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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going INSANE. what is he thinking. why did he say this. why does he do all of this. i am thinking so hard.
we know he's seeking arceus to recreate the world bc in his eyes the world is cruel and unjust and it needs to be destroyed and remade. he's set himself on a mission to create the better reality he's envisioned for his whole life.
but everything else he does. the way he spends his time on pasio making people smile with togepi. even if he justifies it as something purely transactional to get more customers, we know he doesn't really take his merchant job seriously. the way he loves his pokemon so much that they will pop out of their pokeball to excitedly tell whoever will listen how much they love volo back. him trying to capture these moments of happiness tangibly because they never last long and can be wiped away any second.
he still hangs onto hope so much despite what's implied to have happened to him. in spite of all the anger and bitterness that's festered in him, he doesn't really want to destroy everything as he says.
it all started with a wish for the world to be a better place, for the good in the world to outweigh all the cruelty. he's still trying to spread what happiness he can.
but at the same time his past drags behind him and reminds him that he can't afford to trust in the goodness of the world.
that self-assigned mission to usurp arceus's power and rewrite everything.. to him, it's his duty now. he has to do it for himself and, as he rationalizes to himself, for the world.
so he ignores the flaws and holes he finds in his own reasoning. he can't help but seek out the brightness and happiness and goodness that does exist in the world, yet he has to dismiss it to justify his goals.
... all this to try and explain to myself why volo's asking all these questions and making all these comments that seem to go against what we'd expect given his ulterior motive and plans. and it's like he's asking the few friends he has to remember him as the one who seeks joy, even when he does the worst to fulfill his dreams
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An Off-Brand Post About the Kim Petras Concert
this post isn't about acting or youtube stuff I just want to say I had a really fun time at the Kim Petras concert last night :)
I saw her four years ago and wow, she's really gotten better - like she was a good singer before but now she's really got the pipes! Great outfits, great backup dancers, also shout out the guy who mopped the stage before she came on: I see you working hard to make it safe and enjoyable for everyone, thanks buddy!
Thank you so much to all the people who recognised me and came up and say hello: I'm really touched by how much you enjoy my work? I often feel that what I make is silly or not good enough but it makes me so happy when people get something out of it. I'm also so happy you're excited for Dracula's Ex-Girlfriend!
Shout out to the cute girl who hit on me as we were leaving and gave me her number. You might have googled me by now, perhaps you found this post - hello! I'll text you when I get back from LA; I think you might be a bit young for me 'cause you mentioned you're a final year student, but hey maybe we can just go for a friendly coffee and chat about the concert :) I need to get a burner phone first (I've had problems in the past with stalkers pretending not to know who I am) so I may not give you my actual number until we've gotten to know each other properly - sorry, my life is strange sometimes, being a public figure makes it hard to meet people but I'm flattered you approached me
Also, the opening act - Georgia - WOW, she was so good! What a talent! I'm gonna check out her music, she was so heartfelt and it was amazing how she played the drums and keyboard and sang all at once! I gave her a big thumbs up and she smiled at me!
I was the only person in the venue wearing a mask? Made me feel slightly odd but I have to film a movie next week and I didn't want to get sick, so. (I took it off to snap a quick selfie, which was perhaps a little cheeky but I wanted to remember how much I was smiling)
Wild that the last time I saw Kim I was still in the closet! How times change!
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