#persons of indian origin

[easterneyenews]

US-based Indian activist applauds initiative allowing diaspora contributions to Ram Mandir

Social activist Prem Bhandari had earlier appealed to prime minister Narendra Modi to allow members of the Indian diaspora across the world to contribute to the development of the Ram Temple in Uttar PradeshAsserting that there are over 3.5 crore Non-Resident Indians and Persons of Indian Origin around the world, he said that many of them would like to contribute to the development of the temple.

Read more- https://www.easterneye.biz/us-indian-activist-applauds-diaspora-contributions-to-ram-mandir/

[misterradio]

hmmm i have my reservations abt the sexypedia... i think when the concept of the tumblr sexyman was formed into words, people became way too eager to classify things that way. one aspect of a sexyman is the cultural impact, you cant have a sexyman character who fits all the tropes yet doesnt have any cultural impact behind it. the sexypedia even has a class for characters like this which i think is flat out cheating. HOWEVER, it is funny as heck to see who is on that wiki. archibald the asparagus is on there for one

[shehzadi]

have tried so many different arab/middle eastern cuisines in the last week but nothing even came close to knocking indian out of the number one spot

[fierrochase-falafel]

Thoughts on Spider-Man: Across the Spiderverse and being different (Pt. 1: Miles Morales)

Just watched Across the Spiderverse and I think regardless of the argument of Gwen being trans or not (and yes, I will get to Gwen), there's something to be said about this movie's handling of the experience of being Spiderman as an allegory for outcasthood (and yes, this includes queerness pretty heavily), especially through the character arc of Miles Morales. This discusses both Spiderverse movies, so do note: SPOILERS ABOUND!

[I will add a quick disclaimer here to say that obviously my opinions only come from what I have learnt from other people or experienced in person. I cannot claim experience for everything I may mention, and even though certain minorities I mention may apply to me, I can't claim to know everyone else's experiences either, so this is just my take. In the end, I'm just some guy saying stuff on Tumblr.]

Spiderman has always been easy to read as a queer allegory because of, y'know: the hiding in plain sight, the lying, the exhaustion, often risk/danger if you're queer in an unsupportive environment, the suffering of not just the Spiderman themself but the people they love / who love them too. In Across the Spiderverse particularly though, carrying on from Into the Spiderverse, I really love the continuation of a really similar problem Miles had in the first movie. In the first movie, Miles was seen as weak and an outcast, even as he joined a new school where he didn't really fit in. He was someone who was not *really* Spiderman until the end where he was finally able to control his powers, proving himself to the other dimension Spider-people. It was a great arc, yet just when Miles thought his fellow Spider-people were on the same level as him, it was revealed to him that he's been the outsider all this time AGAIN. It turns out they were lying to him and the reason Miguel gives to him is that he is an anomaly, that he shouldn't exist. There's something in that which really hurts if you understand the feeling of thinking you're atleast somewhat understood and respected by people you thought you were equal to, only to have the rug pulled out from under you. I mean, I'd say it's a part of my own experience, moving to different schools / environments in different countries and being made fun of for not knowing things without me even realising until afterwards, and I looked like a downright idiot for not knowing things. It's like when everyone picks up on a joke you don't and you're being pulled along on a string like a puppet to entertain the people around you, just when you thought they saw you as one of them.

Even after Miles proves he is smart and can pull off being Spiderman, it's not enough for the majority of Spider-people to respect him, and he has to reckon with the fact that he will never stop being questioned and belittled for who he is. Doesn't that sound familiar? We see it in ethnic minorities being treated like outsiders regardless of where they are from, women being perceived as less smart, neurodiverse people being perceieved as less capable, trans people being seen as too naive to know what they're doing when it comes to transitioning. For Miles, it's finally at this point he lets go of the image of being Spiderman the way the others are- if he won't be accepted as Spiderman because he has not been through supposed 'canon events' and is disrupting them then so be it. As long as he identifies himself as Spiderman, as someone who protects the people as Spiderman, then who the hell is anyone to tell him he isn't! This is the epitome of reclaiming your own identity- his suffering doesn't define him as Spiderman but his passion and will do, and nobody is allowed to dictate to him who he is or how is story is supposed to go. I really love this: I feel especially many minority communities have people who say you can't really be said minority unless you have suffered enough in x ways, or unless you have gone through y things, but this is a really toxic outlook on people's identities and experiences. It's within debates with transmedicalists (I think that's what they're called?) who say people can't be trans unless they have a certain amount of crippling gender dysphoria, or when people say you need to have undergone a certain set of experiences to really be so-and-so nationality or even race. Miles rejects the suffering he (or other Spider-people, for that matter) is supposed to experience as a 'canon event' (from a queer lens, things like being ostracised from your family for your identity come to mind) and also accepts he is an anomaly, ceasing trying to blend in with the rest of the Spider-people as he knows it is pointless to try- without that, all he can rely on is 'doing his own thing', so he goes ahead to do just that.

It's meant to hurt to watch how much Miles wants to see his friends again with hints throughout the film- his A in AP Physics and future ambition to traverse the multiverse, his sketchbook, everything he does to try and not be alone in his experiences- only to find out the others really could have visited him. He wants to speak to the few people who understand his dilemma as Spiderman, and wants to be worthy enough to be one of them until he realises in this film that his own intuition is more valuable than Spider Society could ever be. And even if it hurts to feel like he's alone in this intuition and that everyone thinks he's crazy, it's still more reliable and worthy than the rules anyone else is trying to place over him...

