#i still need to play remake actually

[party-pixie]

it's interesting having played smtiv first and then playing smtii and realizing just how much of a spiritual reboot smtiv actually seems to be of smti and ii

[babymorte]

State of Play tomorrow! do you think we'll finally get a the RE1 Remake announcement?!

oh my gosh i’ve been so inside my own head i completely forgot ! im hoping we get something 😭 with all the resi 9 leaks happening if we do get anything resi related i feel like it would be the official announcement for that. i know they’re apparently working on 5 remake right now but that’s like early early development. after the capcom direct was just monster hunter though im hoping for something resi related. or any updates on silent hill f would be great too although im still kind of whatever on it if it’s anything one the short message 😅

if a REmake remake is announced though i might actually have a heart attack and no one will ever hear the end of it 😂

[helpmyinterestsareverywhere]

Some texts from when I first played through FF7 Remake

[featuring - my friend who 1) only knows about FF7 through me & 2) matches my freak in every way possible]

[ishikawayukis]

i do find it hilarious when whoever is adapting a thing says that they're not gonna do it play by play but rather a reinterpretation of the story in a way, and then people get mad because it's not a play by play but a reintepretation of the story

[bigboobshaunt]

Finished RER2! I'm happy I finally got to the end, after stopping late into it the first time I played it.

I find it and its predecessor to be really underrated, especially in the story department. It doesn't help that they never developed the massive bombshell that they dropped in the stinger to the true ending, and seeing how 7+8 turned out... I don't think they ever will, and that bums me out.

[cosmicrhetoric]

hindi remakes of regional music are always soooooo EVIL and it's punjabi music that always gets the short stick but releasing a hindi version of (baby) bring it on (of all songs??). right before i have to go to three marathi weddings. 😐.

[kakusu-shipping]

Sup mother fucker I don't know what damn thing about you and your shit but I heard you like Luca Blight and I'm willing to chat as an anon about this I've given up.

I have this unhinged thought in regarding your little post....What if the very funny thing that the reader is doing is just being a pig full-time.

This is straight up your life now. 24/7

The girly you seen in the beginning stop acting like a pig and that was her mistake she should have committed. ( lmao what if you did it unprompted with no hesitation completely unbothered)

You are on borrowed time and you don't want to become bacon so oink oink forever you guess.

Drop to the ground start rolling in the mud and eating grass

Maybe after a while he'll let you stand and not eat off the floor? .... probably not

Tis I, the Luca Blight fucker, and by that I mean I love him so deeply he's such a mess I could never fix him and neither could anyone else and I love that for him. Unhinged to the extreme

It's like pet pay but completely non sexual and not even in a Soft Wholesome Ace Dom/Sub way you are just an object to him, at most an animal to his side, a beast he can toy with as he pleases. He is a spoiled 5 year old and you are the declawed kitten his daddy got him for Christmas. He will hold you, he will throw you, he will hurt you and love you and do as he pleases and you have no say in the matter.

The concept of Luca taking you around though, to villages he burns to see that you will never have an escape, to meetings to show how loyal everyone is to him, how total his control is, how guarded you are. You're not an example to them, they're an example to you. You have nothing else but him.

And he's not even holding you out of love, he doesn't even really force you to stay, at least to him. Sure your options are Stay or Die but it's not like he's actively gripping onto you or chaining you up at night. If you ran, and died by his guards, it would not affect him, thought he would have liked to do it himself, in the end it means nothing to him to see your corpse.

He'd be a perfect Yandere to write about but he doesn't even care about you. You are nothing to him, like everyone else is this putrid world he hates. He keeps you because you're mildly more amusing than the other pigs of the lands, because you committed to being a pig for him, because you chose to live in shame on all fours eating off the floor rather than die with your head held high.

You're like him in that way.

[no1ryomafan]

Persona 3 is a really funny fucking interest of mine because it’s something I told myself I’d play eventually after I heard mass destruction for the first time in smash bro and I told myself “if I ever played persona I wouldn’t start with 5 first” so I ended up playing portable only cause it was on consoles and my friend got it despite the shit people complained about-both in how it loses aspect of FES and also the modern ports are sloppy even if the game runs fine-I binge played it for weeks even when I got super sick, it help me overcome my fear of death which had been putting me off from watching something else (casshern) so I finally got to watch it and overall I had a lot of fun with it that my bf gifted me P4 and I’ll probably play the rest of the whole series, maybe dabble into SMT as a whole-

Then reload exists, makes a lot of questionable fucking choices that people are understandably mad about yet I’m somehow not super angry about it and I can’t tell if it’s because I didn’t play FES since most of the issues relate more to that version or just persona still somehow isn’t a big hyperfixation of mine.

