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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gOD the way Undead Unluck starts off. Like, ha ha, okay, whatever, let’s get the obligatory ecchi scenes out of the way.
But like, then you read and learn more about Andy and it’s like. Oh. Yeah, the manga starts off with a naked dude chasing after an 18 year old girl and trying to fondle her tits. But then you learn about his history and it like oh.
Andy didn’t care.
He like, really, didn’t care about anything other than himself in the beginning.
Or rather, more accurately, he cared MORE about himself than what some random brat would want.
He has spent hundreds of years all alone, always watching his friends and their family live their lives, have kids, achieve dreams, grow old, and die. And he is always left behind, never able to join them.
He’s suicidal. He’s depressed. He does not give a shit. He’s just chasing for feeling SOMETHING by trying to die in different ways, and if he can get that by touching some girl, then heck yeah, he’s gonna do exactly that.
Like, he has standards and calms down about touching her after a while, but in the beginning? He didn’t care, and it sucks because it’s clear that he does care. He cares a lot and when you see his history, you KNOW the dude wasn’t always like this. But he is just so tired of being alive. He doesn’t have anyone. He’s alone, he has no hope for his future. Victor had Juiz for all those billions of years, but Andy had no one, and that’s a big difference between the two. Victor always had Juiz from day one, but Andy didn’t meet Fuuko until like 200 years later, and it’s like.
Yeah, ha ha, okay, whatever, obligatory ecchi scenes out of the way, but also. That is a man who got tired of caring about anything other than himself. That’s a man who lost hope and was in despair.
And now he’s regaining the energy to love and care again and it’s just!!!!
This manga is gonna make me cry.
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i think part of the resistance i’ve seen in response to the view of ed as an abuse victim—not just the view of izzy as someone who abused ed, but of ed as someone who was abused by him, as opposed to interpretations that pursue an image of Nuance and Complexity (unnecessarily, because their dynamic has heaps of both, but there seems to be a popular impulse to conflate complexity with shared culpability) by characterizing their relationship as being toxic/unhealthy in equal reciprocity, or as “mutually abusive” (oxymoron)—i definitely see the influence of racism there, but i think the racism is also working to amplify an adjacent issue where we tend to receive very specific cultural messaging about What An Abuse Victim Looks Like, and ed is excluded from a lot of that criteria.
he’s outspoken. he’s boisterous. he’s Very Cool and he Wears Leather. he’s physically bigger and browner than the person mistreating him. he spends the first season with a big grey beard, he’s covered in tattoos, he projects the image of A Man’s Man, to say nothing of his being a man in the first place. we see him get aggressive and we see him get angry (and sometimes we even see both at the same time). we see moments where he’s surly, prickly, insensitive, arrogant. his survival techniques and trauma responses incur collateral damage to other people, and in the second season this extends into affecting people we actually sympathize with. he’s extremely private about expressing fear. without examination, his professional relationship to izzy seems to position him as the one with the power slanted in his favor.
most damningly, we see him react multiple times to izzy’s abuse with physical violence. this is behavior that gets referenced all the time in the construction of narratives condemning subjects of physical abuse, let alone emotional abuse. which is why writing that intends for its audience to interpret a character as being unambiguously A Victim Of Abuse will often, for simplicity’s sake, avoid showing the character regularly engaging in anything of the kind.
and again, all of these departures from the image of The Model Victim are compounded by his being a man of color.
without any of the shorthand designed to point a big flashing arrow at his mistreatment, all we have left to work with are the words and actions we see from ed and izzy onscreen. who instigates conflict, and how does the other respond? how are they able or allowed to respond? how do we see them speak about each other to outside parties? does one go out of their way to control or isolate the other? what consequences does either party stand to face in saying “no” to the other? in acting against the other’s wishes? in trying to leave the relationship? when either of them attempts these things, how do we see the other respond?
