Raykee

Introduction

For this anime season, my favorite anime was Go For It, Nakamura-kun!! The anime centers around Nakamura, a high school boy who wants to become friends with his crush Hirose, giving a fresh spin to the BL genre. What stood out most to me were the unique ending sequences for each episode, each acting as a visual and musical reflection of Nakamura’s emotional state.

The endings of Go For It, Nakamura-kun!! function as emotional extensions of Nakamura’s interiority, using retro music, fantasy imagery, and tonal shifts to externalize feelings that remain suppressed in the main narrative.

In this blog, I’ll analyze the meaning of each episode’s ending, focusing on how the musical tone, lyrics, and visualization connect to Nakamura’s emotional progression.

EP1: “First Love” by Kozo Murashita

This ED introduces the emotional “language” of the series. Specifically, it tells the viewers that the series will follow Nakamura’s romantic emotions toward Hirose.

The episode ends with Nakamura’s dialogue: “I’m shy, gay, and in love with Hirose Aiki.” This line flowing directly into the ED makes the ending feel almost declarative. The series openly frames Nakamura as gay from the very beginning instead of relying on ambiguity or “maybe it’s admiration,” which is rare in BL anime.

While Nakamura openly names his feelings in the narration, he remains unable to voice them directly to Hirose. The lyrics “好きだよと言えずに (not being able to say I like you)” captures this contradiction precisely—Nakamura can confess to us, but not yet to the person he loves.

Rather than ending on embarrassment or comedy, the ED softens the atmosphere. It reframes Nakamura’s awkwardness as sincerity rather than ridicule. The nostalgic tone allows a timeless feeling for Nakamura’s emotions toward his crush. The ED tells viewers to emotionally invest in Nakamura instead of merely laughing at him.

EP 2: “WON’T BE LONG” by DA BUBBLE GUM BROTHERS

The ED contrasts with Nakamura’s mood after the episode. Visually, Nakamura is sad, embarrassed, and unable to face Hirose directly since he is hugging his knees and looking down. Musically, the song pushes forward energetically.

The lyrics “もうすぐさ届くまで (almost there until I reach you)” especially imply that Nakamura will recover eventually. The title and repeated lyrics “won’t be long” represent Nakamura’s endurance, that would make the hopeful contrast even stronger.

So instead of the ED precisely reflecting his current emotional state, it reflects emotional potential or a future where he can openly express affection. The ED’s optimism exceeds Nakamura’s current self-perception.

EP3: “Tonight is Boogie Back” by Scha Dara Parr featuring Kenji Ozawa

The urban feel of the ED romanticizes Nakamura’s yearning.

Background-wise, the car moving through the city creates emotional distance and movement without resolution. Meanwhile, Nakamura staring at Hirose turns the ED into pure longing. This distinction shows the series gradually shifting emotional tone. It also gives a bittersweet feeling to the ED.

The hopeful lyrics “すべてがうまくいくはずさ (everything will go well)” feels almost ironic against Nakamura’s gaze. His feelings remain unresolved, yet the song imagines a version of the night where things do go right. This gives the ED a dreamy, cinematic quality, suspended between fantasy and possibility.

EP4: “I Won’t Lose” by Barbee Boys

The ED becomes an emotional aftermath. Nakamura’s joy spills through directly into the credits, with him swaying, doing air guitar, and singing. This ED works because Nakamura finally acts instead of just fantasizing. Protecting Hirose creates emotional payoff, and the ED becomes the overflow of emotions he cannot contain afterward. 

The dancing matters because Nakamura is usually so physically restrained, often with hesitation. But in the ED, his body moves freely and his happiness becomes visible. That freedom is incredibly important.

The title and lyrics “負けるもんか (I won’t lose)” directly mirrors Nakamura protecting Hirose from the bullies, especially because Nakamura usually retreats. But in this episode he doesn’t. This emotional courage makes the ED more earned.

The ED temporarily liberates Nakamura from self-consciousness. And because the joy comes specifically after helping Hirose, it makes the romance feel emotionally reciprocal rather than an entirely one-sided fantasy.

EP5: “Fly-day Chinatown” by Yasuha

The ED creates anticipation for emotional movement into the next episode.

This song is incredibly popular globally, especially after the city pop boom online. Popular nostalgic songs work differently from obscure insert tracks because audiences bring pre-existing emotions into them. So the ED instantly activates familiarity, warmth, and collective nostalgia. That emotional shorthand deepens the atmosphere immediately.

The lyrics “真夜中の人ごみに (in the nighttime crowd)” represent movement in the city, which represents transition between episodes. This would fit both Chinatown and Nakamura’s emotional movements.

The series uses culturally familiar music to make Nakamura’s emotions feel collectively recognizable rather than isolated.

EP6: “The World’s Hottest Summer” by PRINCESS PRINCESS

This ED is the emotional peak of Part 1. 

The episode flows into the ED rather than stopping. That creates emotional continuity instead of separation. And because Hirose finally acknowledges their friendship, the ED transforms longing into partial fulfillment.

