Unpacking Shinsei (新生) AKATSUKI; An Extended Translation Note and Analysis
This post provides necessary context about the issues of cultural sensitivity around Ibuki Taki’s inclusion in AKATSUKI, especially its parallels to the Ryukyu Disposition.
Happy Elements is no stranger to mishandling racial minorities. Adonis is often subjected to textbook orientalism. He’s broadly put under a cultural umbrella of vaguely “Middle-Eastern”, portrayed as being “sexy” and “exotic”, or as a large and scary foreigner. Hiiro is inferred to be Ainu, but is portrayed as an ignorant person from “the country” who must absorb the ways of “the city”. At times, he’s treated as a laughing stock when he doesn’t know about modern technology or when he "lacks civility".
With the addition of Ibuki, a canonically Ryukyuan indigenous individual, into AKATSUKI, the point of this analysis is to contextualize the Ryukyu Islands’ history with Japan and apply it to Ensemble Stars, so it can be referenced in future translation notes and disclaimers for Shinsei AKATSUKI on my website. I hope it can also act as a starting point for people who are new to the topic and looking to learn more.
Blue flashcards contain additional context. Click on them to read more information.
Some Disclaimers:
⦿ I am not a historian, nor an expert in international relations, nor an authority on everything I speak about below. All I have done is deep-read on these topics.
⦿ This analysis is a starting point, not an end-all-be-all resource. There will also be a companion timeline webpage released in early-July. For now, I have all of my sources for both pieces linked here: not all of them are used for this analysis, but they are very great resources for readers to read beyond what I have here.
⦿ This analysis primarily dissects the Legend of KAGETSU, but includes other stories and may continue to include more in the future. Thus, information may change here as more stories come out. I'll designate those updates, if any, at the bottom.
If you have questions, feel free to submit them to my ask box. If you spot any errors or have additions to share, you can also email me at citrinesea.io@gmail.com.
The Ryukyu Kingdom
As laid out in the History of the Ryukyu Kingdom Timeline page,5 The Ryukyu Kingdom was an independent state that existed from 1429-1879 in the Ryukyu Islands. Because of its location in the East China Sea, Ryukyu developed a unique culture and maritime empire through active trade with China, Japan, and Southeast Asia. The kingdom maintained a tributary relationship with China before it was invaded by Satsuma of Japan in 1609. From then on, Ryukyu had a three-pronged political status: tributary state, vassal and kingdom. This lasted until 1879 when Japan formally annexed the Ryukyu Kingdom, dissolved its monarchy, and incorporated the islands as the Okinawa Prefecture. This marked the beginning of assimilation policies and erasure of Ryukyuan identity into the 20th century.
Meiji Restoration and Assimilation Into 和
As laid out in the History of the Ryukyu Kingdom Timeline page,5 Commodore Matthew Perry and the U.S. Navy arrived in Japan in 1853 with warships in order to force it to open itself to foreign trade. This came after the United States settled on the western coastline after the Mexican-American war, because it set its sights on Japan as a fueling site for merchant ships. After signing treaties with the United States and other Western Powers, Japan’s closed country policy ended.
After the arrival of the United States, Japan adopted Western institutions and structures to modernize and protect itself. Power was consolidated under the Meiji Emperor and Edo, which was then renamed to Tokyo. The Meiji Constitution and its two-house government was modeled after the Prussian and British parliamentary systems. Western experts were invited to Japan to teach architecture, medical science, law, economics, natural sciences, engineering and more. Japan built factories for textiles, steel, ships, and munitions. This period of time was called the Meiji Restoration.
To expand its imperial reach, Japan developed two strategies: making a modern military and creating a unifying national identity.
Building a Strong Military
富国強兵 (fukoku kyohei, "rich country, strong military") became the guiding principle of national policy. Economic strength meant developing modern industries, infrastructure, and self-sufficiency. Military strength meant making a powerful, modern army to protect Japan and raise its world power status.
After the Meiji Government consolidated power, it abolished feudal lords and the samurai class. It restructured the military with Western-style ranks, uniforms, industrialization, and training. Mandatory conscriptions were established. Military academies were established, and trained officers taught based on Western military foundations. This allowed Japan to build a professional, modern military and navy.
Other territories like Taiwan, Hokkaido and Korea offered the same strategic and economic gains for Japan as Ryukyu. This period includes the forced assimilation of the Ainu in Hokkaido and the brutal colonization of Korea, which had previously been a tributary state of Qing China.
Developing a Cultural Identity
“Wa” is the oldest known term for Japan, first used by China and Korea. The original character 倭 (wa, submissive, dwarf) was derogatory. In the 8th century, Japan replaced the character 倭 with a new one to redefine its image: 和 (wa, harmony, peace). 和 (wa) is used in words associated with traditional Japanese culture, like 和風 (wafu, Japanese-style), 和食 (washoku, Japanese cuisine), and 和服 (wafuku, Japanese clothing).
To unify regional identities into one national culture, the Meiji government worked to construct a singular national identity. It did this by leading with the idea of kokutai; the emperor was seen as a divine figure, and the people were like one big family under his rule.
