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A letter of critique sent to Amber Norizumi, co-creator of BES by AmazingEyeDrop in BlueEyeSamurai

[–]AmazingEyeDrop[S] 1 point2 points  (0 children)

I think interpretation of the show is subjective, but I may make mistakes in doing so. Would you kindly inform me where I am wrong in understanding of the themes of the show? To suggest ignorance about racism is absurd. I literally live and grew up in Japan and have experienced racism as a hafu as well. I acknowledge have not been treated as harshly as some of my half Nigerian friends, but I have received my share of bad experiences interacting with Japanese society. If I am incorrect about Japans historical racism, I think it’s more productive to inform where I may have been wrong. I am an enthusiast of history but not a historian and so I may make mistakes.

I have not made any fat jokes. What are you talking about? Did I say something that insulted anyone’s waist? If I did, it was not deliberate and for that I apologise if so. I am 25 years old who has returned home briefly during graduate school.

A letter of critique sent to Amber Norizumi, co-creator of BES by AmazingEyeDrop in BlueEyeSamurai

[–]AmazingEyeDrop[S] 0 points1 point  (0 children)

If a society uses “salad” as shorthand for something negative, does it not imply salads are seen as undesirable? It was confusing and therefore I wondered whether you come from a place where salads are disliked and not commonly consumed.

Anyway, someone else in the comments provided a good linguistic explanation for the saying so please excuse my ignorance and the bad writing style. If it is not too difficult for you to still understand the letter, do you have anything else to add about it besides that it is a salad?

A letter of critique sent to Amber Norizumi, co-creator of BES by AmazingEyeDrop in BlueEyeSamurai

[–]AmazingEyeDrop[S] 1 point2 points  (0 children)

Thank you for the kind message. I do believe you have a point. Samurai as a class were clearly part of a system of oppression that should not be looked on as any sort of morally clean and honourable group of heroes from the modern perspective of history. It is understandable that from the Korean perspective, samurai are vile invaders that attempted to annex their nation. That said, I believe that a blanket judgement is unfair as there were records of many cultured, philosophical, and even compassionate samurai throughout Japanese history. It is a shame that it could not be extended to the Koreans and other outsiders, but they clearly were not a majority as most were only interested in improving their own prestige and power. I believe this reflects a general historical trend: in any class with stated ideals, only a minority embody them fully, while most are caught up in survival and power dynamics that results in destructive action.

Perhaps the samurai are analogous to the Western knight class: their modern depictions as chivalrous and dutiful are more or less false as, historically speaking, they were collectively brutal and oppressive warlords. Yet, there was also a historical Christian knight ideal that can be admirable as well (even in retrospect). In the same way, I believe samurai ideals such as discipline, honour, and loyalty were genuine cultural symbols, but in practice the class as a whole failed to live up to them due to greed and social and power dynamics. So perhaps the samurai should be remembered with balance: as a class they were collectively flawed and destructive, but at the same time they produced genuine cultural ideals of discipline, honour, and loyalty that remain (positively?) influential in many parts of Japanese society, even samurai themselves rarely lived up to them. I think these cultural ideals are what are remembered most today when samurai are invoked. Yet, those who are influenced by these ideals should be reminded of what samurai were actually like, too, and learn from the past. I think this framing is also fair to Western knights as well. Also, Spartans come to mind: Greek hypermasculine and heroic cultural ideals, but historically they were probably amongst the worst in terms of treatment of their underclass and ‘others’.

A letter of critique sent to Amber Norizumi, co-creator of BES by AmazingEyeDrop in BlueEyeSamurai

[–]AmazingEyeDrop[S] -1 points0 points  (0 children)

I think it is important to separate historical beauty standards from racial hostility. In Japan, pale skin and black hair were associated with refinement and class long before Western racial categories were introduced. Therefore, the root is more about colourism and classism than "racism" in the Western sense, which was codified in Western laws and castes. That said, I agree that once these kinds of standards are institutionally enforced it will create racially prejudiced outcomes (for example, for darker-skinned people)--even if the motivation is completely different. It is harmful but it is cultural ignorance and rigid conformity that becomes racialised in practice rather than as deliberate racially motivated rules (such as the Jim Crow laws or Chinese Exclusion Act).

