Her main criticisms are:
1) An attempt by the producers to change the belief system into "believers and unbelievers":
From her blog (now slashdotted):
And 2) changing the skin tones of the characters to white:
http://slate.msn.com/id/2111107/
1) An attempt by the producers to change the belief system into "believers and unbelievers":
From her blog (now slashdotted):
So, for the record: there is no statement in the books, nor did I ever intend to make a statement, about "the union of two belief systems." There's nothing at all about the "duality of spirituality and paganism," whatever that means, either.
Earlier in the article, Robert Halmi is quoted as saying that Earthsea "has people who believe and people who do not believe." I can only admire Mr Halmi's imagination, but I wish he'd left mine alone.
In the books, the wizardry of the Archipelago and the ritualism of the Kargs are opposed and united, like the yang and yin. The rejoining of the broken arm-ring is a symbol of the restoration of an unresting, active balance, offering a risky chance of peace.
This has absolutely nothing to do with "people who believe and people who do not believe." That terrible division into Believers and Unbelievers (itself a matter not of reason but of belief) is one which bedevils Christianity and Islam and drives their wars.
But the wizards of Earthsea would look on such wars as madness, and the dragons of Earthsea would laugh at them and fly away...
Toto, something tells me Earthsea isn't Iraq.
I wonder if the people who made the film of The Lord of the Rings had ended it with Frodo putting on the Ring and ruling happily ever after, and then claimed that that was what Tolkien "intended..." would people think they'd been "very, very honest to the books"?
And 2) changing the skin tones of the characters to white:
http://slate.msn.com/id/2111107/
Most of the characters in my fantasy and far-future science fiction books are not white. They're mixed; they're rainbow....My color scheme was conscious and deliberate from the start. I didn't see why everybody in science fiction had to be a honky named Bob or Joe or Bill. I didn't see why everybody in heroic fantasy had to be white (and why all the leading women had "violet eyes"). It didn't even make sense. Whites are a minority on Earth now—why wouldn't they still be either a minority, or just swallowed up in the larger colored gene pool, in the future?
The fantasy tradition I was writing in came from Northern Europe, which is why it was about white people. I'm white, but not European. My people could be any color I liked, and I like red and brown and black. I was a little wily about my color scheme. I figured some white kids (the books were published for "young adults") might not identify straight off with a brown kid, so I kind of eased the information about skin color in by degrees—hoping that the reader would get "into Ged's skin" and only then discover it wasn't a white one...
...Gradually I got a little more clout, a little more say-so about covers. And very, very, very gradually publishers may be beginning to lose their blind fear of putting a nonwhite face on the cover of a book. "Hurts sales, hurts sales" is the mantra. Yeah, so? On my books, Ged with a white face is a lie, a betrayal—a betrayal of the book, and of the potential reader.
I think it is possible that some readers never even notice what color the people in the story are. Don't notice, don't care. Whites of course have the privilege of not caring, of being "colorblind." Nobody else does.
I have heard, not often, but very memorably, from readers of color who told me that the Earthsea books were the only books in the genre that they felt included in—and how much this meant to them, particularly as adolescents, when they'd found nothing to read in fantasy and science fiction except the adventures of white people in white worlds. Those letters have been a tremendous reward and true joy to me.