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. To do so, this post will explore Shinsei AKATSUKI and Ibuki through the lens of Japanese history, specifically the Meiji Restoration.
Happy Elements is no stranger to mishandling racial minorities. Adonis’s character is a clear example of orientalism, where he is defined by a generic Middle-Eastern aesthetic, and portrayed as either an exotic figure or threatening foreigner. Hiiro, who is strongly inferred to be Ainu, is frequently portrayed as an ignorant person from “the country” who must absorb the ways of “the city”. At times, his ignorance of modern society is treated as a source of humor.
With the addition of Ibuki (a canonically Ryukyuan character) to AKATSUKI, it's important to examine the Shinsei AKATSUKI storyline through the lens of Ryukyuan history. To do so, this analysis will break down plots and themes into three key historical parallels:
- Globalization, or how Ibuki's American identity represents the "Black Ships" that forced Japan to modernize, and why AKATSUKI brings him in to survive in the modern era.
- The Ryukyu Disposition, or how Ibuki's Okinawan identity and his search for true Japanese-style have problematic implications, given the real-world annexation and assimilation of the Ryukyu Kingdom.
- Militarization, or how Ibuki's role in the “war unit” AKATSUKI contains parallels to the forced conscription and sacrifice of Okinawans in World War II.
My goal is to create a clear resource for readers new to this history and to provide context for future translations, translation notes and discussions on this site.
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. I have all of my sources and more 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 and BUTTERFLY, 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
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. Thus began assimilation policies and erasure of Ryukyuan identity into the 20th century.
In this analysis, I use "Ryukyu" and "Ryukyuan" when discussing the independent kingdom, culture and its people prior to the 1879 annexation, and I use "Okinawa" and "Okinawan" when referring to the modern Japanese prefecture and its people.
The Many Meanings of Wa
The concept of 和 (wa) is what is key in this analysis, but it brings a complex history with it. To understand the historical parallels with Shinsei AKATSUKI, 和 (wa) must have its modern social meaning distinguished first, before we apply it to its role as a political tool during the Meiji Restoration. This distinction is important to highlight; while its core meaning holds different connotations to Japanese people in today’s society, the Meiji Restoration’s co-opted use of 和 (wa) is what applies when we analyze Shinsei AKATSUKI under the lens of the Ryukyu Disposition.
Social Harmony
The Constitution of Prince Shotoku.
The primary definition of 和 (wa) is “harmony." In modern Japanese society, 和 (wa) is a daily, foundational principle of social harmony, where different individuals achieve balance by contributing their strengths, without losing their individual character. 和 (wa) is a social contract, where the needs of the group are seen as more important than the needs of the individual, and a good citizen is someone who separate their true feelings from their public facade to contribute to this overall 和 (wa).
和 (wa) can take many forms: it can be empathy and taking care of each other’s needs. It can be social etiquette, like staying quiet on a train or public space, or cleaning up after yourself. It can also mean restraint: 和 (wa) can be acting passive in order to avoid conflict, or keeping expectations unspoken.
Japaneseness
The second definition of 和 (wa) is “Japaneseness”. 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) (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).
The Political Use of These Definitions
To explain the political cooption of these definitions, we first have to look at how forced exposure to the West shaped the psyche of the Japanese government.
In 1853, Commodore Matthew Perry and the U.S. Navy arrived in Japan 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. Prior to the Arrival of the Black Ships, Japan had watched China lose to the British in the Opium Wars, whose technology far surpassed theirs. While they had feared losing to foreign powers, the Americans outpaced them anyway and forced them to open their doors. After signing treaties with the United States and other Western Powers, Japan’s closed country policy ended.
The shogunate’s inability to prevent this foreign power from imposing its will exposed Japan’s vulnerabilities. After the arrival of the United States, Japan adopted Western institutions and structures to modernize and protect itself. A faction of lower-class samurai, lords and court nobles overthrew the shogunate, and consolidated power under the Meiji Emperor and Edo, which was then renamed to Tokyo. The period of Westernization, political upheaval and advancements that followed was the Meiji Restoration.
Click the cards below to learn more information.
After the Great Unification, power was consolidated under the Tokugawa shogunate, a military government, while the emperor was made into a powerless figurehead. This reign lasted for 200 years .
Samurai were paid in fixed rice stipends. As a cash economy grew, they had to sell their rice to merchants, who often gave them bad exchange rates. This left many samurai in poverty and resentful of the wealthy merchant class.
Daimyo (lords) were forced to travel to and maintain a second household in the capital, Edo, every other year. This was intentionally expensive to drain their resources and prevent rebellion. The daimyo and the shogunate sank into massive debt, having to borrow from the very merchants they looked down upon. The entire ruling class was financially crippled.
To pay its bills, the shogunate printed more money (creating more coins without increasing gold or silver). This caused inflation. This led to heavy taxes on peasants,which led to widespread starvation and revolts during famines. The government lost control of the economy and faced unrest from its own population, stretching its resources thin.
When Commodore Perry's modern warships arrived in 1853, the shogunate could not afford the modern navy needed to resist it. It was forced to sign unequal treaties, opening Japan to the West. The shogunate's failure to "expel the barbarians" showed that it was weak and too obsolete to protect Japan in the modern world. .
Dissidents used the Emperor as a symbol of authority, and rallied under the slogan 尊王攘夷 (revere the Emperor, expel the barbarians) in order to undermine the Shogun. Under pressure, the shogun resigned, and the dissidents restored the Emperor to power (although real power went to the new samurai leaders).
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.
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.
In order to expand its imperial reach, Japan developed two strategies: making a modern military and creating a unifying national identity. While Japan used Western tools to strengthen itself, it wanted to keep its Japanese identity intact too. This identity would be founded around the concept of 和 (wa). In this case, the "greater good" that people were expected to contribute to was explicitly defined as the Emperor and the Yamato Japanese.
This philosophy of national unity was used to justify the assimilation of minority groups. Where 和 (wa) is defined as putting aside your wants and needs for the greater good, it was pushed onto the groups Japan conquered, where those “wants and needs” were groups’ autonomy, cultures and rights. Through various assimilation policies, the distinct languages, cultures, and traditions of the Ainu, Koreans, Taiwanese and Ryukyuans were systematically suppressed in favor of becoming Yamato Japanese. In other words, this “harmonious blending” of 和 (wa) was in reality cultural erasure.
The Black Ships: The Embrace of Ibuki’s Western Identity
Ibuki, AKATSUKI and the Legend of KAGETSU take place around the same time as Nice Arneb Thunder coming from abroad and bringing the MEGASPHERE with him. This timing creates a direct parallel to the Meiji Restoration, where global influence challenges the status quo and Japan takes on foreign principles to modernize and survive. Although Nice is not directly connected to Ibuki and AKATSUKI after Ibuki turns his offer down, their stories mirror the same parallel.