[arolesbianism]

I should rly start eternal gales posting again I need to make sure the ppl who follow me know how much Tali and Aris make me to insane so that the isat au can have its full effect but alas I am allergic to drawing the human eg cast like 99% of the time and rn the only thing stopping that from being 100% is that I like fucking around with different art styles sometimes

[wp100]

the most fun I had playing a remake was crash team racing: nitro fueled.

I had never played the original, but man I miss when it was new. The Grand Prixs were so freaking fun. I even played online for a bit, think I got a month for my birthday iirc. Was a lot of fun. I hated it when they stopped releasing new stuff. And was very sad when Ripto didn't make it (and some other characters I cannot remember)

[yusuke-of-valla]

Not to be the "haunted by bad takes" person but I'm still thinking of the person who said that Pokemon Scarlet and Violet was the same as every other game in the series because it's still just fighting gym leaders, getting badges, and then becoming champion/the YouTuber that said Scarlet and Violet challenges are easy because the game is basically just a boss rush and like.

I mean if you don't like or don't want to engage with the other 2/3rds of the main story whatever but you don't then get to act like they don't exist

[tropicalfreckles]

So I love playing horror games but I'm also a giant weenie.

Was thinking about when I was playing the re2 remake game and every time I had to run down the halls full of lickers in the police station I just automatically was screeching and firing whatever heavy ammo weapon whatever thing I had.

[savior-of-humanity]

FINALLY getting around to owed shit... but oh my god. Man. I've been playing through RE 5 and I swear to god every time I play a RE game I can feel myself becoming more and more deranged + attached to Various Flavors of Fucked Up Men. I have bought FOUR RE games in the past 2 months. The demons in my head are telling me to add Wesker even though I haven't even done much of anything rp-wise w/ Ashley/Krauser/the Merchant/Ethan and by God am I fucking losing.

[joonieskinks]

au where you were married to Cpt John MacTavish, but wake up to find yourself married to Sergeant Johnny MacTavish (original vs remake Soap)

“No,” you state coldly. The shock was still sinking in.

“No, Price. That’s not my husband.”

Price’s gaze puzzles. “You asked for Johnny MacTavish, this is Johnny. Our Johnny.” He gestures to your supposed husband, who is taking this all in himself, but he sits just staring at you.

Johnny, who couldn’t stop admiring your face, your body, your ring on your fourth finger. He gave you that. Well, sort of.

Johnny, who was your husband. You, his wife. He had a wife in another life. Gods, what a catch you are, how did he manage to bag you? he thinks.

Wait. Gods, does that mean he gets you too?

“I asked for my John, my John MacTavish, my husband. He-“ You state and finally look, really look at the man before you, this Johnny.

“He’s too young, it’s not the same. It’s- it’s off.” You look back down to the floor, you’re utterly confused. One moment you’re in bed at home, the next you’re on base in a room that’s designated for “MacTavish”. At first you thought it was a dream, so of course you went asking for your husband just to see his face again.

You didn’t expect to actually see him, well- a younger version of your husband, much less an alive one. You had to pinch yourself, you really were here. This was real.

Maybe it was a second chance, maybe it was a cruel trick of fate. You couldn’t tell just yet. You were hesitant, scared.

But Johnny on the other hand, he was having a hard time keeping still and his hands to himself with the likes of you in front of him.

“Cap’, can ye give us a moment?” Johnny asked his superior, who happily obliged. Price eyed you as if to warn you not to do anything stupid, but still be backed out of the room.

You could still barely look at Johnny. He’s your husband, but so much younger, he’s still just as handsome, he’s technically yours but- it was all too weird. Would he even want you? What if he had someone else already?

“Bonnie? Will ya look at me?” Johnny comes straight up to you, holding your hands in his. His fingers playing with your wedding ring, he already loves the idea of it, of you as his. That ring to call you his and his alone. Never did he think he’d have anything remotely close to this, so he considers you a blessing if anything.