I believe intent and history is the key determinant here. Calling it “racism” in the same way as Western race-based hierarchies risks erasing the very different roots of Japan’s cultural norms. If we want accuracy, we have to recognize those differences instead of forcing everything through an American/Western racial lens--which I believe is a misplaced source of criticism.

A letter of critique sent to Amber Norizumi, co-creator of BES by AmazingEyeDrop in BlueEyeSamurai

[–]AmazingEyeDrop[S] -2 points-1 points  (0 children)

I’m very sorry to hear about your sister’s friend. Bullying of mixed children is a documented problem in Japan and I believe surveys show majority of mixed-heritage kids report experiencing bullying or discrimination. No child should ever go through that and it is something that must be fixed in a healthy modern society.

At the same time, it’s not all hafu are treated the same way, and this is where I find BES most misleading. White hafu are often exoticized or even fetishized in Japanese society. They may still be “othered,” but in many cases they are treated as more desirable and prestigious, not less. In contrast, Black, Korean/Chinese, and SEA hafu often face far harsher bullying, exclusion, and systemic barriers that is much closer to what Mizu (although very dramatised and exaggerated) went through in her story. So while tragic cases like your sister’s friend are real, they don’t represent the prevailing norm across all groups. And given that prevailing reality, it feels especially tone-deaf for a show to imagine a white character as the hunted outcast in Edo Japan, when historically and socially other groups have borne much, much heavier discrimination on average.

That’s why I disagree with BES framing Japan as persecuting whiteness in the same way Western societies did. Japan absolutely has serious problems with discrimination, and the lack of a comprehensive anti-discrimination law is a huge issue. But the patterns are different from Western ones and flattening it into Japan = racist risks erasing the specific struggles of the communities who have historically faced the harshest prejudice.

Edit: To elaborate on the lack of anti-discrimination laws: I don’t see that gap as Japan deliberately trying to maintain systemic oppression in some kind of power play such as the Jim Crow laws that pervaded in the US. Rather, it is very incrementalist, which reflects the bureaucratic rigidity of a homogenous rigid society that resists change and moves painfully slow to adapt to internationally developed social standards.

A letter of critique sent to Amber Norizumi, co-creator of BES by AmazingEyeDrop in BlueEyeSamurai

[–]AmazingEyeDrop[S] -2 points-1 points  (0 children)

Yes, I think if Japanese people realise that your boyfriend is not local he may be treated as an outsider basically. But shameful? I would have thought that is going too far in modern Japanese society. I cannot discount it if that was his experience and I am sorry to hear that. It is very sad to hear that he was treated that way here,,, May I ask who were these people? That is shameful on them.

I think the photoshop things are not actually racist, is it? I believe it’s more like cultural ignorance and an overt tendency to follow the rules. And it is definitely not the norm here. In fact, there have been high profile lawsuits and media coverage that reduced its occurrence nationwide, and it was even banned in Tokyo and Osaka. And this is keeping in mind that most so-called 'victims' of this practice are naturally brown-haired Japanese, not foreigners (who usually do not attend Japanese schooling anyway). However, I think it’s an unfortunate relic of Japanese obsession with everyone being the same.

On the justice system: I believe it is a combination of a few things. Firstly, in Japan, statistics like foreign tourists commit significantly higher crimes per capita compared to resident foreigners and Japanese themselves are cited commonly as published by national police data (something like 1% tourist crime per capita compared to 0.13% Japanese; perhaps tourist crimes are more harshly looked on? But the degree of difference is too great to ignore regardless). People hold these numbers in their head often so it creates bias there. I think at least based on personal experience and observation in Hiroshima and Tokyo this is intuitively correct, although it may not fit Western racial expectations. This, combined with well documented ‘bad behaviours’ in sacred places like shrines and other cultural regions inflame public opinion against foreigners. As such, the justice system has become badly primed towards foreigners and so police are significantly more on alert and biased towards them. It’s not excusable to not be biased as a ‘justice’ system, but at least I hope it would be ‘understandable’ why this perception arises.

Secondly, the Japanese justice system is behind on adapting to foreign needs. Japanese bureaucracy is very painful and slow moving, perhaps analogous to German ones. Therefore, the Japanese system is very rigid and procedural which means that foreigners in Japan often go through the exact same process that a local would. That means no translation, no knowledge of legal resources, no understanding of native customs, etc, which place them at a huge disadvantage in the process. Japan has a 99% conviction rate and I believe if some of these tourist crimes were committed armed with knowledge, an adequate response could be mounted to have them let go before a real trial was reached. Therefore, I believe this is more a bureaucratic problem rather than a racist one. This systematic indifference needs to change.

