#and not an objective one either

[n-r-drafts]

@doitninetimes' tags:

#everyone has the a different thing that is easy for them or they love doing that you will find very inexplicable #let them help you with that thing because it is easy for them and hard or expensive for you

the commodification of friendship is the most annoying thing to come out of the internet in ages. like actually i love to break this to you but you're supposed to help your friends move even if it's hard work. or stay up with them when they're sad even if you're gonna lose sleep. you're supposed to listen to their fears and sorrows even if it means your own mind takes on a little bit of that weight. that's how you know that you care. they will drive you to the airport and then you will make them soup when they're sick. you're supposed to make small sacrifices for them and they are supposed to do that for you. and there's actually gonna be rough patches for both of you where the balance will be uneven and you will still be friends and it will not be unhealthy and they will not be abusive. life is not meant to be an endless prioritization of our own comfort if it was we would literally never get anywhere ever. jesus.

[evilherehotel]

now you see them, now you don't

one, being a number, is used to shapeshifting because that's how numbers are! they change and shift aalll the time and she's also used to being 2d because every algebralien can be tied back to the little symbols we see on the page. they're built for it

objects? not so much. and it's a lot less pleasant for basketball to suddenly have her entire body and perception of reality warped after losing an entire dimension

[v-arbellanaris]

i knowww everyone wants maric to be alistair so bad and i know the books present a younger maric like alistair but im so invested in a completely rotten through to the core maric theirin who has sacrificed everything he has ever had and wanted for power and is now left with nothing but that power and no peers, no great loves of his life and no real family. stuck in a marriage with a friend he didnt love, suffocated by loghain's constant presence bc its a reminder of all the way he's lacking and all the things he "allowed" loghain to push him to do (bc its easier to blame loghain than take responsibility ofc) and loghain's refusal to understand or empathise with his struggle, and stuck with a son he doesn't quite know what to do with and who he can never really make understand everything it cost for him to have this life that even maric himself never got.

[kit-screams-into-the-future]

was having trans marty thoughts again and i came to a realization about this scene

[secriden]

This line. God, this line! It has been eating me up inside for 2 days now, because let's not forget, this line isn't about love, it's about trust. And that has implications that make me want to scream.

It's a direct reference to this moment earlier in the episode:

At the start of this discussion, Style and Fadel still have a kind of playful air about their conversation:

Style: Oh? Not even me? Fadel: You're at 80% at best. I feel like you're hiding something from me in the 20%.

In this exchange, though, there's a sense that Fadel is issuing a challenge, like there's something specific which Style can do to gain Fadel's full trust. And while Style knows there are things he cannot (yet) reveal to Fadel, I think a part of him is determined to be as honest as he can be, which is why he issues a challenge of his own by asking for more specificity:

Style: What do I have to do to gain your complete trust?

Part of this question is a simultaneously inquisitive and deflective - What (and why) do you think I'm hiding (something) from you? - but there's also a moment after Style finishes speaking where he stills and goes quiet that feels... genuine, weighty. Or, as @airenyah has pointed out in her meta on Style in episode 4, the "grounded[ness]" in Style's demeanour is a signal that Style means what he's saying in the moment. Maybe about his own desire to be worthy of Fadel's trust, maybe about how he genuinely does want this relationship to be real in whatever way that matters to Fadel.

I think Fadel sensed that too, because the moment looses all the lightheartedness it had before. Fadel pauses, and then gets a look on his face that just... breaks my heart. There's a sombreness there, like he knows he's going to have to say something that makes him sad. Fadel looks away, and then down, before he seems to steel himself and says:

Fadel: It'll never happen. No matter how much you love someone, I just don't believe that you can completely lay yourself bare in front of them.

Fadel says this like it's fact. Like what he's expressing is something foundational and true and irrefutable. It's not even about his doubt in Style's honesty, because this statement has no qualifiers or conditions put on it to connect it to Style. Rather this is what Fadel fundamentally believes about relationships and trust: he finds the very concept of being fully known and still accepted an impossibility.