This is my intepretation of the events from my perspective on how the Spiderverse speaks to people who feel different or incompatible with society- while I add nothing to the plot , I think points like mine are really well analysed in terms of the actual Spiderverse by Sage's Rain on Youtube ("Who deserves to be Spider Man?") which I really love seeing and I'd recommend checking out his video!

~ End of Part 1 ~

[misssclumsy]

Le my stupid brain start imagining :

[harxu]

Just watched darjeeling limited and i'm... Conflicted? On the one hand i understand people saying the stereotyped and appropriative image of india is intentional and made to mock the brothers but on the other hand a lot of aspects kinda grossed me out. I tried to read some stuff abt it and ive seen both points but id like to hear some more opinions, ideally from people of indian descent. Anyone have some input or links to such resources?

[tabzanite]

sometimes it genuinely escapes me that i have an identity that no one else has

i am me, yknow

[avatar-aaang]

I had such a good day oh my god

[artwolfs-blog]

[unravelingwires]

Acquired

My தங்கச்சி thought that taking things across the multiverse was wrong, as you were permanently removing matter from one universe and adding it to another. It was theft, she said. Thankfully, she didn’t know about my stash, so she couldn’t disapprove of it.

A pair of jeans. A piece of the 527th element, lab made, from the universe with the best snow in the multiverse. Armor that was meant to drape over a thousand-limbed species. அம்மா’s ring, no longer worn. The coating of a sessile species the precise color of the inside of a star.

They were everything. They meant nothing. I haven’t decided yet.

[moniquill]

Here is a brief summary of what is happening in Wikipedia right now:

In the last few years (3-4 years) the WikiProject Indigenous peoples of North America, which was originally created to improve the quality and coverage of native issues and native articles on wikipedia, has been hijacked by a small number of users with an extremist agenda. They have been working diligently over the last few years to change the definition of both what it means to be an Indigenous American and even what it means to be state and federally recognized.

The four or five key players (Mainly Editor Yuchitown, Bohemian Baltimore, ARoseWolf, (now retired editor CorbieVreccan, Netherzone and Oncamera) who are part of the “Native American Articles Improvement Project” started implementing these changes slowly, but they started pursuing their goals aggressively after November 2023, when state-recognized tribes retained their voting rights in NCAI. Essentially, after the movement to delegitimize state-recognized tribes failed officially, the key players doubled down on altering and controlling the flow of information about Native Americans through Wikipedia.

The talk page of Lily Gladstone’s article has a relevant discussion here. Initially, the leaders of the WikiProject removed any reference to her being a “Native American Actress” and instead had her as “Self-identifying as Blackfoot” and “Self-identifying as Nez Perce” because her blood quantum was too low to be enrolled in either tribe.

You can see some of the discussion here:

 https://en.wikipedia.org/wiki/Talk:Lily_Gladstone

Eventually they relented and changed her category to being “Of Nez Perce Descent” but you can see in the discussion that they are referring to an article that these editors (Yuchitown, Bohemian Baltimore, and CorbieVreccan) themselves appeared to have mostly written and revised:

https://en.wikipedia.org/wiki/Native_American_identity_in_the_United_States

This statement is very much at odds with even the government’s description, as seen below;

The DOJ Office of Tribal Justice Office on their webpage “Frequently Asked Questions About Native American”, question “Who is an American Indian or Alaskan Native” states:

“As a general principle, an Indian is a person who is of some degree Indian blood and is recognized as an Indian by a Tribe and/or the United States. No single federal or tribal criterion establishes a person's identity as an Indian. Government agencies use differing criteria to determine eligibility for programs and services. Tribes also have varying eligibility criteria for membership.”

In addition, “List” pages have been created on Wikipedia for federally and state recognized tribes. The Wikipedia “List” page for state-recognized tribes is inaccurate in its interpretation of state recognition and not supported by expert reliable sources--(1) Cohen’s Handbook of Federal Indian Law 2012 edition, (2) NCSL.org current stand on state recognition (not the archived list from 2017 which NCSL no longer supports), (3) Koenig & Stein’s paper “Federalism and the State Recognition of Native American Tribes: a survey of state-recognized tribes and state recognition processes across the United States” (both 2008 & updated 2013 in book “ Recognition, sovereignty struggles, and indigenous rights in the United States: A sourcebook”)

https://en.wikipedia.org/wiki/State-recognized_tribes_in_the_United_States

State-recognized tribes who have received recognition through less formal but acceptable means have been moved from the Wikipedia list page on state-recognized tribes to the Wikipedia list page of unrecognized or self-identifying organizations.

The Wiki page "List of organizations that self-identify as Native American tribes", in particular, is being used to purposely defame legitimate Native American individuals who are members of the tribes/Native communities that are on this list. 

By the parameters set up on Wikipedia, only the colonizer’s governments can acknowledge who is Native American through either federal recognition or state recognition. If an individual is not a member of a federally or state-recognized tribe, then it is determined that they cannot be Native American and are, instead, considered “self-identifying” or only “a descendant of ...” (example Lily Gladstone). As a result, Native individuals are currently being tagged as “self-identifying” and their names are put on “list” pages that strongly imply they are “pretend” Indians.