You reluctantly keep your head down so Johnny brings one hand to cup your chin, forcing your gaze up to his face.

The sight of his concerned face nearly breaks your heart. It hurts to see him yet it’s everything you’ve ever dreamed of since his passing. To have him before you again. It’s all so overwhelming you can’t help but tear up.

“No need for that, bonnie.” He smiles as he cups your cheeks. It feels so good to have his skin on yours again, you close your eyes at the feeling.

“If you’ll have me, I’ll certainly have you. Even if ye are a cougar now.” He jokes and your eyes shoot open at his words. You hit him lightly out of annoyance, but he just smiles. You can’t help but begrudgingly smile back, rolling your eyes.

Same sense of humour. Maybe he is your husband after all.

“I missed you so much, Johnny.” You admit, bringing your fingers to graze across his face. To actually feel him again, it really feels like you’re getting your second chance at love.

“‘Ts nice to finally meet my missus.” He says softly as he brings his forehead to rest against yours, but it’s you who brings your lips to meet his, losing yourself in his touch after all these years alone…

Then it hits you that this younger version of your husband might have even more stamina and strength- so naturally you waste no time getting him back into his quarters and testing that theory.

At first you feel a little nervous that Johnny might not like what he sees. After all, you are a couple years older than he is now, but he’s utterly entranced as you stand bare before him. His hands all over your body, exploring every crevice, kissing you up and down. He can’t get enough.

“My wife’s so beautiful”, “my wife’s all mine”, “gonna make ya feel so good, show ya what a good husband I’ll make for ya.”

[featseungmin]

quest complete | bc

bang chan x reader It’s late by the time Chris finally manages to drag himself home. wc: 0.8k genre: domestic fluff warnings: none thanks to @lovetaroandtaemin for the banner 💙 I wrote this at 11pm last night. hope you enjoy

It’s late by the time Chris finally manages to drag himself home. More morning than night, there’s a certain ethereal energy to the night. The beep of the lock as he punches in the code is almost too loud, the jingle of his keys as he places them on the little table in the entry too harsh. It’s a shame to ruin the silence like this, but he’s so tired that there’s nothing he can really do about it. The exhaustion has seeped deep within him, through his muscles and down into the bone. 

He almost feels like he’s crawling through the house, he’s moving so slowly, and when he rounds the corner into the living room, he’s shocked to discover the television is still on. For a second, he thinks that you’ve fallen asleep in front of the tv again in an attempt to wait up for him. There’s a brief moment where he considers just collapsing on the couch beside you. But then his brain catches up, and he realizes that it’s a video game on the screen, not a movie, and that you are, in fact, still awake.

“Jagi?” he asks softly, and his voice sounds hoarse, even to his own ears. 

You tilt your head in his direction, attention dividing automatically between him and your game. “I thought you’d end up sleeping in the studio again,” you admit. 

After a second, you pause your game and reach an arm out to him, beckoning him closer. It would take even less to convince him on a normal day, but right now, his body–his soul–craves your touch, and he’s more than happy to oblige. He hums as you place a delicate kiss to his temple, and there’s a warmth that spreads through him like wildfire.

“What are you doing up still?” he manages to ask. 

Just being beside you is enough to energize him even slightly, and he wraps an arm around your shoulders, pulling you closer into his side. You snuggle in almost immediately, getting comfortable against him.

“I’m so close to the next chapter,” you tell him, unpausing your game. Chris knows you’ve been dedicating huge amounts of time to it of late. It’s the remake of one of your favorite games, and he knows you’ve been trying to do all of the side quests. Your character–he knows the guy’s name, but his sleep-addled brain can’t seem to recall it–is atop a giant chicken, running through a desert. “I only had a couple more side quests to do, but then the story kept happening and I dunno.” You laugh softly. “Just got sucked in I guess.”

He hums, resting his head against your own. 

“Sleepy?” You almost sound amused, your hand coming over to squeeze his thigh.

“Little bit. Long day.”

You pause your game again. “We can go to bed. Let me just save and-”

“‘M comfy here,” he tightens his arm ever so slightly, squeezing you against him. “Get to your checkpoint or whatever.”