Sure, maybe this is because of the falling out (or betrayal or disappearance) associated with the former lover; but I also think it might be because Fadel is acutely aware not only that he's hiding a rather big and dark secret (not to mince words, but: actual literal premeditated murder), but also about what it implies about Fadel. Because being able to kill another human, coldly and clinically and without remorse, takes a certain type of person. Because, yes, Fadel has lived through an absolutely harrowing and traumatising event (his parents' murder), but it's also undeniable that it changed him. Because there's something about Fadel that twisted dark and which he never quite got back. There's an anger, a hurt that colours every moment of his life; that enables him to look a man in the eyes, smile politely, and pull a trigger.

And at this point in their relationship, Fadel's understanding of Style is that he's... well, kind of innocent. Especially in comparison to Fadel and Bison, and even Kant.

Style, who easily reveals facts about his life which Fadel already knows (winning a car tuning competition), making Fadel doubt his own instincts about Style hiding secrets. Style, who also reveals the things Fadel doesn't know, like the tender and secret pain of a mother lost to cancer (which, now that I think about it, Fadel may also know) and his worries about a father who "lost his bearings for a bit" (which he probably doesn't). Style, who tries to comfort Fadel in his own loss by offering a safe space and a sympathetic ear.

Style, who doesn't just see Fadel for his tragedy, but is asking to be given the chance to accept all of Fadel as a person. Style, who not only wants but has the capacity, to be the only person Fadel needs to rely on. Style who, despite the sea of differences between them, understands Fadel on a level that is so very foundational.

I'm going to slightly segue and mention something that may not resonate with everyone, but really hit me in the gut this episode: because I lost my father when I was 16 after he battled cancer for 2 painful years. And this revelation about Style has totally shifted and coloured everything Style has done in a new light for me. Because not only does this totally explain Style's sometimes almost stubbornly childish demeanour (it's common in adults who've had to 'grow up' too early), but also why Style shows seemingly random flashes of insight and maturity when they are most crucial. Notably, Style has this almost instinctive sense of when he needs to back off a sore point with Fadel that I couldn't quite put my finger on until this episode.

I've seen a few jokes about Style's awkward subject change, but I've actually got a friend who I hold very dear to my heart who was one of the only people to give me a sense of normalcy and comfort when my dad was on his last few days and then at his funeral. And part of that was the instinctive way she would know when I needed to just. Not be a grieving daughter for a few minutes. To get a small respite from the overwhelming hopelessness and sense of impending loss. To get a moment to breathe and gather my strength, because knowing I was never going to see my dad again, or hear his voice, or hold his hand was tearing me apart back then. Sometimes she'd talk to me about college drama, sometimes she'd introduce a new kpop video to me, sometimes she'd just ask me what I wanted to eat and take me to go have a meal with her. And sometimes there really just isn't anything else to say other than "I'm sorry." Nothing you say - nothing you can say - is going to ever, ever make this grief go away, and in most cases, it was better when people (especially those who couldn't really understand) didn't try.

And I think if you look at Fadel very closely, there's a moment of genuine surprise (Fadel wasn't expecting the subject change at all) and then... something that looks like fondness mixed with exhausted relief. Because I don't think Fadel was ready to talk about his parents yet. This was honesty he wasn't ready to give Style, mostly prompted because Style himself had willingly been so vulnerable that a part of Fadel wanted to reciprocate. But further down that path lies not only his darkest memories, but also the connection to the part of his life he is not willing to share with Style yet. So this subject change is a relief, it's a blessing, but it's also Style knowing when he shouldn't push any further with Fadel's fragile heart.

Which brings me back to how well the episode's theme of trust (both deserved and undeserved) was woven in this episode. This is true on multiple levels and characters but I'm not even going to attempt to touch Kant in this post because... Lord, that is beyond me at the moment. Someone else needs to do that, pretty please, so I can reblog it and scream.

It starts, somewhat unexpectedly, with Fadel asking for entrance into the intimate spaces of Style's life.

