Very interesting to me that a certain subset of the BES fandom's favourite iterations of Mizu and Akemi are seemingly rooted in the facades they have projected towards the world, and are not accurate representations of their true selves.
And I see this is especially the case with Mizu, where fanon likes to paint her as this dominant, hyper-masculine, smirking Cool GuyTM who's going to give you her strap. And this idea of Mizu is often based on the image of her wearing her glasses, and optionally, with her cloak and big, wide-brimmed kasa.
And what's interesting about this, to me, is that fanon is seemingly falling for her deliberate disguise. Because the glasses (with the optional combination of cloak and hat) represent Mizu's suppression of her true self. She is playing a role.
Take this scene of Mizu in the brothel in Episode 4 for example. Here, not only is Mizu wearing her glasses to symbolise the mask she is wearing, but she is purposely acting like some suave and cocky gentleman, intimidating, calm, in control. Her voice is even deeper than usual, like what we hear in her first scene while facing off with Hachiman the Flesh-Trader in Episode 1.
This act that Mizu puts on is an embodiment of masculine showboating, which is highly effective against weak and insecure men like Hachi, but also against women like those who tried to seduce her at the Shindo House.
And that brings me to how Mizu's mask is actually a direct parallel to Akemi's mask in this very same scene.
Here, Akemi is also putting up an act, playing up her naivety and demure girlishness, using her high-pitched lilted voice, complimenting Mizu and trying to make small talk, all so she can seduce and lure Mizu in to drink the drugged cup of sake.
So what I find so interesting and funny about this scene, characters within it, and the subsequent fandom interpretations of both, is that everyone seems to literally be falling for the mask that Mizu and Akemi are putting up to conceal their identities, guard themselves from the world, and get what they want.
It's also a little frustrating because the fanon seems to twist what actually makes Mizu and Akemi's dynamic so interesting by flattening it completely. Because both here and throughout the story, Mizu and Akemi's entire relationship and treatment of each other is solely built off of masks, assumptions, and misconceptions.
Akemi believes Mizu is a selfish, cocky male samurai who destroyed her ex-fiance's career and life, and who abandoned her to let her get dragged away by her father's guards and forcibly married off to a man she didn't know. on the other hand, Mizu believes Akemi is bratty, naive princess who constantly needs saving and who can't make her own decisions.
These misconceptions are even evident in the framing of their first impressions of each other, both of which unfold in these slow-motion POV shots.
Mizu's first impression of Akemi is that of a beautiful, untouchable princess in a cage. Swirling string music in the background.
Akemi's first impression of Mizu is of a mysterious, stoic "demon" samurai who stole her fiance's scarf. Tense music and the sound of ocean waves in the background.
And then, going back to that scene of them together in Episode 4, both Mizu and Akemi continue to fool each other and hold these assumptions of each other, and they both feed into it, as both are purposely acting within the suppressive roles society binds them to in order to achieve their goals within the means they are allowed (Akemi playing the part of a subservient woman; Mizu playing the part of a dominant man).
But then, for once in both their lives, neither of their usual tactics work.
Akemi is trying to use flattery and seduction on Mizu, but Mizu sees right through it, knowing that Akemi is just trying to manipulate and harm her. Rather than give in to Akemi's tactics, Mizu plays with Akemi's emotions by alluding to Taigen's death, before pinning her down, and then when she starts crying, Mizu just rolls her eyes and tells her to shut up.
On the opposite end, when Mizu tries to use brute force and intimidation, Akemi also sees right through it, not falling for it, and instead says this:
"Under your mask, you're not the killer you pretend to be."
Nonetheless, despite the fact that they see a little bit through each other's masks, they both still hold their presumptions of each other until the very end of the season, with Akemi seeing Mizu as an obnoxious samurai swooping in to save the day, and Mizu seeing Akemi as a damsel in distress.
And what I find a bit irksome is that the fandom also resorts to flattening them to these tropes as well.
Because Mizu is not some cool, smooth-talking samurai with a big dick sword as Akemi (and the fandom) might believe. All of that is the facade she puts up and nothing more. In reality, Mizu is an angry, confused and lonely child, and a masterful artist, who is struggling against her own self-hatred. Master Eiji, her father figure who knows her best, knows this.