He likes to watch you play, sometimes. Your games always seem to have these long narratives, he can’t help but be drawn in. Sure, he misses some of the story sometimes, but he’s usually more than happy to spend time with you while you’re playing, and he knows that you don’t mind filling him in with the story bits that he wasn’t around to see.

Except tonight, he’s exhausted. Normally, his insomnia would have no trouble keeping him awake–there’s been more than one night when you’ve stayed up with him, playing one of your games half-asleep and just going through the motions. Tonight, though? He’s exhausted enough that tonight might actually be one of the nights where he miraculously doesn’t need some sort of sleep aid.

For a moment, you lean to the side and look at him. He’s not quite sure what you’re looking for, maybe you’re just generally looking, maybe you’re checking to make sure he’s okay. Whatever it is, you seem to find it, because you squeeze his thigh again, patting the inside of his leg gently. You cradle the controller in your hands, arm coming to rest half on your lap, half on his own, and you settle back into the game.

It’s sweet, how you try to explain to him the little bit of the story that he’s missed. You’re telling him about how you found the big chicken, and he tries to pay attention. He really does. But you’re so warm, and so soft. And he’s so tired. He can feel himself slipping, his head resting heavier against you as you play.

You hum softly, and he feels your thumb rub gently across his leg where your hand rests. “Good night, my love,” you whisper, soft lips brushing against his cheek.

He falls asleep to the triumphant sounds of a completed quest.

[apoloadonisandnarcissus]

Almost Every Popular View of “Nosferatu” (2024) is Wrong

And the film itself says so.

When I say almost everyone is completely misunderstanding “Nosferatu” (2024) is not an understatement. And this film has barely left the theaters and I’m already manifesting the “renaissance “Jennifer’s Body” style era” when everyone will be apologizing to Robert Eggers for butchering the entire meaning behind his passion project. Will it take ten years, too?

You need to understand that Robert Eggers has no interest in doing “modern takes” on his work in the sense everything that happening in the story (dialogue; behavior; way of thinking) is from the time period POV: "I never think of things in a contemporary context," director Robert Eggers says […] "I try to stay in the worldview of the characters.”

Second, you need to leave your confirmation bias at the door because Robert Eggers is subverting this entire story: “My influences are all very clear, and Nosferatu is a remake, after all,” Eggers says, yet he plays with the canon, with expectations and clichés – “hopefully subverting them to do something unexpected.”

“Orlok targeted Ellen” = Incorrect

He was dead and rotting since the late 16th century, until she resurrected him and cursed him to be a strigoi (Romanian folklore) with her summoning prayer, in the prologue. This is confirmed twice by her to Von Franz and to Thomas; and twice by Orlok himself, right at the prologue, and in the first time they are meeting face to face at the Harding household, as he calls her “his affliction” (as in “disease”; “plague”).

“Child abuse” = Incorrect

Ellen was 15 years old at the prologue (confirmed by Robin Carolan). She says she was “an innocent child” because (1) she’s accusing Orlok of corrupting her innocence; (2) the concept of “teenager” or “adolescence” didn’t exist (was only created after World War II); people went from “childhood” into “adulthood” with nothing in between. And there was no "astral sex" going on between them (but more on that later).

There was no “child abuse” between Ellen and her father, either. I’ve seen this getting thrown around and I was kind of shocked. What she tells Von Franz is that her father, as she was growing older, wouldn’t allow her to play in the fields and at the forest anymore (“Father… he would find me in our fields… within the forest… as if – I was his little changeling girl. But as I became older it worsened… Father dispraised me for it…”). Because that’s not suitable for a Victorian young lady; she needed to prepare to be a wife to respectable husband (marriage and motherhood as a woman’s destiny). She also says “her touch” started to “frighten” her father, which means he wouldn’t give her physical affection anymore (which is the total opposite to whatever this interpretation is).

Ellen's father called her “his little changeling girl” as in European folklore of children kidnapped by fairies, elves or demons and a substitute child being left in their place, because she enjoyed playing and being in nature. When she was supposed to be indoors (domestic sphere).

“Orlok r*ped Ellen for years” = Incorrect

He was just there as a shadow, a haunting, a ghost (like when he appears on her curtains). Still creepy, but he never touched her, and the narrative proves that this is all he was to her.