So, this episode was not about Fadel's fear of his own feelings, desires, or even affection for Style - that appears to be fully addressed in episode 4. I think that's why we see Fadel be so physically affectionate and indulgent of Style in this episode. He's come to terms with his lust for Style's body (hence his comfort in initiating sex), he's accepted Style as his boyfriend and so can enjoy Style's playful teasing (still reluctantly, but Fadel is still an introvert even if he's mostly enjoying Style's rambunctious nature), and give into Style's (and Bison's and Kant's) cajoling with relatively little fuss.

He's even comfortable toying with the edges of revealing his darker and more sinister side by reminding Style implicitly about how violent Fadel has the potential to be. Recall that Fadel knows Style knows some of his capacity for violence; he just doesn't know how very thoroughly Style is aware of the full scale of this truth. It does help that Style evidences no actual fear and, in fact, looks positively euphoric. Like, buddy, pal, dearest one... please control yourself.

And yet something very, very telling is the way the show makes it a point to depict Fadel very deliberately getting drunk during the double date. Even before the date has started, Fadel looks to be about half a beer in and we see him constantly drinking, drinking, drinking during the whole date. From the conversation about trust he has with Style while Kant and Bison are being off key and adorable about it, to after Kant leaves and Bison gets worried. And we've seen Fadel cope with emotional and mental distress with alcohol before, so we know that Fadel is internally fighting some kind of very intense battle even as he is also very clearly enjoying moments with Style on this date (most notably when they're dancing by the bowling lanes and when Style asks him to go home with him).

So here's my take: rather than being about love, this is about Fadel fighting to hold onto his own philosophy on relationships and trust. Because as much as I do believe Fadel believes he's telling the truth when he tells Style that 100% trust is "impossible", I think it's clear that's not what he wants.

What he wants is to finish this last job so that the only thing he can't be honest about with Style will finally stop being a factor in his life. What he wants is to fully and completely reciprocate the openness Style seems to be giving Fadel. What he wants is to switch off his brain and let his heart lead for once, to stop fighting a battle he has no desire to win anymore, only he can't. Trust (not love) is Fadel's final frontier, and one which he can't quite give up in spite of himself.

Which is why I think Fadel intentionally gets himself drunk here. Because he wants to let his guard down around Style. He wants to open himself fully, he wants to "lay himself bare" for Style, he wants Style to know the full truth and accept him anyway - and he gets so close, but can't quite get there - because he doesn't know that Style already has.

When Style says this, Fadel thinks it's empty words, not knowing that Style has long passed the bar Fadel thinks is insurmountable. And just like Style was able to offer safety and reassurance to the vulnerability Fadel was showing in episode 4, Style instinctively gets to the core of Fadel's darkest fears again:

Style: One day, I'll be your 100%.

This isn't (just) a promise that Style will wear Fadel's stubbornness down, or that Style will be worthy of Fadel's 100% (which, already, has me in tears, ngl). Beyond that, this is Style promising Fadel isn't ruined for this; that it isn't too late, that whatever hurts and wounds Fadel has can be made whole again. That the kind of honest and all-encompassing and unconditional trust which Fadel says is impossible can, in fact, be his. That Fadel still has the capacity to trust and be trusted the way he so desperately, painfully longs for.

I know a lot of people have said Style in this episode is writing cheques he has no ability to honour, but I think it's more layered than that. Because in a very significant and profound way, Style is wholly deserving of Fadel's trust. Because in all the ways that Fadel has ever known he should want, Style actually IS worthy of his trust. Style knows the truth Fadel is hiding, knows what this man is capable of, knows the danger of being in his arms, knows the likely nonexistent future Fadel has to offer him -- and wants him anyway. Style is a man who would stare into Fadel’s darkness and reach out first. Strip away the complication of Kant being blackmailed and dragging Style into his mission, and Style is literally perfect for Fadel. He is exactly what Fadel wants (and possibly has wanted for a very long time). He is, in fact, exactly what Fadel needs to ever experience anything beyond the shadow of a life he's had so far.

