The Real Indians of Victorian Britain: Black Butler and the representation of South Asian histories

Content Warning: discussion of racism, colonialism

Among demons, grim reapers, and cults, Toboso Yana’s Black Butler introduces readers to an even more insidious villain: the British empire. Set during the peak of the United Kingdom’s colonial expansion, Black Butler follows the journey of Ciel Phantomhive and his demonic butler, Sebastian Michaelis, in their investigations through the dark underworld of Victorian England on a mission to avenge Ciel’s parents. Alongside a cast of eccentric side characters including noblemen, school children, circus performers, and a man implied to be real-life author Arthur Conan Doyle, Ciel and Sebastian also befriend a pair of what at first may be unlikely members in the circle of British elites, Bengali Prince Soma and his butler Agni.

At first naive and childlike, Soma becomes a reluctant ally to Ciel, and Agni’s skills both in combat and the kitchen are comparable to Sebastian’s. The depiction of these characters is significant, as it reflects the presence of Indian culture in 1880s Britain, representing historical reality that is often overlooked in popular culture. However, as in anime media more generally, it’s worth unpacking whether these two stand as strong examples of Indian representation or instead easy background gag characters.

Servitude, spiritualism, and spices

Black Butler is far from the first manga or anime to use characters from the subcontinent—Emma also features an Indian prince visiting Victorian England; and even more mainstream series such as Naruto, Berserk, and Code Geass feature South Asian characters in their ensemble casts. It’s also certainly not the first to perpetuate the infamous stereotypes that go along with them. Relying on a set of overused traits is not unique to Indians within the anime industry, with many cultures outside of Japan facing this cycle of outdated stereotypes rather than nuanced or realistic representations. For historically persecuted and presently marginalized countries such as India, these running gags can have consequences, reducing the entire subcontinent and its inhabitants to a set of often harmful characteristics. In this context, it’s worth examining how Soma and Agni play into, or subvert, existing cliches about Indian people that often appear in Indian characters.

Soma is introduced as a classic naive prince, blindly inviting himself into Ciel’s life and selfishly heralding his attention for his own benefit. This rich, confident benefactor contrasts the perception of Indians as poor and in need, and even within the main cast of characters, contrasts Agni’s status at the beck and call of his Prince. Unwavering loyalty, often in a master/servant dynamic, mirrors perceptions of the caste system as well as Indians as subservient, both of which were a product of major social inequalities and suffering. This idea of Indians embodying this deferential role is one historically perpetrated by the British, and was a large part of their “use” of Indians in further colonization of countries such as Myanmar and Vietnam, and as soldiers for the British during both World Wars.

This therefore led to tensions between Indians and those in countries in which they were used as soldiers, and led to the degradation of religions such as Sikhism which traditionally held strong values of peace and anti-violence. This expectation of subservient nature still hangs over modern day Indians, particularly due to the economic power gradients between Westerners, having profited from India’s resources, and the general Indian population. Soma’s character therefore, however stereotypical in some ways, contrasts this cultural trope in a constructive, impactful way, demonstrating the richness that Britain was invading India for in the first place. 

Blatant discrimination also takes place in the exaggeration and mockery of real, sacred religious practices. With over 8000 years of history, use of Hindu mythology in fiction is to be expected, seen in series such as Naruto with Indra and Asura, and frequently throughout Berserk with the Kushan Empire—even multimedia projects such as Charisma House utilise religious scripture and imagery in song lyrics. It can be difficult to draw lines between incorporation of these ancient tales and mockery of something sacred, and ultimately different individuals will have their own personal take on how sacrilegious it can be. Soma and Agni are worshippers of Kali Mata—also known as Durga Mata, as seen in Berserk—and while Toboso does use this as an opportunity to introduce readers to a lesser-known Goddess, arguably this worship is also used to show how exotic and over-the-top Soma and Agni are in contrast to the norms of Victorian England, ultimately rendered a punchline when characters like Ciel and Sebastian critique or react to them. While, again, different audiences may feel differently about this based on their varying perceptions of sacrality, the blasé descriptions and criticism from Ciel and Sebastian do not stand positively when considering this is a depiction—however fictionalized—of a holy figure and a real cultural element. 

The Indian Butler Arc culminates in a Curry Competition, reflecting a fixation on curry not only present in real perceptions of Indians, but also through anime in general. From Food Wars! to Tsuritama to Revolutionary Girl Utena, this recurring gag ventures dangerously close into—if not outright embodies—racial stereotyping. Often a topic of casual microaggressions, the constant exoticization of Indian food contributes to the all-too common disgust and intolerance of such a broad cuisine, and consequently projecting these ideas back onto Indian people. Ultimately, it is always curry—what starts as an innocuous joke has become an ingrained perception of an entire group of people, as well as a point of discrimination. 

