So much BTS lore feels like fanfiction and I can't get over it
Two of the members hated each other at first. They argued a lot and one time, they threw folded clothes at each other and the member who folded them had to come scold them. And now they keep reminding everyone how long they've known each other for. They wrote a song together where they said that "respect is a higher tier than love" and then called each other "my respect."
The smartest member of the group (one the previous two morons btw) didn't know how to tie his shoelaces until highschool. He doesn't eat seafood because he loves crabs. He's a literal geniues and he's so clumsy and such a dork (and I relate so deeply). And that body, guys, I'm telling you. This whole guy was made by a fanfic author.
Their company was near bankrupcy when they debuted. One of the members, who was getting offers from so many other companies, joined this one because he admired another member who was already a part of it. When these two met for the first time, member two was only wearing underwear and member one said "wow, thighs."
Another member came to an audition, not to audition himself but to support a friend. He was the only person from that audition round to get in. The friend did not.
Another member, who was studying to be an actor, was street cast on a bus.
One of them lost confidence and tried to leave before the debut, but another convinced him to come back, because they "needed him."
The whole industry hated them when they debuted and now they're arguably the best kpop group worldwide. (Arguably, read: argue with the wall)
(Add your own pls, I want to make a collection from this)
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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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Sometimes I forget why exactly I disliked ACOMAF as much as I did and then I see a random quote and am instantly reminded.
This is exactly the type of gaslighting that this book does that annoyed me so. fucking. badly.
'All he'd wanted to do wasn't free me, but fuck me' - ah yes, because it totally wasn't her who went for his pants first.
'He hadn't tried to kill her, hadn't crawled for me'
Excuse me? He crawled as he was bleeding out from a chest wound, still tied up. Not to mention he DID kill Amarantha in the end. (Also he couldn't kill her before, because that's how magic bonds work - none of the high lords could lift a finger against her. There was literally nothing he was able to do).
Also it makes no SENSE for Feyre to be resentful of Tamlin not rescuing her all of a sudden? Tamlin saved her already by returning her to the human realm. SHE returned to fight and die for him. She KNEW she'd most likely die but she was there to rescue HIM. It's not like she got kidnapped by Amarantha and he just watched, no she came to die for him. It's kind of weird to blame him for not getting her out when she came in to get HIM out.
So yeah, ACOMAF is awful in this regard and I just don't get it. It would have been quite easy and possible to make Feyre realize that Tamlin isn't right for her without literally making shit up about him that conflicts with book one.
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so guess what they released more interviews and i think given what a writing shitshow totk was and what they have been saying in all these interviews is actually painting a really bad picture; i dont have the time, nor the energy to go over every detail
but they were commenting on people wanting the more linear format back and aonuma himself basically said that he thinks people who feel like that do so only bc of nostalgia and "Why do you want to go back to a type of game where you're more limited or more restricted in the types of things or ways you can play?"
what .. the fuck, more freedom DOESNT automatically mean better??? like ... restriction can be a GOOD thing just as tooo much freedom can be BAD?? like in totk??? are you fukcing shitting me- what the hell are games even for then, has he had an awakening to the fact that he actually just loves sandbox games without realizing it???? im not playing fucking zelda for a sandbox, especially not when its advertised as a somethign else
its pretty clear that they want to keep this format going with everything they say there, ... maybe it really is over huh
also i hate how they kept talking around answering anything about story/lore; they go asked how ganondorf even connects to ganon since theres nothign about it in game, and all they got out was welllll we dont wanna say anything bc its up to the player; about every question you got the answer of "make somethign up yourself" which is just ... its really clear they dont actually care but dont want to say everything is meaningless actually, so they try to be vague about it and with doing that really just confirm they didnt think about it and they dont care- so no lore actually matters, nothing thats been said or established has any meaning bc they will get rid of it the second it crosses paths with their new -more freedom equals better- philosophy, they say its bc they want you to be "free" to think up anything but apparently dont realize that when there are no rules, no consistent lore or anything that it ROBS it, it stops having meaning, its fun to connect dots only when there are rules you need to work with and dots to connect in the first place, when you have an established world with its restrictions it drives you to think more creatively about things- but when there are no rules?? its fucking boring!! thats what it is!!
when you discard all rules i wont care to get invested into anything bc i know it will not be considered again, be done away with without any reason and wont have influence on coming or previous games ... bc there are no rules, anything is possible and everything can be changed any second, so nothing matters
(they also talked about the many viral videos of those very few dedicated people that make godzilla mechs in totk and how happy they are about that- i get that to some extent, but the way they kept talkign about it really just felt like it confirmed my suspicion that that whole mechanic was mainly implemented to let people do that since that gets shared around en masse making it seem like that is why people enjoy it while neither the game nor the narrative are build around it in any way ..)
it just makes all the time i spend thinking, feeling and theorizing about zelda like a true waste of time, bc nothing matters and there are no rules-
i am someone who greatly enjoys working with and around established lore/rules, its fun to me to recontextulize things by being smart or creative with it all without breaking anything or as little as possible of the established things!
if i wanted to do just do anything i want I COULD HAVE ALREADY DONE THAT bc theres nothing actually stopping anyone to just make up what they want! i DONT need canon to lose all rules for that??!!
maybe ill have to make myself believe the franchise ended with botw on a good note ... ono
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man, DE fic piss me off a little sometimes asdfgk. i think u guys are greatly overestimating how much police can or are willing to do, and what cases they are incentivized to actually pursue.
when my mom's apartment was broken into a year ago, her next door neighbor literally got one of the guys on camera, and the police basically shrugged and went "sorry! nothing we can do!". when one of the men broke in again a week later, while my sister was home alone, when she could have been attacked, when she saw the guy face to face, again they were like "sorry! nothing we can do!"
which isn't to say i think they should have gone all supercop to solve the case. what the fuck are they gonna do, manhunt the guys across the city based on grainy camera footage? what would my mom and sister even gain from that, what would the community gain from that, having cops hovering around and then maybe throwing two poor guys from the neighborhood into prison? it's just reality that there's only so few resources to solve these things, so many dead ends, and more harm than benefit to the socioeconomic circumstance of the area.
it's just kind of irksome seeing fic casually talk about all the crimes precinct 41 and C-wing are pursuing and solving, when in reality most probably wouldn't even reach their desks before they were waved away as a dead case. or if they did reach their unit, still wouldn't be solved because it's simply too big of a gamble of time and resources. according to pew research center, in the US, about 45% of violent crime cases are solved each year, and only about 18% of property crime. and that's only the solve rate for the reported cases. it is in fact copaganda and simply inaccurate to portray the police as though they make a significant impact on crime, when more than half the time they're going, "sorry! nothing we can do!" 👍
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