But oh, the cruel narrative means that Style is also, simultaneously, painfully undeserving of Fadel's trust; and this is something Style is very much aware of. I think that's why he's trying so very hard to be worthy in all the other ways he can be. Style's awareness of what Fadel is hiding enables Style to (counterintuitively) be completely honest about his feelings for and about Fadel even as he cannot reveal his motivations. So he gives Fadel as much honesty as he can: offers the vulnerability of his own pain and hurts; the comfort of his true understanding and acceptance.

And just as Fadel's vulnerability in the abandoned factory was met with Style choosing a form of physical connection that prioritised Fadel's pleasure (it's made very clear that Style is jerking Fadel off and that all his focus in that moment was on Fadel, not his own pleasure), so too is this moment met with Style very intentionally choosing to worship Fadel's body with all the tenderness and genuine emotional weight that Style wanted Fadel to have in their first time in the storeroom.

Because, crucially, this was Style giving Fadel the chance to lay himself at least physically bare. This is the closest either of them can get to full honesty with the secrets they both are keeping. It's why Style tries so very hard to show the care and adoration and genuine feelings he has for Fadel. Why he makes sure that the vulnerability of Fadel getting himself as drunk and as relaxed and as trusting as Fadel can allow himself to be is tied only to gentleness and tenderness and pleasure.

Because Style actually knows that Fadel can't (and shouldn't) trust him in the way Fadel truly wishes to.

And as much as I believe that Style genuinely means this from the bottom of his heart, the horrifying full truth is that it is Style that has the metaphorical knife hovering over Fadel's chest. He is the one with the capacity to actually give Fadel a new scar that would truly matter. He is, in fact, the only one Fadel wants to fully trust -- and this, along with Style's compromised heart, makes it so that the circumstances will doom them both.

[brainworms-all-night-long]

> Abnormality Dancin' Girl / Guchiry / English cover by Trickle

I know, I know that I'm full of abnormality, so I'll go and sew a new identity Repeat, repeat as I'm double-checking every piece of me to see what needs to be changed Come look at my face Come and give me your praise Erase my old name and throw it all away

And this time with a speed paint to boot (flicker and flashing warning), now you may observe one of my (surprisingly) more organized drawing processes!! this took around 2+ hours of just clear drawing time

A couple breaks and then breakdowns trying to figure out blender not included lmao-

And ofc, the backround music used is the original instrumental to Abnormality dancin' girl by Gunchiry

[charmallows]

updated a list i made a little bit ago (ii characters + touch)

[ritsmaos]

this islike 2 weeks old neow but .. wanted to post smthn & had nothing new :3

mewper... orangw kitty...

[dapper-lil-arts]

Darlings. is it gay when the phantom you created as a manifestation of your dreadfull loneliness takes the form of one of your closest friends.

Fanart of this pretty good horror rarijack fanfic, "The haunting of carroussel boutique" personaly i am surprised the writer didnt take the chance to point out how fucking funny this is. Me n kim started laughing about it during stream and i just had to draw this

[kenzan-brainrot-mp4]

Hello! The twist ending of PYIH kind of shocked me. 'Twas really foolish of me for thinking that for the entirety of Kiryu's saga, Majima has just that twisted obsession with Kiryu, being a "Mad Dog" and all. I came across your PYIH analysis the other day and it really brought home what they were conveying with the ending.

I'm still having trouble wrapping my head around the premise of PYIH. Is the sole purpose of Majima's "filming/documentary(?)" is to rehearse telling it to Kiryu? Because if it had been, that would be even crazier.

Oh, and at this point, is it even reasonable right now to interpret their relationship as platonic or brotherly? What do you think?

