Mizu's spectacles, and the levels of her disguise
In drafting some more Blue Eye Samurai meta posts, I find myself writing out the comparisons between what Mizu can and cannot hide about herself, and how that affects how she moves through the world.
Like, I get the jokes about Mizu's glasses, if only color contacts had existed back then, etc. etc., and I think (hope) that most viewers don't take the glasses jokes seriously, as in "I don't care about the suspension of disbelief because BES is a cartoon." But I wanted to write these thoughts out anyway without burying them in a text post about something else.
I think the points I'm going to lay out here are viewed very differently by different people, so please feel free to add to this post, reply, or put your thoughts in the tags!
Not only do Mizu's glasses not actually help her that much, there's surely more to Mizu's mixed race appearance than just the color of her eyes.
In my view, this was pointed out in episode 1:
I'm willing to bet most of us were expecting young Taigen to say "blue eyes," not "ROUND eyes."
Obviously this is still about Mizu's eyes, but not even spectacles can hide their shape.
I don't think the show is obligated to point out everything about Mizu's face that isn't quite as Japanese as the people around her expect. Though the creators have said that they specifically designed Mizu - and her clothes - to read both as "white" and as "Japanese," as well as both male and female. I think there's more about Mizu's features that read as "white" than just her eyes.
This is where my own headcanons start entering the picture, but it's my impression that people can just tell that Mizu looks different, whether or not they can put a finger on exactly how.
There's the little girl who looks at Mizu and then hides on the way into Kyoto:
When there's more to your face you'd like to cover up than just your eyes, big hats are a big help!
By the way, most of these examples have to come from the first half of the season, since by the second half, either Mizu is too preoccupied with fighting henchmen, or everyone Mizu is facing knows who she is already, and she therefore has no reason to hide her mixed race identity.
It's worth mentioning that the mere fact that Mizu has to hide multiple aspects of her identity - her mixed race and her sex - results in her having to choose clothes that really, really cover her up, which doesn't win her any favors either:
(Zatoichi reference, anyone?)
If it were as easy as, for example, tying her glasses to her head and wa-lah, nobody would ever know she was half-white - then (1) Mizu would've just done that long ago, and (2) Mizu wouldn't be so on guard and on tenterhooks 100% of the time the way she's depicted in the show, even when her glasses are on.
Her spectacles sure don't help her in the brothel, which is full of observant women who are trying to seduce her, meaning they get good long looks at her:
Mizu never takes her glasses off, but they still send a woman to her who has light eyes, thinking that must be what will interest a blue-eyed man:
No wonder Mizu gets mad after this, lol
So Mizu never takes her spectacles off in the brothel, it's dimly lit inside, and the women can still tell that she has blue eyes. I'm getting the sense that Mizu putting on her spectacles isn't a guarantee that people suddenly can't tell that she looks different.
And yet no one spots that she's female.
Mizu can hide her breasts, can wear her hair in the right style, can hide what's between her legs, can walk and talk and behave like a man - and she's been doing it for almost her entire life, to the point that not only is she very good at it, but the threat of being found out as female is deadly, but isn't presented in the show as omnipresent.
Let me explain.
She threatens Ringo for nearly saying the word "girl" out loud, because while she's constantly ostracized for being mixed race, being a woman traveling without a chaperone, carrying a sword, and disguised as a man will get her killed or flogged or arrested or some combination of these things.
But in addition, it's been drilled into her since she was a child that if she is discovered as female, the combination of her being mixed race and female will identify her as someone extremely specific, someone known to some bad people, and she will be killed:
I think of it as Mizu thinking to herself, "Being found out as mixed race means I'm treated badly. Being found out as mixed race and a woman means I'm dead."
Mizu's hair is cut as a child. But she isn't made to wear a big hat, or cover her eyes somehow, or anything like that. Because hiding her sex is a more successful endeavor than hiding her race.
