citrinesea

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. 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. 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. 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.