YEAHHHHH imo I think yakuza kenzan yakuza 3 (rooftop scene) is where we first truly starting seeing a glimpse of a deeper dynamic between Majima and Kiryu that goes beyond the "weird twisted obsession" reading, and we see more examples of it later as the series goes on (gestures at yakuza 5 and IW) but moments like those were decently subtle/blink-and-you'll-miss-it (not to mention they lessen in frequency also probably in part to Majima's lessening screentime throughout the series), but pyih's ending really goes out of its way to ensure that you actually Know how deep and genuine Majima's feelings are, which I am both extremely appreciative of and Kinda Crazy about

I think the whole documentary thing is interesting. Given the fact that they went out of their way to get the equipment/crew/etc. for the "film version", I would say that the Majima's retelling of his story at the studio and at Kiryu's bedside serve different purposes, and that him telling the story on set was not specifically for Kiryu (what Majima plans to do with the "film version" I'm not completely sure, but I guess for now we can assume it's just a project Majima wanted to do while getting Majima Construction back off the ground?) I'd say the premise of pyih is both to retell Majima's story as he presents it to the "general audience" And Kiryu, hence why the game starts with one and ends with the other. It's the same story to everyone, for the mostpart, and the main difference between the two 'versions' is How he presents it (to the cameras/the players/main audience he puts on the fuckass pirate costume and the theatrics, to Kiryu he tells it to him straight, without the extra show stuff for the cameras. We can Assume the story he tells to each audience is practically identical, considering that the cutscene of him telling it to us in the beginning of the game and him telling it to KIryu at the end of the game use identical lines (cough cough in the Japanese audio), but his tone of voice between the two are notably very different)

Uhhhh shoot I don't know if any of that made sense 💀 Point is I think Majima telling the story of pyih is, in fact, meant for Everyone, it's just that Kiryu gets a sort of special, more authentically told version of it if you will (After all, Majima could've just shown Kiryu the film when it was finally done, but instead he went out of his way to tell it to him personally)

As for the question of "is kazumaji canon now", WOO boy. First of all I actually lowkey want to thank you for asking that question, I've been wanting to post about it for a while now but kept putting it off lol. I mulled over this exact question quite a bit during the week-or-so long time period that I was writing most of my analysis after finishing the game, and, despite the fact that I myself am very vocal about liking kazumaji in a romantic scenario/context, I would not personally call it canon, and I say it is still absolutely reasonable to interpret them as platonic.

While many of the aspects we see in their relationship (especially on Majima's end) such as obsession, devotion, etc. etc. are often associated with romantic interest (Especially in fandom spaces), I don't think they have to be considered specifically romantic. People who have read through my posts may remember a while back that I did an analysis of The Sun at 36.5 wondering if the song was written with the intent to represent Majima's feelings towards Kiryu (for the record this was incorrect and the meaning behind it goes past the scope of the game) and I was going pretty insane about it lol. That's because, had the song been written with that in mind, it would've meant with almost 100% certainly that they would be, in fact, canon, and that would've been Insane. However, this is not the case, and other than that theory I had there's nothing else in the games that would specifically state that either one has Explicitly Romantic feelings towards the other. Do they have a very deep and complex relationship, the likes of which they don't share with many other characters? Definitely. Is it explicitly romantic? I wouldn't say so

The main example I would like to bring up to argue against it would be minedai (*cough* my second favorite yakuza ship I fucking Love Mine Yoshitaka so much he's one of my favorites). I'll link this amazing post with all the examples but essentially, while minedai and kazumaji share many of the same themes in their relationship/dynamic (again, obsession, devotion, you get the drill (can you tell Majima and Mine are two of my favorite characters yet LOL)) the main difference between them is that, with minedai, it is basically outright said Multiple Times in Multiple Sources outside of even Yakuza 3 itself that Mine loved Daigo, with words used Specifically to convey strong romantic connotations, a choice rgg went out of their way to make every single time they wrote about them together. Kazumaji, on the other hand, does not use these kinds of words to describe each other, whether it be in words coming from Kiryu and Majima themselves, or official relationship charts, descriptions, etc.