Shinto, Japan’s religion, was elevated to a state ideology, where the emperor was promoted as descended from the divine. This gave him both moral and spiritual authority over the people of Japan. This identity was reinforced through schools, where school children were required to recite doctrine that emphasized loyalty to the emperor and pride in being Japanese.
The 1899 Hokkaido Former Aborigines Protection Act forced the Ainu to adopt Japanese names, prohibited their language and customs, and erased their indigenous identity. Policies like 創氏改名 (soushi-kaimei) forced Koreans to adopt Japanese names and prohibited their language.
While Japan used Western tools to strengthen itself, it wanted to keep its Japanese identity intact too. 和, social harmony, was central to being truly Japanese: it’s a unified society where individual interests should be put aside for the greater good. This same identity was used to justify the assimilation of minority groups, often at the cost of their own cultures and traditions.
In the years after the Black Ships came, Japan’s primary motivation for annexing Ryukyu was to secure its southern borders. The Ryukyu Islands’ position south of Japan made it a potential target for Western powers: if these Western powers settled in Ryukyu, they would have easy access to the Japanese mainland. Despite protests from the Chinese, Ryukyuans and even others within the Japanese administration, Ryukyu was formally dissolved and annexed as the Okinawa Prefecture in 1879. This annexation and the policies that followed are also known as the Ryukyu Disposition.
Propaganda in Education
Japan used mass education in Okinawa to build loyalty. Japan created a public school system from scratch, teaching Japanese language, patriotism, and emperor loyalty. Okinawan locals became teachers, aiding in spreading assimilation efforts.
Source: Meyer (2020)
Getting Rid of Chinese Influence
The Japanese government replaced the name “Ryukyu” (which comes from the Chinese Liuqiu) with “Okinawa,” a Japanese term. Officials pushed people to stop using “Ryukyu” or “Ryukyuan” by painting the terms as foreign or barbaric, in order to break historical ties with China.
Source: Meyer (2020)
Erasing or Rewriting History
Ryukyuan history was discouraged in schools and sometimes banned or mocked. Traditions were incorporated into Japanese culture, like labeling the Ryukyuan religion as a form of Shinto or linking Ryukyuan kings to Japanese ancestry.
Source: Meyer (2020)
Culture Prohibitions
Certain customs like traditional hairstyles or local dialects were suppressed, though some customs faded naturally or were adapted. Language suppression wasn’t consistently enforced until wartime. but when it was, dialect cards were used to punish people who spoke in their dialect.
Source: Meyer (2020)
Okinawa’s relationship with Japan was complicated. Initially, there was resistance to Japanese schools and culture from the Ryukyuans. It wasn’t until after the victory of the first Sino-Japanese War (1894-95) that many Okinawans accepted Japanese rule and even embraced Japanese identity. This wasn't necessarily pure, genuine enthusiasm, but a result of a wave of nationalism and a survival strategy. If Okinawans wanted equal rights, stability, or investment, they had to assimilate and prove themselves to be "truly Japanese".
At the same time, Japan treated Okinawa like a distant possession rather than an equal part of the country. It delayed reforms and underinvested in the region, and that neglect led to deep poverty and economic crises. Ironically, being ignored by Japan also meant that Okinawa held onto more of its traditional culture compared to other groups that faced more aggressive assimilation.
Assimilation and the Japanese identity in Okinawa is very complex, especially in the 20th century. I would highly recommend you read both The Boundaries of "The Japanese" and Between a Forgotten Colony and an Abandoned Prefecture regarding this period of time. The Boundaries of "The Japanese" (Oguma, 2014) in particular breaks down the lead-up to and aftermath of Ryukyu's annexation.
Legend of KAGETSU Thematic Analysis
AKATSUKI is a unit based around 和風 (wafu, Japanese-style). Ibuki is Ryukyuan2. As stated at the top of this analysis, Ibuki's entrance into AKATSUKI has parallels to the Ryukyu Disposition.
One distinction that needs to be made at the beginning of this section is the intersectionality of Ibuki's two identities: being born in Okinawa and being raised as an American. This matters, because the themes of KAGETSU have two different implications for Ibuki being a Ryukyuan and Ibuki being an American.
Themes of Globalization in the Audition and MEGASPHERE Arcs
As we get into talking about Ibuki, AKATSUKI and the Legend of KAGETSU, these take place at the same time as Nice Arneb Thunder coming from abroad and bringing the MEGASPHERE with him. Although Nice is not directly connected to Ibuki and AKATSUKI after Ibuki turns his offer down, their stories mirror the same parallel to the Meiji Restoration, where global influence comes in to challenge the status quo and Japan takes on these global principles to modernize and survive.
There are pieces within the stories that outright or thematically resemble the Black Ship. When fine is gathered outside the Audition venue in VS AUDIENCE Chapter 1, Eichi makes a direct reference to the Black Ships.
Hehe. Thanks for the tip. Perhaps I’d gotten jealous that Thunderbolt had caught Tori's interest.
However, I'm also anticipating the proverbial ships moving in.1
Their movements have purpose: it seems that they’re trying to scoop up the talent that ES failed to pick up in my place.