In the story, Nice is treated as Commodore Perry, bringing technology, a new unit, and global idol culture to ES from overseas. Thematically, Nice's Black Ships are MELLOW DEAR US, the MEGASPHERE and Ibuki.
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.
VS AUDIENCE Influence 5, citrinesea
Ah, the passions of youth. Quite Nice, indeed... ☆
It seems that MELLOW DEAR US– who’re coming to Japan– are a business competitor of his. I imagine it's a one-sided rivalry.
The pain felt in youth should act as growing pains to help Sena-kun grow further. Since he didn’t say it to their face, I’ll just pretend I didn’t hear anything ♪
For an idol, losing work can feel like being told they've passed their expiration date, don't you think?
But their visit to Japan is very sudden. Could it be that they’ll be involved with 4piece in some way?
No. That’s not part of the plan. The main stars of 4piece are its participants after all.
However— As part of an effort to reform the malfunctioning “P-Agency”, I intend to showcase the unit I produced as the shining example.
I have faith that their presence will help further the development of idol culture here in Japan, and I’ve prepared more to come after 4piece.
Because of that, I figured the help of MELLOW DEAR US would be essential.
More to come… after 4piece? —
You’re good at coming up with new topics. Shall we chalk it up to the talents of a top-tier skilled producer?
I'm an idol, so the situation behind the scenes is none of my concern, but...
Still, it’s true that your work sets a high bar for ES idols to clear, which pushes them to grow even further.
Upending the idol ecosystem to create a new order… It's like terraforming, remaking the whole landscape.
The future of this country’s idol industry seems even more volatile than the founding of ES ♪
When the MEGASPHERE Arc begins, Nice brings a literal ship called the MEGASPHERE to hover over ES. Inside of it a variety of advancements (e.g., automatic translation for livestreams). For the next month, ES Idols are put to the test to use these resources in order to stream. This resembles Japan adopting Western technology to get stronger and protect itself.
Nice recruits Ibuki from America, bringing him over to Japan. This is seen in several places. Additionally, there is a direct comparison between the MEGASPHERE and Ibuki. In the Shinsei AKATSUKI BRIGHT ME UP!!! Minitalks, the topic of the MEGASPHERE comes up, and Ibuki says the following:
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| Ibuki's Introduction | I’m Taki Ibuki– born in Okinawa, raised in America. Nyahaha, someone reached out to ask if I was interested in getting into showbiz, so I came from overseas and turned up in Japan~ |
| Bright me Up Minitalk | 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
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 a changing world. This mirrors Japan's Meiji-era strategy of selective Westernization, where foreign tools were adopted while protecting core cultural identity. In the Legend of KAGETSU, Keito tells Rei that he has suspected that Rhythm Link wants to use AKATSUKI’s obedience and discipline to mold them into a convenient, controlled successor. He fears that in this position under a traditionalist agency, AKATSUKI won’t be allowed to grow or change.
The Legend of KAGETSU Influence 5, citrinesea
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.
Eichi explicitly frames Nice Arneb Thunder's arrival and the auditions he brings with him as the proverbial black ships. It is within this forced opening of the idol industry ES dominates that Keito encounters Ibuki, an idol brought back from America by Nice, who represents the foreign influence disrupting the status quo. This is seen as Ibuki plays an arrangement of Hyakkaryoran, which combines his spin with the original Japanese-style song. 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".
VS AUDIENCE Hundred 14, The Legend of KAGETSU No Sign of the Awaited 4, citrinesea
| VS AUDIENCE | The Legend of KAGETSU |
|---|---|
Hasumi-san! I’m all set and ready to go~♪ I’ll be playing the guitar, so you follow my lead! We’ll do an AKATSUKI song, of course...♪ ♪! ♪! ♪! Wha!? He’s already started performing…! (The musical performance sounds free and unconventional, but somehow it lingers in my ears…) It couldn’t be… you’re playing… “A Thousand Blossoms, the Night of Crimson Moon”, aren’t you? It's a largely different take on the original song, so I didn't recognize it immediately, but there's no doubt about it. Why are you able to play this song? I told you, didn’t I~ That I’m gonna play an AKATSUKI song, yeah? None of the other pairs have started performing yet, y’know~? This is a golden opportunity, so why don't you play along with me, Hasumi-san? ♪ Look, look! That’s a shamisen over there, right? Jam sesh with me~♪ You…! Have you no consideration for where I stand…! Fine. I’ll just play the shamisen, then…! ♪~♪~♪ (... Hmph. Taki’s proclivity to do things as he pleases is unmanageable.) (He just starts appealing without thinking… Doesn’t he get that there’s “music enthusiasts” of all kinds out there?) (Still… This is the first time I’ve heard “A Thousand Blossoms, the Night of Crimson Moon” sound like this.) (The song does use the electric guitar, but the unique way Taki plays it makes it sound innovative.) (The shamisen part completes the arrangement perfectly, so it must’ve taken some careful thought and practice by that Taki guy.) (Taki, it’s just like Eichi predicted. You seem to be someone who’ll rock the boat of this competition...♪) | … Hold it, Taki! 『♪ ! ♪! ♪!』 Look, look! That’s a shamisen over there, right? Jam sesh with me~♪ You…! Have you no consideration for where I stand…! Fine. I’ll just play the shamisen, then…! 『♪~♪~♪!』 (No, no. That’s no good~ Hasumi-san.) (... Hm? That Taki guy’s signalling something at me with his eyes… What is it?) (This is a chance we can’t miss~, right~?) (Think about it carefully~ We're the only ones here on stage. We're playing our favorite AKATSUKI song. People who love music are right in front of us.) (Idols and examinations don't matter here~ There are musical performances that can show someone a good time, one that can be enjoyed with all your entirety even more. But right now, all we’re doing is playing the guitar and shamisen~) (If it’s you, Hasumi-san, you’d get me~, right~? What we should do?) (... Damn it. That’s what he meant.) (Very well then, we’ve gone too far to go back. If this is how it is, I might as well be on board until the end…!) 『 ♪ ! ♪ ! ♪ !』 You meant like this, right, Taki! Yeah, yeah! It’s gonna get more and more fun from here~ Keep up~ ‘kay~? …–! (He upped the tempo even more…!) (Yet as soon as he did, it became a smooth, clear stream, before dropping down like a violent waterfall.) 『♪~♪~...♪! ♪!』 『♪~♪~...♪! ♪!』 (Engulfed by the raging, rushing river of the sound.) (What on earth is this… I see light surrounding us.) ( – This is fun.) Ha, hahaha… |
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 (wa) 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). However, Keito does not fully Americanize AKATSUKI: he cherry-picks Ibuki's directness and innovation as tools to protect AKATSUKI's new definition of 和 (wa), mirroring Japan's "Western technology, Japanese spirit" approach.