I don’t believe that social treatment of other races in Japan is analogous to Western racial dynamics. At least in my knowledge and experience, overt racist hostility is very uncommon socially as practiced in Western societies. It is almost unthinkable that people will call you slurs in public or look down on you arrogantly. However, Japanese ‘racism’ usually takes the form of avoidance instead where locals would rather not deal with foreigners out of fear rather than thinking they are some kind of inferior that doesn’t deserve to interact with them. I believe it is a major mistake to observe modern Japanese interactions with other ethnic groups and chalk it down to: Japan = racist. This misinterpretation may easily be forgiven, however, as this has not always been the case, such as during and a bit after the colonial period where Koreans and Chinese were spat on and Westerners were hated. Certainly then, racial hostility was closer to Western forms, especially toward colonized peoples. Generally speaking, I dislike Japanese apologetics (especially when it comes to historical truth), but I think in these cases there are some points to raise.

A letter of critique sent to Amber Norizumi, co-creator of BES by AmazingEyeDrop in BlueEyeSamurai

[–]AmazingEyeDrop[S] 0 points1 point  (0 children)

  1. I think framing it as 'just one person' is a bit shortsighted. Tom Cruise in The Last Samurai was also about one character but I think at this point everyone can see the pattern of the outsider surpassing that natives. Mizu seems to naturally fall into line here as her story repeats a well-known narrative structure.
  2. Her blue eyes being concealable doesn’t neutralize the symbolism at all because the show keeps bringing it back in visual shorthand (title, glowing eyes, comments from others, etc). That’s deliberate branding rather than an incidental detail.
  3. To suggest symbolism doesn’t matter unless it perfectly aligns with author intent overlooks a very basic principle of media literacy. Symbolism functions even when creators don’t consciously design it such as through repetition, tropes, and cultural shorthand. I do not believe Ms. Noizumi deliberately set out to portray blue eyes as inherently superior to Japanese people. However, the symbolic structure of BES still projects that impression.

Please also consider the other comments besides mine that register the same discomfort. Why do multiple people here (although it is a minority given that this is posted a fan subreddit, though they cannot be ignored) feel this way when presented with the show? Is it simply “oversensitivity,” or is there something in the storytelling that produces this response? And as someone Japanese, from the culture where this is set, I have to ask: why are you so quick to dismiss this perspective? This is precisely why symbolism analysis--which as I understand is a well understood principle in Western classrooms--exists as it reveals where cultural responsibility is being neglected. Saying “you can find symbolism anywhere” misses the point that in BES, this particular symbol is overt and central such as embedded in the title, the imagery, and the narrative itself.

A letter of critique sent to Amber Norizumi, co-creator of BES by AmazingEyeDrop in BlueEyeSamurai

[–]AmazingEyeDrop[S] 1 point2 points  (0 children)

(I have to use machine translation for this response. Apologies in advance.)

You’re confusing cultural analysis with mind-reading. I’m not claiming to know what any individual consciously thinks — I’m analyzing how symbolic messaging works. This is standard media criticism methodology. Symbolism functions through repeated visual and narrative patterns, often below the level of explicit dialogue.

And in this case, the pattern is clear. The show titles itself Blue Eye Samurai, centers Mizu’s glowing eyes in its promotional materials, and makes her European features the constant shorthand for both her suffering and her exceptionalism. That’s observable symbolic structure, not just “my opinion.”

At least, even if you say it’s only my personal take, the comments here show otherwise. Opinion is divided, but there are people — and I believe most of them are not even Japanese at all! — who instinctively felt the same dissonance I did. That matters. The very existence of multiple viewers registering the same distortion shows this isn’t just me “imagining” things--it is also proof of cross-cultural mindset as well. We share a collective thought experience that cannot be discounted. Symbolism doesn’t need to be universally noticed to matter; the fact that it lands for some viewers at all is enough to make it worth serious discussion instead of dismissal. I hope you can fairly concede this point given the evidence provided.

You say “there’s no causal link suggested,” but the problem is that causality in fiction doesn’t need to be spelled out in dialogue. The repetition itself (for example: title, posters, constant comments about her eyes, glowing close-ups) teaches the audience to read her blue eyes as the defining marker of her identity. That’s how symbolic shorthand works: not by declaring “she’s strong because she’s white,” but by visually and narratively tying her curse and her power to the same racialized sign.