These editors have indicated that they would like “self-identification” to be the default setting for any people who they deem do not fit within the parameters that they themselves created within Wikipedia.

Moreof, these editors are admin and senior editors within the Wikiproject Indigenous Peoples of North America, and are being called in specifically to weigh on Native Identity, and any project involving any Indigenous Group.

Any attempt to correct misinformation, add information, or change any of these articles is often met with being blocked, reported for various offenses, or reported for having a Conflict of Interest, whether or not that is actually applicable. They have use this strategically in many different pages for many different individuals and groups within the scope of their Wikiprojects.

While changing things in Wikipedia does not change the truth, it is a way to control how most people take in information, and thus they hope to manipulate the narrative to better suit their goals.

This is quick and messy but:

Here is a link to the google document with the other state recognized tribes (Including yours) that were edited by these editors. This is an incomplete list so far that only goes back to September 2023 but I am going to add to it. If you can add to your own part of this list, and send your complaints and information to the arbitrator committee (the email is below) with the involved editors, this will help our case.

The  more tribes who complain, and the more Wikipedia editors complain, the better our case will be. 

https://docs.google.com/document/d/1YNDEjLTrrZ_mMIRCVxtvt69FwCYpJWKs71lBhWa5a9M/edit?usp=sharing

The place to make complaints on Wikipedia is oversight-en-wpwikipedia.org , and

arbcom-enwikimedia.org . It is most helpful to have an editing account on Wikipedia, because Yuchitown and the others will try to defend themselves using Wikipedia methodology and make anyone who confronts them look like the aggressor (see the other tribes who tried to fight back on Wikipedia I found).

The more people and tribes make complaints the more likely it is that this will work and we can rid ourselves of these monsters.

Some of the tribes I have spoken to are taking legal action against these editors. Any groups affected by their policies should also reach out to the news to make knowledge of this more widespread.

Thank you

- quoted with permission from an email sent by an associate of my tribe. Message me for their email address if you'd like to reach out to them.

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[sixteenseveredhands]

Emerald Spectacles from India, c. 1620-1660 CE: the lenses of these spectacles were cut from a single 300-carat emerald, and it was believed that they possessed mystical properties

These eyeglasses are also known by the name "Astaneh-e ferdaws," meaning "Gate of Paradise," based on the symbolic associations between the color green and the concept of spiritual salvation/Paradise. That symbolism (which is rooted in Islamic tradition) was especially popular in Mughal-era India, where the spectacles were made.

The lenses were crafted from two thin slices of the same emerald. Together, the lenses have a combined weight of about 27 carats, but given the precision, size, and shape of each lens, experts believe that the original emerald likely weighed in excess of 300 carats (more than sixty grams) before it was cleaved down in order to produce the lenses. The emerald was sourced from a mine in Muzo, Colombia, and it was then transported across the Atlantic by Spanish or Portuguese merchants.

Each lens is encircled by a series of rose-cut diamonds, which run along an ornate frame made of gold and silver. The diamond-studded frame was added in the 1890s, when the original prince-nez design was fitted with more modern frames.

The emerald eyeglasses have long been paired with a second set of spectacles, and they were almost certainly commissioned by the same patron. This second pair is known as "Halqeh-e nur," or the "Halo of Light."

The Halo of Light features lenses that were made from slices of diamond. The diamond lenses were cleaved from a single stone, just like the emerald lenses, with the diamond itself being sourced from a mine in Southern India. It's estimated that the original, uncut diamond would have weighed about 200-300 carats, which would make it one of the largest uncut diamonds ever found.

The lenses are so clear and so smoothly cut that it sometimes looks like they're not even there.

Both sets of spectacles date back to the mid-1600s, and it's generally believed that they were commissioned by a Mughal emperor or prince. The identity of that person is still a bit of a mystery, but it has been widely speculated that the patron was Shah Jahan -- the Mughal ruler who famously commissioned the Taj Mahal after the death of his wife, Mumtaz Mahal. Shah Jahan did rule as the Mughal emperor from about 1628 to 1658.

The emerald and diamond lenses may have been chosen for symbolic, sentimental, and/or cultural reasons, or they may have been chosen simply because they're pretty and extravagant; the original meaning and purpose behind the design is still unclear. Experts do believe that the eyeglasses were designed to be worn by someone, though.

At times, it was believed that the spectacles had spiritual properties, like the ability to promote healing, to ward off evil, to impart wisdom, and to bring the wearer closer to enlightenment. Those beliefs are largely based on the spiritual significance that emeralds and diamonds can have within certain Indic and Islamic traditions -- emeralds may be viewed as an emblem of Paradise, salvation, healing, cleansing, and eternal life, while diamonds are similarly associated with enlightenment, wisdom, celestial light, and mysticism.

The Gate of Paradise and the Halo of Light were both kept in the collections of a wealthy Indian family until 1980, when they were sold to private collectors, and they were then put up for auction once again in 2021. They were most recently valued at about $2 million to $3.4 million per pair.

Sources & More Info:

Sotheby's: Mughal Spectacles

Architectural Digest of India: At Sotheby's auction, Mughal-era eyeglasses made of diamond and emerald create a stir

Only Natural Diamonds: Auspicious Sight & the Halqeh-e Nur Spectacles

The Royal Society Publishing: Cleaving the Halqeh-Ye Nur Diamonds

Gemological Institution of America: Two Antique Mughal Spectacles with Gemstone Lenses

Manuscript: From Satan's Crown to the Holy Grail: emeralds in myth, magic, and history

CNN: The $3.5 million Spectacles Said to Ward off Evil

BBC: Rare Mughal Era Spectacles to be Auctioned by Sotheby's

[songoftrillium]

Werewolf: the Apocalypse 5th Edition and the Anti-Indigeneity in the Gaming Industry

reosted with permission from J.F. Sambrano

Dagot’ee!

