SJM said HOFAS would help set up the next ACOTAR book. And it did.
*HOFAS spoilers ahead!*
At the end of HOFAS, Bryce gave Gwydion to Nesta, bringing it back to the ACOTAR world.
Their names are practically identical. I don't know how you can see Gwydion and not think of Gwyn. It's like seeing a sword named Rhysarde and going "Oh yeah, totally doesn't sound like Rhysand at all. Yep." or a painting that is done by a Prythian artist called "Feyrere" and going "Hmm I wonder who that could be."
Now, get this: Gwydion was last used by some dude called Fionn. Why is that important?? And here, here is the part where your mind is going to be blown:
FIONN IS LITERALLY ANOTHER NAME FOR GWYN. HELLO.
More evidence if you need:
Who else had (I typed "has" initially *sobs*) a twin? Who else glows when she sings? Who else is connected to both Nesta and Azriel, and has a very high chance of obtaining the sword? Who also has the skills to actually WIELD the sword?
So, just to confirm the facts:
Gwydion, Gwyn and Fionn (the last wielder of Gwydion) are all related names in some way or another
Gwydion glows when it is being used, like how Gwyn glows when she is singing
Gwydion is a sword (duh). Gwyn is a priestess-Valkyrie who, you know, uses a sword. And uses it pretty darn well, too.
Gwydion is the twin to Azriel's Truth-teller. Gwyn herself was a twin.
Gwydion is now back in the ACOTAR world, being one of the most significant things to happen (in terms of ACOTAR storyline) in the HOFAS crossover.
(A little of an aside here: I'm not insisting that Gwynriel's book has to be next. I know there's... a bit of tension running between Gwynriels and Eluciens regarding whose book is next, and personally, it (the order) doesn't matter to me! It's a win-win for me either way lol. This post is more for those *cough you know who you are cough* who think that Gwynriel can't be endgame because of "plot reasons" when the plot clearly says otherwise.)
And I know after saying all this some people will still insist that Gwyn(riel) won't be important. *shrugs* But you know what? I don't really care. I'm making this post to remind fellow Gwyn(riels) not to worry and to stoke the embers of our hope.
After all, it is not blind confidence that inspires me, but ✨ irrefutable canon ✨
266 notes
·
View notes
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.
670 notes
·
View notes
a very interesting (and endearing, at least to me) detail about jean's character is how he tends to fix himself during a confrontation. (long post ahead)
despite the fact he looks just fine, he does it to self-soothe more than anything, because he knows he has no control over the situation. so if he can't get through harry, at least he's in control of how he looks. and he can look BETTER, more put together than harry, so he makes sure to show him that. every time.
constantly readjusting, correcting, dusting himself off every time he's confronting his former partner because i think he has a severe inferiority complex (since harry outranks him and refuses to accept any promotion, which makes jean perpetually stuck as a satellite-officer, tied to a self-destructive man who's also good at what he does + harry has had a chance at a love that's so redeeming that he pictures her as the game's equivalent of God, a love that jean desperately yearns for so he hates harry for blowing it, and hates himself for never finding such a love despite the fact he's more put together than harry, or so he claims) that flares up every time harry's in the vicinity. i don't think jean has problems asserting himself when harry's not around, though. we've seen that here.
jean's perfectly capable of being authoritative, and has power over his colleagues, contrary to popular belief on this website. of course, provided harry's not there.
because he'll start slipping every time. his body language is also incredibly stiff, i'm assuming it's to seem like he's composed, but that falls apart when you notice how many times he struggles with his breathing, how many times he has to collect himself.
naturally, since kim also outranks him, jean behaves the same way with him although less emotional. he loses the spite, turns a little more submissive, though his pride doesn't completely disappear, like authority indicates. i also believe it's because kim didn't address him properly, therefore jean didn't feel the need to extend more than basic respect towards him.
it's very interesting to see, since he seems to have this ongoing inner conflict between his pride and his self-hatred. believing he's better than harry, yet crumbling at his presence. laying down and taking it, then suddenly revolting. being in control until the reason you're forced to take control shows up, then suddenly you're not in control anymore and you have to fix your hair and your tie and dust your suit and cough to look like you have your shit together. to prove that you're better. jean's trying to tell harry that he's BETTER than him! that's why he does all of that shit! he's terrified of ending up like that! he's even more terrified of the fact that despite being the mess he is, harry IS better than him! HELLO!
238 notes
·
View notes