At the prologue, Ellen is actually masturbating. Because when Orlok does touch her (when he reveals himself), she has a seizure. Which indicates he wasn’t touching nor doing anything to her before that.

While on his way to Wisburg, Orlok says to Ellen: “Soon I will be no more a shadow to you. Your spirit was never enough. Soon our flesh shall embrace and we shall be as one”; which, again, indicates he never had sex with her (“and we shall be as one” = finally; at last). He has only been a shadow (haunting) to her, until now; they have not yet been as “one” (sex).

When they meet "in the flesh" for the first time, Ellen tells Orlok (in a very sexual tone) she felt him like a serpent in her body, he says it’s not him, but her nature (her sexuality); this implies Orlok never touched her in that way. She also talks about “felt you” and she appears to have never seen his physical appearance before (while strigoi can haunt dreams, we can cut that option, too).

As their covenant is fulfilled, and before he drinks from her (and she gives him her soul), Orlok says: “as our spirits are one, so too shall be our flesh”, which indicates, again, he never had sex with her before. Which also explains why he is hyperventilating before actually having sex with her at the end; and he stands there, waiting for her consent.

Last but not least, Orlok is a strigoi from Romanian folklore (not an incubus, two completely different creature). Orlok can astral project himself as a shadow or a ghost (at the prologue he was a vision/dream); but he has to be physically present in order to do physical things. And his whole ordeal with Thomas and him coming to Wisburg prove this. He made Herr Knock drag Thomas all the way to Transylvania just to divorce him from Ellen, and then he had to travel all the way to Wisburg, himself, to complete their covenant. The entire story proves it’s impossible for Orlok to do physical things from afar.

What Ellen has been doing during her teenage years (when she believes that Orlok "took her as his lover"), was, in fact, masturbation: a huge taboo in Victorian society, and the ultimate sin, as Ellen’s father calls it when he finds her naked, and yes, masturbating.

Orlok was there was a presence, a haunting, a shadow (either watching or talking with her), as that's how Robert Eggers describes him. Either way, Ellen was fantasizing about him. She tells Thomas “you could never please me as he could” because the purpose of masturbation is orgasm (which is what she associates Orlok with; “epilepsies”) and vaginal orgasms by penetration (alone) can be difficult for most women to achieve.

When Orlok asks her “Remember how once we were? A moment. Remember?” is connected to the reincarnation theme in this story.

“The lilacs represent Ellen innocence” = Incorrect

The lilacs are the visual storytelling device to showcase Ellen and Orlok’s relationship, including the reincarnation theme.

“Orlok r*pes Ellen repeatedly” = Incorrect

We already established he can’t touch her in that way, without her almost dying (like we saw at the prologue), and we never saw anything like this again in the entire film.

Look at Orlok’s body position: he literally just got here to grab Ellen’s neck (almost suffocating her in the process). This scene establishes he can’t touch her without something like this happening.

And this is why we are shown Herr Knock Solomonari Sex Magick ritual (masturbation). This man assembles an entire ritual room just to communicate with Orlok, and he starts by masturbating, which gives the audience two crucial bits of information: (1) it’s sexual energy that summons Orlok; (2) Orlok has to be conjured (invited) for these communications to happen.

And teenage Ellen, similar to Knock, would masturbate and summon Orlok; which is why she believes he actually took her as his lover, even thought he didn’t touch her, because, if he did, it would almost kill her (which is why she says “it would kill me” and she means it literally because Orlok, being a strigoi, his very presence is life-threatening).

Which tells us, all the moaning and body spams are on Ellen herself. She knows Orlok is coming to Wisburg, and she’s summoning him to her. This her yearning for him. He haunts her because she wants him to haunt her; Orlok has to be summoned and invited in, in every way, and the film clearly establishes this. And this is why when she's having sex with Thomas she starts saying "let him see! let him see our love!"; she's also conjuring Orlok in that moment.

This is all on Ellen. That first screenshot is also her giving in entrance into the city, by sea.

“Orlok cannot love Ellen” = Partially True

He cannot love her wholly in his present state as strigoi because this curse removed his best human qualities. He did retain his most fierce and strongest desires into his strigoi self; Ellen’s soul and passion. Which indicates he did love her fiercely and deeply in their last life (or lives). He will be capable of love her once the curse is removed (which is what happens at the end).