Shii J.F. Sambrano gonsēē. My nations are Chiricahua Apache (Ndeh) through my maternal grandmother and Cora Indian (Náayarite) through my maternal grandfather.  I am a mixed race Indigenous person, and through my father my heritage is English and Scottish. I am currently residing and doing work in my community on the lands of Lummi Nation. I use both gender non-binary and masculine pronouns, but prefer the former. I have several published works in the TTRPG industry, and am probably most known for my contributions to Mage: the Ascension 20th Edition, Werewolf: the Apocalypse 20th Edition, and the Transformers Roleplaying Game, as well as being part of the Essence 20 development team. Further, I also work in higher education at an Indian college, both advising and teaching Indigenous students across the United States. My passion is education, and I believe that we all learn through play, and that TTRPGs are a valuable source of learning, especially on personal, cultural, and social levels. This has always been what has drawn me to TTRPGs since I started playing M.E.R.P. with my brother in 1996 (and before that HeroQuest), through to my “graduation” into more story-driven games such as those presented in the Storyteller System, until now, where I author and produce my own roleplaying games.

I was also part of the First Team (in-joke intentional) hired by White Wolf Studios/Paradox Interactive via Hunters Entertainment to develop and author Werewolf: the Apocalypse 5th Edition. After several months of work, Paradox Interactive chose to go in another direction in early 2021 (I believe it was either March or April) and in fall of that year, it was announced that Werewolf would instead be taken in house, with Justin Achilli as the Brand Creative Lead and primary author of the book. Going forward I will be describing my experience while I worked with Paradox Interactive, primarily through Karim Muammar, White Wolf’s Brand Editor, as well as the developmental editor for Werewolf. Although I worked in a team, both with hired authors and in-house representatives at Hunters Entertainment, I will not be speaking for the experience of others, except when specifically noting unanimous consensuses, and specific interactions (which will go unnamed) that are particularly relevant. My hope is that by highlighting some of the anti-Indigenous attitudes that are central to the foundational members and leaders of the White Wolf brand, that I can provide opportunities for growth and healing within the World of Darkness TTRPG community, but also in the broader gaming community, where these behaviors and attitudes are rampant. I also want the community to have a better understanding of what this experience is like internally, and the challenges that Indigenous creators, as well as other marginalized creators, are met with when they try to make positive change within nerd and geek communities clinging to inherited white supremacist values, even if they don’t realize they are doing so.

What I do not want to be doing in this article is creating fuel for edition wars.  I believe that both legacy and Werewolf 5th are rife with anti-Indigenous attitudes, and appalling amounts of appropriation. Both versions deserve criticism, I am not defending one over the other, I am only sharing what my experience was like working on the 5th edition of the book. Further, please understand that I was originally going to wait until I had read the final copy of the book, because I wanted to know how much of my work was used (based on previews I already know some was, just not the extent) and whether or not they decided to credit me for that work, and how I was going to be credited.  My belief is that I likely will not be, but I am genuinely uncertain.  Knowing how they handled that would have reframed how I addressed this. But more importantly, I want it to be very clear that even before Paradox ultimately pulled the plug on the Hunters team, I was preparing to exit working on the project based on the experience I will describe below. Not only did I find it frustrating, and personally disparaging, but I ultimately decided I was uncomfortable with my name being attached to the product based on the direction they wanted to go. So while I wanted to know whether or not I would be credited, because it would teach me something about their internal practices, I do not want or need the credit.

Finally, the reason that I decided to speak about this now instead of after having a chance to inspect the final product, was because my personal experience dealing with anti-Indigeneity coming from Paradox was just that: personal.  But since then I have witnessed a throughline of hateful and xenophobic attitudes wielded against Indigenous people across the globe, and we do not deserve this treatment.  I was outraged over the events that led to the segregation of the Latin American fanbase, which culminated from bottom-up criticism about how poorly their people and countries were being defined through World of Darkness products, and ended up with the firing of their Latin American Brand Ambassador, Alessa Torres, because she chose to stand with her community in those criticisms.  I was further appalled when the likeness of Tāme Wairere Iti was shoehorned into the Werewolf book, a blatant example of cultural theft: not only in stealing the literal physical identity of an Indigenous person, but also his sacred tā moko.  When Paradox Interactive issued an apology for this, it felt incredibly hollow to me in the wake of these events, the hateful attitudes I had personally witnessed coming from the top.

Whether from North America, Mexico, Brazil, Argentina, or Peru, or across the globe in New Zealand, not only do Indigenous people deserve better treatment from such a major company, but their Indigenous and Latino fanbases, who have twisted and worked themselves through difficult representation for decades at this point, deserve better.  Apologies are not enough, especially when they come with next to no real change.