Despite falling into some stereotypes, however, Soma and Agni are not simple, racist caricatures, instead arguably well developed and structured characters that clearly have a lot of care put into both their cultural and historical context and their characterization itself. For example, Indian naming systems are highly important, often being indicative of caste in this way, but also religious beliefs and regions. While Soma and Agni’s names don’t entirely fit as realistic Indian names, it is clear that Toboso put effort into constructing them. Agni’s status as a Brahmin is solidified by his original surname, Iyer, and while both his and Soma’s names are fairly ambiguous if not slightly Islamic, it is refreshing to see South Asian characters with definitively South Asian names. 

Alongside this, both of these characters’ outfits are well constructed, featuring genuine, practical pieces of clothing (that might not suit the damp British weather!) and designs that echo real Indian style. Not only this, but the techniques and forms Agni uses are based on genuine Indian fighting styles. As Soma follows along with Ciel and Sebastian’s daily activities—housekeeping, music lessons, fencing—his insistence on participating isn’t only a mark of his somewhat overbearing personality, but also a small showcase of South Asian culture and how it easily stands alongside, if not rivals, that of the Western elite. Distinctly Indian ideas and visuals being present through Soma and Agni’s designs and actions stand strong against the often ambiguous identities ascribed to foreign characters in anime media. While definitely aided by the context, Toboso’s portrayal of concretely Indian people and culture is not only a testament to genuine interest, but also provides clear exposure to a real-world culture often watered down in media. 

It is clear that Toboso did not design these characters arbitrarily, instead researching and implementing a strong sense of South Asian culture throughout this arc rather than simply leaning on aesthetic tropes. Particularly, Soma and Agni stand out in ways that many Indian anime characters fall short of—Toboso’s attention to detail in their historical and cultural contexts.      

Contemporary context

Dressed in similar finary to Ciel, and equally confident, it might be at first confusing as to why Soma chooses to “side with the people of [his] country” when seeing Ciel in conflict with the Indian smugglers while looking for clues in Chapter 15 of the manga (or Episode 13 of the 2007 anime). To truly understand the Indian’s dislike for “British noblemen,” it is essential to understand how the British “plundered and humiliated” the subcontinent during this time. 

The British Raj existed from 1858 until 1947, claiming well over 100 million excess lives and increasing the subcontinent’s poverty rate to 50% during the mid-20th century. Although many Indian people migrated to England in pursuit of a more stable life amid the destruction of their country, they were truly treated as “gutter rats,” forced into underpaid labor with low standards of living and quality of life. The “force[d]” culture spoken about in the anonymous criminal’s note extends beyond an invasion of the country and subsequent education, economical, and social systems, but the systematic rerouting of non-Western ideals and knowledge that remain prevalent to this day. Colonialism transformed India from its original state, instead pandering towards a select elite, funding Britain’s industrial revolution.    

The note from the string of Anglo-Indian murders Ciel is investigating does not exaggerate when it says that England “steals everything,” with the UK still owing India an estimated $45 trillion from fraudulent tax systems and direct exploitation. This of course does not account for the immeasurable loss to human life, education systems, and long lasting, present-day damages still in play due to this colonial regime—I doubt that number is truly calculable. Toboso’s inclusion of these characters, and particularly this being readers’ introductions to Indian characters within the series, is not only accurate to the contemporary tensions expressed by real-world migrants at the time, but also forces this often discarded and unwelcomed topic to the forefront of the story.

While we could critique this harsh confrontation in how it portrays Indians as what Lord Randall and Ciel refer to as “barbarians,” the fact that this story arc features such strong, opinionated and emotive characters that are able to directly challenge Ciel and Sebastian gives Indians a voice and a chance to respond to their own stereotyping, in what otherwise might be a very British narrative. It may be seen, in a way, as a metaphor for the growing tensions between the UK and India, and the loss of control of the region that was brewing in Britain at the time. 

Riots and protests against British rule took place as early as 1817, and continued long into the 20th century. Resultant massacres took place not only in response to violent uprisings, but even peaceful protests, many of which Britain has yet to apologise for. Infighting between different groups in India was also encouraged, and resulting tensions led to the split of the subcontinent into Pakistan and India (and later Bangladesh). Along with uprooting the lives of over 15 million people across the subcontinent, this split encouraged intense nationalism that to this day is a source of struggle for Hindus, Muslims, and other faiths alike. This event—known as Partition—was enacted by British leaders with no knowledge of the Indian landscape, and since has led to major geographical issues, such as major political instability for the Kashmir region due to ownership disputes, and desertification of the Punjab region, which gets its very name from the five rivers it is meant to encompass. 

