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This is because there are two parts to memories - their encoding and their recall. The encoding determines their availability, their recall determines their accessibility. The reason why trauma memory and childhood amnesia are different is in this distinction. Trauma memory is often encoded differently, bypassing to the limbic system where it is stored as intrinsic memory. It can’t be recalled because it was never encoded. Childhood amnesia, however, seems to indicate that the memories are encoded, but we lose access to them as we age. This is most likely due to the development of brain structures that fundamentally change our encoding and recall of memory as we get older.

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These pictures are killing me

Disliking female characters on the basis of them “getting in the way” (and being quite misogynistic about it to boot), sexualizing and shipping men in real life (the men portrayed in the song are her teachers), and even the yaoi paddle known for being used to sexually harass cosplayers…

… all these aspects are there. Hell, one of the most disliked part about fujoshi culture from a social justice standpoint — the language of describing queer relationships as “sinful” — is the whole basis behind the song.

However, SAWTOWNE, instead of lessening that toxic trait, “yes, and”s it. “Yes, she calls queer relationships sinful, as a (presumably) heterosexual woman who finds their relationship gratifying. AND, the reason she does that is because she is a sexually repressed Christian who feels guilty about having any sexual desire whatsoever.”

I think that one (very clever!) addendum makes it so any discomforting aspects to the song takes a backseat. Instead of being a song about trying to resist an interest in yaoi / The Gays specifically, it more so becomes a song about trying to resist any “abnormal” sexual desires, which makes it very easy to like this version of Miku, even as someone who very much dislikes the aspects of fujoshi culture she represents.

Mimi and Palmon! Name a more iconic duo 🌱💕