Werewolf: the Apocalypse in Context

At the time that White Wolf Publishing began to produce its World of Darkness line, the TTRPG industry was dominated by white men, both as producers, developers, and authors, as well as the main characters in their settings. White Wolf's World of Darkness made an impact at the time, by defying these Eurocentric, patriarchal presentations, first by defaulting to feminine pronouns throughout Vampire: the Masquerade, and then by focusing on Indigenous representation and values in Werewolf: the Apocalypse, and as a young Indigenous nerd, it had a positive impact on me, as I know it has on some other Indigenous people who became fans of the World of Darkness at the time. This was because before opening the pages of Werewolf: the Apocalypse, I had never seen heroes that I could play who looked like me and my culture. It was off, and often offensive, but it was my first experience in which I could directly play a hero who shared my heritage--and I also had more than one option through two different Tribes to do so. This might sound a little like I was cheering for table scraps, but again, at the time, table scraps was more than I had ever seen before.

Werewolf: the Apocalypse 1st Edition was originally published in 1992 via then White Wolf Publishing (not to be confused with Paradox Interactive's White Wolf). From its inception, the premise was interwoven with what its then-authors believed to be Indigenous praxis and representation.  Like many pop-culture presentations of Indigeneity from this time period (see Fern Gully, Dances With Wolves, Disney’s Pocahontas, or in TTRPGs, the NAN from Shadowrun) it was rife with problematic and even offensive stereotyping. The most obvious examples thereof are within the two "Pure Tribes" Uktena, and W****** who I will henceforth refer to as Older and Younger Brother. However, Indigenous inspiration was at the core of the game's spiritual premise as well, where animism and "Totems" are central to the setting and gameplay. The way these concepts are presented is trivializing and dehumanizing, but it is important to acknowledge that the appropriation present in Werewolf: the Apocalypse goes a lot deeper than the two Brother Tribes (even the term "Tribe" was meant to invoke a vision of Indigeneity compared to the previous setting in the line's use of "Clan"). Additionally, there is art throughout every generation of these gaming books that represents humans, wolves, and human-wolf hybrid forms wearing Indigenous regalia, including sacred items such as headdresses, or engaged in sacred rituals such as the Sun Dance. The list of problematic representations goes deep, and my examples only scratch the surface, but it is also important for me to note the positive impact that this had, particularly in the 90's.

Even though the primary contributors to these narratives were non-Indigenous authors, or in one case, a Pretendian, and another, a culturally disconnected author, by the time the Revised (or Third Edition) era of the books came around, White Wolf Publishing was actively engaged in cultural consultation.  While I do not believe cultural consultation makes a big difference on its own, it matters that the attempt was made, to a degree: while these efforts fall short of what needs to be seen in cultural representation, this was still ahead of most other gaming companies at this time.

Hired by Hunters Entertainment

In February of 2020 I was approached by one of the co-owners of Hunters Entertainment to be one of the primary authors for Werewolf: 5th Edition due to my work on other World of Darkness projects, and let's be honest, because I was capable of bringing a much needed Indigenous perspective to a gameline that was rooted in Indigeneity and rotting with appropriation and racist stereotypes. I was overall receptive to the invitation, largely because I was very passionate about the World of Darkness setting overall, and Werewolf in particular, due to the impact that 90's representation had on me when I was a younger gamer. I also felt hopeful that with a really hard rewrite of Indigenous aspects of the game that I could shift a lot of really painful aspects of the game into something that was a net positive for Indigenous representation. I will tell you now, more than anything, I was excited to rewrite the Younger Brother Tribe, because when separated from racist authors, their message is very empowering and real to my lived experience.

That said, I did not agree to join the project without first asking for reassurances. I said that I was not willing to write negative Native stereotypes. I would not use appropriative language, or generally engage in appropriative writing (which meant at minimum that the names of the Pure Tribes would need to change), and most importantly, that I would not not engage in writing that contributed to erasure. While the person who recruited me to work on the project was eager to work with me, he acknowledged that he was not sure he could get everything I wanted to see approved, but also promised to fight for everything I suggested as hard as he could. Additionally, he shared with me that the original setting pitch for W5 involved all of Younger Brother being slaughtered en masse in a massacre. I made it clear that this was exactly the kind of thing that I would not write.  I cannot remember if this was something he suggested to be changed before or after I was invited onto the project, but with some pushback it was changed.  However, I point this out because I want you, the reader, to understand how eager Paradox Interactive was to start with mass genocide and erasure as a foundation to the setting.  All that said, I cannot stress enough that I have had nothing but positive experiences with Hunters Entertainment, and none of the following concerns fall upon them.

The Sword of Heimdall

The first encounter the Hunters Entertainment team as a whole had with problematic guidelines for the W5 draft was the direction that Paradox Interactive wanted to go with the Sword of Heimdall. At the time, the suggestions from Paradox and Karim Muammar were that the Sword of Heimdall was going to represent the new major villain of the Werewolf setting, and that they were to also represent the far-right, fascist direction that Werewolf society so often turned toward. They were meant to be representative of how far the new concept of Hauglosk could take entire communities. However, the Sword of Heimdall was discussed interchangeably with the Get of Fenris as a whole, and more than once Muammar seemed to suggest that every member of this Tribe was guilty of the same attitudes espoused in previous editions from the Sword of Heimdall. Now let's not beat around the bush: the Sword of Heimdall are literal Nazis. They believe directly in white supremacy and don't shy from it. They wanted to cleanse impure elements from the Get of Fenris, including BIPOC people, other non-white ethnicities, women, neurodivergent Garou, and other disabled Garou.