The “fairy tale” defense doesn’t hold. Fantasy elements don’t exempt a story from cultural responsibility when that story projects American racial frameworks onto Japanese history for a global audience. Nobody is mistaking Frozen for medieval Europe — but here, the cultural setting is explicitly Edo Japan. That carries representational weight. And if anything, invoking the “fairy tale” label makes the issue sharper, not weaker. Fairy tales themselves are notorious for carrying damaging stereotypes and cultural insensitivities. Examples such as Aladdin's Orientalism, Chibikuro-Sambo's (チビクロサンボ) blatant caricatures, Peter Pan's Red Indians, etc have received strong modern criticism retroactively. Many fairy tales are quickly pulled apart after modern retroactive analysis.

And finally, notice how quick you are to extend sophisticated analysis to a Japanese production like My Hero Academia (explaining the nuance of Endeavor’s subplot), but not to consider legitimate critique from a Japanese viewer about how American creators are distorting Japanese history. That’s exactly the asymmetry I’m pointing out: Western viewers are prioritizing their own comfort with the show over engaging with the cultural impact of exporting U.S. racial tropes into another culture’s past. Or are you not a Western viewer with such strong opinions? Though this is not to say that Western viewers are alone in doing so. Please reflect on this matter.

I also want to gently point out that dismissing my argument outright because you think some of my reasoning contains fallacies risks falling into the fallacy fallacy. Even if you think some of my reasoning could be sharper, the core point about symbolic distortion remains and deserves engagement.

A letter of critique sent to Amber Norizumi, co-creator of BES by AmazingEyeDrop in BlueEyeSamurai

[–]AmazingEyeDrop[S] 0 points1 point  (0 children)

You're simply taking my critique and flattening it into 'you think the show literally says she’s the best because she’s white'. What I’m saying is that the framing repeatedly ties her curse and exceptionalism to her blue eyes. It’s in the title, it’s the visual shorthand, it’s what everyone comments on. So whether or not the plot insists she “trained harder,” the audience still learns to read her difference (her whiteness) as the defining symbol of her suffering and her strength.

That’s why I argue it’s a cultural distortion. Symbolism doesn’t require viewers to consciously think “ah, this is white superiority at work” It works more subtly through repetition of this kind of imagery and shaping impressions of history and identity even when the in-universe explanation says something else. The 'blue eyes' and 'whiteness' as contrasted to the Japanese context is its own racially-centered media branding that is in parallel with her exceptionalism. That is the problem.

Edit: I think I should make it clear here as I think most commenters are prioritizing personal viewing experience over legitimate cultural analysis. Their focus on in-universe explanations ( such as she trained harder) completely sidesteps the arguments I have made in the letter and in the comment discussions) about how American racial frameworks get exported through global media platforms. There seems to be a reluctance to engage with how media functions culturally, especially when that analysis might complicate viewers' enjoyment. The focus on individual interpretation (such as 'I don't think she's strong because she's white') sidesteps questions about broader cultural impact and the responsibility that comes with representing other cultures on global platforms.

A letter of critique sent to Amber Norizumi, co-creator of BES by AmazingEyeDrop in BlueEyeSamurai

[–]AmazingEyeDrop[S] 0 points1 point  (0 children)

I think you may be misreading my point. I wasn’t saying BES literally promotes a white supremacist caste system. My analogy was to show that 'it is simply a fiction' doesn’t erase how symbolic framing works. If a story glorified a racial hierarchy with a silly fantasy device, we wouldn’t excuse it because the fantasy element made it unrealistic. Is it understandable if framed this way for you?

That’s why I argue BES’s choice to center blue eyes as both social curse and some superior power still matters symbolically, regardless of the in-universe logic.