The Legend of KAGETSU, citrinesea
♪~♪~♪
(Nyahaha. This feels great! It looks like the opening’s going pretty well, huh~)
(Maybe this kinda thing is the harmonious harmony 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.)
♪~♪~♪
The narrative heavily values Ibuki's Western contributions. This is reiterated in BUTTERFLY, which emphasizes AKATSUKI's "need for change," and frames Ibuki's free-thinking, low-context problem-solving as a positive contrast to Souma being "stuck in his ways." The song LOUDEST BUG is also heavily Western-inspired. The way Souma speaks about Ibuki reflects how Keito sees him in VS AUDIENCE and the Legend of KAGETSU: someone full of potential for AKATSUKI's future.
Tenshou KAGETSU, citrinesea
| 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 |
BUTTERFLY, Butterfly Clad in Serendipidity 6, citrinesea
Ever since you have joined, AKATSUKI has changed. We are proclaiming it to be the reborn AKATSUKI.
But that perception is mistaken.
Mistaken… So AKATSUKI hasn’t changed?
Nay. AKATSUKI has changed…— Rather, it is still undergoing changes, but…
It is not just your entrance into the unit. Everything around AKATSUKI is changing little by little.
We cannot continue as we always have, and I am certain Hasumi-dono does not want things to continue as they have either.
If you were to ask me if that makes me sad, it would be a lie to say it doesn't. But AKATSUKI has been that kind of “yu-nitto” from the very start.
— “While we base ourselves on good, old-fashioned traditional performing arts, we express our unique character by creating modern arrangements of them.”
Just as dynamic as water and fire, AKATSUKI will continue to question what kind of existence it is.
The Legend of KAGETSU No Sign of the Awaited 4, BUTTERFLY, citrinesea
| The Legend of KAGETSU | BUTTERFLY |
|---|---|
Yeah, yeah! It’s gonna get more and more fun from here~ Keep up~ ‘kay~? …–! (He upped the tempo even more…!) (Yet as soon as he did, it became a smooth, clear stream, before dropping down like a violent waterfall.) 『♪~♪~...♪! ♪!』 『♪~♪~...♪! ♪!』 (Engulfed by the raging, rushing river of the sound.) (What on earth is this… I see light surrounding us.) ( – This is fun.) Ha, hahaha… | Things are so different. ? What are you talking about? Taki. I cannot anticipate any of the things you say or do. I am always at the whims of your free-spirited ideas. I don’t really get what you wanna say, Kanzaki-san~? What I am saying is that I never would have thought of combining the two projects no matter how hard I would have tried. I am aware that I can be stubborn. That's precisely why, when I hear your flexible ideas, I feel I've gained a new perspective. (... Ahh, I see. My heart is roused. There are an endless amount of possibilities.) |
Conclusion
This storyline deliberately mirrors Japan's Meiji-era strategy: strengthening traditional identity (和) while adapting with foreign tools and perspectives to survive in a changing world. Just as Japan adopted Western tools and ideals to strengthen itself against foreign threats, AKATSUKI integrates Ibuki's Western perspective to avoid stagnation. The narrative emphasizes strengthening traditional 和 (wa) while adapting with new cultural tools. While the story meaningfully engages with the American influence, it largely neglects and sidesteps Japan and Okinawa's complex assimilation history. We will unpack Ibuki's Ryukyuan background next.
Related Readings
The Ryukyu Disposition: Okinawan Subjugation Under 和 (wa)
Ibuki’s Ryukyuan identity is a separate matter, and this is how the exchange of 和 (wa) 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. Ibuki frequently references Okinawan culture, directly identifies as Uchinaanchu, speaks and references Uchinaaguchi by name, and Uchinaaguchi is even being learned by AKATSUKI fans in-canon. He also differentiates himself from the Japanese mainland people, calling them "mainlanders."
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| Ibuki Idol Story 1 | MEGASPHERE Tuesday D.L.F.S | MEGASPHERE Tuesday D.L.F.S | Ibuki FS2 |
|---|---|---|---|
Mm? My name is Taki Ibuki, I was born in Okinawa and grew up in the US. But my nationality is currently Japanese, yeah~? Or what~? Are you trying to say that anyone who looks American or Uchinaanchu can’t enter the beautiful country of Japan’s buildings~? What, is this discrimination or something~? I’ll sue you if so~? | Haisa~i! Thanks for dropping by our stream~♪ I'm Taki Ibuki! I'm an idol who was born in Okinawa and brought up in America~ It's Tuesday today! Red like fire, super fitting for the crimson moon AKATSUKI~ Right~? Player says "Haisai~!" Oooh~! Have you guys been learning uchinaaguchi for me? It's possible to express your feelings without language, but language is something that can reach~ your heart~ I feel super, super happy to receive your thoughts in the language I know and love. Thank you~♪ | Thank you for sticking around to the very end, everyone~♪ If you all had a great time, I'm happy~ I can't see your guys' expressions through the screen, though. I'll just believe you're all smiles, okay~ I really don't wanna part ways yet, but it's about time we say goodbye~ Let's end it with a smile~♪ Player says "Nji chaabira~!" Ooh~ "Nji chaabira" is uchinaaguchi for goodbye~ You guys have totally mastered it, huh~ You might be better than me? Nyahaha ♪ I'm looking forward to the day we see each other again~ Keep looking after us AKATSUKI, 'kay~♪ | ... Anzu-neenee. You've been staring out at the sea the whole time for a while now~? The sea’s beautiful in Okinawa, isn’t it? Not like on the mainland. Though to us, it’s nothing special. That's not it? Then why were you staring at the ocean~? Ohh, you were interested in the tourists that were snorkeling, huh~ How do I know they're tourists, you ask? I can tell just by looking at ‘em, you know~? People from the mainland tend to have misconceptions, but Uchinaanchu don’t really go into the ocean much~ Well, I used to dive under the water to catch fish a lot, though. Ah, those were good times~♪ |
However, as much as his Ryukyuan identity is acknowledged in-canon, it's not structurally adopted into the group’s identity. AKATSUKI’s modernization is powered by Western influence as they take on Ibuki’s American way of thinking, while it protects its core Japanese identity. This leaves Ibuki as the one taking on Japanese-style high-context behavior. This imbalance is what parallels the Ryukyu Disposition.
I'd like to illustrate the new 和 (wa) 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.
Does a colonizer have the right to repurpose or glorify the concept of 和 (wa), 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.
The Ryukyu Disposition
While Ibuki's absorption of 和 (wa) 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. First, we will discuss the history of the Ryukyu Disposition. Then we will explore how "true Japanese-style" aligns with the assimilationist framework Okinawa was put into.