I argue it’s “partially true” because Bill Skarsgård managed to convince Robert Eggers to let Orlok have vulnerability in his scenes with Ellen, in connection to Orlok’s backstory (Eggers doesn’t want to share with the public). So there’s still a spark there, and she’s his only humanizing trait.

“Ellen sacrifices herself to save Thomas and Wisburg” = Incorrect

Thomas wasn’t in danger because Orlok wasn’t invited into his house. The moment he left the Harding household (where Orlok was given entrance, thanks to Ellen herself), and arrived at his own house, he was safe, and Orlok couldn’t harm him, in any way, shape or form.

Orlok, like your regular vampire, has to be invited in, and this is established by the film:

At the prologue, Orlok shows up at Ellen’s window: asking for entrance;

The Nuns tell Thomas “remain here. His evil cannot enter this house of God” (it has nothing to do with God, but with Orlok not be giving entrance);

Ellen opens a window at Hardings household for Orlok to enter (she also gives him entrance into the city);

Thomas tells Ellen at the carriage scene (when she asks to go with them): “Of course not, Ellen. You must be kept safe away”. And he leaves for the night believing she’s safe because Orlok doesn’t have entrance into their house;

After finding Harding dead, Dr. Sievers says to Von Franz and Thomas: “But Orlok... Will he not have already risen? Should we not return to our homes?” (where he can’t enter and they are safe)

Ellen opens the window of her own house at the end, asking Orlok to come to her and giving him entrance.

And besides Von Franz never tells Ellen about the instructions on the Solomonari codex of secrets. But her sacrifice is still connected to them because these instructions are confirmed to have been successfully fulfilled by Von Franz himself, at the end.

“Ellen is coerced into succumbing to Orlok” = Incorrect

I’ll let Orlok himself answer this: “the compact commands she must willingly re-pledge her vow. She cannot be stolen.” And “willing” and “compelled” are two completely different things, and Orlok knows this. He gives Ellen the three nights countdown because he wants her to face the truth; her nature will never be accepted by Victorian society because “she’s not for the living, she’s not for human kind”. Which is exactly what happens because Robert Eggers describes his Ellen as a “dark, chthonic female heroine" who “makes the ultimate sacrifice and she’s able to reclaim this power through death.” chthonic” means spirits or gods who inhabit the Underworld.

Ellen doesn’t “succumb” to Orlok (this is the nonsensical marketing for this film); she’s reclaiming ownership over her power (death) and her sexuality (sex); she’s accepting herself represented by accepting him. Her “power” is medicalized by Victorian society, and her “sexuality” is owned by her husband. She’s liberating herself. But more on that later.

“Ellen tricks Orlok into staying until dawn” = Incorrect

You cannot trick the person who wrote the Şolomonari codex of secrets, whose instructions are being used in that scene.

When searching Herr Knock’s office alongside Dr. Sievers, Von Franz finds symbols he recognizes as Şolomonari (from Romanian folklore), and discovers a book, which he identifies as the Şolomonari codex of secrets. Later, he reveals to Dr. Sievers and Harding: “our Nosferatu is of an especial malignancy. He is an arch-enchanter, Solomonari, Satan's own learned disciple.” Here, Von Franz is telling the audience the codex belongs to Orlok; because it’s the second time a character has confirmed him as the Şolomonar of the narrative.

This is based on the “Dracula” novel by Bram Stoker; where Count Dracula studied at the Scholomance, a school located in the Carpathian Mountains, in Transylvania, where the Devil is said to instruct 10 or 13 students, which will become Şolomonar after their graduation (Romanian folklore). The course lasts 7 or 9 years, and their final assignment is to copy their entire knowledge of humanity into a "Şolomonar's book"; this codex doesn’t merely belongs to Orlok’s, he wrote it himself as his final assignment to become a Şolomonar.

Like in the novel, it’s Von Franz (Van Helsing book counterpart) who reveals that Dracula/Orlok that studied at the Scholomance/is a Şolomonar: "learned his secrets in the Scholomance, amongst the mountains over Lake Hermanstadt, where the devil claims the tenth scholar as his due"; which is exactly what the Old Abbess tells Thomas: "A black enchanter he was in life. Solomonari. The Devil preserved his soul that his corpse may walk again in blaspheme."