In the Audition Arc, Nice reveals to Seiya that bringing in MELLOW DEAR US (an overseas idol unit) is part of his plan to shake things around and reset the idol scene. He plans to use MELLOW DEAR US as a model example and push the industry (particularly, the P-Agency) to evolve. While idols will struggle or feel threatened, the idea is that this challenge will lead to growth for everyone. Seiya calls it “terraforming” the idol world.
When the MEGASPHERE Arc begins, Nice brings a (literal) ship to hover over ES. In it are all sorts of advancements. For the next month, ES Idols are put to the test to use these resources in order to stream.
In the Shinsei AKATSUKI BRIGHT ME UP!!! Minitalks, the topic of the MEGASPHERE comes up, and Ibuki says this:
It's quite noisy before the live, hm? Looks like there are some people running around for no reason too...
Now, now. It's the first time we're holdin' a live in a place like this, I'm sure everyone's in high spirits is all.
I never thought that we'd stand on a stage this huge~ Right~?
If the player says, "It feels like it's the size of America"...
Now that you mention it, apparently this so-called "me-ga-su-fii-a" airship was made in a foreign country.
It crossed the ocean to come here to Japan just like me~ Kinda gives me a sense of kinship~♪
Crossed? More like flew... I did learn that when it's this stupid-huge of a machine, I don't get motion-sickness.
Adaptation for Survival
I think this deliberate mention of relating to the MEGASPHERE is supposed to parallel the Black Ships and connect Ibuki's role to one of the primary themes of the Legend of KAGETSU: adapting to survive in the face of the future.
This theme is evoked in the song Tenshou KAGETSU:
| Keito | The beating of our hearts are the drum playing the Fill-in that clears the darkness of the new moon | 00:50 |
| Ibuki | Can you feel it kicking up? – Brush up, impose, throw down, make change | 00:53 |
| Kuro | Time doesn’t stop | 00:57 |
| Souma | In order to exist in this era | 00:59 |
| Keito, Souma | Our battered bodies are medals of honor too | 01:00 |
| Kuro, Ibuki | To aimlessly waste away is the sentiment of a king | 01:02 |
| ... | ||
| Souma | Now, the full moon has appeared, it's Showtime for all to be burst open and revealed | 02:15 |
| Kuro | We’ve been waiting for so long, is it just as we’ve wished? What is the dream we’ve screamed out for once before? | 02:18 |
| Keito | Time doesn’t stop | 02:22 |
| Ibuki | We’re surviving in this era | 02:24 |
| All | If you only have half the faith in what you believe in, won’t you only get half out of the world too? | 02:26 |
In the Legend of KAGETSU, Keito suspects Rhythm Link wants to use AKATSUKI’s obedience and discipline to mold them into a convenient, controlled successor. He fears that in this position, AKATSUKI won’t be allowed to grow or change. After meeting Ibuki in VS AUDIENCE, Keito sees potential in how his approach clashes with AKATSUKI's. Initially, he invites Ibuki to be a guest with AKATSUKI in order to shake out of Rhythm Link's idea of what makes something "like AKATSUKI".
I wanted to make it clear I wasn’t going to let them control AKATSUKI as they wished, while not opposing the agency's intentions straight-on.
I tried everything in my power. I tried to adopt what was trendy into the arrangements of new AKATSUKI songs.
But the overall response never changed. Apparently, every song was “fit for AKATSUKI”.
It’s probably because I’m too steeped in the traditional performing arts that I can't get the range right. It's hard to strike a balance.
It was at that moment, in 4piece… In that audition where I came across Taki.
Eh? Then, the reason Hasumi-san called out to me was…
That’s right. When we had our jam session together, I felt like I could see the future of AKATSUKI.
AKATSUKI is a unit that takes pride in the traditional performance arts.
But we’re not an antique or a curio; it’s not an antiquated unit. We’re idols who sing and dance in front of people who live in the now.
Even if AKATSUKI’s performances change, AKATSUKI stays the same. Even if something on the surface changes, the soul of AKATSUKI is eternal.
… That’s right. That’s what we learned from Rumbling Heaven and Earth.
Right. We take the things we’ve cultivated in the past, change it to suit the modern age, and carry it with us into the new era.
Later, after the Legend of KAGETSU show, AKATSUKI formally invites Ibuki to join their unit. By integrating Ibuki into AKATSUKI, Keito can keep its core identity, while adapting and expanding it to stay independent and survive outside pressure in the future. However, when Keito talks about being an equal partner with Ibuki, or taking on his "harmony" (和), he's mainly discussing the interplay between the Japanese 和 and Ibuki's American identity. This makes it a cultural negotiation between two major powers (Japan and the United States), a reflection of the events that occurred during the Meiji Restoration.
There's a major clash in the story between low-context American culture (saying what you want, making deals, clearly stating expectations) and high-context Japanese culture (leaving things unsaid, implying meaning through the way you act, relying on unspoken expectations). Throughout the story, Ibuki learns Japanese-style high-context behavior (such as withholding information to protect AKATSUKI), while Keito learns American-style low-context communication (being direct, assertive, and rebellious when protecting AKATSUKI).
(Maybe this kinda thing is the harmonious harmony6 Hasumi-san was talking about~?)
(Both the Okinawan and American dispositions I carry with me, mixed with the harmony AKATSUKI brings with them. At a glance, it doesn’t seem like it fits, but I blend right in. How strange~)
(I’m absorbing the harmony of this mainland. At times, I’m introducing harmony from the American perspective too.)