i realize and appreciate what people are driving at when they garnish their analysis with disclaimers that they’re not saying ed’s just a poor innocent abuse victim, they’re not saying he’s a perfect angel who’s never done anything wrong, and that’s true, but these are points already contained implicitly in statements like “this show’s protagonists act like human people” and “ed’s emotional struggles are portrayed in a realistic and believable way.” my assumption is that these disclaimers are anticipatory responses to worst-faith interpretations of any discussion that attributes any victim status to ed whatsoever, so i definitely sympathize with their inclusion, but a (very small) part of me still worries about them potentially reflecting or reinforcing a belief that there is any way for someone to behave towards their abuser that imparts a responsibility for them to make right whatever damage the abuser receives, or for that matter any degree of ambiguity over their status as an abuse victim in the first place.
part of what i find so gratifying about ed as a character is that i don’t feel like the show’s writing is pressuring me to consider that ambiguity at all. which was a really nice thing for me to discover!
and tbh—did using ed to deconstruct The Model Victim even factor into the writers’ agenda?? ive got no clue. im guessing no? ??maybe?? probably not?? but if you create a main character whose central premise is that he feels trapped in a performance of exaggerated masculinity that he’s desperate to escape, and then you set him up with a character premised on embodying a tangible obstacle against that escape, then i guess that’s the natural shape your story’s gonna be inclined to take
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a little Welcome Home theory that's probably me looking entirely too much into a single line <3
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so i was clicking through the site for the thousandth time and this line caught my eye. maybe its 4 am and i haven't slept, maybe i'm onto something. who knows!
but this little thing... "and lively sets unlike anything seen before!". yeah, it could just be them propping up the show. OR maybe the puppets have been alive the whole time, fully autonomous but entirely unaware that they are puppets on a show. maybe to them, the neighborhood is real, and they simply cannot comprehend the presence of humans so their puppet minds don't register them. this could make for a "cosmic horror but for puppets" spin, which would be sick as fuck
their daytime is when the studio lights are on and people are around. idk how the people would teach them the scripts - maybe they did it at "night"? or maybe there was no script, and the puppets would automatically come up with their own shenanigans, dialogue, and segments that aligned with the show, bc that's what they were made for.
bc its not like the whrp team have physical puppets, or much other than art & reports, right? any information on the puppets - like Howdy being rotated between live-hand and walk-around - could've easily been a lie by the creators of the Welcome Home show. i mean, i don't think it would've gone down well if they came out and said "yeah the puppets are alive"
and now that i'm wondering how they could have living puppets, weren't the 60s/70s chock full of cults? could the WH creators have dipped into the occult to create living puppets for a ground breaking, popular, lucrative show, using minimal effort because "the show writes itself"? all they have to do is film and maybe change the puppets' costumes. if that - they could have set up hidden cameras or something.
and this is gonna sound even more far-fetched, but what if creating the puppets required human souls to power them? im not suggesting that the puppets have locked away memories from a "human life", bc that would be uh... a lot. but it's enough that given time and the right prompts, they could gain awareness, and maybe the soul does influence them in minor ways - in likes and dislikes etc.
and Wally being aware means that he fully saw the humans running the show. and maybe the occult thing is what's under Home - the source of black magic that brought the puppets to life seeping out. and he's aware because he looked into that source and it flipped a switch in his lil cotton brain
maybex2 this is what caused the show to not only shut down, but be wiped from existence. the magic seeped into Home, maybe killing someone in the process, and Wally was revealed as aware. maybe on live television. so the creators panicked and shut it all down, tried to destroy everything and gaslight the country into forgetting it ever existed. maybe in the hopes that once no one remembers the puppets, the magic will leech out of them and leave them lifeless
and that loops back into Wally being the only one referred to in present tense in the neighborhood bios. he's still aware, maybe trapped in the studio, alone. i mean, i sure hope he's not alone - i hope he has his friends with him. unless they're all decommissioned (dead)... maybe Wally is trying to bring them all back or "fix" them?
but then there's the case of all of this currently going down online. have the puppets' consciousness somehow been transferred to the internet? or has Wally gotten his little felt mittens on a computer? something else? and then there's the whrp team... could they be fake, and its really just Wally trying to cobble together the remains of his life/friends? i mean, the Question-Answerer sounds like a title a kid or naive puppet would come up with. people would've called them the Curator or somethin?
i have too many thoughts
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