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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LOVE WINS!! The incomprehensible entity above godhood and her incomprehensible wife have become one to kill Mirror 💖
SHE'S HERE!!! Finally I can talk about who and what Love Story is!! All her info + the transparent versions are below the cut! I'm so excited about her o(*°▽°*)o
An entity known as Love Story- a collective consisting of Pandora and Galvarium!
If Galvarium wasn't enough before, Love Story is her everything but tenfold, maybe more... Love Story is highly dangerous, standing at 1500 m, 200 m more than Truth of His World.
She (or they, given that it is both Pandora and Galvarium) is formed during the final fight with Mirror Kagami.
It seems like she is acting as her own entity, however her movements are the two moving in sync.
When she speaks, it sounds like Galvarium and Pandora speaking at once.
An extreme amount of trust is required to form a fusion, which those two obviously have.
Love Story is the one to finally put down Romirr/Mirror/Truth of His World. In a way, it is like a dance between the two.
The only observable hazard she has is hysteria, but that has only been displayed by Mirror, so it isn't likely the result of her presence.
Love Story is unbelievably happy to be herself! Of course, Galvarium and Pandora are just very happy and comfortable with one another!
She has the most fun getting rid of Truth of His World (❁´◡`❁)
She doesn't stick around too much after Mirror is put down- but is around long enough for the others to behold her presence.
Oddly, Love Story is able to be understood and seen by humans. This is most likely due to her existence being a manifestation of Galvarium's and Pandora's emotions.
While Galvarium is never depicted in words (legends/stories etc), Love Story is written about by a lot of people- those who saw her and those who heard stories of her presence.
Here's a few design notes!
She isn't wearing clothes. Much like the LAE, her "skin" mimics clothing.
Her veil, dress, and gloves are very soft, but are very veiny. The veins don't supply any blood, it's purely for looks.
Like Pandora's, the tendrils can deal a lethal amount of poison.
The pink crystal-like structure of her torso and the white of her chest are her insides.
Her veil comes out from the back of her horns.
She does have legs/feet, though they aren't often visible.
The inside of the ring says "This is Your Story" (only the last bit is visible).
The small heart in her horns, above her head, rotates constantly. It spins faster the more she is moving.
Here's the transparent bg versions+one without the veil!
I am so so happy with her!! Love Story has been a concept for a really long time and I'm really excited to show her off!! I hope you enjoy beholding her ╰(*°▽°*)╯
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haru overhears rin singing elvis presley's "can't help falling in love" quietly to himself one day while rin is towel-drying his hair after a shower at his tokyo apartment and it makes him feel things, even though he doesn't understand the words.
he decides he likes it, and before they go to sleep (haru on the bed, rin on a futon on the floor because haru is too chicken-shit and uncharacteristically overcome by shyness to suggest sharing the bed) he asks rin, "what was that song you were singing?"
"hm? what song?"
"the one you were singing while you dried your hair."
rin hums thoughtfully and pretends he doesn't notice the way haru is boring holes into the side of his face. he thinks hard because: a) rin sings (or hums) all. the. time. to fill the silence, b) he must've done it subconsciously, and he cannot, for the life of him, recall what he'd been singing earlier and c) the fact that haru had even noticed is both mildly embarrassing and wildly distracting him from the very act of sifting through possibly >50 songs he sings/hums a day. today. he is sure he'd have sung at least the amount today, because being with haru means learning to be comfortable with prolonged silences sometimes (but also working to fill those silences).
he sings a lot when he's around haru (not that he'd admit to it). he thinks being around haru makes his heart sing (not that he'd admit to that either).
"song... song... what song was i—"
and then it clicks, and his blush shoots up to his hairline.
haru, despite having the emotional perception of a proverbial tree stump but being an expert in all (well, maybe not all) things rin, senses the several stages of embarrassment that play upon rin's features and decides to be merciful.
"it sounded nice," he says tersely. the smile that he gives rin is placating. a peace offering of sorts. "i liked it."
rin glances at him furtively before awkwardly coughing and clearing his throat. "you did?"
"mmh."
"do you... would you like me to sing it again?"
haru hears a soft tapping sound—probably rin's finger on the linoleum floor—and pays it no mind. chalks it up to a nervous tic of rin's.