In these book are the instructions in how a Şolomonar can break free from his own Nosferatu curse (which can happen when you are dealing with a quest for immortality). Which is exactly what Orlok was after; this is his “masterplan” sort of speak. He wants Ellen to break the curse she put on him, for his spirit to be set free, and he wants to take her soul with him, forever united (“you shall be one with me, ever-eternally”).

Orlok has no Satanic symbols on his sigil and coat of arms, because he's, in fact, a Pagan enchanter, worshiper of the Dacian god Zalmoxis (Robert Eggers is following an academic thesis that links the folkloric Solomonari with Zalmoxis worship) but Paganism was demonized by Christianity and their followers labeled as "devil worshippers". And Von Franz, student of the occult or not, is a man of his time.

“Orlok didn’t get Ellen’s soul at the end” = Incorrect

Orlok is a strigoi, and as such, it’s not blood he feeds on, specifically. It’s “life force” and “living energy” (“blood is the life”); he feeds on his victims souls, and that’s what sustains him. And that’s why Thomas had to be exorcised.

When he’s feeding off Ellen’s blood, he’s actually feeding off her soul, giving life to himself, for the Solomonari ritual to be possible. Their souls are merging inside of that rotten corpse. At dawn, when it gets destroyed, Orlok and Ellen’s united souls are set free as their combined blood pours out of “Nosferatu”. And Orlok is now an “empty shell” because their joined souls have been liberated to the Afterlife, together, forever. And the last shot of the film really drives home this; as they lie embraced in death, both finally at peace, their souls united, as it was fated to be.

“Orlok is the villain of the film” = Incorrect

The villains of this story are the Victorian characters and Victorian society. Everyone keeps romanticizing.

Robert Eggers calls Ellen a “victim of 19th century society” several times on interviews, and how she’s completely misunderstood and unseen by everyone around her (except by Von Franz and Orlok):

“People talk a lot about Lily-Rose Depp’s character’s sexual desire, which is a massive part of the character, of what she experiences — being shut down, and corseted up, and tied to the bed, and quieted with ether. Misunderstood, misdiagnosed. But it’s more than that. She has an innate understanding about the shadow side of the world that we live in that she doesn’t have language for. This gift and power that she has isn’t in an environment where it’s being cultivated, to put it mildly. It’s pretty tragic. Then she makes the ultimate sacrifice, and she’s able to reclaim this power through death”.

The real tragedy on Ellen’s story is not her connection with Orlok; it’s her human life in Victorian society; where her supernatural gifts are medicalized, and dismissed at every turn. Like Robert Eggers also says: “[Ellen is a] victim to 19th-century society […] she can see into another realm, and has a certain kind of understanding that she doesn’t have the language for,” Eggers said. “But people are calling her melancholic and hysteric and all of these things.”

This entire story is Ellen liberating herself from her oppression by Victorian society, like Linda Muir, the costume designer, tells us in an interview about how Ellen’s wardrobe tells a story about female repression and liberation:

Her [Ellen] true nature [takes over] in the end. She liberates herself by ripping herself open, ripping her striped dress open. She liberates herself by wearing the same garment over and over and over again when she's staying at Harding's home. So she's liberated herself in that she doesn't feel the need to dress up completely each and every day. And then she liberates herself completely in the end.”

Linda Muir also talked about the importance of "Ellen's corset" to the story in an interview with "The Art of Costume", and it symbolizes her oppression and medicalization by Victorian society.

Historically, corsets have always been considered an instrument of women’s oppression, so it’s not surprising to see them having the same meaning here. Corsets were restrictive devices that rendered women immobile, passive and prone to fainting, and the Feminist movement of the 20th century saw them as “as one of the quintessential Victorian social horrors”. Corsets were also considered a sign of respectability, because they controlled the body, and, by extension, physical passions.

Ellen corset consumes her until she tries to break free from it during her “possession scene” with Thomas; the point of that scene was her showing him her true nature, and his reaction was to call the doctor on her. His “love” and her medicalization are the same. That’s what she leaves behind. And at the end, she’s fully naked before Orlok, no more corsets, fully liberated.

This is a very feminist story through the lenses of Historical Feminism, because this is about Ellen reclaiming her own power, through death and sex (the core themes of this story).