suna underestimated you.
underestimated the power you had over him. see, he never considered himself down bad or whipped, but anything you wanted, he’d do whatever it take for you to get it. whether it would be to waste his entire wallet for a brand new wardrobe for you, or spending his whole life chasing after you. he’d do it all for you.
he recalls the days he’d spend, with you. whether it’d be walking around a children’s playground acting as if you’re 10 years old, or dancing together under the rain- not caring if you’d get sick or not.
because even if it were doing the most stupidest acts, the most silliest adventures, the dumbest talks, he did it all with you.
suna recalls his days before he met you, his world was all numb, dull, gray.
meeting you felt like- color. it felt like a child opening its eyes to the world, his world felt complete with you in it.
no matter where you were, or whatever time it was, suna rintarou liked to think of you two as soulmates. in every way possible. in every universe you were soulmates, in every universe, he’d love you. and he liked to think that he’d find you in every universe.
in the most craziest ones. the most cutest ones. the most bizarre ones. the most funniest ones. the most saddest ones, you’d be his everything, everywhere, all the time.
and here he is now, because he underestimated you.
he didn’t know how much of an impact you were to him until you were gone.
and now that you are, he can only think, even if we never would’ve worked out in this one- maybe we would’ve worked out in every other single universe.
he takes one last look at the grave sitting right in front of him. maybe in some other universe. not this one- but definitely in another one. he wouldn’t underestimate you again
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honestly with sagau im now imagining the “almighty creator” or in this case meant to represent the reader, us as the archaic god of chaos
chaos can be everything and nothing at the same time, it was made out of everything that exists, whether logical or not, but at the same time it was made up of pure nothing
it makes no sense and i think thats why it fits so much; reader is a being that as of right now is usually seen as something not really comprehensible by anyone in cult!au teyvat, they know and can see you *look* human but are you really? you could be but at the same time you couldnt
you couldnt be predicted, but you could be- but then you wouldnt. you’re a puzzling puzzle just waiting to have all its pieces perfectly in place and finally be solved
i can imagine the shock for teyvats lil guys to realize that chaos, something they dont necessarily enjoy having in their lives, is literally what the “almighty creator” embodies,
this was heavily inspired by actual religions, in which chaos in the first primordial being to ever exist and be, and gather themself together cuz ya why not and boom universe or sum else
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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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Hello! I adore your Bodies fanart. I was imagining Karl in 1890 and how much havoc he would wreak. Also Henry and Karl would get along very well, I think, and Karl would be a *terrible* matchmaker for Henry and Alfred... I'd love to see your take on any of this, if anything comes to you 😍
HELLO OMG THANK YOU FOR THE EXCUSE TO JUST DROP HOT TAKES INTO THE BODIES NETFLIX TAG <3 all these drawings are very scrappy and i lost the plot and this became more like sharing all my hcs but still :')
now that you have brought it to me i really do think henry and karl would be unstoppable, i think they'd constantly have a fun, back-and-forth banter !!! i also can see karl dropping multiple not-so-subtle hints, and all of the detectives being quite supportive. gently too, considering the period-typical homophobia. i do think sometime along the lovelorn pining looks, he gets tired of seeing them orbit each other without anything happening, and this exchange occurs:
more doodles and crying under the cut :)
i will die on the "karl weissman bisexuality" hill. HE TOLD ME IN A DREAM!!!! it's just a little messier for him because he really likes women and will not figure it out ever. charlotte hillinghead TO ME also has the exact opposite problem where she is very much in love with her husband and doesn't have any incentive (or freedom considering the time period) to explore her sexuality. the way she accepted hillinghead's feelings for henry, and was less rejecting and more devastated over thinking he didn't love her or polly, just read queer to me somehow. an acceptance because she's like that too, yk? (maybe a bit of a reach but i don't get to choose who my mind designates as being bi)
i like to think that charlotte-karl experience a spider-verse mindmeld "YOU'RE LIKE ME" moment over being bisexual but they're not quite sure why they're feeling that way because they have no idea they're bi. if you are me you will understand perfectly
and i am a henry/alfred/charlotte poly truther as well (please see above discord ranting from my dms with a friend lol)
on more notes of just giving whichever character i want the bisexuality card, hasan is bi to me too. i think hillinghead and her bond a little over that shared religious guilt, of having their respective institutions be homophobic, and the feeling for so much of their life that they're different, so there must be something wrong. it helps her empathise with him and they quickly become closer because of it :) possibly also introducing him to queer lit, and maybe some non fiction lgbt history books
and one last final doodle because i think alfred as the only detective with an active love life where he's pursuing someone would make the others pretend like they can be adults but they want to know SO BAD and they also give advice once in a while because they're rooting for alfred :) they're all pretty good at hiding how badly they're invested in this (think iris 'casually' asking hillinghead how it's going and the other two perk up in the background) like i refuse to believe any of them are totally immune to the equivalent of office-gossip
this was so so long LOL i hope any of that is coherent !!!!! a lot of it ofc is my own projection bc i am bi, but it's real to me <3
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