"yes," is all he says. the tapping stops.
the room is silent for a second too long, but rin breaks it. all too suddenly.
rin's voice is unabashedly one of haru's most favourite things about him in the world. his speaking voice is a rich baritone, sometimes raspy, maybe even bordering on sultry whenever he teases him. it makes the tips of his fingers tingle like he's being charged with minute amounts of steady-flowing electricity from the ground up. it makes his heart beat a few paces faster; it shoots adrenaline through his body like absinthe pumping in his veins. it excites him. angers him. frustrates him. maybe even enamours him, sometimes.
but his singing voice? it drips over his soul like the smooth silk of honey from an upturned jar, leaves every fiber of his being covered in its sticky sweetness. it's gentle and mellifluous, which haru finds absolutely ridiculous, because rin is anything but gentle or mellifluous in nature. it's calming. soothing. reminiscent of the lullabies his late grandmother once sang him to sleep. it makes his eyelids droop like he's lying peacefully at the bottom of the sea because he feels so safe and comfortable, like he's floating atop a cloud.
okay.
maybe he's exaggerating.
but rin's voice is lovely, and in haru's mind, he's walking on air.
"rin," haru calls out gently, ignoring the mild disdain he feels over the fact he'd had to interrupt rin's singing for this. "i can't hear you well from the futon."
rin blinks. "are you suggesting that i—"
the blanket rustles, and even in the dim light of the night lamp, rin sees it. haru has scooted to the corner by the wall, one hand holding up half of his blanket gingerly. an invitation.
well if haru insists.
they lay in the bed, close, but not nearly enough. haru looks at rin tenderly, blue eyes glistening in the moonlight, silently urging rin to carry on where he'd left off. but rin is stalling. or staring, rather. his carmine eyes look back at haru, matching in tenderness. he shifts slightly, exhales deeply. haru itches with impatience.
"rin," haru calls out again, gentler this time, voice laced with sleep. "sing?"
rin's eyes go dopey and he obliges, easing into the chorus.
"wise men say..."
haru doesn't even remember being lulled to sleep.
bonus: after rin returns to australia, he sometimes receives calls from haru, telling him he's having trouble sleeping. haru never explicitly asks rin to sing to him, but rin knows him like the back of his hand and does it anyway. when the line goes silent and is gradually taken over by haru's soft, even breathing, rin chuckles. he likes how haru enjoys him singing this one particular song, even if it's in english and haru doesn't understand a word. unbeknownst to him, rin means every word he sings.
("like a river flows surely to the sea, darling, so it goes; some things are meant to be")
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This post is probably gonna be a little very long bc I wanna rant a little about stan culture(?) (idk if that's what you would call this).
It's kinda incredible (and not in a good way) how quickly people can switch on the internet and how a celeb can go from being the most loved person and most popular to all of a sudden getting ridiculous amounts of hate and most of the time it's for no reason and it happens even with shows and movies idk if it's bc people wanna fit in with the others so they praise what others are praising regardless of how they feel and then when the hype naturally dies down they finally show their true feelings, or if they just wanna hate for the sake of it honestly idk but to me this is what it feels like and it's what it looks like it's happening everytime the two options look very likely, and I can give quite a few examples on shows and actors, for example:
Pedro Pascal bc yeah people are already turning on him not that much but I could totally see it happening in a few months but it already happened a few times more specifically bc of "the last of us" which was another one of my examples in this, at the beginning it was the most beloved and popular show but now it's like everyone turned on it and I'm hella confused, and I don't want to make this post even longer than it needs to be but I know there will be criticism that's obvious and normal but this is not it.
And going with another show house of the dragon, before you couldn't go without seeing it everywhere and so much praise, but now the same people that claim to be fans are going around saying "oh this show was a mistake" make it make sense.
And this one that I've talked about numerous times Florence Pugh, she became more and more successful and as it was happening people became more and more rude towards her saying so many nasty shit when she's far from deserving it.
And now this one is a little bit more controversial but Elizabeth Olsen, bc in my opinion someone can be problematic and you can acknowledge that but it won't change the fact that they are talented, but it gets kinda hilarious to see people that hate her (and I can't blame them bc she has said messed up shit) try and call her acting bad and say that "she makes weird faces and moves her mouth weird" hell, someone went as far as hating on her acting on love and death bc it "felt too natural" uhm isn't that like the whole point.
And this with Lizzie of calling her a bad actress also happened with Florence so that just made it even funnier bc like at least separate the two, you don't like them, fine, but they are talented as fuck
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