#in others' designs (hannibal's and jack's) and his own conflicting motivations

[fatalism-and-villainy]

Rewatching season 2 had me really struck by the sheer amount of time Will spends performing for other people, and how few fully authentic interactions he has. In fact, I’d say one of the biggest through lines between the first and second halves of the season is Will learning how to wear masks, and then actively deploying that for the purpose of catching Hannibal.

(And how fitting is it that the promo for season 2 had Will wearing the iconic hockey mask? Not just a franchise in-joke, but a reflection of the fact that he “becomes” Hannibal in this season, begins to symbolically merge with him, to the point in which his own goals become clouded to him.)

It's a natural extension of season 1's establishment of his empathic abilities, where he begins to more actively use his ability to read other people and discern their motivations as a tool, or weapon. Simply telling the truth about his innocence doesn’t serve him - so he adapts a façade very quickly, in his faked tears for Hannibal and Alana. All of his interactions with others while in prison - Chilton, Lounds, Matthew Brown, etc. - are very deliberately engineered, and lean into what Will knows (or thinks) each person wants to hear - all setting the stage for him doing the same thing to Hannibal. Every word, everything about his intonation, is so precise - something that specifically struck me in this stretch of episodes was when he talks to Gideon and very carefully leans forward as he’s trying to drive his point home:

(And the body language, interestingly enough, is not just persuasive, but also mirrors the way Gideon sometimes leans/dangles his arms out of the cage when talking to others - and it reminds me of Will also mirroring Hannibal’s body language during the “not now that I finally find you interesting” scene, when he bites his lip in the way Hannibal so often does.)

It really highlights how so much of how he interacts with others during this entire stretch of the plot is a very carefully crafted performance, with so many of Will’s actual feelings and motivations subsumed into his manipulations. I remember watching the DVD commentary on Su-zakana, and they talk about how Will’s visible surliness with Hannibal was meant to stem from the fact that he didn’t want to be too friendly with Hannibal right away, because it would look suspicious. And I think that gets at something that’s present with how both Will and Hannibal manipulate others - they’re not necessarily lying about their feelings, just consciously using genuine feelings or motivations as a method of influencing others. With Hannibal, he frequently does feel genuine affection for others, and his care for them stems from that, but it’s also often used to put them at ease, serve his own ends. Will, for his part, is genuinely angry with Hannibal, but actively uses those feelings to fashion an aura of standoffishness. And of course, Hannibal has a genuine pull for him, and he deliberately leans into and cultivates that enjoyment for the sake of entrapping Hannibal. …Which of course leads to a situation where he has to put on a show for Jack as well, in which he downplays how deep into it he’s getting.

So it’s entirely fitting that the opening of Mizumono features the two halves of Will’s face - the front he’s presenting to Hannibal, and the front he’s presenting to Jack - merging, mask-like, in the middle of the screen.

They’re both the real him, and they’re both masks - and he gets so subsumed into his performances for others, the modulation and accentuation and sublimation of his feelings that they require, that he gets lost to himself (and is also terribly lonely and isolated). No wonder he’s confused and unmoored in early season 3.