(— I’ll show you I’ll find that “true Japanese-style”.)
(What Taki has that AKATSUKI doesn’t— it’s that thirst. And from that thirst comes a kind of hunger.)
(In Japan, there is a tendency to view greed as despicable— something to be ashamed of. Because of that, I tried not to bring it to the surface. I had figured that restraint was a virtue.)
(But I’ve had enough of moderation. AKATSUKI is a unit that honors good old fashioned harmony, but we’re idols who make the most of the present and take on the future.)
(“All worldly things are impermanent” is what the world runs on. If we only keep our eyes on the past and present, we’ll absolutely lose sight of the future.)
(I won’t let that happen to AKATSUKI.)
(Even if it’s despicable, I’ll hungrily take in everything, and aim for a harmony that holds up in the face of the future.)
Ibuki’s Ryukyuan identity is a separate matter, and this is how the exchange of 和 becomes unbalanced. On one hand, allusions to or context relating to Ryukyuan heritage isn’t absent. His heritage is constantly present and constantly acknowledged in stories, minitalks and voice lines. The MV and instrumentation for Tenshou KAGETSU features substantial Chinese elements, a possible reference to the Ryukyu Kingdom’s historical relationship with China.7 He frequently references Okinawan culture, directly identifies as Uchinaanchu, speaks and references uchinaaguchi, one of the Ryukyuan languages, by name, and uchinaaguchi is even being learned by AKATSUKI fans in-canon.
However, as much as his Ryukyuan identity is acknowledged in-canon, it's not structurally adopted into the group’s identity. Keito and AKATSUKI are taking on elements of American-style assertiveness, but Ibuki is the one taking on Japanese-style high-context behavior. This is what parallels the Ryukyu Disposition.
I'd like to illustrate the new 和 Keito talks about as a container that holds existing elements and can accommodate new ones. The table below explores the intersectionality of Ibuki's identity and illustrates how each of the three identities (Japanese, American, and Ryukyuan) contributes to or is constrained within that container.
| Aspect | Keito (Mainland Japanese) | Ibuki (American) | Ibuki (Ryukyuan) |
|---|---|---|---|
| Handling the Container of 和 | A container Keito owns and monitors, deciding what gets poured into it. | A container Ibuki pours into and contributes to. | A container Ibuki lives within. |
| Ability to Shape 和 | Keito has the authority to define and change the characteristics of 和. | Ibuki introduces 和 from an American perspective, but it’s still within the limits defined by Keito. | Ibuki absorbs existing 和, with no current indication of reshaping it. Instead, his indigenous characteristics are now considered 和 under AKATSUKI. |
| Cultural Contribution They Provide | Keito redefines the traditional social harmony 和 he's upheld to include hunger and ambition. | Ibuki's directness, rebellion, assertiveness is valued in pushing AKATSUKI forward. | Ibuki's language and culture is acknowledged, but it’s nonstructural for AKATSUKI. |
| Narrative Function | Keito represents Japan's evolving image: modernization without losing its identity. | Ibuki represents cultural exchange with America: useful, equal, inspirational. | Ibuki represents cultural decoration: his unique background is present, but it doesn't challenge the dominant cultural identity. Instead, it is presented as a “subset” of it. |
| Colonial Dynamics | Keito embodies the colonializer that absorbs cultural differences without being entirely redefined by it. | The cultural exchange is equal, as American is another major power, fitting in a dominant cultural framework. | Ibuki embodies the colonized, included symbolically without providing structural change to the dominant culture. |
While Ibuki’s Ryukyuan identity is clearly displayed and demonstrated, it exists in a framework that doesn't allow it to reshape AKATSUKI's core identity. Right now, Ibuki contributes to AKATSUKI, but through his American identity, not his Ryukyuan one. Keito offers inclusion and an equal partnership, but it is on behalf of a competing major power at best (Japanese vs. American) and an assimilation approach at worst (Japanese vs. Ryukyuan); these are both reminiscent of the Meiji Restoration and its events.
Taki. You’ve been saying that we’re “letting you be involved in the live with AKATSUKI”.
You certainly are playing the role of guest, but what I want from you isn’t to be a guest; I want us to stand as equals.
That harmony of Japanese culture is the word "harmony".
Things like “Fitting just right” and “blending in seamlessly” are subtle, but unmistakable. That is what harmony is all about.
It doesn’t matter to me if you did something like cause us trouble like you said. Well, I am going to lecture you, though…
Does a colonizer have the right to repurpose or glorify the concept of 和? A concept that has historically been used to assimilate groups like the Ryukyuans? And what’s being made inclusive in this scene isn’t the marginalized Ryukyuan identity, but another dominant culture, the United States. Phrasing it like "fitting just right" and "blending in" have overt connotations of assimilation.
Ibuki and his search for 本当の和風
Between Ryukyu's assimilation into Japan and older generations passing away, many Ryukyuan customs are fading or no longer practiced, including but not limited to traditional tattoos, cultural rituals, and festivals. Uchinaaguachi is also an endangered language. While there are efforts to preserve and teach these traditions (especially in Okinawan diaspora overseas), they're still fragile and need continued support to survive.