In the years following the beginnning of the Meiji Restoration, Japan sought to strengthen its national security. The primary reason Japan annexed the Ryukyus was to prevent outside militaries from occupying the islands, which were considered close to the mainland. The Ryukyuan Disposition was an unpopular move in itself (as mainland officials and people debated whether there were social or economic benefits to it), but the Japanese government proceeded with annexation and assimilation to secure its southern border.1
Before Ryukyu was formally brought into Japan, there were two major factions of opinions around the Ryukyu Disposition: pro- and anti-disposition. These concerns were from both the people and the government (Oguma, 2022). Click here for the full table.
| Anti-Ryukyu Disposition | Pro-Ryukyu Disposition |
|---|---|
| Annexing Ryukyu was economically and culturally disadvantageous. There was no material gain in securing Ryukyu. Additionally, mainland Japanese people wanted to exclude Ryukyuans from being considered “Japanese” | Annexing Ryukyu would guarantee stronger national security. Japan felt it needed to clearly define and secure its borders. Ryukyu’s position south of Japan provided several concerns. |
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After the annexation of the Ryukyu Kingdom, Japan used education as a key tool to reshape Okinawan identity and foster loyalty to the mainland. The name of the islands and its people changed from "Ryukyu" and "Ryukyuans" to "Okinawa Prefecture" and "Okinawans," as “Ryukyu” came to be associated with being backward or barbaric. Schools taught students to be proud of being Japanese (especially as Okinawa was to be transformed into a military stronghold), and promoted the use of Japanese language through classes, clubs, and activities. History was revised to frame Okinawans as long-lost Japanese people rather than an independently-established separate group. This was all designed to build and foster loyalty to the mainland. As the Japanese government saw it, if Okinawans were educated but unloyal to Japan, they were a possible threat to national unity instead.1
Click the cards below to learn more information.
Initially, China proposed that the Ryukyu islands be split in three: the southern third to China, the northern third to Japan, and the middle third remaining as its own independent kingdom. Negotiations fell through, with China and Japan ultimately settling on wanting the whole of Ryukyu. China eventually abandoned its claim to Ryukyu during the Sino-Japanese War.
Ryukyuans initially wanted nothing to do with Japanese schools. Japan's victory over China in the first Sino-Japanese War led to a sweeping wave of Japanese nationalism in Ryukyu, which rose school enrollment in Ryukyu to 93% by 1907.1
With Ryukyuan identity defined as culturally backwards, alongside Ryukyu's renaming to Okinawa and Ryukyuan's renaming to Okinawans, Ryukyuan shrines and Utaki (御嶽) were revised into Japanese Shinto shrines. History was rewritten to present Okinawans as "long-lost Japanese" rather than a distinct people.
Schools promoted Japanese language and loyalty, especially emphasizing Okinawa's role as a military stronghold. Education was weaponized to ensure compliance with the "Japanese cause." Japanese principals looked to indiginous boarding schools in the United States (e.g., cutting hair) as a model.1
Linguistically, Japanese clothing became "normal clothes" and the language became the "national language." These framing strategies made Japanese customs seem natural rather than foreign impositions.
After annexation, the Japanese government dismantled the Kingdom's tribute trade network with China and Southeast Asia, reorienting the Okinawan economy to be dependent on the Japanese mainland. A reliance on Japanese imports led to traditional skills trickling out, and a fragile economy.
The Ryukyuan royal government was dissolved, and its aristocracy (or samuree) were stripped of their status and stipends. This created a power vacuum for Japanese appointees from the mainland to fill. Initially, Okinawans were not granted full political representation or equal rights, despite being told they were now Japanese.
Despite Japanese efforts to quash Ryukyuan culture hallmarks like language, they persisted. Then in an effort to empower Okinawans as a way to make them spiritually mobilize for wartime, they validated parts of their cultural heritage for protection. This included sites like Shuri Castle, which was turned into a symbol of martial prowess .
The idea of “civilization” was also redefined. Instead of promoting Western modernity, Okinawa was insulated and pushed toward adopting Japanese norms as the new ideal. Linguistically Japanese clothing was labeled as “normal clothes,” and the Japanese language was labeled as the “national language.” These deliberate communication strategies worked to present Japanese customs as natural and standard, not foreign, and something Okinawa should seamlessly adopt.1 This too was a loyalty measure meant to keep outside Western influences away from Okinawa: while Japan used Western adaptations to strengthen itself, it also aimed to make Okinawa more Japanese, secure it beneath Japanese control. Therefore, they excluded the region from Westernization and insulated it. Together with the education-based measures in schools, these frames made it appear as if Okinawa and Japan had always been one and the same.
This “lifestyle reform” began in schools, and slowly trickled out into daily life. In the 1920s, the use of dialect cards to publicly shame Uchinaaguchi speakers and the encouragement of snitches led to suppressed language speaking in kids. When reprimanded by teachers or the police, Okinawan practices were admonished as immoral. To become a good, modern person, one was expected to eradicate the "Okinawan" within. In the process, the Japanese created a system of self-policing. In order to avoid being shamed, kids learned to snitch on others who did speak. Japanese leaders put community leaders like teachers, village heads, and women's groups in charge to instill these morals into their communities. The threat of social ostracization and shame led Okinawans to internalize those moral rules and enforce each other.3
Despite these assimilation measures, Japan did not functionally treat Okinawa as an equal. The prejudices from the Japanese who were anti-disposition carried into the way Okinawans were treated, and they were viewed as fundamentally barbaric, backward, and culturally inferior. As it was made to rely on imports for food, the Okinawa lagged behind the mainland in infrastructure and industry.2 Their economy was shattered by the Great Depression of the 1930s, which collapsed the price of sugar (Okinawa's primary export). This led to a time known as Cycad Hell, named after poisonous palm plants Okinawans were forced to eat amid widespread famine.
Facing Assimilation
The Ryukyu Disposition created a dilemma for the Ryukyuan people. Maintaining their distinct language and customs led to marginalization and discrimination. On the other hand, assimilating and adopting Japanese language and identity was perceived as a path toward economic opportunity, suffrage, and social acceptance under the Japanese system. This forced choice between survival and cultural integrity led many Okinawans to advocate for "defensive assimilation".1
In response, many Okinawan leaders demanded the same rights as other Japanese prefectures and sought to prove their loyalty through assimilation. This is not to say Ryukyuans blindly accepted assimilation. They criticized Japan's slow reforms, unequal treatment, and disregard for Ryukyuan heritage. It is critical to understand that this assimilation was a pursuit for equality and representation, and a coerced strategy sought by Ryukyu representatives for the survival of a heavily disadvantaged nation within an oppressive, discriminatory system. They hoped to prevent more aggressive assimilationist policies and earn the rights other prefectures had.1
Scholars like Ifa Fuyu (an Okinawan scholar, known as the father of Okinawan studies) created theories to justify absorption into Japan while building Ryukyuan self-esteem. Ifa's common ancestry theory argued that the Japanese and Okinawan people were "long-lost brothers" from the same ancient roots, based off of language and cultural similarities, that diverged over time. This theory hinged on the idea that the Ryukyu Islands in their present form had preserved the soul and customs of an ancient "Japan" that the Yamato people had long forgotten. For Ifa, this theory was meant to prove Okinawans were equals who shared a noble history with the Japanese, and thus deserved equal status, respect, and treatment. However, for the Japanese government, they used it to justify taking over Okinawa and forcing its people to assimilate, arguing they were just reuniting a family. The result of these assimilation pressures led to the phasing out of Ryukyuan practices, language, and customs which are endangered today.
