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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can i request three somehow forced into a fake dating situation
Three stares directly into Martyn’s eyes. They are blue and of an average size. It feels as though maybe this should be against the rules, but according to the book it had read, this was… normal. A normal thing to do on a date. Look deeply into someone’s eyes. It would not be suspicious at all, even though Three isn’t really sure how to look more or less deeply into anyone’s eyes at all. Eyes are not flat, but even when Three Looks, it isn’t as though there is anything interesting in there.
Martyn is sweating somewhat. He looks away first.
Three’s pretty sure this counts as a victory, especially given Martyn can’t see Three’s face behind the mask anyway. It is good Three has now won the game of ‘staring lovingly into its date’s eyes’, because that had been a strange, threatening mortal ritual. It would rather not do that again.
“Haha, thanks again for agreeing to this date,” Martyn says, very suspiciously looking around the small cafe in a bustling semi-private Origins server. “It’s been so long since we’ve gotten to hang out like this. Gods, do I sound stupid.”
“You do,” Three says.
“You don’t have to answer those,” Martyn says.
“Will comply,” Three says.
“Oh, for the love of—we’re on a date. A date!” Here, Martyn winks obnoxiously. “It’s not a mission.” He winks obnoxiously again. “Besides, you should lighten up!”
“Will comply,” Three says.
“You know, I had forgotten how obnoxious that was,” Martyn says cheerfully. “Anyway, I should order us some drinks! Have some conversation! Keep an eye out around us, yeah, for our waiter?”
“You are not very subtle,” Three says.
“I don’t know what you’re talking about,” Martyn says. “Besides, honestly? I am really glad to just hang out with you. Because we’re dating! On this server for fancy couples. Yep.”
The problem is, of course, that a fancy origins server is a great place for the strangest of people to hide.
When Martyn had asked a favor, Three had been… uncertain. This was not because Three doesn’t care for Martyn—it does, greatly—or because Three didn’t want to see Martyn—they’d met up a few times before now, tentative and quiet and frustrated and all the things that were hard to explain, and then in all the ways they were okay again—but because Martyn, for all Three cares for him, is still an idiot.
Three is its own handler, now. It does not have to follow handlers that are morons. It had told Martyn this. When Martyn had stopped wheezing, he’d explained that it’d be fun. Not Listener business, he promised; he still hadn’t quite gotten out, but he wouldn’t drag Three in, Scout’s honor.
(Three believes him. It’s never been that Three doesn’t trust him.)
It was a friend of Martyn’s that had gone missing. Apparently, on some fancy modded server? And now, Martyn wanted Three to come help him do some recon because, quote, “Jimmy laughed at me until he cried and that hurt me a little bit, not going to lie, and I’ve used up the favors Ren owes me, and Oli was busy. Have you met Oli? You’d like Oli.”
(Three did not like Oli.)
Three agreed, despite its better judgement. The reason it thought this may be a poor plan was because—
“Ah, the lovely Valentines,” the waiter says. He gives them a plate of lovely heart-shaped calamari. Three wonders if they had belonged to heart-shaped squid. “It’s a lovely evening, isn’t it?”
“Yes, it’s wonderful here with my beloved!” Martyn says.
The waiter and Martyn both look at Three. Three doesn’t say anything and sits perfectly still.
“Um,” the waiter says.
“It’s for a health condition,” Martyn says, which technically isn’t a lie.
“Very well, sirs, although it may get in the way of the kissing competition!”
Martyn, who had just started sipping some wine, chokes on it.
“I will win the kissing competition,” Three says.
Martyn chokes harder.
“I will see you to it!” the waiter says. “And of course, our patented species comparability exam is the highlight of the evening.”
“Oh. I am not sure I can produce viable offspring,” Three says.
The waiter stares at Three. Three stares back, although not into the waiter’s eyes, as to not cause any confusion. The mask somewhat prevents that from working, though.
“Very well then,” the waiter says. “I suppose just—do you need help?”
“It knows what it’s doing,” Martyn hisses.
“I did do research before coming here,” Three says.
“I’ll just head on,” the waiter says, in a tone that suggests to Three that maybe it did not do enough research before agreeing to help Martyn.
Oh well.
At least the mask means it doesn’t have to keep a straight face as it picks Martyn off the ground and, completely flat in tone, says: “Do not die. I would be sad if you died of something as stupid as choking on wine.”
“I asked for this,” Martyn says.
“Yes,” Three says. “You did. That is why I am here.”
(Beneath the table, it grabs Martyn’s hand. Martyn squeezes Three’s hand back. It had missed him, though. For all they do not see each other often—)
(Well. It had missed him, though.)
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I hate when people talk about Ashler like it’s inconceivable to ship them.
They’ll be like “Oh, they had so much beef, they’re barely even friends.” Genuinely asking here, have you even read the webtoon if you think that?
Tyler had issues with practically everyone at the beginning, hell, most of the kids didn’t even like each other. Ben, Aiden, Ashlyn, and Logan all thought he was a jerk and he was acting like one because he was trying to protect himself and Taylor and the whole situation was stressful as hell. That’s why his character development is so good. Even Ashlyn remarks that he’s being less of a jerk in one chapter and Taylor says that he's begun to see the others as real friends, maybe even family.
They all eventually became allies and then friends, including Ashlyn and Tyler. Sure, they like to throw some sarcastic remarks at each other but that’s just their sense of humour and part of the appeal of their friendship. Same with Aiden and Tyler, they insult each other all the time but the insults that were originally meant to hurt are now used affectionately.
He gave Ashlyn a nickname guys. He gave a jokey nickname to cheer her up because she felt terrible about the fact that she had to leave him behind while he got terribly hurt, while he died. She literally started crying out of guilt and being overwhelmed by the whole situation. She cares about him and he cares about her and the whole gang cares about each other, which is why there are so many ships in the fandom to begin with.
So stop acting like anyone who ships Ashler is stupid and stop saying ‘they’re like siblings’ on every post about them. We know it’s probably not gonna be canon, hell, Red herself said romance isn’t the focus of the webtoon at all.
I don’t even like shipping in general but the TikTok fandom keeps pissing me off. Stop acting like everyone has to ship the same things as you and stop commenting shit like ‘cute edit but I wish it was Aidlyn’ or ‘They’re just friends, they act like siblings’. Like yeah, they’re not canon but you’d have to be blind if you couldn’t see why some people ship it. Stop shitting on people’s ships and let them have their fun, we all know they’re not canon.
NONE OF THEM ARE.
Anyway, that’s the end of my rant. Sorry, I keep getting Ashler hate every time I search it up on TikTok. It’s so stupid and annoying, let people ship who they want in peace and stop undermining Ashlyn and Tyler's canon friendship and character development to shit on people’s ships. It’s an insult to the characters and your ability to read between the lines.
Live, Laugh, Love Ashler.
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