The more the UK pillaged and destroyed India, the stronger the opposition from working classes became, and the harder it was for British official’s who had grown used to extravagant lifestyles to control them. It may then be said that this confrontation between Ciel and the Indian workers, though primarily an introduction into the arc, is a direct metaphor for the contemporary political environment. Ciel in this moment embodies the British elite, and the group of Indians the subcontinent working force, gradually growing unruly and subdued only by the Indian elite—Soma and Agni—who in turn were still under some form of control and in some relationship with the British. Though perhaps not deliberate, Toboso’s inclusion of historically accurate scenarios paired with a set of characters can provide a more tangible understanding of tensions between the falling British empire and unrest in the subcontinent. 

Implications

With the dissolution of the British empire, India now suffers the effects of postcolonialism rather than direct colonialism. That is not to say that it does not, to some degree, still remain under the UK’s control. While the UK does not have its hands directly in the country’s decisions and management, it is due to the destruction of its natural land, systems, and people that the subcontinent in its entirety faces many of its present day issues. Whether through the splitting of regions or the economic power held by the West through the previous exploitation of the subcontinent, it is undeniable that the actions undertaken by the UK during the colonial period have had consequences that continue to impact the lives of Indians today. 

Indians remain the UK’s largest migrant workforce, yet while providing the UK with young laborers, skilled technical professionals, and mass economic contribution, face discrimination and racism on a daily basis within the UK. Subsequently, the propagation of Western ideals as the norm (particularly for economic stability) and years of propaganda from colonial rule has created a form of colonialism that doesn’t require an empire, instead perpetrated by the self—internalized oppression. Not only does this impact individual views of the self, particularly in relation to self-worth and identity, but also continues the hierarchical systems set in place hundreds of years ago. 

With how influential media is in shaping worldviews, it is impossible to detach fiction from being political. The continuous repetitive stereotyping of South Asian characters in anime—whether it’s jokes about explosive curry or depictions of Indian religious figures as strange, exotic, and mystical—does translate into real life, shaping viewers’ perceptions of entire populations of people without consideration of where these harmful ideas stem from. On a larger scale, they play a part in the mobilization and power of South Asians; these racist perceptions are not limited to online spaces or skewed personal biases, but form the basis for the treatment and understanding of Indians across the world. 

Equally, the simple presence of more nuanced and likeable South Asian characters in anime may have the opposite effect. Though flawed, Soma and Agni are a balanced insight into Indian culture, and into the conditions of Indians in Victorian England. Toboso develops all her characters with attention to detail—from their (mostly) well thought-out designs and practices of worship to the use of real South Asian voice actors in Season 4 of the anime, Soma and Agni aren’t just representations of historical Indians, but also of modern day ones. Being seen in media, especially in popular genre fiction like Black Butler, is often a rarity for people of color; and it’s also significant in and of itself to see depictions of non-Japanese Asian characters and/or characters of color in the anime and manga space. 

While I wouldn’t say these two are the best form of Indian or South Asian representation out there, they have their own layers and complexities that make them endearing and make them stand out beyond their stereotypical contemporaries. Their introductory story arc also places them in a broader cultural and historical context that many other depictions lack. Being able to open these conversations of accuracy and historical prevalence in the first place are only made possible by Toboso’s construction of a more diverse Victorian Britain than often seen in popular media, and her work in highlighting subsequent conflicts in an effective, meaningful manner.    

Conclusions

While it has comedic moments and larger-than-life supernatural elements, Black Butler is inherently a darker series, with Ciel’s investigations highlighting issues within and stemming from a corrupt, classist society. Through these interactions, Toboso has been able to expand critique of Victorian England from sincere depictions of marginalized people to a deeper exploration of the UK’s unsavory past, emphasizing these with fantastical characters and plotlines. 

Over time, Soma and Agni have become recurring characters in Black Butler, and have grown beyond the initial awkwardness of their introduction to represent more than racist caricatures, instead established as well-loved members of a series that has been going on for nearly 20 years. As Toboso moves them away from entanglement with excess (whether emotional, economical, or culinary), fledgling both characters as three-dimensional individuals with plotlines and cultures outside of the titular Butler and his master, she appeals both to the legacy of the British Empire’s rule over India as well as a modern day Indian audience, providing representation to the glamor and struggle of the subcontinent.