason they wouldn’t want the plot to focus on a political struggle that screams Republican VS Democrat; people read fantasy to get away from reality for a while and, logically, they don’t want to be force fed reality’s most complicated topics when they’re supposed to be riding rainbow unicorns into the crystal sunset… or whatever. You get it.

So, ultimately, this also winds up being a question of the uncanny scale; race winds up being too Earth-modern and pulls the reader out of their escapist fantasy experience.

The result is a staunch belief that race doesn’t belong. That person I spoke to actually told me that my Hispanic character would just scream “Hispanic” and that it wouldn’t fit. But, as a Puerto Rican, I’ve looked out at the expanse of the fantasy genre—at full movies without so much as a single tan face—and I couldn’t help thinking, “So… I don’t fit?” Does the need to stay away from agendas and hold a neutral position on the uncanny scale mean that a Hispanic character just wouldn’t fit at all?

The answer, if we consider all of these questions with our themes and settings, becomes a clear and totally helpful “yes and no.”

B)

At first, I wasn’t having those opinions about my Hispanic character at all; there were already wildly ethnic fantasy stories out there (Camorr of Scott Lynch’s The Lies of Locke Lamora stands out as a pretty clear, highly ethnic analogue of Italy—at least it seemed to [I’m so sorry if I’m wrong]—and Krasia from Peter V. Brett’s The Warded Man has a clear eastern influence).

But, as with every other aspect of a story, the idea of human race has to be weighed on the uncanny scale in relation to theme and setting.

The end result for me: no, it doesn’t make sense that my Hispanic character uses Earth-modern Spanish. Because, really, she isn’t Hispanic—she’s supposed to be a race that I made up and using Spanish words in relation to her is just… cheap, it’s a disservice to her, my world, and my story. In short, I was thinking of her as “my Hispanic character,” and that wasn’t good. I was absolutely wedging an agenda into my world where it didn’t belong.

And I was missing the point that some fantasy settings truly don’t support a variety of human races. If we dial the uncanny scale back to a distance where whiskey doesn’t make sense, then we also dial back everything else, including the progress of migration and expansion. We get fantasy story maps that are clearly focused on a single nation, water expanding all around them with the occasional grayed-out, indistinct land mass at its edge. We get the rare, ethnic character from a nation the protagonists have never heard of, and all of that absolutely makes sense.

C)

But at the same time, it also absolutely makes sense that Etalen (formerly “my Hispanic character”) is ethnic. She still has tanned skin and is still part of a culture that’s drastically different from my other characters’ and it’s absolutely fine and makes sense the same way that a lack of racial variety might be acceptable in another fantasy series—because the theme and setting support it.

Just as a fantasy setting can exist with no tanned skinned characters at all, the Aiel can absolutely be waiting outside the frame of the story. If one were so inclined, they could write a story completely focused on the Aiel and not include a single wetlander (if you haven’t read any Wheel of Time, I apologize for all of these references that aren’t helping you at all). And ultimately, I could also have Etalen, because my fantasy world, Ashaiden, is an island where races from other lands have met and settled. Her not being there at all would be the mistake.

So, in my case, the person I spoke to was both right and wrong. Right because modern Earth-modern agendas are, by definition, Earth-modern, and, unless they’re handled very well, they’ll always stand out and pull readers out of their stories.

But he was also wrong because human race, free of agendas, absolutely fits in fantasy. Really, if you think about it, other races have always been there on the borders of every front matter fantasy map you’ve ever seen–because they would have to be or a basic element of humanity would be missing and a story’s basic human logic would be broken (like a fantasy story where, say, humans are all exactly like us, only they inexplicably don’t breathe).

But why do we still rarely talk about or explore these places? Because there are standards in place that keep us from doing so. The biggest one: the tendency to make a fantasy story set in an (ever-vague) analogue of medieval England. If you’ve ever wondered why everyone has English accents in fantasy movies, this is why; unspoken Anglo-Saxon origin has been a staple in fantasy for ages, to the extent that many of us read our fantasy characters with those accents, even if we don’t intend to. In fact, in most fantasy movies, characters just come standard with those accents even if it doesn’t make sense–particularly as the analogous settings of their stories get progressively less and less similar to medieval England.

Ultimately, the result of following trends like the England-analogue and English accents is what I call the Rue Phenomenon; the event in which a disheartening amount of people raise their voices in alarm when they find that a character in their fantasy novel is black, even though it absolutely makes sense for her to be. It creates an unspoken, accidental grounds for racism. The result is that there’s a black character in a fantasy series, and suddenly, horribly a ton of people protest instead of not caring at all.

The Final Word: A Clear Answer

Ultimately, the answer to whether race fits in fantasy is obviously yes. But elements can always be too modern and unwieldy if you don’t handle them correctly.

Unfortunately, the trend of creating enclosed analogues of medieval England has made the issue of race even more difficult to handle, but the answer, clearly, isn’t to ignore it. I suppose if I can say anything with this article, I want it to be this: if you’re working on a fantasy novel, consider a setting that isn’t a vague analogue of medieval England. Consider a more complex world where a variety of human races is absolutely normal and none of your characters pay that diversity any mind. Create a world where you might not just find a single dark-skinned warrior, but instead another warrior with dark skin.

Seriously, just put in a black, gay gentleman huntsman (I love Sir Hammerlock), as long as it makes sense with your theme and setting.

And help push the standards of our society, if you can, so that in another twenty years, maybe we can just have a black fantasy protagonist and no one will care.