Ifa's motivation in pursuing these studies was to avoid open conflict with the mainland. This is a clear illustration of abiding by the social harmony of 和 (wa). I point again to Prince Shotoku's quote about 和 (wa):
The Constitution of Prince Shotoku.
As Tomiyama (2000) points out, self-assimilation was a desperate, coerced exercise. It was a way for Okinawans to attempt to obtain rights within the ruleset of the Japanese system they lived within.
“Spy”: mobilization and identity in wartime Okinawa (Tomiyama, 2000)
It is important to note that common ancestry theory did not lead to the rights of suffrage given to Ryukyuans, nor the preservation of their customs; it was Ryukyuans' refusal to stop with their practices that protected their customs. Additionally, Japanese apathy towards the Ryukyu Islands as anything other than a military benefit ironically protected Ryukyu from the migration and assimilation measures other states (Hokkaido, Taiwan, Korea) received.
Over time, Okinawans have reclaimed "champurū culture" (Ryukyu's ability to integrate other outside cultures, like Chinese, Japanese, American and Latin American, without losing their own roots of traditional Ryukyuan culture) as something uniquely Okinawan, and take pride in Ryukyu's ability to have adapted and live on for future generations. However, 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. Uchinaaguchi is also an endangered language. While there are efforts to preserve and teach these traditions (especially in Okinawan diaspora overseas), they are still fragile and need continued support to survive.
Ibuki and his search for "true Japanese-style"
According to Ibuki, he is searching for something he calls "true Japanese-style". The first time "true Japanese-style" is explicitly mentioned is in Final Ceremony. It’s brought up again in The Legend of KAGETSU, Ibuki Idol Story 3, Sailing Ceremony and Ibuki’s Feature Scout story. 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 Ibuki’s Feature Scout story, it still hasn't been revealed what it means, with Ibuki explicitly stating in Sailing Ceremony that it doesn’t need to be explained.
The Guest Exam scene in the Legend of KAGETSU provides one instance of understanding his search.
The Legend of KAGETSU, citrinesea
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.
Another instance of understanding what "true Japanese-style" means is in Ibuki's Feature Scout Story:
Beyond the Ocean, The Fragrance of the Southern Islands, citrinesea
Haha. They don’t surprise me, or should I say, they're all designed beautifully in Japanese-style, huh?
... Hmm. Was Taki's request "true Japanese-style"? If so, outfits like these would certainly meet those demands.
And even then, while each outfit has Japanese elements, each and every one holds its own individuality.
How about it, Taki. Were there any designs you took a liking to?
Mn~nn... If I had to choose, I guess this one~?
What, must you put it like that? How disrespectful, Anzu-dono came up with these outfits for you!
I'm super grateful to Anzu-neenee, okay~ All of these outfits have the Japanese vibe I love, you know?
But, it feels like it's missing something.
So this isn't the kinda "true Japanese-style" you were thinking of?
I don’t really know how to explain it, but it just doesn't fit right somehow~? They’re not bad or anything, they’re just missing something.
Here, Ibuki seems to say "true Japanese-style" does not entail pure Yamato Japanese-style. We currently can't be sure what his implication is here. However, if he is suggesting that the style is incomplete without his Okinawan perspective, it would align with Ifa Fuyu's assimilationist framework: Ryukyuan distinctness is only permitted inside the broader context of being Japanese.
Under Ifa Fuyu’s framework, the preservation of Ibuki’s Ryukyuan identity does not contradict his place in the Japanese-style AKATSUKI; to a pro-assimilationist like Ifa, Ibuki can be both distinctly Ryukyuan and fundamentally Japanese. Ifa’s common ancestry theory argued that because Ryukyuans share ancient roots with the Japanese, their culture is inherently Japanese. At the same time, he emphasized the distinct traits that made the Ryukyuan people special so as to establish their esteem as a people. Similarly, Ibuki’s background is acknowledged, but his Ryukyuan identity is confined within the bounds of being Japanese. His fascination with the Japanese aesthetic version of Ryukyuan symbols (e.g., the shiisaa and shishi) positions mainland interpretation as the desired standard.
This ultimately frames Okinawa’s culture as something that exists to further prop up and affirm the mainland and national identity of Japan, not as its own independent entity. The goalpost of "Japanese-ness" is the ultimate validator, which can prevent Okinawan culture from being perceived as valuable on its own terms. In other words, it is a Japan-centric ideal that reaffirms the very policies of assimilation that absorbed and attempted to erase the Ryukyuans as something “truly Japanese”.
Additionally, the imagery of Ibuki and the older members of AKATSUKI as "brothers" directly relates to Ifa's assertion that Ryukyu and Japan were "long-lost brothers" that were meant to reunite. This concept of "brotherhood" is used to romanticize and justify assimilation and annexation, by painting the relationship between political entities in "human terms" in order to make some connections make sense to people in what we call anthropomorphization. Paternalism (see the Propaganda Section) acts on these same principles.
The difference between paternalistic imagery and brotherly imagery, however, is that to be "brothers" is to be "equals". This lens does not work with the history between Ryukyu and Japan, as it implies an equal power dynamic that did not exist. Historically, Japan did not "equally" take anything from Ryukyu in the same way Ryukyu assimilated and conformed to Japanese standard. Ryukyu was not in an "equal" position to conform to Japanese standard, but neglected and discriminated against until assimilation seemed like the only option for equal, just treatment. This same imbalance currently exists with Shinsei AKATSUKI. Remember that in Shinsei AKATSUKI, what is being equally exchanged is Japanese and American influence, not Japanese and Ryukyuan.
However, what makes Ibuki's search for "true Japanese-style" even more ideologically problematic is that it is enthusiastic and uncoerced. While Ifa Fuyu, other scholars and Okinawans as a whole were responding to discrimination from a dominant power, and working to survive assimilation, Ibuki's search is entirely willful. This portrayal makes cultural absorption appear voluntary, rather than the imposing, coerciveness it really was. In doing so, it erases the colonial power dynamics that actually existed between Japan and Ryukyu.
Conclusion
While the story frequently acknowledges Ibuki's Ryukyuan heritage, it once again sidesteps the coercive power dynamics of the Ryukyu Disposition by making his pursuit of "true Japanese-style" entirely voluntary and enthusiastic. It does this through the parallel of 本当の和風 with Ifa Fuyu's body of scholarship that was used to make Okinawa seem "more Japanese".