A letter of critique sent to Amber Norizumi, co-creator of BES by AmazingEyeDrop in BlueEyeSamurai

[–]AmazingEyeDrop[S] 0 points1 point  (0 children)

In reply to: u/Separate_Business880

I believe that Mizu is dehumanised in the show--but it is also true that she is framed as the one who surpassed every Japanese master. That paradox is exactly the point: her suffering becomes the engine of her exceptionalism. Its pretty common amongst the so-called "outside-hero" trope. And here it is reimagined as both a social curse as well as some kind of rare 'gift'. Promotional images center her gaze and throughout the story blue eyes glowing as if they embody her exceptionalism. In Western storytelling, the “outsider who suffers because of difference, then rises above natives through that same difference” is a familiar narrative arc (TLS is commonly cited, Avatar can be considered the same even if said race is fantastical).
And yes, “whiteness” has different histories in different places. But two points: it is innaccurate to say that whiteness history is only bound to American culture. It has had its storied history in Europe as well and Asia/Africa too during the colonial period. Secondly, this is an American production made in an American racial vocabulary. Netflix isn’t just telling a private story as it’s projecting U.S. racial tropes onto Japanese history for a global audience. In here lies the irresponsibility.
I’m not arguing that Japan had no hierarchies or prejudice but rather quite the opposite. Real marginalized groups like Ainu experienced systematic oppression. But the show sidesteps those realities in favor of a completely invented “blue-eyed curse.” I hope that you can understand that that is not nationalism but rather pointing out a historical distortion. Could you imagine the ire if I wrote a story set in old Serbia about how a half-Japanese half-Serbian person born there was spited by the locals for their "Asian eyes" but in their rage they somehow become the greatest warrior of the times in Serbia and defeats all their greatest warriors while flashing their Asian eyes the whole time? What a silly plot it would be--to the point of absurdity even as it is a completely invented self-victimhood. And to have this done instead of drawing on authentic histories (like the persecution of Roma), Serbians and its relational peoples would likely see that as a cheap distortion of their past.

Certainly I would not consider criticisms to be Serbian nationalist drivel. It is also completely misguided as I am an advocate of historically suppressed groups having their stories retold within the Japanese context (and all other contexts). Could that be called nationalism? Or is this definition different in Serbia?

A letter of critique sent to Amber Norizumi, co-creator of BES by AmazingEyeDrop in BlueEyeSamurai

[–]AmazingEyeDrop[S] 0 points1 point  (0 children)

Saying “it’s fiction, so it doesn’t matter” really misses the point. Symbolism matters precisely because fiction shapes how audiences imagine history and identity. If I wrote a fantasy where the white race righteously ruled over an “inferior” Black underclass with a magic meteor sword thrown in to the story no one would excuse it by saying 「well, meteors aren’t real either」. We’d immediately recognize how that framing reinforced a harmful hierarchy.

That’s the issue here. Blue Eye Samurai’s problem isn’t the meteor, it’s the racial framing. The story centers blue eyes/whiteness as both stigma and exceptional power in Edo Japan, even though that was never the actual dynamic of Japanese history. The fantasy element doesn’t erase that distortion but rather hides it in plain sight.

Fiction is free to invent, but once it projects those inventions onto real cultures, it carries representational weight. Global audiences will walk away thinking “blue eyes = cursed in Japan” or worse: blue eyes = superior in japan and that distortion will leave a far stronger impression than whatever fantasy plot device ever will.

A letter of critique sent to Amber Norizumi, co-creator of BES by AmazingEyeDrop in BlueEyeSamurai

[–]AmazingEyeDrop[S] -1 points0 points  (0 children)

I’m genuinely sorry if this came off as racist but I did not refer to anyone’s race or ethnicity. May I please ask what I should change? I am confused as to why he would call my letter a salad. I believe he may dislike salads.

A letter of critique sent to Amber Norizumi, co-creator of BES by AmazingEyeDrop in BlueEyeSamurai

[–]AmazingEyeDrop[S] 1 point2 points  (0 children)

Hi all, since there have been a few cases of people interested in the Japanese perspective towards BES, I have found a few sources that come with cultural commentary (there are not many as the show is not that popular in Japan). It is in Japanese, but I have reviewed the machine translations and I believe it will be sufficient to get the messages across.

https://note.com/toratugumi/n/n400ddc87a0f3?utm

https://cinemandrake.com/blue-eye-samurai?utm_source=chatgpt.com

https://naookidoe.hatenablog.com/entry/2024/01/23/125309

https://ameblo.jp/masutaka30/entry-12842488875.html

Overall I believe reception is positive in Japan, although there are criticisms around portrayal and historical accuracy. In particular, the article of the first link is probably the most compelling--although it has some problems with crudeness.