Ringo finds out she's female by accident, but once Mizu accepts the fact that he won't rat her out, she relaxes pretty early on in the season. Because the threat of being found out as female is mitigated pretty much 99.9%, since Mizu has gotten so good at being a man. And also, because most of the time, people see what they want to see. Even if Mizu's face makes her stand out as "not 100% Japanese," no one in the world of BES looks at Mizu's clothes, her bearing, her sword, hears her voice, and will ever in a million years conclude that she is a woman, because expectations around gender roles in the Edo period were so rigid and so widely enforced.
One detail that proved this to me is after the Four Fangs fight:
Ringo takes off Mizu's clothes so he can stitch her up, then leaves her clothes off even after he's done. He doesn't even throw her cloak over her as a blanket or anything. There's a little a straw (pallet?) as a divider there on the left, but anyone could just peek around it and see Mizu and her chest bindings. (I think it's mostly there as a windbreaker.)
And Taigen is right there, but he doesn't give a shit:
Opinions probably vary hugely on this, but my impression is that because the show doesn't make any kind of deal about Taigen being in the room with Mizu here, my guess is that Mizu isn't in any danger of Taigen thinking she's female. Even when I watched the show for the first time, I assumed that Taigen had seen Mizu out of her clothes here, and that he thought nothing of it.
Eat your heart out, Li Shang (Mulan 1998). I actually do think that this scene is a direct and purposeful side-eye to that movie, lol
There's obviously some nuance to how "severe" being mixed race is compared to how "severe" being a woman is for Mizu:
After all, Swordfather can't bear to listen to Mizu confess to being a woman.
So a Japanese man can go wherever he wants, whenever he wants in BES. A Japanese woman has limited options: marriage, religion, or a brothel. A mixed-race man is an eyesore in this story. A mixed-race woman is a death sentence.
May as well eliminate the female aspect, and do what you can about the mixed-race aspect. Because that's just realistic.
Meaning Mizu can avoid the strictures Edo society places on women. But she can't avoid the repercussions that come with being mixed race. And I truly don't think that it's just because "there's no brown contacts yet."
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[kicks open the door I just closed] AND ANOTHER THING
when a ghoul is turning feral, they say their name. they repeat it, over and over. "Roger. My name is Roger." like a chant. to remind themselves who they are. to hold onto the last bit of humanity they have left, because maybe if they hold tight enough, they can beat it. or maybe they can just hold on until help comes.
Cooper wasn't just distracting Roger so he could get a clean shot. He was reminding Roger of something good. BlamCo Mac & Cheese. His mom's apple pie.
When someone can't be saved, you don't want them to just focus on the fact that it's over. It's done. Waiting in that anxious fear for their every breath, because they don't know if it will be their last. Or, in Roger's case - and the case for any Ghouls out there still surviving - their last moments of control.
The sad fact of the matter is that, feral ghouls are still alive. They're not zombies. They hunger, they drool, they eat, but they can hide, too. They can gather. Being feral isn't dying, it's worse. They've not even just gone to base instincts - they've lost any and all sense of self preservation. They can sprint and throw themselves at prey because the body has simply become a vehicle for that hunger.
They don't hide or gather to stay safe. They do it because it's easier to take down someone if they're surprised and outnumbered. So yes, a feral ghoul can think. But only insofar that they can find a way to feed that hunger.
But even animals have some sense of self-preservation. (Unless, of course, they're rabid.)
To be feral is to experience such complete ego death that a person has no sense of identity outside of hunger and fear. So they try to hold onto control by reminding themselves who they are. "I am Roger." And so, it's not too far of a stretch to say that a person's humanity lies within their memories.
Cooper asked Roger if he remembered what food tasted like, back when he could taste. Before the radiation and necrosis. As most people know, certain senses like taste and smell can trigger a stronger memory than any words or chants.
What Cooper did to Roger was a mercy. It was simple. It wasn't a countdown or closing his eyes, just so that the last thing Roger could feel is fear. He reminded Roger of something good, like the taste of apple pie. Of his mom. Of being a kid again. Ghouls are people, but for those last few seconds, Roger was the most human he'd probably been in twenty-eight years.