And Akemi, on the other hand, is not some girly, sweet, vain and spoiled princess as Mizu might believe. Instead she has never cared for frivolous things like fashion, love or looks, instead favouring poetry and strategy games instead, and has always only cared about her own independence. Seki, her father figure who knows her best, knows this.
But neither is she some authoritative dominatrix, though this is part of her new persona that she is trying to project to get what she wants. Because while Akemi is willful, outspoken, intelligent and authoritative, she can still be naive! She is still often unsure and needs to have her hand held through things, as she is still learning and growing into her full potential. Her new parental/guardian figure, Madame Kaji, knows this as well.
So with all that being said, now that we know that Mizu and Akemi are essentially wearing masks and putting up fronts throughout the show, what would a representation of Mizu's and Akemi's true selves actually look like? Easy. It's in their hair.
This shot on the left is the only time we see Mizu with her hair completely down. In this scene, she's being berated by Mama, and her guard is completely down, she has no weapon, and is no longer wearing any mask, as this is after she showed Mikio "all of herself" and tried to take off the mask of a subservient housewife. Thus, here, she is sad, vulnerable, and feeling small (emphasised further by the framing of the scene). This is a perfect encapsulation of what Mizu is on the inside, underneath all the layers of revenge-obsession and the walls she's put around herself.
In contrast, the only time we Akemi with her hair fully down, she is completely alone in the bath, and this scene takes place after being scorned by her father and left weeping at his feet. But despite all that, Akemi is headstrong, determined, taking the reigns of her life as she makes the choice to run away, but even that choice is reflective of her youthful naivety. She even gets scolded by Seki shortly after this in the next scene, because though she wants to be independent, she still hasn't completely learned to be. Not yet. Regardless, her decisiveness and moment of self-empowerment is emphasised by the framing of the scene, where her face takes up the majority of the shot, and she stares seriously into the middle distance.
To conclude, I wish popular fanon would stop mischaracterising these two, and flattening them into tropes and stereotypes (ie. masculine badass swordsman Mizu and feminine alluring queen but also girly swooning damsel Akemi), all of which just seems... reductive. It also irks me when Akemi is merely upheld as a love interest and romantic device for Mizu and nothing more, when she is literally Mizu's narrative foil (takes far more narrative precedence over romantic interest) and the deuteragonist of this show. She is her own person. That is literally the theme of her entire character and arc.
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The boy stops in his tracks. “I know you,” he says, tilting his head curiously. He’s not tall, but he’s regal nonetheless, dressed all in white. Something about him makes Leia’s hair stand on end, and although she hides it she feels a stirring in her own chest. I know you like I know my own soul, she thinks wildly, and wonders where it came from. Has she gone insane?
“That’s nice,” she says, and shoots him anyway.
He deflects it in a flash of light, a glowing blue laser sword appearing in his hand like magic. She’s only seen one of those before, and it’s Vader’s. If this boy is anything like Vader, she realizes, she’s in deep shit.
She’s smart enough to know when she’s outmatched. Leia makes the tactical decision to run for her life.
Later, as she’s getting the hell out of there, she wonders why he didn’t try to stop her.
She remembers being young and tugging on her mothers skirts, demanding to know why their guest was so sad. “Does he not like it here?” She’d asked, and then, trembling, because Kenobi always seemed saddest around her. “Is it…because of me?”
“Oh, Leia,” her mother sighed, lifting her into her arms. “It’s not that, I promise.”
“Then what is it?”
“Master Kenobi lost a child under his care, years ago.” Breha’s eyes grew deeper, darker. “It was not his fault, but he blames himself. You remind him of that child, that’s all.”
Leia had quieted at that, contemplative.
The next time she’d seen Master Kenobi, she had given him a hug. He didn’t seem to know what to do with that, so she resolved to give him more of them. “He’s lonely,” she’d told her mother. “No one should be lonely.”
Looking at Obi-Wan Kenobi now, the memory seemed so far away. He’d aged thirty years in the ten it had been.
He looks, Leia thinks with a small twinge of regret, very lonely.
“Leia,” he greets. “It’s been a long time.”
Out of the corner of her eye, Leia sees a glint of white.