I think the best resource for understanding how Okinawans feel is from Okinawans themselves, so I recommend the following studies that feature surveys and interviews:
Taira, K., & Yamauchi, L. A. (2018). Okinawan consciousness and identity salience and development among Okinawan university students studying in Hawai ‘i. Journal of International Students, 8(1), 431-452.
Kato, J. (2025). The Identity and Networks of Uchinanchu in the 7th Worldwide Uchinanchu Festival-Based on the Survey on Festival Participants.
Heinrich, P., & Valsecchi, G. (2023). Ryukyuan language reclamation: Individual struggle and social change. In Discourses of identity: Language learning, teaching, and reclamation Perspectives in Japan (pp. 139-157). Cham: Springer International Publishing.
While Ibuki's absorption of 和 is what makes his entrance into AKATSUKI problematic, his current character motivation of searching for 本当の和風 (hontou no wafu, true Japanese-style) is what makes the character of Ibuki itself problematic. This quest of Ibuki’s is questionable, comparing it to the struggles Okinawans have faced with the aftermath of Japanese assimilation.
According to Ibuki, he’s searching for something he calls 本当の和風. The first time 本当の和風 is explicitly mentioned is in Final Ceremony. It’s brought up again in The Legend of KAGETSU, Ibuki Idol Story 3 and Sailing Ceremony. It was also directly added to his profile after he joined AKATSUKI. When asked what he means by it, he says he doesn’t know. As of Sailing Ceremony, it still hasn't been revealed what it means, with Ibuki explicitly stating that it doesn’t need to be explained.
I think the closest we get to understanding what it is he’s searching for is the Guest Exam scene in the Legend of KAGETSU.
Hm~? Kanzaki-san’s holding a picture? With a shiisaa drawn on it~?
“Shii-saa”...? No, this is a lion?
Kanzaki. Neither term is wrong. In Okinawa, they call lions “shiisaa”.
Hmm. I see. If that’s the case, as Taki says, there is a “shii-saa” drawn on this hanging scroll.
It’s definitely a shiisaa, but it has a completely different feel from an Okinawan shiisaa~?
The color, maybe~? Or maybe its shape~? I dunno what’s giving it that sorta feel, but…
— Yeah, I really do want this~
On the left are シーサー (shiisaa) statues in Okinawa (Nakamoto Forestry). To try and find a similar example to what Souma might be showing Ibuki, I chose an Ukiyo-e by Hokusai Katsushika that features a 獅子 (shishi) (WikiArt). シーサー and 獅子 are the same kind of creature, so the difference for Ibuki seems to be how it’s been reinterpreted through a Japanese aesthetic.
Personally, the fact that what he wants is in the Japanese-style version is sad, given the endangered practices and customs of the Ryukyuans. I find the 本当の和風 storyline offensive and unnecessary, especially since it’s being kept unresolved to the reader what he actually means by it. If the writers wanted to have Ibuki search for a sense of belonging, other themes like brotherhood are explicitly laid out and don’t play with themes of assimilation.
That said, it’s possible that the writers believe they are handling these ideas with care. Additionally, readers might get the impression that because of AKATSUKI’s cultural exchange with Ibuki’s American side, the writers don’t mean to make a case for assimilation; the offensive Ryukyuan element is just an unfortunate byproduct.
For example, Ibuki's new self-introduction after he was added to AKATSUKI starts with this line, which indicates he is contributing his background as an Okinawan as well:
My name's Taki Ibuki. I aim to contribute to AKATSUKI by making the most of my unique Okinawa-born, American-raised background~♪
If we are to assume this is the case, let’s unpack how it still doesn't hold water. To examine this, the following table breaks down (1) a theme present in the text (either explicit or inferred), (2) a historical parallel it connects to (3) a presumed good-faith intention behind the writing, (4) and a critical counterpoint or concern. In doing so, I'd like to show how narratives that think they’re being thoughtful can fall into harmful themes, divorce themselves from history, or speak over groups they’re trying to represent.