And so what's going to happen when the Ghoul runs out of vials? Not Cooper, but the Ghoul. The character. The facade Cooper Howard has been wearing like a second skin. It's wrinkled, irradiated, and necrotic, but it's tight. It's safe. It's kept him alive. To survive, he willfully distanced himself from his humanity and became a monster. Cooper Howard didn't die. He's been buried in alive in a coffin for centuries, feeding off of scraps. But he put himself in there.
So when the Ghoul runs out of vials, he'll do what they all do when they're trying to hold on. They'll hold on to their humanity by tooth and nail. "I am Cooper."
It clicks in her head, subtler than a light switch. She should be happy. She should be ecstatic! She's meeting her favourite hero from her childhood! But all she can feel is sadness. She saw what her mother became, and she quickly proved to the Ghoul that she can put him down when the time comes. If she can do that for her mother, she can do that for him.
It'll be the first time anyone who didn't know him before the bombs ever hears his name. The first time Lucy connects who the Ghoul is to who Cooper Howard was, back when he was human.
Maybe it's the scent of his wife's perfume. Maybe it's the taste of hot coco. Or maybe it's Janey. Just Janey. In any form, any memory. So Lucy does that for him. And after two centuries, Cooper Howard finally remembers how it felt to be human. If only for a few moments.
But how will she give Cooper those last seconds of humanity? Does she think he deserves it? Fuck deserving it, she'll decide to do it just because it's the kindest thing to do. But she didn't know him before. Didn't know his favourite tastes and smells. But she can probably guess.
[record scratch]
I don't want to end it on that. It's too much, even for me. Cooper Howard remembers his humanity and holds on long enough. He's saved. (Hey, Maximus carries RadAway, maybe he can carry other drugs.)
Now Cooper has to sit and deal with the tidal wave that is his humanity fully resurfacing so strongly after several lifetimes. The Ghoul has done a lot of things Cooper would disapprove of. More bad things than any good things he ever did when he was human. But they were all choices he made. Cooper's always been there. Just below the surface. He buried himself in that coffin. And what's more monstrous - to kill and be cruel to survive, or to hide from the responsibility and act like it was someone else all those times? Who is the monster, the Ghoul or Cooper Howard?
Inner turmoil. GIVE ME INNER TURMOIL.
meanwhile, Lucy can lose sleep over the idea that you should never meet your heroes. That maybe she likes the monster, better - but she doesn't know which is which either. They find themselves. They find each other. They find themselves inside of each other. Cannibalism, vore, allegory, etc, etc. they find his dick inside her. Happy ending. fuck you. fuck me!
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A DEVIL REBORN
Happy Halloween!!! A detailed ID will be placed under the cut (it's close to being 1K i could literally post this to Ao3)
p1. ड्याम्म (dyamma) - Nepali for "(feeling) full", "hitting something"
p3. Chutiya - Hindi for "idiot", "moron" and other related insults
p5. க்ரீச் (kreech) - Tamil onomatopoeia describing scraping/screeching sounds
[Extended Image ID: DYAMMA! Slamming his hands on a table, Achanba Okram finds himself in the darkness of his laboratory. He is wearing black clothes and a white lab coat on top, and has a bowl cut with rectangular glasses.
His thoughts whirl within boxes that are coloured gold and are outlined with red; they put a voice to the uneasy feelings Okram knows are stirring inside of him. The thought boxes read:
With Pavitr gone, I finally have time to string my thoughts together. Half-drowned answers bleed out of my pores. Coalescing like some great, abysmal creature of unknown origin.
Bracing his hands against the table, Okram is acutely aware of his body, of the gaping holes in his back that bubble with demonic energy. His thoughts narrate, My body quakes when I begin to question, wracked with paranoia. With dread, as if the idea of what I had to face was unbearable.
The holes in back — four of them, spaced evenly from each other — begin to ooze golden liquid, hot like fire and viscous like tar.
