#and that would be a shame too obviously

[youchangedmedestiel]

Just crossed my mind that if Cas hadn't saved Dean from Hell 15 years ago on this specific day that is 18th September, the song "Watching over me" by Radio company wouldn't probably exist. And that would be a shame.

[hauntingofhouses]

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.

[jichanxo]

subjugate your shame (uncropped under the cut)

i like yasu's face too much here to not post it uncropped....

[tabbi-mysteries]

Episodes 1-500 Mouri Ran's Wardrobe!

+ Films 1-11 & OVAs 1-8

(better quality images under the cut)

Wow what an update! This took a while because uh she does not rewear her outfits very often in this segment of the show, still it was fascinating to see how the style of clothes changes over this time period. Also new to this update I went through and added the smol Ran's that have appeared that I skipped over before :)

This project has been a lot of fun and I intend to continue so they'll be more to come in the future too. In the meantime I want to know people's favourites! (Or least favourites are fun too) let me know in the comments/tags!

As a final P.S I've learnt that some of her merch/promo looks are unique and I was wondering if anyone knows if there's any archive or something of references of those cause some of those are really cute and I'd like to include them.

[hellisntreal]

a power of peace and healing//your bones run strong

I spent a very long time trying to work out a Stone design and I'm still not settled! I'm sure like my other humanizations of Fallen London entities, I'll come up with a few <3

[sarahreadstoomanycomics]

Every time I think about Kon, I think about how despite how much I love him as a character, I would never recommend his solo comic to anyone.

[awfullybigwardrobe44]

Band leader at church: *tells me that he appreciates me, values me, that I am loved, that he sees the effort I’ve put in, that he wants to get to know me more*

Me: *feels good for a few hours*

Me: *has in-person interaction with him and the worship leader tonight*

Me, hours later: they hate me. They both can’t stand me. Whatever he said this morning, he doesn’t feel it anymore. He thinks I’m weird. He thinks I’m annoying as heck and doesn’t want to be around me. They are both annoyed at me and I took up a disrespectful amount of his time last night and he thinks I’m rude and entitled.

[agalychnisspranneusroseus]

Seriously Anne and Marcy are so cute and silly, I wonder if Sasha was annoyed by their goofiness back on Earth or if she secretly found them adorable.

[kashilascorner]

Oh ok. I get now why a lot of people didn't vibe with the ending.

All and all: excellent manga, overall very good final act, too rushed final 2-3 chapters but weak and honestly mediocre epilogue, which makes the high of the ending kind of leave a bitter taste. I think Noda had a good steed and suddenly he had to finish and had to rush all. So the ending in the sense of the final arc was good but the ending proper (final couple chapters) + epilogue......... Not so much

[beliscary]

there's a tower in belisaere called dolorous bastion

[lith-myathar]

Being obsessed with moral purity (and the appearance thereof) is far more likely to turn you into an abuser than a kind and compassionate person who cares for their community and there are so many cautionary tales about this in media and yet *gestures at all of social media*

[harmonicabisexuals]

allison cameron shows up for 30 seconds every five episodes of s4 and s5 looking like the most beautiful human in the entire world, serves cunt, and then leaves....honestly slay

[a-very-fond-farewell]

:O !!

[jammyshouse]

finally accepting i am a gay man rather than whatever i thought i was is explaining a lot about everything to the point it’s actually making me angry. like man. man i guess it was very fucking obvious to everyone except me huh

[edwardshundredyearoldspunk]

I hate liking "edgelord guy shows" that have a mostly male fanbase because any possible discussion is available only on reddit and it's always the most braindead media illiterate takes your eyeballs will ever read

[sysig]

Hey, those look familiar! (Patreon)