Can feelings including romance be heavily implied without needing to be explicitly stated? Absolutely, but with the way rgg tends to Very Obviously and Explicitly state when characters Are romantically interested in each other, and also simply because there is still (imo) plenty of room to read kazumaji as Not romantic, I wouldn't say it's canon. And for the record, I wanna reiterate that this is coming from someone who is personally very enthusiastic about kazumaji as a ship, so I'm trying to be purely objective here, and that is my verdict (Also this is just a random aside, but I really don't agree with the people who are (unironically) labelling Kiryu and Majima's relationship as "queerbaiting". but that's a whole other discussion entirely)

Thank you for shooting an ask !!

[transingthoseformers]

I'm sure there's gotta be an established government outside of Sentinel in TFONE and I think it'd be funny to see them scramble after Optimus Prime appears as a god sanctioned leader.

"SIR! You cannot simply appoint your friends to positions of government! THERE IS A PROCESS!!!!"

"yeah well Primus says I can so suck it"

You know considering how Sentinel likely did the same goddamn thing they should've expected this

[anghraine]

I know it's well-understood at this point that Kirk/Spock is much more of a nerd4nerd ship than a nerd/jock thing, but it's just been kind of percolating around my mind that both of them aren't just space nerds but space nerds who were personally bullied.

Like, 18-year-old Kirk was targeted by an older bully who combines "total asshole" with "the most grating man in existence":

MCCOY: Well, yeah, I'm beginning to feel a little bit picked-on, if that's what you mean. KIRK: I know the feeling very well. I had it at the Academy. An upperclassman there. One practical joke after another, and always on me. My own personal devil. A guy by the name of Finnegan. MCCOY: And you being the very serious young— KIRK: Serious? I'll make a confession, Bones. I was absolutely grim, which delighted Finnegan no end.

This was five years after Kirk survived a genocide, btw, and likely well before his stint as an Academy instructor known to be strict and demanding (which is the period the "stack of books with legs" description of him comes from). By the time he's 33, fifteen years after all this, it turns out one of his deepest fantasies is just beating the shit out of his bully, but only if he can do it According To The Rules (the replica of Finnegan sneers, "Always fight fair, don't you? True officer and gentleman, you").

Spock, meanwhile, is viciously targeted by his Vulcan peers for being biracial from at least age 5; he's described as being tormented by other boys by that age, and "at home nowhere except Starfleet." I think he'd have been 18 or 19 when he left for Starfleet and it's... the least bad of his options, but he seems to have spent his entire career among humans and being persistently subjected to raw racism and profound disrespect for his culture at every turn.

Like, their histories of being metaphorically shoved into lockers are not identical or anything, but I think it's interesting that they both have them.

[witchofthesouls]

Humans not only from viruses can get sick but from stress alone too

Try to to do something about invisible threat (poor bots)

Funnily enough, they do understand stress-related illness and injury, especially with education on the line, but there's still a huge cultural clash (and arising misunderstandings).

On Cybertron, medical-related frames are regulated to a mid-to-higher caste in the system as Golden Age Cybertron highly values them and those fields. It stems from the Quintesson Occupation since their conquerors greatly valued intellectual pursuits (and ways to control Cybertronian biology and keep the population docile to their leverage).

That doesn't jive well with American business practices. To the Autobots, June Darby is their equivalent of a highly skilled medical practitioner, especially since she's acting as a trainer or as a head of a specialty unit. On Cybertron, she would be afforded more privileges in accordance with her rank and responsibilities: greater pay, final say on her core staff or floats, better access to fuel grades and a greater vareity of flavorings, off-premise housing on a discount, vacation pay, emergency/sick pay, access to parks, libraries, and more places dedicated to pure recreation (like amusement parks or plays), an allowance to decorate her hab to her preference, greater priority if she wanted to mentor a newframe or a sparkling from the Well (granted it had to share her own medical-frame), seating on public transport, discounted/free items and services through the hospital and university networks, and priority on networking and trade within the system.

Shoot, it's how Ratchet kept his clinic in the Underground alive for that long. He utilized all the privileges afforded to him as one of the best of the best until it couldn't be overlooked. Even then, Ratchet was afforded a heads-up about the raid long before it happened so he could clear out and wrap up any illegal treatment or training.

