Jazz makes a deal with Desiree after finding her brother in their parent’s basement. And it’s not a pretty sight.
Her deal: Desiree gets a slightly longer leash (in a matter of speaking) as long as Danny and Jazz are safe. (Or something like that. Point is, she made a deal)
I wish this never happened and that Danny and I were safe somewhere else!
There’s a snap of fingers, a bright flash, then she’s outside in an unfamiliar city with sirens blaring and people wailing as a scarecrow runs by with some sort of gas, chased by someone dressed like Vlad adjacent except all black with a weird looking bat symbol on his chest.
Not normal, but also not the weirdest thing she’s seen.
But there’s no sign of Danny.
Desiree looks at Jazz and smiles bitterly, “I never said you’d be safe together.” And disappears.
Meanwhile, Danny wakes up screaming in an alley until he realizes he is not in pain and somehow has no wounds from their parents. His screams attract the attention of a man walking by, who comes to investigate, Danny decides to go invisible right in front of him which was dumb but he was injured just a couple seconds ago so cut him some slack. It really should have freaked the guy out, but he just has an astonished look on his face before also turning invisible.
Or: Jazz is sent to Gotham and Danny is sent to Coast City. Jazz becomes an unwilling part of scarecrow’s scheme (could be any villain) and is saved by a bat (any bat, although I prefer Red Hood or Robin) and Danny accidentally showed Martian Manhunter his powers.
Could work with Superman too in Metropolis. He could pick up a dumpster and throw it at Clark and Clark would calmly catch it while Danny is babbling/apologizing for getting scared and throwing something that could have killed the man, then slowly everything clicks and he disappears, leaving Clark Kent to investigate.
(Also background: Danny has just been told he will be the future Ghost King in this and Jazz was told by Clockwork that she would have a difficult decision and a difficult future in store but that it will be good for them and for the realms. Jazz doesn’t believe in fortune tellers, especially vague ones and says so to Clockwork’s face which cracks a smile. I’d personally write it as a Hardcover ship, but honestly if anyone wants to yoink this and do something else with it, I’d be okay with that too!)
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Hear me out. I know it's unlikely that Ratio would ever have been foolish enough to directly get taken in by a scam, but considering that we know:
One of the groups specifically tricked by Kakavasha before he joined the IPC was the Intelligentsia Guild
What he tricked them about was Tayzzyronth's Swarm remnants, the exact same thing we see Ratio investigating in his very first appearance in the game, and
The researchers were described as "extremely cautious"
I am surprised that "Ratio was at least somehow connected to the Intelligentsia Guild team fooled by Kakavasha before he was ever even a Stoneheart" isn't more popular with the Ratio and Aventurine fandom.
Like imagine being Dr. Ratio. You tell your colleagues, "This seems like a scam. Are you sure you should trust this 'local guide' you've made contact with? Tell me about him. A picture? Does this even look like an Egyhazan native to you? I won't save you fools from making idiotic decisions." (You end up having to clean up the aftermath of their idiotic decisions anyway. There is sand in places on your body you didn't even know existed before this. How mortifying for the Guild. For you, by association.)
Then, next thing you know, you get a mission briefing slid across your desk from your IPC connections. They want you to work with their new Stoneheart. You open the packet to see... that little bastard with the enthralling eyes who had your moronic colleagues scrambling in the dirt on a backwater planet for months. Apparently he's made a career out of fooling you your supposedly competent guildmates.
You run off to confront him. You never met him personally back then, but you deserve compensation for the idiocy you were subjected to nonetheless. He deserves to know how much of a pain in the ass he's been in your life already without ever having met your eyes--
He proceeds to shove a gun into your hands and tries to make you an accomplice to a suicide. Apparently, this is normal behavior for the man now called Aventurine. Somehow, it's supposed to prove to you that he is a sane and reliable individual.
Absolutely nothing in your life has been normal since Egyhazo.
You would like to have mundane problems, sometimes.
How do you keep ending up in this beautiful manic clever conman's orbit, and why, like binary stars, can you not escape the gravitational pull?
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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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