Kenobi freezes in his tracks. “Luke?” He whispers, and through the distance Leia can hear it as if he’d been speaking directly into her ear.
Master Kenobi lost a child under his care, her mother whispers in her head. He blames himself.
In an instant, Leia understands everything.
Kenobi is still staring at the boy he’d lost so long ago when Vader cuts him down.
Later, as she’s pacing around on the Falcon to Han muttering darkly about Princesses and supernatural abilities, she rememberers the way the boy collapsed, as if all his strings had been cut. Vader was too occupied with him to even look at her as she shot at him desperately.
Luke. She hates him more than she hates herself.
“They know where you are,” he hisses frantically. “They’re coming for you. You have to run.”
“Wait!” Leia quickly pulls up their sonar. Nothing yet, but it would explain the distant queasiness she’d felt since they’d landed. She tended to trust her gut. “How do you know? How much time do we have?”
“Not important, and not enough,” he says. “I have to go, and so do you. You need to leave yesterday.”
“How do I know I can trust you? I don’t even know who you are.”
He pauses. “Call me Skywalker.”
“That’s not an answer, Skywalker.”
“Yes it is.”
She opens her mouth to argue, but there are faint voices on the other end, drawing nearer.
“Shit,” Skywalker mutters. “I have to go. I’ll be in contact, okay? Don’t ever tell me where you are, or where you’re heading. Vader and Palpatine aren’t shy about reading minds. Just leave as soon as you can, and figure out the rest.”
“But—“
It’s too late. The comm has disconnected.
She stares down at it, disbelieving. How would the Empire know they’re here? Why should she trust a stranger who somehow got her personal comm code?
Gut feeling or not, on paper this was a perfect location. Supplied, armored, and most importantly, extremely well hidden. There was no real reason to think it would possibly be found out.
It’s probably a trap. Almost definitely a trap.
Han sticks his head in the door, a sour look on his face. “Hey Princess, can you tell these idiots—“
She makes a decision then and there.
“We’re leaving.”
“What?”
“We’re evacuating, effective immediately.” She pushes past him, and he follows so close he’s nearly stepping on her heel.
“Why? I think it’s pretty cozy here. Actual sunlight doesn’t hurt, either.”
“Apparently too cozy.” She grabs the first person she sees, a pilot who stares at her with wide eyes. “Emergency evacuation. Spread the word to pack everything you can and leave, I’ll let you know where we’re headed when we’re in orbit.”
He salutes and scurries off.
“Woah, hey now.” Han snatches at her elbow until she turns around to face him. “What’s going on?”
“There’s a new informant. He told me the Empire knows we’re here. They’re coming for us.”
“And you trust this person because…”
“I don’t have a choice,” she snaps. Someone runs past them, holding three packs filled to the brim with rations. “It’s either he’s lying and we’re not in danger, or he’s telling the truth and we’re going to die if we don’t listen. It’s not exactly hard math.”
It could be a trap of course, but he hadn’t suggested any sort of direction or destination to follow, and Leia wasn’t inclined to share. Especially not after his tidbit about Vader and Palpatine reading minds.
He squints at her. “That’s not it.”
“What?”
“I don’t believe you,” he insists. He’s so infuriating. Leia doesn’t know why she hasn’t kicked him out yet.
“I don’t know what you’re talking about.”
“Yes you do, and you’re either gonna tell me why, or find a different transport when we head out of here.”
“Who said I was riding on your hunk of junk?” She demands. She actually was planning on going with them, since the Falcon has more than enough room for all the supplies that can’t fit in the other ships and none of the trustworthiness of the other pilots, but Han doesn’t need to know that.
“Well?”
Damn him. Damn him for knowing how to read her. She doesn’t know when she let that happen.
“I feel it,” she admits, defeated. “Something tells me he’s trustworthy. We’ll wait and see if it’s right.”
He studies her. She holds her head high, but inside she’s jittery at the scrutiny. They don’t have time for this.
“Yeah, all right,” Han finally says.
“Really?”
“Yes, really.” He rolls his eyes, like she’s not acting absolutely insane by putting all her trust in a random man she’s never even met. “Now come on, Princess, weren’t you the one who said we had to hurry?”