And yet, Okram thinks, I felt it all the same: that crawling, scintillating horror of my reality. Of my tainted flesh and blood. My being here is the work of demonic forces.
Golden arms, fluid yet bony, powered by some otherworldly thing, unravel from the void in his back. They flounder and expand around him, filling the lab with a cold glow. The fingers are tipped with talons, and, if he looked hard enough, Okram swears they are edged with blood.
I died years ago, Okram thinks. I lost my humanity to the fire of the devil's madness. Thus, the question remains: what is the future of Achanba Okram, a DEVIL REBORN?
The lights of the lab suddenly brighten, and Okram hears him before he sees him. His arms register the presence of the other person, immediately unraveling and slipping out of reality. Just outside, Pavitr Prabhakar's voice calls, "HEY, DOCTOR OKRAM! Sorry I'm late! Traffic was abysmal today."
Pavitr's entrance catches Okram by surprise, and he stutters out, "PAVITR?! You- ah- you have one of your shifts today?"
His thoughts reprimand him, You CHUTIYA! Pavitr always has his shifts on Tuesdays!
Pavitr is unaware of Okram's turmoil, sauntering into the laboratory while hefting up a white plastic bag. He's wearing a black and white flannel shirt, and he has circular earrings. Pavitr's eyes are trained on the bag in his hand. He answers Okram's question with, "Yeah, I do. I, uh, got a little hungry along the way (I'm always so hungry)." Pavitr whispers the last part as he lifts the bag up. He continues, "so I went and bought some vada pav, and—"
He suddenly pauses, his eyes locking onto Okram. He can't tell what is going beyond Pavitr's eyes, but the other man's analysing gaze unnerves Okram to a degree beyond description.
(In Pavitr's POV: his Spider-Sense was just triggered. Red and gold squiggly lines emanate from and surround his head in a halo.)
Pavitr lowers the bag slightly in concern. "Uhm," Pavitr says "are you okay, Doctor?"
Dread and fear floods Okram's system. Suddenly he is hyperaware of everything in the room, including the golden arm that has sprouted from his back and was lying on the workbench behind him, right in Pavitr's line of sight.
Play dumb! Okram's mind screams at him. Accordingly, Okram replies, a tad too tightly, "Of course I am, Pavitr! Why wouldn't I be?"
KREECH. The golden arm scrapes its taloned fingers across the table, no doubt giving away its location.
Okram chuckles nervously, sweating almost immediately, at which his mind howls, Not that dumb!
Pavitr narrows his eyes at Okram and at the golden arm on the workbench. "Are those...demonic arms?" he asks Okram, a shadow crossing his face.
(In Pavitr's POV: In the back of his mind, Pavitr sees a vague and faded image forming in response to seeing the arms. He remembers Doctor Octopus, the man with two extra sets of arms who had attacked him many years ago; he was one of the first villains Pavitr fought as Spider-Man. But... Doctor Octopus died a long time ago. Perhaps...?)
"Oh, Doctor..."
Pavitr's gaze softens as he asks, "Are you being haunted by demons? Have you been attacked by them? Why didn't you tell me? I'm so sorry this has been happening to you. I can't imagine how stressful this is for you." A moment, and then, "Do you want to talk about?"
Okram hides his face in his hands, quickly responding, "No, I'm alright, Pavitr."
Pavitr walks forward, placing his bag down and reaching down to place a reassuring hand on Okram's shoulder. "But, Doctor, men of your generation have ignored their mental health for too long."
"Yes, I know," Okram sighs.
"It'll be okay, Doctor," Pavitr promises, "we can figure something out!"
"And what?" Okram asks somewhat sarcastically. "You will be here with me 'every step of the way'?"
"One hundred percent!" Pavitr says.
Behind them, one of Okram's demonic arms reaches out to peer at Pavitr and Okram; if an arm could be happy, it certainly was. The arm is seemingly pleased with Pavitr's helpful and understanding nature. /.End ID]
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