In exploring what 本当の和風 might mean as not entirely Yamato in nature, the narrative reflects Ifa's assertion that Ryukyuans were so inherently Japanese that they preserved the old customs the Yamato had long forgotten. At the same time, Ibuki's Ryukyuan influence to the group is non-existent compared to the contributions of his Western background, and his appreciation for Okinawan culture seen through a Yamato lens (e.g., the shiisaa and shishi) reflects an appreciation for Japanization. Finally, the relationship between Ibuki and AKATSUKI as "brothers" relates to Ifa's assertion that Ryukyu and Japan are long-lost brothers to be reunited. Overall, this is an assimilation narrative, and Ibuki's willful participation in it as an "equal" whitewashes the complex, fraught history that parallels it.
While Ibuki’s search for true Japanese style is voluntary and enthusiastic, the “lifestyle reform” dictated by the Japanese worked to erase Okinawan identity through coercion. These policies and the culture of surveillance they created had direct impacts during the Battle of Okinawa. Thus, we will unpack those parallels of Shinsei AKATSUKI and mobilization next.
Related Readings
Militarism
Content Warning: This section contains discussion of wartime atrocities, mass suicide, and historical violence.
Ibuki's entrance into AKATSUKI warrants additional discussion to an interconnected theme to Ryukyu's assimilation: militarism. The specific fact of his involvement as a member within the “war unit” AKATSUKI creates an unsettling sanitized parallel to the conscription and sacrificial role of Okinawans in the Imperial Japanese Army during World War II. The narrative consistently frames AKATSUKI as a "war unit." It is a unit based around militaristic themes, both within stories and in design. From their role in the War as the vehicle for victory for Eichi and the Student Council, to the language used in songs like Kengeki no Mai and Strike- Blade of Resolve, to stories like Opera and Shinsengumi, AKATSUKI has always been meant to represent a group of warriors. The WILDLAND MV punctuates what AKATSUKI has always been: fundamentally militaristic.
The Battle of Okinawa
In World War II, the Battle of Okinawa (1945) was the final and bloodiest campaign in the Pacific. After securing other islands, the Americans needed Okinawa as a staging ground for the planned invasion of the Japanese mainland. This battle was characterized by relentless bombardment and intense close-quarters combat. Most starkly, the defining tragedy of the battle was the immense civilian suffering. Estimates place Okinawan casualties higher than Japanese and American forces combined.
As established, the primary reason Japan assimilated the Ryukyu Kingdom was to contain a military strongpoint for itself, and Japanese schools taught Ryukyuan students to be proud of being Japanese, and being a key part of Japanese national security. Going into the war, the Japanese Imperial Army mapped their punishments on top of the existing framework of "lifestyle reform".3 This turned psychological and social abuse to violent and militaristic. This was used to terrorize the population into absolute obedience, and citizens were incentivized to suspect and report each other. The following table shows how these dynamics transferred over into wartime mobilization.
| Pre-War Okinawa | Wartime Okinawa |
|---|---|
| Control and enforcement was managed by community leaders, like teachers and village leaders. | Men who had formerly been soldiers were added to control and enforce. |
| Practicing Okinawan customs or speaking the language was seen as lazy and barbaric. | Practicing Okinawan customs or speaking the language was seen as suspicious and grounds for treason. |
| Someone practicing Okinawan culture was a moral criminal and a bad Japanese person. | Someone practicing Okinawan culture was a spy. |
| Punishments were delivered with social ostracization and shame. | Punishments came with execution. |
As the Americans joined in WWII and conquered islands in the Pacific Theatre, the Japanese formed the 32nd Army to be placed in Okinawa. Both the Americans and the Japanese were aware of its importance; without Okinawa, a full-scale invasion for the Americans was logistically impossible. In return, the Japanese Imperial Army needed to fight to the death to prevent the Americans from taking the "last barrier" to the home front. Of course, this meant that they called upon the Okinawans for the war effort: years of assimilation policies had created a population that could be called upon to "die for the good of the nation", and systematically sacrificed in a last-ditch effort to avoid unconditional surrender. Okinawan teenagers were forcibly conscripted into the Japanese Imperial Army, with boys forced to "volunteer" for the Iron and Blood Imperial Corps, while girls were forced into nursing roles in the Himeyuri Corps. These children were often put on the front lines of battle, and often died in the crossfire between the Japanese and the Americans.
American shells and bombardments on the island indiscriminately killed Okinawan citizens on the ground, and traps set by the Americans for Japanese soldiers tended to kill Okinawan civilians looking for safety. While there are documented instances of American soldiers attempted to rescue Okinawan civilians on the ground, the Americans also committed atrocities and cruelties against them, as weary American soldiers grew jaded and indifferent from their own losses by the Japanese. At the same time, systemic betrayal came from the Japanese military. Pre-war indoctrination made Okinawans compliant, believing the Japanese would protect them, but this trust shattered as Japanese defenses collapsed. Civilians watched as soldiers abandoned their posts and uniforms, hiding as civilians, which destroyed any remaining faith in their protectors or their own survival.4
As discipline broke down, Japanese prejudices against the Okinawans resurfaced violently. Desperate soldiers began to see Okinawans as inferior outsiders, and they were treated as resources to exploit rather than civilians to protect. The Japanese forced them from their homes and shelters, and robbed them of their food and water. Those who spoke Uchinaaguchi were executed on suspicion of being spies, as were civilians suspected of trying to surrender to the Americans.
The most destructive example of Japanese coercion was the military's role in mass suicides. Soldiers systematically distributed grenades to civilians and ordered them to kill themselves rather than be captured. This order was reinforced by propaganda that warned American capture meant certain torture and death for the civilians. As a result, families killed their own and themselves, refusing to surrender or be captured. Mass suicides occurred throughout the islands of the Ryukyus throughout the war.
An account from Japanese soldier Watanabe Norio, Tennozan, page 461.
The war proved that assimilation was a lie. Despite pushing Okinawans to reject their identity and become more Japanese, the Japanese military did not see Okinawans as “brothers” to protect, and turned on them for resources immediately. It was by Okinawans re-embracing their own language and identity that they found the means to survive. As soon as the Japanese military brutalized them on the battlefield, Okinawans used Uchinaaguchi to persuade others not to commit suicide, to criticize Japanese soldiers, and to plan their survival.3
Establishing Ibuki as a "Fighter" Character
Ibuki was established as a powerful, physically proficient character long before his formal introduction in the series. In the RYUSEITAI center Supervillain, Tetora infiltrates an idol company called Crimson Production under ES's orders to obtain evidence of wrongdoing. While Tetora is there, he eventually discovers that the organization is actually a crime syndicate that had previously held control over Okinawa, before being dissolved by a vigilante group called “Oni”. In Stella Maris, RYUSEITAI meets a relative of Ibuki's - Mizusaba. Mizusaba talks about Ibuki and their grandfather (a pirate named Oni) at length throughout the story, and reveals that Ibuki is the successor of Oni.