If Ratchet found out how poor the state of medical care in the U.S., especially the mockery it was twisted by insurance and private equity, the mech would be so infuriated that he would skip English and go back into Neocybex to the point all of his 'strongly worded letters' to many local, state, and federal committees would be in Cybertronian.

Plus, Ratchet is incredibly salty, bitter, and frustrated at the current state of the war... so he'll channel those emotions into the political and social scene on bettering healthcare and patient outcomes by coordinating many advocacy groups... and curating ties to organizations and individuals that have beef to pick over the state of things or have no qualms in upsetting social polite fictions.

Bottom line, Cybertronians are very familiar with stress-related injuries and illnesses, but they're absolutely astounded on how Earth (let's be honest, the U.S. since the Autobots seems to only sole ties to them) can be so forward, yet incredibly backward on things.

[dathen]

Baffling thing I saw recommended from an aro resource blog on IG:

Wh. What is this “strictly aromantic” definition? What is this “not enough REAL aro characters so I resorted to including the aroaces”?? Since when is allo aro somehow more ‘pure aromantic’ than aroace??

Like I guess this is the next natural progression of the level of aggression “not all aros are aroace” has taken (true in itself but often used to shut up aroace perspectives), but damn seeing the definition skewed to *exclude* aroace people??? Fucking baffled and horrified

[marzipanandminutiae]

Eggers confirmed in interview that Ellen wasn't a child, she was teenager at the start of the film. You can probably say there's case of ephebophilia. But there is no CSA there. Also Eggers absolutely saw it as Dark romance and ships it himself. He wouldn't be doing it if there was CSA.

And that's fine, but not everyone accepts Word of God as canon

My thoughts on Eggers' interview statements are that he should have made his intentions clearer if that's what he was going for, because a huge portion of the audience came away with the impression that it was about someone's stalker/rapist coming back to jeopardize the life she'd made for herself out from under his thumb. And like...if he wanted people to not think that, he should have made directing choices that made the onscreen story match his vision better.

You're free to interpret it however you want. What I take issue with is people saying that there's One True Interpretation and no viable way to see it in any other light. There's one interpretation that the director intended, but the movie he actually made leaves holes to interpret it a different way. He shouldn't have made it that way if he had a very specific story to tell.

How can I see it as CSA? Simple. She said she was "a child" when it started and even if she was a young teenager, it being the early 1830s (assuming she's like 20-23 at time of canon, based on statistical age at first marriage for women back then) doesn't magically make 15-year-olds adults. 15 back then was about like 17 now- not a Tiny Baby, but decidedly not a Full Grown-Up either. "Child" CAN be a euphemistic term for a naive or inexperienced adult, but it's not always

And maybe if he wanted people to not interpret her as a literal child...he shouldn't have had her characterize herself that way in the dialogue, talking about when all of this started? "I was so young," "I didn't know better," "I was a fool," "I was naive," etc. SO MANY clearer wordings there. They already didn't get a child actress to play her in the opening scene; without that line, I'd assume it had been like. A few years before her marriage, when she was maybe 17-18, and just seen it as abuse rather than arguable CSA. It's a weird dialogue choice if he wanted to convey "the vampire sex started when she was young but not unacceptably young," like many other weird choices that I felt were counterproductive to his stated narrative aims.

Doesn't mean my interpretation is objectively correct either! But you don't see me going around saying that there's No Way Anyone Could See It As Consensual And That's Wrong And Bad.

I have both been there and done that before, coming from a fandom (Crimson Peak) where there's no way to interpret a central relationship as peer CSA/COCSA if you go by Word of God, but there's absolutely space for that based on what ended up in the actual movie. And I've had to make peace with it, even though I ship that couple to the moon and back.

You like these fake people kissing in this way, and other people don't. And that's fine! You don't need a big moral justification for it, or to have the Single Correct Interpretation!

[toxooz]

also a second minecraft obsession has hit the cerebellum now that im finally processing all the new stuff that came out and i Cannot🤌 get over The Perfect Character Design: