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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reo is not above asking for kisses. in fact, he begs for them.
it’s a little embarrassing when you’re out in public, really. the way he tugs at your sleeve, whining because you haven’t kissed him in forever (you kissed him before you left your apartment.)
embarrassingly enough, it’s also why you find yourself hidden away in an alley more often than not with reo pressing a flurry of kisses on your lips.
“reo-” you turn your head to the side, trying to catch your breath. he only hums in response before tilting your head back to keep kissing you.
(you’re starting to think you’re going to pass out from the lack of air.)
“reo!” you hiss, tilting your head up, his lips landing on your chin before he huffs, his hand coming up again to gently push you head down so you’re facing him again.
“jus’ one more.” he mumbles, pressing his lips to yours again with a satisfied hum. (he’s said that for the past fifteen minutes.)
(you think he’s becoming spoiled.)
you pull away, turning your head to the side, biting back a smile when he whines as you place your hand over his lips. a soft, slightly annoyed huff leaves your lips when he presses a kiss to the palm of your hand.
"reo." you sigh, looking at him with a frown. "we're gonna be late."
he frowns back at you.
"nagi's gonna be even more late than us!" his voice comes out muffled due to your hand. you hum in confusion before he slowly grabs your wrist and lowers your hand, repeating his words with a pout.
you sigh, slightly shaking your head, "even if he is, i don't wanna make him wait too long for us."
reo groans, resting his forehead on your shoulder. you absentmindedly lift your hand to pat his head in slight comfort.
"do we really have to go now?" he pouts, lifting his head from your shoulder to look at you.
he whines when you nod. he sniffles, "nagi's probably not even there yet!"
"doesn't matter," you hum, smiling when he huffs and crosses his arms, turning away from you with a frown as he grumbles under his breath.
you gently turn his head back to yours, a teasing smile on your lips. "i thought you'd be more excited to see your best friend?"
"i am." he pouts, "i just don't see why that means i can't kiss you."
"you can." you blink, "it's just embarrassing when you beg me to kiss you in the middle of the street."
he lets out a gasp, "no it isn't!
"for you, maybe!" you laugh, poking his nose. "wouldn't you feel embarrassed if i suddenly stopped you in the middle of a busy street, just to ask for a kiss?"
"no!" he huffs, puffing his cheeks out, looking slightly offended at the accusation, "i'd feel flattered."
you roll your eyes, "yeah, right."
he huffs again after a beat of silence, pouting before he steps back and sighs, "fine. let's get going, then."
"wait," you hum, a mischievous smile on your lips as you grab his shirt and pull him close to you again. "aren't you forgetting something?"
you laugh when his face lights up, his hands cupping your cheeks as he leans in, whispering, "one for the road."
(it was not, in fact, one kiss. he started pressing a flurry of kisses on your lips again.
he's too spoiled, you conclude. still, you can't find it in yourself to stop indulging him.)
(though, you're both embarrassed by the time nagi's spamming your phones with calls, asking why neither of you have arrived at the café yet.)
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it was not quite like a rot.
it felt just as slow, however. you knew the early signs should have been there since some time ago, yet you missed them and ignored them. it was also similar in the way that it was similar to dying.
but, it really was different.
when you saw a rot, it felt unpleasant. it could be sadness, it might be disgust. in this tale, you didn't exactly feel like that. when you realized it, you barely felt recognition for it.
when you realized you fell out of love with him, you merely stared emptily at the photo in front of you.
it felt cruel. because somewhere inside you, you still believed that he deserved a gentle, tender moment in his life after everything. you still wish that he would know a kindness that he understood enough to soothe every bitter unhappiness that was left inside there. because he, you know more than anyone, had tried his best to be gentle, to be good for you.
you knew it in the way he etched your name on his tongue, in the way he had softened many rough parts of him just to see you smile, and yet—
as the clouds continued to move, unveiling the blue sky, you knew that your time as "his" had come to an end. that day was peaceful. the sky and the world continued to move.
the night came and you decided to put an end to a story. seven hundred and fifty two days had passed, calmly and almost coldly, you offered him a quiet smile.
"hey, can we talk for bit?"
SAE, RIN, BAROU, reo, kaiser, WANDERER, DILUC, LEONA, azul, RIDDLE, malleus, IDIA, ruggie + your faves.
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you know, an interpretation of ct that I don't see that I personally really love is that she's a fuck up. like yes she's cool and she has some good fight scenes, but a huge part of her character is that she makes mistakes. the mistakes that she makes are ones that on their own aren't the end of the world, but she keeps making these little mistakes, and they eventually add up until she's out of room to make any more.
a really good example of this phenomenon in action is the actions she took leading up to her final confrontation with carolina and tex.
strike one, she thought she saw something in the water, but when asked by the leader what it was, she brushed it off as nothing when even if it had been nothing, it would've been smart to tell him what she thought she saw.
strike two, she didn't sense or notice florida's presence when the leader did, and she looks at the leader twice, once as she pulled out her magnums, and again after she did a scan of the room, almost like she was looking at him for guidance before he finds florida and takes him out with one good axe throw.
strike three, she couldn't convince the leader to leave when they had the chance to get away, and her cheap tricks were not enough to hold off either tex or carolina in a fight. they were only good for incapacitating her opponents enough for her to get away, which doesn't work when she has no escape.
ct is not tex, or carolina, or south. she is not a one woman army who can get herself out of trouble when she's stuck in tough situations. she needs people who can watch her back, she need a team who can cover her when she does mess up, and the leader and his team were not those people. she couldn't bring herself to trust them, and they couldn't bring themselves to trust her, and that cost all of them their lives.
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