| Theme | Historical Lens | Assumed Intention | Counterpoint to Intention | |
|---|---|---|---|---|
| The meaning of 本当の和風 has yet to be revealed | 本当の和風 ("True Japanese-style") might be about bringing in diverse perspectives and evolving Japan out from a monolithic cultural identity, or refer to something else entirely. | That's still assimilation. But even if it wasn't, the narrative insists on not explaining what this "feeling" is; it hasn't earned the benefit of the doubt. | ||
| AKATSUKI absorbs Ibuki’s 和 | Okinawans were largely expected to conform to the dominant Japanese identity, not the other way around. | Ibuki is progressive. He’s actively shaping AKATSUKI too. He mentions contributing Okinawan and American sensibilities to redefine the group’s concept of 和. | In both the Legend of KAGETSU and his new self-introduction, Ibuki mentions both Okinawan and American influence. However, Keito only references Ibuki's American 和. As of right now, Ibuki takes on more Japanese 和 than he contributes Okinawan 和. | |
| 和 is being redefined | During the Meiji-era, 和 was used to promote a sense of social harmony. This philosophy helped frame forced assimilation into Japan as a natural extension of shared identity. | In KAGETSU, 和 is reinterpreted to be something fluid and inclusive. At the same time, Keito denounces abiding by the social harmony of modern-day 和. | As mentioned before, the "diversity" taken on by AKATSUKI is Ibuki's American identity. As of right now, AKATSUKI hasn't adopted any Ryukyuan cultural influence. | |
| Tradition is being redefined | AKATSUKI has always "protected tradition". In KAGETSU, Keito reinterprets that tradition as 伝承3, not 伝統4. This disavows always sticking to old customs, and protects old legends from being erased. | The power to define tradition lies with Keito. Ibuki influences it, but doesn't have authority on it. | ||
| Ibuki is a fighter in a brotherhood of fighters. | Japan used Okinawa as a “shield” during WWII, where civilians were sacrificed under the banner of national pride. Okinawans were expected to fight and die for a nation that viewed them as expendable. | Ibuki can find camaraderie and belonging as a fighter, fighting alongside AKATSUKI. Souma refers to Shinsei AKATSUKI as his “brothers-in-arms”. | His personal bonds are meaningful, but framing his belonging in the war unit AKATSUKI as pride or honor is offensive, given Okinawa’s forced militarization and sacrifice. |
It's worth noting that Ibuki has other unresolved identity issues. The way he speaks about them in the Legend of KAGETSU suggests he’s felt excluded or out of place since his childhood in Okinawa.
— That’s right~ That's why, no matter what it takes, I want to earn AKATSUKI’s acknowledgement.
Me, someone who can’t accomplish anything. Me, an outcast. And yet, this is the one and only place I’ve ever yearned for all on my own~
The Legend of KAGETSU, Epilogue 2
(I don’t really want to be rejected anymore. Ever since I was a kid, I’ve been excluded from all kinds of circles~)
There is also a theme of brotherhood: he used to be the big brother figure of a community and directly denies NiceP's offer in Esupuri because he doesn't want to play the role. In his current introduction, he refers to the seniors in AKATSUKI as his 兄様 (niinii, big brother figures), which suggests Keito, Kuro, and Souma offer him a sense of security.
While these relationships seek to resolve his feelings of isolation, doing so through a unit that represents the traditional Japanese continues to bring issues. It suggests that only by compromising aspects of his identity can he acquire brotherhood and security alongside his Japanese companions. Presenting the unit AKATSUKI as a guiding figure for Ibuki resembles the idea of nationalistic paternalism; the idea that a subsidiary territory or region is astray, rebellious, or even backwards, and must be “reeled in” by a major force. Pairing this with how Ibuki’s character is framed around his search for 本当の和風, and how the story frames him joining AKATSUKI as the means to achieve it, it implies that becoming truly Japanese or finding true Japanese-style requires taking it in yourself, which (especially as real-world Ryukyuans struggle to keep their customs alive) isn’t a progressive narrative. It’s a harmful assimilation narrative.
How Media Fits on the Global Stage
For this last section, I want to highlight how the messaging with Shinsei AKATSUKI can mirror propaganda by talking about current affairs and narratives that face Okinawa today.
Acknowledging Grassroots Separatist Movements in Okinawa
It’s important to acknowledge that there are legitimate grassroots movements in Okinawa that advocate for greater autonomy, demilitarization, and even independence. These concerns are not geopolitical, but rooted in identity, lived experience, and historical grievances. Discussions about the East China Sea can often overlook the Okinawan perspective and reduce the subject to geopolitics alone. This post doesn’t intend to overlook those concerns.
However, this section will remain on the geopolitical interests surrounding Okinawa (and other islands in the East China Sea). I take this approach to contextualize power dynamics that might incentivize media in Japan to promote narratives that emphasize that Okinawa is an inherent part of Japan (or infer there is a true Japanese-style that involves Okinawa).
Disputes Between Global Powers in the East China Sea
China and Japan have had a long history of grievances. In today’s era, the geopolitical rivalry between China and Japan centers on strategic control and influence in the East China Sea. To both nations, controlling the region is essential to their national security and economic interests.
A mutual defense pact that says if Japan is attacked, the U.S. will help defend it. In return, Japan will allow the U.S. to keep military bases in Japan, including Okinawa. This is especially meant to deter China or North Korea. Read here.
During the Battle of Okinawa in World War II, the United States used Okinawa as a key launching point for operations against mainland Japan. After the war, the United States controlled Okinawa until 1972, when it was returned to Japan. However, U.S. military presence remains due to the U.S.-Japan Security Treaty.
The idea of “Mother China” and Taiwan is an example of nationalistic paternalism. This propaganda features the image of a "mother", often associated with China, in order to paint Taiwan as a rebellious child that must return to its family.
