Let your voice be heard!

New addition to the blog-- to the right colomn, under about me is a simple text entry form where you can suggest topics or submit requests for me to blog about. Go to it!

You left me outside and now you want in

Blogger yeloson talks about some of his personal frustrations regarding fandom and racial cluelessness. An excerpt:

A few years back, I went to GenCon, the largest tabletop roleplaying convention in the US. I arrived excited and eager to play, and a little sad my friends whom I had attended ComiCon weren't with me. I had just gotten out of the registration line and saw a person dressed up in blackface as a drow/dark elf. I flashed back just about 4 days before when a friend of mine had to leave ComiCon, completely shaking with hurt because someone thought it would be cool to get in blackface to dress up as Storm from the X-men.

The day before I flew back, I saw a newspaper headline, "Blacks are leaving Indianapolis, feel unwelcome". I wonder why?

I began to start looking hard at my hobby. Everything from artwork to social circles and the behaviors around it. I tried to start up conversations. Conversations with people who were intelligent, who I knew personally, who had no problem analyzing social behavior and how it affected play (after all, a roleplaying game is nothing but a group socially deciding imaginary stuff...).

But those conversations failed.

At first I thought I wasn't approaching it correctly, I tried different tacks, from talking about the raw representation of the artwork, to the historical issues of blackface, to, well... everything.

But see, my mistake wasn't that I was talking to intelligent, well read people - it was that I was continuing to mistake ignorance on the part of intelligent, well read people as unintentional. I was giving benefit of the doubt to the people who had the least excuse to be ignorant of both history and media. It wasn't not knowing, it was choosing not to know.

Instead of turning their minds to a legitimate question, "Hey, how did I NOT notice that all the bad guys are dark, or that the language used around orcs = the language used on native populations, or that even POC heroes are dehumanized with glowing eyes etc.?", instead the response was "You're crazy/reading too much into it/it's just a game/why do you care/you should find another hobby!"

That's right. "If you don't like it here, you can leave." And then they turn around and ask why there's so few POC in their hobby or their numbers are shrinking. (I went to GenCon SoCal that year, and all I saw were asian and hispanic kids playing Yu-Gi-Oh. I guess people of color aren't into geek stuff, right?)

But my story is not unique.

Read the whole post here.

Fantasy Novel: Amy Tan Meets Crouching Tiger, Hidden Dragon

coffeeandink asked people to recommend books by people of color. She got a response from Cindy Pon:

i've got a YA asian fantasy coming out in
may : Silver Phoenix

when i met with a [sci fi/ fantasy] publisher
at a writing conference last year, he had read the first
12 pages and said to me : "why is this fantasy?
this is amy tan meets crouching tiger."
like it was a BAD thing.

also : "asian fantasy does not sell."

i was crushed.

Fortunately, another publisher bought the book, and Silver Phoenix: Beyond the Kingdom of Xia is coming out from HarperTeen in April. Seriously, "amy tan meets CTHD" sounds like an elevator pitch, not a rejection reason.

It's called Silver Phoenix: Beyond the Kingdom of Xia, and I just preordered it (thanks to trade-ins to Amazon's game trade). I'd suggest you check it out, too.

A qucik summary of RaceFail '09

What is RaceFail '09? daedala provided the shortest summary of RaceFail '09 here and it is as followed:

1. Elizabeth Bear writes a post about "how to write the Other"
2. Avalon's Willow critiques one of her books on racial tropes
3. Bear agrees unequivocally in writing
4. Commenters defend Bear in increasingly racist language.
5. Massive fail all over the internet.
6. Bear says that she was lying in 3. in order to model appropriate conversation.

But daedala's summary barely scratches the surface. Here are other more detailed, but still brief summaries of events:

» A reader's digest of RaceFail '09 by white_serpent, which dmarley kindly provided some contexts here.
» A summary of RaceFail '09 by withdiamonds.
» A Timeline (of the Great Cultural Appropriation Debate of Doom '09) (a summary of the beginning of RaceFail '09) by Willow.
» Because "tl;dr" shouldn't be an excuse (a summary of the middle and later part of RaceFail '09) by rydra_wong.
» Endangering somebody is okay when you do it under your real name (a summary of later events of RaceFail '09) @ unfunnybusiness.
» Racefail09: Just This (a summary of the beginning and later part of RaceFail '09) by mpoetess.

And here are a few longer overviews:

» A themed summary of RaceFail ‘09 in large friendly letters for those who think race discussions are hard by Ann Somerville.
» O HAI RACEFAILZ: Notes on Reading an Internet Conflict by tablesaw.
» I have stayed quiet about something for too long, and I am ashamed by popelizbet.