The writing team found this approach problematic for several reasons. The first, and most obvious, was that the direction seemed to want to turn one of the most popular Tribes into a horrific stereotype of its most abhorrent faction. Whether or not Muammar’s goal was to turn them into villains, we could not imagine a world where fans of previous editions would get their hands on this book, and not look for a way to play one of their previous favorite groups, thus creating the issue of making a guide to playing Nazi. Even beyond that, it’s not as if historically there were not players who used the tools of the setting to play Black Spiral Dancers, why wouldn’t this draw people who actually wanted to role-play through these toxic, harmful politics? Further, and while this is less important, it left a bad taste in my mouth, the justification for this major shift in Werewolf lore seemed to change over each pass. At first, Muammar suggested that all Fenrir were Nazis/SoH.  Then, when he was provided with evidence that it was a small faction that was eliminated in the early 2000’s, he started to shift toward the idea that we should not follow the lore. Finally, when every single member of the writer’s team flatly refused to provide what would essentially be “a player’s guide to being a Nazi werewolf” the writing was on the wall about the end of our involvement with this product. More than once, he suggested that we were cowardly social justice warriors for being unwilling to work with this concept, even though there were several attempts to write a heroic version of the Fenrir that were focused on undoing these ills of the past.

Indigenous Erasure in Werewolf: 5th Edition

While the entire Hunters Entertainment writing team was handling the major, glaring issue of Paradox’s fervor to include a major Nazi element in Werewolf, I was personally dealing with the problematic approach to the Indigenous issues in the setting. The largest problem, for me, was in addressing Younger Brother’s issues, the history of non-Indigenous writers creating horrifically racist stereotypes, and what was valuable in the Tribal identity that should be saved and recentered. However, my attempts to do so were thwarted with every approach. I rewrote this Tribe four times, and offered three different versions of it to try to earn approval for a final write-up, but each time there was a lot of negativity directed towards my attempts and all them boiled down to this: Muammar felt that having two Tribes (both Younger and Older Brother) representing the “Indigenous population” was too many, and wanted them to only be focused on Older Brother, and that Younger Brother’s connection to a central, Indigenous identity, was undesirable because “other sources wrote them as having Siberian and European connections” and that future writing on this Tribe would require a lot of sensitivity…suggesting that one, Muammar wasn’t interested in doing the work to handle that level of sensitivity, and further, that he wasn’t interested in including me in future work, since I was involved with doing that at the time.

I want to take a moment to remind you that the work that was put into recovering Younger Brother started with “Let’s Kill Them Off” and at this point, through a combination of convincing and pleading, had been walked back to “They can live, but now they’re not connected to being Indigenous anymore” which is just representative genocide of a different variety. “Kill the Indian in him, and save the man.” It was also explicitly something I said I would not write about going into this project. Ultimately, my efforts did not get much further than this, with some specific exceptions I will cite below.

Karim Muammar’s Anti-Indigenous Positions

Muammar consistently and repeatedly communicated to the team in ways that were condescending and dismissive of our collective accomplishments and capabilities, but from my perspective, no one suffered as much significant derision as I did while discussing the changes I wanted to make to Younger and Older Brother in order to make their representation empowering and exciting.

In the pulled quote from the previous paragraph, I want to point out to you that Muammar, who had the title of Lead Editor on this project, refused to capitalize Native American. Further, he would often redline my work with edits to decapitalize my own uses of Native American, as well as the word Indigenous when referring to Indigenous peoples. While there are plenty of people who might want to argue about this, I will point out that both the AP style guide as well as the Chicago style guide (the one which I am most familiar with in my academic historical work) both call for Indigenous to be capitalized when referring to a people. Further, I challenge anyone to defend the consistent decapitalization of Native American. More importantly, the reason that these are standards in respected style guides, is because the English language has been used historically to oppress and erase ethnic identities, including Indigenous identities. By transforming adjectives into proper nouns, we are declaring that Indigenous and Native aren’t descriptors that can be applied to animals, plants, and soil, but real lived identities and culture groups.

When I was explaining to the Paradox team (which was mostly just Muammar) why it was important to change the names of these two Tribes from the appropriative (and offensive) ones used in the past, Muammar pushed back by defending the previously used Younger Brother name, even after reading my extensive research and explanation about how this would harm Indigenous communities and fans.

While doing so, he also decided that it was appropriate to refer to this entirely Native American tribe by the word “savages” a slur that has been specifically used to dehumanize Native Americans, and then mocked my rewrite that focused on presenting them as stewards of the land using Indigenous methodologies and praxes, instead of the “savage” racist stereotypes they were presented as in previous editions. Further, as in the above quote, even after it was communicated that the use of this term was problematic, he kept doubling-down to use it to refer to the Tribe.

Even though I worked hard to redefine Younger Brother through Indigenous theory, such as place-based theory, relational theory, and communal theory, Muammar either refused to recognize this work, dismissing it as simple, or else simply could not understand the importance of these changes. Either way, the choice is that he didn’t want them to change, or couldn’t comprehend why the change was important because of how entrenched in white supremacist thinking he is. Further, after the massive effort that I put forward to attempt to educate him and the rest of the Paradox team on these issues, the insistence on using offensive terms and belittling my work felt intentional. So let’s talk about the work I did that was above and beyond my job description: free cultural consulting work.

