something i like about mizuki and rui's interactions is that the first time he addresses her with the suffix "-kun" when he's asking about her name? but in every instance after this, he drops it even though he uses it to address /literally everyone/ (including the cis girls, he calls nene "nene-kun" for instance). makes me wonder if mizuki herself voiced her discomfort with it after explaining that she's trans to him or if he picked up on this on his own? either way, i like that he's considerate towards her even if he doesn't fully Get her...
i also love that mizuki here immediately assumes (perhaps a little unfairly towards rui even if it's understandable) that there's some narrativization on rui's end towards her which is rooted in a voyeuristic fascination in her as a person with a unique gendered experience that ties into how she's often treated as an object or an exhibit by everyone? it also makes sense in the context of her genre awareness and performativity bc mizuki is /very/ hypercognizant of tropes and the archetypes she's often forced to occupy?
it's this the expectation of herself as a source of entertainment to others. trans girls often exist in media to be ogled at and othered. she doesn't see reflections of herself in the world. she sees caricatures. so of course she'd assume tht this is what rui wants of her. of course that isn't the case, but trust is so difficult. commodification of transfemininity and transfemininity as performance being widely seen as a source of entertainment and comedy are things that are very normalized in pop culture and media… even when trans girls aren't treated as jokes, they merely exist to reinforce the femininity of cis girls as innately more authentic. this is something mizuki absolutely knows considering her genre awareness and how much she loves to engage with fiction, but i think it's also interesting that in the context of her relationship with the other girls in niigo there's this conflict taking place in terms of being the manic pixie dream girl who purposefully elevates the cis girls by setting the stage for them and helping them address their problems (she does this in carnation recollection, mirage of light, our escape for survival and many other instances) versus using them to affirm her own femininity … we see this the most with ena, but i think this is present with mafuyu too especially in the way she represents mizuki's hope.
mizuki's introduction to the other girls in person also establishes that she's very openly genre savvy and goes out of her way to point out narrative conventions of 'isekai stories' and other media tropes relating to her social situations in a way that feels very deliberate as a parallel to being cognizant of societal prejudices and gender constructs and the way they're sustained through pop culture so she has to co-opt them for her own benefit bc so much of mizu1 is about mizuki using fiction and horror stories as a medium through which she can engage with herself and the other girl but i think this is meaningful insofar as it tells us that mizuki always understood how abuse and misogyny work bc it's been her experience for her entire life…
it's interesting that she's one of the few characters in the cast that's an active Anime Fan (ie, going out to try and get merch, tickets, the soundtracks, etc), but the expression around it is /very much/ like trans culture, like how a girl is engaged with things. it isn't about figures or being the ultimate oshi, she enjoys the characters, she enjoys what goes into the creation, she's engaged with how she relates to characters over them being "attractive." there's so much… about her and her genre awareness and also her social awareness…
it feels very special bc very few stories go out of their way to acknowledge the fact that trans girls are usually the demographic with so much perspective on women's issues, both bc of their own lived experience and bc they feel like they /have/ to be knowledgeable to prove their own abuse and make up for the taking up so much space in women's spaces? it's motivated by internalized guilt but it's also out of a genuine desire to connect with women and womanhood … so many anime fandoms are often sustained by trans girls and that's something i always notice whenever i'm on twitter or tumblr? magical girl and idol series fan spaces are always occupied by trans girls and the same can be said for things like gundam? mizuki is the type of trans girl who's more into the former than latter but it's still important to note, and it makes me wonder how much of an overlap there is between how that works in english speaking fandoms and japanese ones? i imagine there's a big overlap, but it's still something i'm interested in seeing something more concrete about.
but yeah, the way mizuki is so invested in the process of creation and connecting with the characters very much parallels how she's the MV animator/editor for niigo and how her entire work process is predicated around having an intimate connection with ena's art, kanade's music and mafuyu's lyrics to display them in the best way possible? we know that she was creating edits for her favorite magical girls anime before she joined niigo (and she probably still does in her own time). trans girls often connecting and finding worth in things that cgirls have cast off as childish as well - "i don't need this" versus "this makes me feel like i can have the girlhood i was denied." the lesbian contingent in these spaces is also very strong. i feel that a lot of cgirls get disillusioned and have to come back and address the internalized misogyny around it. magical girls being co-opted by misogynistic otaku also makes it difficult, but it feels broadly meaningful to actually engage with magical girls and how they are genuinely made for young women and even more than that.