His pride in his strength and propensity for conflict is shown in just about every story he has, starting with introduction stories like his idol stories, his main story VS AUDIENCE, and the Legend of KAGETSU.
The Legend of KAGETSU, Oniyasha (citrinesea); Ibuki Idol Story 2 (310mc)
| Ibuki Idol Story 2 | The Legend of KAGETSU | Oniyasha |
|---|---|---|
Ah~, sorry for getting in your way~. It’s a bad habit of mine~. I somehow can’t help but try to have my own way with everything I can’t really read the room, y’see? Nyahahaha. …… I don’t think you have to be on your guard, Buchou. I don’t sense animosity from him. Hmm… Well, if Hiiro-kun says so, then it’s probably true. No, no, no need to drop your guard! You should stay as you are! I’m here to test my skills. I’ve been traveling around the place to hone and enhance my combat. And today, I came to have a match with you, the person who magnificently took down that annoying Crimson Production~♪ You’d like to have a duel with me? You say you’ve been traveling around to hone your combat skills… But isn’t that pretty old-fashioned, too? Right~? ♪ I can barely keep up with the cutting-edge stuff, so~? | Whoa…! Kanzaki’s incredible. He started doing handstand push-ups. It’s ‘cuz his physical abilities are so damn high. His core’s good too, what with all the daily trainin’ he’s built up with swordsmanship ‘n iaido. – Phew. Like this, alright? How about it, Taki. Can you pull off a feat like this? Mn~ I’ve definitely never done that before, but… Well, whatever, I’ll manage it one way or another~ First, I do the handstand…! Hup. And then I start doing pushups, right~? O~ne, two… Wh– Wh-Wh— Whaaat!? He managed it so easily!? Nyahaha. It’s nothin’, really~ I’ve got a real natural thing for physical activity, so this much is a piece of cake~ Si~x, se~ven… If you want, I can do it like this~ … Hup ♪ Ei~ght, ni~ne, te~n… What the!? He switched to do his handstands on just one finger!? That’s incredible. I’d always known he had physical ability even back during 4piece, but… I never thought he’d be this physically capable. Oi, oi. It’s not even a matter of having high physical ability or somethin’ anymore. This would make street performers go pale in the face. Hngngh… Taki, that’s enough for the second test. | This grows more and more suspicious. Hearing that, I can't even imagine what they were doing in the alleys. I know, right~? I was gonna go after them, but Kiryu-san stopped me~? ... Taki. You were going to go after those guys? ? I wanted to find out what their deal was, so that woulda been the fastest way to do it~ But Kiryu-san told me to stop~ (Sigh)... How dangerous. It was good you stopped him, Kiryu. Well, I said it was pretty tough to see in the dark, so Taki gave in pretty easy too. Even if that weren’t the case, don't act so carelessly, Taki. Hm~? I wouldn't make the mistake of getting beaten up by them, y’know~? You know this too, dontcha, Hasumi-san? I pride myself on my physical strength~♪ |
These skills are shown to be compatible with the other two members of AKATSUKI who are martial artists, and they are portrayed fighting alongside each other in a literal sense.
The Legend of KAGETSU, citrinesea
You— When the hell—!? How the hell’d you get out of your restraints!?
Nyahaha. All I had to do was dislocate my shoulder to wiggle out of it~ It hurts just a lil’, but~ this is real cute compared to how fights in America went, y’know~
T— Taki. Hold on, calm down…
You guys really pissed me off. Ready to cause a rebellion, ready to pick a fight, I’m the descendant of an oni that can silence even crying children. I’ll get my well-earned reward, and after that~ I’ll be getting the deed too, ‘kay~
Brace yourself~!
… Ahh. I wanted to keep things from getting to this point, though… How incorrigible…
Ohh. I thought that Taki guy was all talk, but nah— turns out he’s ragin' like a real fierce deity ♪
I see. While he runs about as he pleases, he brings down each person one-by-one, hm?
Well, if you’re takin’ on multiple people by yourself, hit-and-run tactics from person-to-person is just the basics.
Is this the time to be having fun watching it like a sports match?!
… Hm? But the damage his body has sustained is starting to rack up, understandably. He seems exhausted.
Ah, shit, that’s bad… Before long, he’s gonna run outta gas ‘n things are gonna go bad real quick.
We should go back him up before that happens. Shall we go and get to it, Kanzaki?
Of course. Who are you asking here, Kiryu-dono. I’d like it if you didn’t underestimate me. I am always prepared to do battle.
Sanitization of Brotherhood in AKATSUKI
The narrative of Ibuki being a fellow warrior among warriors when he joins Shinsei AKATSUKI is a very stark contrast from the abuse the Japanese inflicted upon the Okinawans. Ibuki's membership is celebrated as an empowering brotherhood among warriors, and his inclusion is seen as a necessity for the survival of AKATSUKI. On one hand, this parallels the spiritual mobilization the Japanese fostered in the Okinawans, as the key to Japan's national security. At the same time, the way it's presented completely sanitizes a gruesome history. When Keito asks Ibuki to join forces with AKATSUKI and join them as a wartime comrade, he speaks with great empowerment and solidarity.
The Legend of KAGETSU Interlude, Epilogue 1, citrinesea
Taki. You’ve been saying you’ve “caused us trouble” for a while now, but I don’t think you’ve caused us any trouble in the first place.
AKATSUKI is bound by a bond stronger than blood. That's because we’re comrades who have swept through countless battlefields and hardships together.
We watch our backs, and sometimes we can watch each other’s backs— the backs of our comrades. No one’s troubled by that.
I didn't call out to you because I pitied your lot in life.
I will evolve AKATSUKI with the times and take it into the next era - In order to make AKATSUKI into a "tradition", I saw you as a comrade who would fight with us on the battlefield.
The narrative asks the audience to see a Ryukyuan's place in a Japanese military unit as empowering and equal. This overwrites the history where that same "comrade" framing masked the reality that the Imperial Japanese Army saw Okinawans not as citizens to protect, but expendable resources and shields.
The narrative can also be read as a parallel to a current hierarchy. Ibuki’s primary contribution to AKATSUKI’s strength is his Westernness, not his Ryukyuan identity. This mirrors the military's historical view: Okinawa was valued for its strategic location, but the Okinawan people and their indigenous knowledge were seen as insignificant. What is instead militarily advantageous is the American military presence that uses Okinawa as a stronghold. This will be unpacked shortly in the next section.
It is critically important to acknowledge the atrocities of the Battle of Okinawa here and the parallels regarding Shinsei AKATSUKI, particularly because of the Japanese government’s prior attempts to revise this history and obscure the role of the Japanese military with the mass suicides.5 Should the audience not know the history of the Battle of Okinawa, the sanitized camaraderie will be the only uncritical view they intake.