For a comprehensive overview though, rydra_wong has provided an almost chronological link list here and you could follow the discussion at her gcadod 09 tag. And among the many, many people who have spoken up about RaceFail '09 are asim, bossymarmalade, ciderpress, coffeeandink, deepad, helsmeta, inalasahl, nojojojo, oyceter, Seeking Avalon's Willow, shewhohashope, sparkymonster, spiralsheep, vito_excalibur, vom_marlowe, yeloson and zvi_likes_tv.

The reason it’s called RaceFail ’09 is to distinguish this from past incidents, and also to acknowledge that not only it is ongoing, but that this could happen again.

Soes that worry you, too?

To quote Nick:

If the Fail is happening anyway—if havoc is already being wrecked in the hearts of authors and fans of color, if people who shouldn’t be driven out are already being driven out (or at least too damn close to out)—then I kind of want it to impinge on the space of as many white fans and authors as is humanly possible. Yes, it IS too high a price for mere education, but if the price is being paid regardless, let’s goddamn GET something for it. The more clueless-but-well-meaning white folk (I firmly include myself in this category) see the hurt being caused and start reading, thinking, and trying to understand the things being said by the myriad brilliant fans/authors/theorists of color (and allies!) involved here, the more likely it is that something will have changed by the time the next high-profile racial screw-up rolls ‘round.

Tabletop Gamers And A Social Contract

From TaoJeannes in the rpg.net forums, comes a great set of guidelines for both players and game masters that work for any system you decide to play with:

The GM Agrees That...
1. I will say "No" only when absolutely necessary to preserve the overall fun of the game for everyone. I will make it a goal not to say it even once.
3. I will provide each player with individual spotlight time as well as no more than 30 minutes total off-stage time.
4. I will maintain a strict and thick line between in-character and out-of-character behavior and attitude.
5. I will end on time.

The Player Agrees That...
1. I will preserve the PG-13 or below rating of the table and refrain from in-character or out-of-character behavior that is excessively racist, mysoginistic, violent, or sexual in nature.
2. I will avoid IC [in character] actions that ruin the fun for my fellow players, even if I am "just playing my character".
3. I will not excessively argue with the game master or other players over their IC or OOC (out of character) choices.
4. I will maintain a strict and thick line between in-character and out-of-character behavior and attitude.
5. I will refrain from off-topic chatter.

Beyond LARPing: Medieval Re-Enactment Village

The Regia Anglorum, is an English re-enactment society. The society maintains a wealth of information about life in medieval England using the virtual village of Wichamstow and its surroundings. They have in-depth articles on many of the crafts and trades that the villagers would have undertaken, and about the places they would live and work.

They have also created a real live medieval village and estate with which to demonstrate medieval craftsmanship.

Of course, if you you just want to cook like those in the medieval or Renaissance period you should check out http://www.godecookery.com for some fascinating and tasty recipes.

TOKYOPOP Pilot Program Rips Off, Talks Down To Artists

Subscribers to the TOKYOPOP e-newsletter recently saw the following announcement:

Manga Pilots: You Read and Review -- You Help Decide What We Publish!
TOKYOPOP is launching an exciting new stage in our manga development program -- and we need your help.

We want you to read, review, and tell us which TOKYOPOP Manga Pilots should be made into a full-length manga.

Click here to help TOKYOPOP develop the next generation of manga superstars!

In the Pilot Program, you come up with a great idea, you make a 24-36 page comic, they put it online with a bunch of other submissions, and "the people" decide who wins.Sounds like a new and exciting way for new talent to get exposure, right? However, a read through of the terms, conditions and artist's agreement reveals language that is insulting couching terms that are draconian (pdf).

Brian Lee O'Malley reviews the contract point by point, here are a few choice excerpts:

...they're writing this contract in a "hey dude" style to seem less evil and confusing, but this is just another tactic for evil and confusion.

...

Pilot Fee $____, payable in full when we receive and accept the Manga Pilot

That's a conspicuous blank. I'm not aware of just what they're offering. Are they asking you to put up your own number? What are they, Radiohead? Also, please note that whatever amount they're giving you, they aren't giving it to you until they receive and accept your comic - which is 24-36 pages, by the way, "inked, toned, ballooned, and lettered", not to mention that you'll be doing all the digital prepress. (If you're "only writing", you get off easy - just a manuscript.)

...

You promise to protect us from claims anyone makes that you violated their rights in connection with your Project or Manga Pilot. This means you’ll pay for all the lawyers to fight it out and all the other costs necessary to fend off those claims, in or out of court.
And, if things do get ugly and end up going to court, this means you’ll also pay for all the expert witnesses and court costs and, if the other guy or gal wins, you’ll pay whatever the court awards them, too.