also the editing … the AMVs and stuff and how it's about fixating on a piece and going through all the clips, closely editing … she's probably rewatched her favorite shows and episodes so often that it's easy for her to think about what she wants to go where. i imagine she would feel self conscious actually sharing her thoughts but also … we know how mizuki is so active in the nightcord chat and how much she fills the space with ena so i wouldn't be surprised. there's a side story where mizuki invites the others out to see a movie bc she doesn't want to watch it alone, she wants someone to exchange thoughts with … it feels so personally driven, this rare chance of hers to … try to show herself to others? she never wants to tell others directly, but through fiction and other things…
mizuki is also a fan of minori but not once does she identify as Anything More than that and of course idols are relevant to mizuki, bc her being Genre Aware extends to anime/manga (specifically magical girls and idols) and films (mainly horror). in the broad context of 'oshi' as a term this is important bc mizuki likes her and thinks she's cool and admires her, but she sees idols as ppl ... she sees girls as ppl.
i also think about mizuki and "loneliness" here in the context of transmisogyny as a system to isolate transfems, to deny them safety and community and solidarity in order to enable everyone else treating them like disposable sex dolls. many ppl will pretend that the idea of transfems being uniquely threatening or predatory is something that came from genuine concerns about sexual safety (especially terfs with their "concerns" about "males in women's spaces") when the truth is that it's a deliberate campaign to convince ppl that transfems don't deserve to be treated as human beings, never mind women, they're degendered objects (aka second class women). ppl aren't /born/ believing that transfems are more dangerous than cis men; nobody independently arrives at this train of thought as much as they're conditioned into it by the patriarchy in order to do their part in maintaining the exploitation of transfems as scapegoats for the sins of cis men even if they're not conscious of it. this just makes them gullible agents of the system.
a huge difference between how 'average' misogyny & transmisogyny operate is isolation. if you're a cis woman who's the subject of constant misogyny, it's still possible to find community within cis women. transmisogynistic oppression goes unnamed, isn't shared by any peers bc transfems rarely know other transfems growing up, and is never called out by anyone even adults. it's true that all systemic violence masquarades as personal violence, but i think this goes doubly so for transmisogyny especially bc the 'mainstream' understanding of transmisogyny even in queer spaces is that it doesn't exist as long as you use a trans woman's correct pronouns or recognize them as women (and even then ppl will always make excuses when they're called out for using they/them and it's not even called transmisogyny; it's just transphobia).
when trans women exist around others they're either reduced to sex objects/freaks or mothers/manic pixie dream girls who take on the brunt of emotional labor in social dynamics, and i think all of this informs mizuki's idea of loneliness here? rui may be well intentioned, but there's an inherent power imbalance between them as a cis guy and a trans girl (even though she's pretransition, it doesn't change this) that contextualizes their isolation and this is something mizuki is obviously bitter about… it's true that her family is supportive and gives her refuge in the form of her own room to retreat back to when the world is too cruel to her, but this is simply not enough when the goal of transmisogyny as an oppressive systemic force is to erase transfems like her from public spaces, which in some part also explains why mizuki feels so insecure about her coping mechanism being avoidance and running away bc it probably feels like she's letting transmisogyny 'win', so to speak? despite how much we see her being treated like an object and an exhibit in incredibly dehumanizing ways as well as all the microaggressions from so many ppl (even the ones who care about her like an and rui) we never see any teachers standing up for her? all they care about is getting her to attend enough so she doesn't have to repeat a year and such, which reads more like they're doing bc it's inconvenient for /themselves/ otherwise to have to deal with her more if she's held back a year. the fact that she tells rui that she hopes he can find friends that he has more in common with than just solitude in response to him trying to tell her that being lonely isn't all that bad is so loaded bc rui is a cis boy, so there's no way he understands the kind of isolation she's had to endure and the fact that he's able to speak positively about isolation understandably makes her bitter for these reasons.
mizuki joking about 'losing' to rui at making friends even though she has "better communication skills" when by that she means that due to her lived experience as a transfem she's had to become very hypercognizant of social norms and conventions in order to mold herself into a very palatable expression of femininity to be accepted by others but her hypersensitivity towards these things still isn't enough and rui can surpass her simply due to the fact that he's a cis guy...