Related Readings
Unpacking Different Angles
Collectively, with Ibuki’s entrance into AKATSUKI for 和, his personal journey of 本当の和, and his entrance as a conscription within a war unit, Ibuki’s storyline shares multiple parallels with the history between Ryuyku and Japan. His quest is to define Okinawan culture within a Japanese framework in a unit dedicated to 和風 (assimilation). Then, he is incorporated into a Japanese military unit (conscription) in the name of 和. Although he is meant to shape AKATSUKI, it is his Western American identity, not his Ryukyuan one, that brings substantial change.
In this discussion, it is worth unpacking different interpretations people may have about 本当の和風, and how they don't hold water when it comes to cultural sensitivity. 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~♪
While the narrative makes gesture toward inclusivity (contributing Okinawa-born background), this acknowledgment does not negate the deeper, problematic parallels. To examine this, the following table is a summary of the parallels we've explored thusfar, and breaks down (1) a theme present in the text (either explicit or inferred), (2) a historical parallel it connects to, (3) and a critical analysis. In doing so, this essay offers critical analysis about how the story’s very premise reinforces harmful themes or divorces itself from history.
| Theme | Historical Lens | Example of an Intention | Applying Critical Analysis Lens | |
|---|---|---|---|---|
| The meaning of 本当の和風 is 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. It might refer to something not entirely Yamato-Japanese, or refer to something else entirely. | That's still assimilation. If Okinawa is meant to be part of "true Japanese-style", it propagates assimilationist theory. Even if that is not the intention, the narrative insists on not explaining what the "feeling" of 本当の和風 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. The power to define 和 lies with Keito, not Ibuki. | |
| Tradition is being redefined | AKATSUKI has always "protected tradition". In KAGETSU, Keito reinterprets that tradition as 伝承, not 伝統. 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 war unit. | 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”. | Framing his belonging in the war unit AKATSUKI as pride or honor whitewashes Okinawa’s forced militarization and sacrifice during World War II. | |
| Ibuki is "brothers" with AKATSUKI. | According to Ifa Fuyu's common ancestry theory, Ryukyu and Japan are "long-lost brothers" who share the same roots, and Ryukyu has preserved roots of Japan that have long been forgotten by the Yamato. | Ibuki can find camaraderie and belonging as brothers with the seniors of AKATSUKI, as equals. | His personal bonds are meaningful, but the parallels to common ancestry theory promote assimilation. Implying that Ryukyu and Japan were by any means "equals" whitewashes a history of discrimination, neglect and racism Japan had for Ryukyu. |
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.
The Legend of KAGETSU Interlude, Epilogue 1, citrinesea
— 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~
(I don’t really want to be rejected anymore. Ever since I was a kid, I’ve been excluded from all kinds of circles~)
An Aside: 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.
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. |
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, 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:
Sailing Ceremony, citrinesea
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.
Cultural Hegemony and Conclusion
To bring it all together, at the very core of the writing behind Shinsei AKATSUKI is the broad, systemic force of cultural hegemony. Cultural hegemony is when the beliefs of the powerful group in society become so widespread that they are seen as "common sense" by everyone, making the existing social order seem normal and inevitable. These are ideas that are so "common," most people don't think to question them. In other words, "it's just the way things are," to people.
In the context of modern Japan, the hegemonic belief is that "Okinawa is and has always been a natural part of Japan." This is in part because of historical revisionism during the Ryukyu Disposition. This is also in part due to the passage of time. For the lifetimes of several generations of people both inside and outside Japan, Okinawa has always been a Japanese prefecture. The history of conquest and assimilation that was the Ryukyu Disposition is obscured by this common sense belief. It is also worth noting that the Ryukyuan indigenous peoples are not a recognized indigenous people within the nation, and are instead considered a "subset" of the majority Yamato Japanese people. This is a legal fact that reinforces hegemonic erasure.
The story of Shinsei AKATSUKI is written from this hegemonic "common sense" as a starting point. The narrative may write 和 (wa) as the modern-day cooperation it entails, and may be interpreted as champurū culture, a positive form of blending. But it is crucial to point out that for the vast majority of people (at least outside Japan) who do not know the history of the imperialist appropriation of 和 (wa) for annexation and the loss of an indigenous people's sovereignty, they have no choice but to take the reading at face value. Spreading these hegemonic beliefs without critical analysis leads to the process of cultural naturalization: taking something that was created by politics, power, or conflict and making it seem like a natural, peaceful, and permanent fact.
Ifa Fuyu's common ancestry theory was made to naturalize Okinawa as a long lost brother of Japan to avoid conflict and earn respect from the Japanese. In the case of Shinsei AKATSUKI, an uncritical reading naturalizes and sanitizes the annexation of Ryukyu into Japan. Ibuki is written as someone with "roots in Japan". Themes of brotherhood between Ibuki and AKATSUKI, and his entrance into the unit, reflect Ifa's framework that Japan and Ryukyu have always been long lost brothers waiting to be reunited. When Ibuki pursues true Japanese style willfully, the history of Okinawans assimilating into Japaneseness for survival is sanitized into a simple story of Ibuki exploring his personal fit inside of it. This framing completely erases the history of colonization and assimilation, and in reinforcing hegemony, the story naturalizes it.
Whether or not a piece of media is created with a political gain in mind is irrelevant: it will still contribute to larger narratives because it doesn't exist in a vacuum. Hegemonic narratives like these serve as a form of soft propaganda. Because the narrative offers no introspection or critique of these assimilationist parallels, it makes a complex colonial history invisible for readers, especially those outside Okinawa and Japan. Media that does not unpack these issues ensures that as time goes on, future generations become more and more oblivious to the past. As history gets farther from the present, it requires us to take the initiative to learn and talk about it so it does not become forgotten.
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 resisting hegemonic narratives. 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!)
11/14 New or updated sections for Westernization, the Ryukyu Disposition, Ifa Fuyu and the Battle of Okinawa, additional synthesis between history and the narrative, broader context about 和 based on one set of feedback (ありがとうね！), edits on champurū culture based off the perspective given by an Okinawan producer (にふぇーど！), and an updated layout.
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 mine.
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.
References
- ↑ Oguma, E. (2022) The Boundaries of ‘the Japanese’. 1st edn. Trans Pacific Press.
- ↑ Meyer, S. (2020). 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.
- ↑ Tomiyama I. (2000). “Spy”: mobilization and identity in wartime Okinawa. Senri ethnological studies, 51, 121-132.
- ↑ Feifer, G. (1992). Tennozan: The Battle of Okinawa and the Atomic Bomb.
- ↑ Onishi, N. (2007, October 8). Okinawans protest revisions to World War II history. The New York Times. https://www.nytimes.com/2007/10/08/world/asia/08iht-japan.1.7794927.html