Contesting Islands Along the First Island Chain
The First Island Chain is a line of islands in the Pacific Ocean that the U.S. uses as launching points to contain China and North Korea's military activities. These islands include Japan, the Ryukyu Islands, Taiwan, and the Philippines. By contesting the status of these islands on a global stage, China can challenge U.S. military influence in the region and gain footing for itself.
| Contesting Taiwan's Independence | Contesting The Senkaku Islands |
|---|---|
Taiwan, an island off the southeastern coast of China, is currently at the heart of tensions in the East China Sea. After losing to the Chinese Communist Party (CCP) during the Chinese Civil War (1945), the Republic of China (ROC) retreated to Taiwan. From then on, Taiwan operated independently with its own government, military and economy. However, Beijing constantly asserts historical claims over the island, as any formal declaration of independence might undermine the power of the CCP and inspire other separatist movements in China. Taiwan has many strategic advantages, including technology and sway in the global supply chain. Most importantly for this discussion, Taiwan is a key part of the First Island Chain, sitting between China and Japan. If China controlled Taiwan, it would have a better grip on the East China Sea. | The Senkaku Islands (or Diaoyu Islands, in China) are uninhabited islands in the East China Sea. These islands are rich in resources and close to vital shipping lanes; they are also fairly close to Okinawa (in the 1300s, it was a waypoint for Chinese traders to get to Ryukyu). While Japan currently controls the Senkaku Islands, China and Taiwan claim them as well. In 2023, the U.S. Secretary of Defense claimed that the Senkaku Islands fell under the US-Japan Security Treaty. Therefore, if conflict were to break out over the islands, the U.S. would likely get involved in order to defend Japan. |
Contesting Okinawa's Status
Okinawa is one of the most critical strategic points in the East China Sea. Located south of mainland Japan, it is a vulnerable point that can be exploited by other nations; this was the primary reason it was annexed in 1879. Currently, its position in the First Island Chain and its increased United States presence helps contain and push back Chinese military movement and naval activity.
As laid out in the History of the Ryukyu Kingdom Timeline page,5 a long period of time for the Ryukyu Kingdom was spent as both a tributary state to Qing China and a vassal of Japan (1609-1879). To access and maintain trade with Qing China during this period, Japan took steps to present Ryukyu as culturally and politically independent. They did this by enforcing de-Japanification policies. However, as Japan modernized and expanded its empire during the Meiji Restoration centuries later, it began to make historical claims over Ryukyu. By going back on its previous stance, Japan could legitimize its annexation of the Ryukyus.
China does not officially claim Okinawa. However, it has begun to challenge Japan’s right to sovereignty by highlighting the historical precedent above, alongside Okinawa’s distinct culture and identity. Given the First Island Chain tactic, the US-Japan Security Treaty, and the fact that Okinawa hosts major U.S. military bases (making it critical for America’s presence in Asia), this strategy serves China’s interests: China is able to weaken the U.S.-Japan alliance’s influence in the East China Sea without actually provoking military conflict.
Keeping that in mind, the nation of Japan is incentivized to assert Okinawa as truly part of its nation. Japanese media that blends Okinawan characters or culture into a broader “Japanese” identity can reflect or reinforce those political narratives.
In Sailing Ceremony, Ibuki introduces himself like this in the Rhythm Link livestream:
Taki Ibuki, stepping up to the plate! I’m an idol with roots in both Japan and the U.S.~♪
I came to find "true Japanese-style" in AKATSUKI, so be sure to send us lots of “Nice!”s too~☆
Consider that this is already different from his usual catchphrase:
I’m Taki Ibuki– born in Okinawa, raised in America.
Lines like this are a good example of that nationalistic reinforcement. Whether it means to or not, this paired with Ibuki "absorbing" AKATSUKI echoes nationalist and assimilationist messaging.
Conclusion
I think it sucks that Ibuki has been put in AKATSUKI, and that AKATSUKI has been used as a vehicle for nationalist parallels like this. Whether or not a piece of media is created with a political gain in mind is insignificant: it will still contribute to larger narratives because it doesn't exist in a vacuum.
The narrative offers no introspection or critique of these assimilistic parallels, and it lacks cultural awareness. This approach encourages readers to take what is given to them at face value, and will reinforce the existing nationalistic perspective that Okinawa is just a subset of Japan meant to enhance the nation. It is also worth noting that the Ryukyu indigenous peoples are not a recognized indigenous peoples within the nation. If Ibuki’s story contributes to reinforcing the idea that Okinawa is naturally just part of Japan without addressing its complex history, all it does its act as a form of soft propaganda.
Understanding what to analyze is key to critical reading. Everything above is meant to help a reader of any kind (e.g., AKATSUKI P, non-AKATSUKI Ps, people unfamiliar with the topic) approach stories with Shinsei AKATSUKI with greater awareness. Being able to recognize underlying patterns (and name them when they appear) is an essential part of engaging critically with media. If you choose to keep reading Shinsei AKATSUKI stories, keep these perspectives in mind and stay alert to where the writing falls short. With the narrative failing to offer cultural awareness, it's up to us, the readers, to recognize and question those elements on our own.
Updates
6/2 Original post
6/5 Section edits, clarifications and typo fixes made based on two sets of feedback (Thank you!)
Reading List
If you were looking for a starting point for learning more about the historical context of Shinsei AKATSUKI, I hope this post has helped you. I encourage you to keep reading, exploring, and developing your own interpretations. Below are some reading recommendations of some of the materials that have been informing the timeline project meant to accompany this post. I’ve included some resource materials as well.
An academic center that supports research, education, and community engagement related to the Ryukyuan archipelago, Okinawa, and the Okinawan diaspora.
A peer-reviewed English research journal from the University of the Ryukyus in Okinawa.