“Sensitivity” and Consultation

I have seen several misunderstandings of my role working on this project going around, so I want to make something very clear. I was hired to work on this project as an author, and nothing else. I was not ever hired to be a cultural consultant. I do not do cultural consulting work. While I feel that there are many creators and companies who hire cultural consultants with the best intentions in mind, their responses often fall short of what is needed, as no one is ever obligated to actually follow the advice of cultural consultants. Further, I think there are also many companies who choose to hire cultural consultants only to say “we did this minimal step, and that is enough” in order to ward off naysayers.

However, anyone who hires me gets some level of cultural consulting for free, because it comes out in my writing–in both what I won’t write and what I choose to center my writing around. In the case of Werewolf 5th Edition, however, it was far more involved than this. I came with a plethora of “I will not write X” because I knew the setting was so problematic.  A short list of my demands besides not being willing to write Indigenous erasure, was that we needed to change the names of the Pure Tribes (and the term Pure Tribe itself), we needed to change the word Totem to Patron, and also the Patrons of the Pure Tribes. We needed to move away from the term Metis for obvious reasons, and we needed to move away from the term Skin Dancers. I also specifically noted that there was a lot of cultural theft happening from the beginning of Werewolf until now that I wanted to address. The only way these issues were going to be addressed was to convince Paradox they were actual issues on the level of PR concerns, because nothing else was likely going to be considered. So in order to achieve this, I put in weeks worth of research, writing, and meetings with top level administrators with Hunters Entertainment so that they could bring this information to Paradox.  I never documented my hours, but I would guess that I did approximately 80-100 hours of what I could only describe as cultural consultation work for free that was outside the contract work I was hired for. Let’s be clear: I did this willingly because I was passionate about the positive changes I wanted to see in this product, because I believed that Werewolf’s historic ills could be turned toward non-toxic representation.

Besides my actual words, such as naming the Ghost Council, and arguably the name Gale Stalkers came from a combination of names I pitched to Paradox after Winter’s Teeth was denied, and several sentences and paragraphs that I have seen so far that appear so close to what I originally wrote that you could imagine they were just edited versions, my largest contribution toward the final version of Werewolf: 5th Edition was this work. The only reason the offensive, appropriated names were changed were because of hours of my work to convince them it needed to happen. The reason that the Gale Stalkers aren’t just dead and gone: again, I pushed against this. The reason that Skin Dancers, Totem, and Metis will not appear as canonical titles? I pushed against their unwillingness to alter these things (see Karim’s defense of Wen**** Tribe name above).

Further, and this is the biggest reason I decided to write this article before seeing the final version of the book, I want to mention that I was also included in discussions with Hunters Entertainment to potentially be part of the art direction team, especially to oversee depictions of Indigenous characters, regalia, and art, to ensure that it would be represented either respectfully or not at all. I decided I needed to speak as soon as possible after the artistic portrayal of Tāme Iti appeared in the Glass Walkers preview without his permission. There are many arguments surrounding this issue and I am not going to address everything, but ultimately, I can tell you that had I remained as part of the art direction team, and saw that, I would have questioned it immediately. Even if I didn’t recognize Tāme Iti immediately, I would have asked what the source was on the depiction of moko in that piece, because I am aware that this is a sacred form of art–and I had already discussed wanting to make sure things like Crinos in headdresses didn’t appear in the book (as had often happened in previous editions, particularly on a certain white-skinned character whose name rhymes with Steals-the-Past).

As time working on this project went on, and I went through rounds and rounds of trying to convince Muammar and Paradox that it was important to not steal Indigenous identities, art, and stories, and that a greater effort needed to be put in powerful and empowering Indigenous representation, and I constantly ran into refusals and criticisms that were clearly hateful toward Indigenous identities and peoples, not to mention the push to represent Nazism as a major part of the game setting, I grew increasingly frustrated and restless with feeling like I was trying to work on a challenging project while also defending my right to exist as the person I am at every turn. Eventually I turned to another Indigenous TTRPG and game creator to ask for advice, and after a long and difficult discussion, I came to the conclusion that I was going to talk to the Hunters administration team and tell them that if Muammar kept using slurs and other anti-Indigenous language and attitudes, I was going to need to step off of this project, because it was harmful to me on a personal level. In furtherance of this point, I have been avoiding doing any contract work at all where I can tell that I am wanted for my specific cultural perspective ever since, because this situation was so harrowing for me.

Unfortunately, before I could have this conversation, after one final draft of Younger Brother and Bone Gnawers (which had its own issues, but that is not the point of this discussion), before we received any other specific feedback, the Hunters Entertainment administrators announced to the writing team that Paradox had decided to take the book in-house, and would no longer need our services.

The main point I would like to leave you with, besides these few specific quotes (out of dozens and dozens) that Muammar made that were anti-Indigenous, is that there is often a big call to have more BIPOC voices in various entertainment industries, so that both our stories, perspectives, and unique views on how the universe and life works, can be included; so that an industry that is historically, harmfully Eurocentric, might turn toward new, healthier, and inclusive directions. And I agree with this call for change, but I implore you to consider the conditions that BIPOC creators often have to work under: doing cultural/identity work and consultation for free as part of being present, being subject to vicious refusals of our experiences and perspectives, and straight-up having slurs lodged against our work. I want to see these changes in the industries we love, including the gaming industry, but currently the people who are in charge, who have the most power, are severely hostile to our work and our perspectives. This is why, for example, works like Coyote & Crow were done with an almost entirely Indigenous group of creators, and led by Indigenous creators, because trying to work for and with this ugly, hateful, and xenophobic group of people is so often exhausting, both mentally and spiritually, and because no good changes end up being made.