What is it about this man that makes it impossible to tell whether she wants to punch him or drag him into the nearest supply closet? They don’t have time to find out.
“So there’s good news and bad news.”
“Bad news first,” she demands.
“They know there’s a mole.”
“Shit.” Of course they know, how could they not? She should have been more careful, less obvious about the correlation of their movements with the Empire’s plans. “The good news?”
“They’ve tasked me with hunting down this ‘pathetic rebel spy,’” Skywalker says, humor in his voice. “That should buy me some time.”
Leia can’t quite stop the snort she lets out. “Seriously?”
“Yep. You’re speaking to a professional mole-hunter, here.”
“Well congratulations on the promotion, Skywalker.”
“Thank you,” he says grandly. Then, quieter, “It won’t last, Princess. They’ll find out eventually.”
“I know. Just hang in there, it will be over soon.”
“Will it?” He asks, suddenly sounding very young. She realizes that she has no idea how old he is. She doesn’t know anything about the man who has saved them more times than she cared to admit, and the idea rattles her until they sign off.
Later, she looks up the name Skywalker in their archives. There are a few results, but only one sticks out.
Anakin Skywalker, Jedi Knight and hero of the Clone Wars. Killed at the hands of Darth Vader. There are gossip articles too, speculations on his relationship with the pregnant Senator Padmé Amidala, who died around the same time Skywalker did. The baby, it seems, died with her.
Unless he didn’t.
It’s ridiculous. It’s impossible. The idea is so ludicrous that Leia almost rejects it entirely.
But it makes sense. By the Maker, it makes sense.
The child of Anakin Skywalker, it seems, would be a powerful Force user indeed. Powerful enough for Kenobi to take the baby and run. Powerful enough for the Emperor to want him for his own gain. Powerful enough to send Vader after Kenobi and take the boy himself.
Maybe even powerful enough to shield his mind from Vader and Palpatine’s intrusions.
Powerful enough to hide the fact that he’s a spy.
Leia sinks into her chair, covering her face as she laughs.
Maybe Luke isn’t so bad after all.
“No, no, no,” she mutters, digging through the smoking wreckage of the TIE fighter. “Don’t be dead, please don’t be dead.”
“Princess…” Han lays a hand on her shoulder that she immediately shrugs off.
“No, he’s not dead. He’s not. Luke!”
A faint cough answers her, and she’s so relieved to hear it she could cry. Behind her, Han starts bellowing for a medic and, “Some damn help here, do you expect us to move all this ourselves?”
“Luke, it’s me,” she sobs. “It’s Leia. You’re at the Rebel Base. You’re safe.”
More coughing, and there’s a worrying rasp to his voice when he says, “You know…my name?”
“I figured it out.”
“Smart.” This time, the coughing is so bad Leia and Han both wince.
“Shit, kid,” Han says, moving another piece of rubble. “Don’t talk. We’re gonna get you out of here, all right?”
“Stand back,” Luke chokes out.
“What?”
“Stand back. Please.”
Han protests, but something in Leia knows they should listen to him. She drags him back, and motions everyone else to fall back with them. They do, albeit reluctantly.
“Clear,” she calls, hoping Luke can hear her.
The TIE explodes.
“Fuck!” Han goes back in, Leia on his heels with the terrifying feeling that she’d just allowed Luke to die, before they both stop in their tracks. Around them, the broken pieces of the TIE are floating.
And curled up in the middle is a man dressed all in white.
“Luke!” She pushes past Han to start dragging him out, and after another moment of staring around them, he helps her.
As soon as they get clear, the pieces fall to the ground with a clatter. Luke falls limp with them.
Han is still looking at the TIE. “Can you do that?” He asks quietly.
Leia pauses her examination of the unconscious man in front of her to glare at him. “Is that what you’re most concerned with right now? Really?”
“Excuse me for asking, Princess!”
“It’s white,” Luke grumbles, pulling at his hospital gown bitterly. “I hate wearing white.”
“Should I be offended?”
He rolls his eyes. “Don’t even. You look great and you know it. I just feel like I never left.”
“Well,” she says gingerly. “I guess it’s a good thing you got sick of it. If we went around in matching outfits all the time, people might think we’re twins.”
He snorts. “Yeah, right.”
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