This website compiles resources on contemporary Okinawan issues, like the Battle of Okinawa, the Okinawan diaspora, US-Japan military bases, uchinaaguchi, and more.
Once the full Brief History of the Ryukyu Kingdom timeline is complete, I’ll link it here and on my main page. This post may be updated as needed.
To learn more about the Kingdom of Ryukyu (unified in 1429), and how it became a tributary state (1372)...
Akamine, M. (2016). The Ryukyu Kingdom. University of Hawaii Press.
Antony, R. J. (2010). Elusive pirates, pervasive smugglers: violence and clandestine trade in the Greater China Seas. Hong Kong University Press.
Kerr, G. H. (2018). Okinawa: the history of an island people (Rev. ed.; M. Sakihara, Ed.). Tuttle Publishing.
“Shioki (Control)”, “Fuyu (Dependency)”, and Sovereignty, Yanagihara, M. (2015). The status of the Ryukyuan Kingdom in Early-Modern and Modern Times. Comparative International Law (pp. 141-157). Oxford University Press.
Smits, G. (2019a). Rethinking Early Ryukyuan History. The Asia-Pacific Journal: Japan Focus. https://apjjf.org/2019/07/Smits
Smits, G. (2019b). Maritime Ryukyu, 1050–1650. University of Hawaii Press.
Reviews of Smits: Shapinsky, P. D. (2021). Maritime Ryukyu, 1050–1650 by Gregory Smits (review). The Journal of Japanese Studies, 47(1), 188–193. https://doi.org/10.1353/jjs.2021.0025
To learn more about Ryukyu as a tributary state and vassal of Japan (1609)
Akamine, M. (2016). The Ryukyu Kingdom. University of Hawaii Press.
Haynes, M. G. (2021). Samurai Invasion: Japan’s 1609 Conquest of Ryukyu. HistoryNet; https://www.historynet.com/japan-invasion-of-ryukyu/
Kerr, G. H. (2018). Okinawa: the history of an island people (Rev. ed.; M. Sakihara, Ed.). Tuttle Publishing.
Okamoto, T. (2024). Rethinking the ‘Dual Dependence’ of the Ryukyu Kingdom. The International History Review, 1–13. https://doi.org/10.1080/07075332.2024.2392529
“Shioki (Control)”, “Fuyu (Dependency)”, and Sovereignty, Yanagihara, M. (2015). The status of the Ryukyuan Kingdom in Early-Modern and Modern Times. Comparative International Law (pp. 141-157). Oxford University Press.
To learn more about Commodore Matthew Perry and the Black Ships (1853)...
Kerr, G. H. (2018). Okinawa: the history of an island people (Rev. ed.; M. Sakihara, Ed.). Tuttle Publishing.
Okamoto, T. (2024). Rethinking the ‘Dual Dependence’ of the Ryukyu Kingdom. The International History Review, 1–13. https://doi.org/10.1080/07075332.2024.2392529
Oguma, E. (2014). The Boundaries of "the Japanese" (Vol. 1). Apollo Books.
To learn more about the annexation of Ryukyu into Okinawa (1872-1879)...
Kerr, G. H. (2018). Okinawa: the history of an island people (Rev. ed.; M. Sakihara, Ed.). Tuttle Publishing.
Meyer, S. (2007). The rhetoric of the assimilation ideology in the remote islands of Okinawa: becoming Japanese or Okinawan?. Eras, 9.
Meyer, S. (2020, October 15). Between a Forgotten Colony and an Abandoned Prefecture: Okinawa’s Experience of Becoming Japanese in the Meiji and Taishō Eras - The Asia-Pacific Journal: Japan Focus. The Asia-Pacific Journal: Japan Focus.
Oguma, E. (2014). The Boundaries of "the Japanese" (Vol. 1). Apollo Books.
Takeo, S. (1997). Culture in Struggle: Experience of Okinawa. 明治学院レビュー. International & regional studies, 16, 305-309.
Personal or Translation Notes
- ↑ 黒船の来航 (kurofune no raikou, lit. the Arrival of the Black Ships), refers to when American gunboats came to Japan (1853) to force it to open its borders and end its isolationist policy. Here, it's used to symbol the end of isolation.
- ↑ He self-identifies as uchinanchu in Ibuki Idol Story 1.
- ↑ Tradition in the sense of passing on folklore, legends, keeping old things alive.
- ↑ Tradition in the sense of keeping things as they always have been.
- ↑ The timeline will be released in early July 2025.
- ↑ 和 (wa) refers to a foundational cultural value in Japan that emphasizes social harmony through maintaining peaceful relationships within a group. 和 encourages compromise, consensus, and the avoidance of open conflict. Generally, it can refer to "Japanese-ness", and is used in words like 和風 (wafu, Japanese style).
- ↑ From 1372 to 1879, Ryukyu was a tributary state of China. At the time Satsuma invaded Ryukyu in 1609, Japan and China did not trade together. Japan wanted to access the trade the Chinese had with the Ryukyus. To do so, it implemented a series of de-Japanification policies to give the Ryukyus the appearance of a kingdom independent of Japanese influence. In doing so, Ryukyu went through a period of sinofication, or becoming more Chinese.