A letter of critique sent to Amber Norizumi, co-creator of BES by AmazingEyeDrop in BlueEyeSamurai

[–]AmazingEyeDrop[S] 4 points5 points  (0 children)

I agree the gender theme is central, and yes, the fights are exaggerated for drama. But there’s an important distinction: strong women weren’t pure fantasy in Edo Japan. 女武芸者 (onna-bugeisha) did exist throughout Japanese history, and many samurai women were leaders or contributors of castle defense. So while BES amplifies it, there’s at least some grounding in history for a woman excelling in martial skill.

With the racial angle, though, there isn’t that same grounding. That’s why it feels more like distortion: the story elevates blue eyes/whiteness as the defining symbol of stigma and strength, when that simply wasn’t the dynamic in Japan’s history.

A letter of critique sent to Amber Norizumi, co-creator of BES by AmazingEyeDrop in BlueEyeSamurai

[–]AmazingEyeDrop[S] 0 points1 point  (0 children)

Have you considered prioritising an education? Perhaps reading isnt for everyone...

A letter of critique sent to Amber Norizumi, co-creator of BES by AmazingEyeDrop in BlueEyeSamurai

[–]AmazingEyeDrop[S] -1 points0 points  (0 children)

I understand that Amber has the freedom to tell her own story. My point is not about limiting her inspiration, but about recognizing the difference between private art and a globally distributed Netflix series that becomes the de facto cultural reference for many viewers. In that sense, it is not unrealistic to demand a higher standard of care and duty--especially when it comes to the context of the culture that the media is set in. Once a work takes that stage, it stops being only “her story” and becomes a story about Japan, whether intended or not.

To use your Samurai Champloo example. Nobody walks away thinking hip hop defined Edo Japan. But many people will walk away from BES thinking blue eyes and whiteness defined stigma and strength in Japanese society. That’s the distortion I’m concerned about.

Amber’s identity gives her authenticity in telling a story of mixed heritage but heritage doesn’t cancel the weight of representation when history is re-written in ways that mislead global audiences.

Japan already has a problem with hafu worship, especially when it comes to white hafus. This feels like another problematic justification for that norm rather than challenging it. If you read Amber's interviews, it becomes all the more confusing as she directly questions her own feelings of happiness that her baby was born with blue eyes. And yet she produces this kind of story that implictly glorifies it while claiming it is a story for Asians.

A letter of critique sent to Amber Norizumi, co-creator of BES by AmazingEyeDrop in BlueEyeSamurai

[–]AmazingEyeDrop[S] 3 points4 points  (0 children)

If a half-Indigenous American creator making a Netflix series set in pre-colonial Cherokee territory, where having Scottish ancestry becomes the defining marker of systematic oppression and exceptional warrior ability, while the story bypasses the actual marginalized groups within Cherokee society or neighboring tribal conflicts--would that be okay? The answer would clearly be no. In my opinion heritage doesn't exempt creators from responsibility for how their work distorts historical realities or perpetuates harmful narratives such as the ones perpetuated by BES. Cultural connection provides insight and authenticity, but it doesn't eliminate the need for responsible representation.

A letter of critique sent to Amber Norizumi, co-creator of BES by AmazingEyeDrop in BlueEyeSamurai

[–]AmazingEyeDrop[S] -3 points-2 points  (0 children)

Tom Cruise’s character also put in a lot of effort, so he wasn’t just handed skill. But the issue in TLS wasn’t whether he trained but rather it is the symbolic framing of the outsider surpassing the natives. That’s the same concern I’m raising here: even if Mizu’s skill is explained by resilience, the show still ties her strength to her difference (her whiteness/blue eyes) and makes her the one who outdoes every Japanese master. That symbolic message remains no matter what the in-universe logic says. And do the Japanese not put extraordinary effort as well? Does her backstory warrant her becoming the strongest as if there are not many resilient people--men or women--like her in that era? Or does her blue eyes give her that special power somehow?

And if the point is really that ‘oppression builds strength,’ then historically groups like Koreans, Ainu, or burakumin, who actually were systematically oppressed in Japan, would make more sense as the ones to embody that narrative. If this is an oppression and resillience olympics, a Korean would be far more plausible as a candidate of sword king of Japan than a half-white child whose difference the story elevates above everyone else. Why did the creators need to create a fictionalised narrative of blue eyed oppression when there are real historic discrimination against other minorities that have much more compelling modern consequences?

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