This almost speaks for itself, but maybe a little example would make it clearer. Say, maybe, your comic becomes a huge success. You get movies and toys based on your characters. You might even start making some money. THEN someone comes forward and sues your ass for stealing your idea from him back in the sixth grade. You know, one of those multi-million dollar lawsuits. Let me tell you, judging from these contracts, Tokyopop is going to be holding all the million-dollar-bills at that point, not you. They'll have the huge percentage you negotiated away, and you'll be standing there with negative a million dollars.

...

WHAT WE CAN DO WITH YOUR CREDIT
And, speaking of your credit, customarily we give you credit for your work as the writer and/or artist of the Manga Pilot. However, we may have to shorten or leave out your credit when the space available or the conventions of a format won’t permit it or if it would have to be too small to read (for example, when the Manga Pilot is viewed on mobile phones). You’re OK with this.

This is even worse! "We don't have to put your name on your comic if we don't feel like it." Okay? That's what it says. I've seen this. Tokyopop ads that don't specify creators. You know, all their comics come from the same hive mind. All their creators are replaceable cogs in a giant machine.

AFTER THE EXCLUSIVE PERIOD OF THIS PACT ENDS
Once the Exclusive Period ends and even if you and we haven’t entered into an Original Property Agreement, we’ll still have the worldwide right, continuing forever, to publish the Manga Pilot on a non-exclusive basis.

If you realize that this means Tokyopop can continue making money from different versions of your 24-36 page comic (books, magazines, ipods, online advertising, whatever), while giving you 0% of that money, congratulations. You're correct.

Brian concludes:
"Listen to me: there are so many ways of getting your comics read by people. You can print them up on a photocopier, sell them at your local comic shop / record shop / independent bookstore. You can put them on the Internet - I believe you're all familiar with this invention. It costs very little and takes away none of your rights. Many of my good friends make their living entirely from having comics on the web. You don't need this."

Who stands to be lured in and hurt the most? Newcomers to manga publishing, or those so star-struck at the idea of working for TOKYPOP that they might not realize what they're signing away, says freelance writer and blogger Nadia:

For every aspiring novelist in the world, there are ten clip joints waiting to pounce, wrap and eat the writer's hopes. The linked establishment is a particularly horrible offender; not only does it lure in shy writers, it works to convince said writers that they'll never have a hope of publishing anywhere else. Then they do unspeakable things to the writer's rights and royalties with the help of a contract full of jargon and lies. I've known promising novelists who swore to never write again after being ground up by the machine.

These kinds of incidents are what let companies like Tokyopop get away with saying, "Hey guy, we're your friend! Dig this jargon-free contract!"

So what's the solution? Research and more research before even considering publication. Aspiring Tokyopop manga-ka have a huge head start thanks to this incident...

If you're excited about the prospect of breaking into the industry, that's understandable, but dump some cold water down your pants and think before you do anything. Is it worth writing, drawing, inking and toning 24-32 pages of manga for a paltry seven hundred? Is it worth getting nothing else from the revenue generated by your idea? Is it worth getting stuck with lawsuit bills from loonies who swear you stole their idea, while Tokyopop vanishes like Flagg, leaving only its clothes and a puff of smoke?

Unfortunately, someone will be taken in by this regardless, but the creative process is a leather-clad bitch with metal-studded rawhide lessons. Sometimes we learn best by, er, taking it. But if you can avoid heartache by talking to veterans and reading up on resources, do it. It's a long process that might snuff out your hopes, but that's only temporary because you can move on. Not only will you be doing yourself a favour, you'll be doing the community good by lessening the pool of desperate writers/artists that these companies feed on.

We'll never be filthy rich, dear freelancers, but there are still many publishers who want quality work and will pay a fair price for it. Don't be unrealistic, but don't settle for a paper full of weasel words.

A-friggin'-MEN.

Another clause that jumped out at me was the "DEFENDING YOUR WORK" section that read:

You promise to protect us from claims anyone makes that you violated their rights in connection with your Project or Manga Pilot. This means you’ll pay for all the lawyers to fight it out and all the other costs necessary to fend off those claims, in or out of court.

...because it's also a load of bunk. I am not a lawyer, but I can't see it standing in court. I mean, nobody is going to sue a Tokyopop artist-- they are going to go where the money is if they actually hope to recoup anything. Tokyopop is the company with assets (and asses) to be lost if the case isn't defended vigorously. I'd wager that all someone would need to do is to suggest in a deposition or in court that their editor was aware the rights weren't clear, and it won't matter what the creator signed. You don't get immunity from prosecution for illegal acts just by having someone sign a piece of paper!