In depicting his heroes, Ishinomori chose to exploit various and even erroneous archetypes - the African is rendered in a minstrel style that accentuates his lips and makes him look vaguely simian; the Chinese farmer is a bumbling idiot; the Native American is a strong, silent type with a Mohawk and painted face. On the surface, these choices may look as if Ishinomori succumbed to the inherent racism of his time. But the characters he invents are extraordinary, caring people who rise to the challenge of saving the world, together, as a group working in concert. These characters shatter their stereotypes and emerge as individuals, firm of conviction and pure of heart. Whereas its outward veneer may seem racist, Ishinomori’s content is anything but.
Today, we are frightened to death of racist stereotypes. Political Correctness has done its job of expurgating racism from our vernacular. But if we completely forget the ugliness that came before, we also forget why we embarked on that path of expurgation in the first place. Ishinomori utilizes the mythos and the appearance of that ugliness to combat it."