I am glad the harmful, appropriative terms were removed from the setting. I am glad I was part of the fight to make that real. I am not so glad that I was treated with hostility and racism by Muammar for the effort and love I put into this work, and I am not so glad that I will certainly be reviled by one of the two communities I did this work for–the gaming community, and certainly the people in power in this industry–and I am also not so glad that I didn’t have the opportunity to properly acknowledge how much of Werewolf’s base themes and setting are twisted and tied-up in Indigenous appropriation without giving the proper acknowledgments.

More than anything, I hope that this story will help you, the fans, realize that there is a lot of darkness in these communities, and they won’t change unless you hold their feet to the fire.

Ánaagodzįįhł

J.F. Sambrano

[txttletale]

hey not trying to be a shithead but genuinely curious; and not saying it isnt, but what makes honest hearts like super racist? because, okay its been a while but i dont remember it being *that* bad?

am i missing something? (probably)

well, essentially, the whole dlc hinges its plot on its idea of 'tribal' society vs. 'civilized' society. this is like... a distinction with origins in 19th century scientific racism used to argue that indigenous peoples were 'primitive' and 'backwards', a lesser form of life compared to the more developed 'civilized' people. and this is a distinction that is everywhere in all the fallout games, including new vegas (i think it's super fucking racist that the white gloves practice of cannibalism is constantly narratively linked to their 'tribal origins' and described in the terms of a regression or degeneration)--but honest hearts is about it and so it's really inescapable.

joshua sawyer can say whatever he likes about multi-ethnic diverse groups or whatever but the tribes in honest hearts are very clearly inspired by racist stereotypes about native americans--they are naive, gullible morons (follows-chalk can't understand the concept of a casino) at worst and noble savages with (textually) biblical innocence at best. their names, their art, their societies--all just a white guy's idea of "vaguely native american" without any research or care.

and imo worst of all (and this is something im aware the devs have properly acknowledged) they have absolutely no agency--your role in the dlc is to be a "civilized" outsider who tells them which of two white "civilized" mormons to listen to. none of the 'tribals' are able to make their own decisions or lead themselves--they need a mormon missionary to tell them what to do! there is no way to resolve the dlc without picking which white mormon missionary they should listen to other than just murdering everyone indiscriminately.

and, like--i am aware that honest hearts thinks it is gesturing towards a critique of these ideas. you can criticize the paternalism daniel shows towards the sorrows, and the dlc clearly intended it to be criticized--but that criticism is weak and hollow when the only way to follow up on it is to put a different white mormon in charge. it is the most archetypal white saviour narrative possible--and yes, i also know daniel was 'supposed to be asian', but that doesn't change anything because he is in fact, as the "civilized" missionary preaching paternalistically to the "primitive tribals", fundamentally white-coded

so i mean yea it's racist because it relies on racist stereotypes about native americans, mandates that a white person come and take charge of these poor stupid 'tribes'--but even if you changed all that, it's fundamentally about an idea of 'civilization vs. tribal society' that it accepts as a true and meaningful distinction as its core premise, and that is just a straight up racist premise.

(and the reason i keep bringing up that both daniel and josh are mormons is that mormons have a long and storied history of brutal violence and colonialism against indigenous peoples, from their original violent settlement of utah to their 'indian placement program' to their deeply racist scripture, which makes their portrayal as benevolent white saviours particularly galling and repulsive)

[sunflower--meadows]

OK, as an Indian person and ESPECIALLY as a Scottish person I have to say this.

The current Palestinian Genocide (let's call a spade a spade) and lack of response is an unambiguously, direct result of British Colonialism.

Palestine was given/promised/whatever word you want to use to describe it to Israel by the British Empire to whom it "belonged" as a colony.

Everything that happened thereafter, the Nakba, every invasion, every injustice is a result of that colonial attitude from which Israel was born.

Everywhere the British Empire has been it has sewn chaos and promoted the abuse of human rights as it left. It has happened in India, it happened in Nigeria, South Africa, Cameroon and Australia.

The reason for such a lax UK governmental response is because if they acknowledge what's going on is fucked they have to take responsibility for so much more. By leaving these countries originally the UK has "washed their hands of it."

I want to make this extremely clear.

Britain's hands will NEVER be clean

The British Empire has committed the greatest atrocities known to mankind and the British Government does not want to acknowledge that.

Israel has been built from these imperial attitudes, has repeatedly and continually committed war crimes and human rights abuses and governments just... don't care

It's actually insane and we need to recognise the root of these humanitarian calamities and hold our government accountable.

Write to your MPs, your MSPs, your MSs make your voice heard in whatever way that you can! Your voice may seem weak but it is so incredibly powerful if enough people speak up, if enough people make sure that the government never forgets about these things we can make REAL CHANGE. The link below will allow for you to find your government representative be that N.Ireland Assembly Scottish, Welsh or UK Parliament as well as their emails.

https://www.theyworkforyou.com/

Tell them how horrible things are in Gaza, tell them about Israel's repeated and continuous mistreatment of the Palestinian people, tell them how the UK cannot continue to plug our ears and ignore the fallout of our past. Just say something!