Ending on a shared photo visually confirms something Nakamura has wanted since Episode 1: to exist beside Hirose.

The song’s summer imagery, with lyrics like “8月の風を抱きしめて (hugging the August breeze),” makes the ending feel fleeting yet unforgettable, much like the photograph itself. Both capture a moment Nakamura wants to preserve—the brief joy of finally being acknowledged as Hirose’s friend.

The ED captures happiness, yearning, and emotional intensity all at once. This song makes the audience think: “go for it, Nakamura-kun!”

Conclusion

The endings chart Nakamura’s emotional progression more openly than the episodes themselves. Because throughout Episodes 1-6, the narrative remains awkward and comedic on the surface, but the EDs gradually reveal increasing emotional sincerity, intimacy, and hope. That gives the endings a cumulative emotional effect rather than making them feel disconnected week-to-week.

Introduction

After the EN release of Book 7.5, I noticed that some fans found it odd that Malleus called Lilia his friend. I found it odd too, and even Lilia was initially surprised.

What is interesting is that the JP version originally used the word “友人 (yūjin, which means friend)” (Book 7.5, Chapter 4).

Although many players view Lilia as a parental figure, Malleus calling him a friend reveals how Malleus understands companionship and sense of closeness. Malleus’s isolation and his lack of parents also come into play.

In this blog, I’ll analyze why Malleus refers to Lilia as his friend by looking at why the word “friend” feels strange, Malleus’s view on relationships, the two of them raising Silver together, and the comparison between how Silver and Malleus see Lilia.

⚠️Spoilers for Books 7 and 8 below⚠️

Why the word "friend" feels strange

Lilia raised Malleus from infancy, protected and guided him emotionally, remains one of Malleus’s closest emotional supports, and in human terms, this strongly resembles parenting.

Lilia hatched Malleus, as seen in Lilia’s dream of his past in Book 7 Chapter 97. Furthermore, he has supported Malleus since his childhood, and has even given him advice that seems like parental guidance.

One memorable scene where Lilia gives Malleus parental advice is after the overblotters were abducted to Styx, in which Lilia tells Malleus: “never, ever forget the pain you felt here today,” because Malleus will live for a very long time (Book 6, Chapter 52).

Another memorable scene is from Malleus’s post-overblot party. Lilia tells Malleus that the people in the party are those he’ll eventually lose. Even so, Malleus tells Lilia that he wants to remember the joy and pain he felt that day (Book 7, Chapter 349).

These scenes show that Lilia has taught Malleus how to process pain and prepared him for future loss. Overall, Lilia has helped Malleus process difficult feelings.

A memory from Malleus’s childhood also shows how Lilia was a significant parental figure in his life, which is where Malleus’s love for shaved ice stems from. Malleus tells Yuu that he froze his entire castle because he threw a tantrum over his Grandmother being unable to attend dinner with him. To calm his tantrum, Lilia prepared shaved ice from the frozen castle and started eating it together with the staff, eventually giving Malleus some too. When Malleus calmed down, Lilia told him the dialogue below (Book 7, Chapter 18).

From this, it seems that shaved ice became Malleus’s favorite food because the memory attached to it is connected to warmth and togetherness. This moment highlights how Lilia has emotionally guided Malleus since his youth. 

All of these parental moments make it seem natural that Malleus would view Lilia as a parental figure.

However, Malleus himself doesn’t seem to define the relationship this way.

Malleus's view on relationships

Malleus grew up without any direct parental presence and because of this, he may not fully recognize what “parental love” is supposed to feel like.

With the absence of his parents, Maleficia being loving but distant, and his overall isolation, Malleus may not emotionally associate “family” with closeness and companionship. Instead, family in his life was often tied to duty, absence, and distance.

Meanwhile, friendship is voluntary, implies equality, and involves shared time and understanding. Malleus treasures companionship because it was emotionally rarer in his life than familial obligation.

This is further emphasized by Malleus’s overblot in Book 7. Malleus couldn’t handle the idea of losing Lilia and the limited time he had left with him. His overblot was driven by his desire to preserve those precious bonds forever. 

After the overblot, Lilia was even resurrected through Malleus’s love for him (Book 7, Chapter 338). The intensity of Malleus’s reaction shows how central Lilia’s presence is in his life. Although Malleus calls Lilia his “friend,” the depth of his attachment goes far beyond what is normally associated with friendship.

Lilia seems to treat Malleus as an equal. Lilia rarely treats Malleus as only a child or prince. Instead he speaks to him casually, jokes with him, and allows mutual understanding. This makes their relationship feel closer to companionship than strict hierarchy.

Raising Silver together

An experience that represents Lilia and Malleus’s equality is the two of them raising Silver together.

Malleus initially didn’t like Silver. However, he helped take care of him because he knew Lilia would be sad if Silver grew weaker (Book 7, Chapter 81). Over time, Malleus became involved in Silver’s upbringing alongside Lilia, by giving him food supplies and singing him lullabies.

This changes the structure of their relationship. Instead of Lilia only raising Malleus, it also becomes Malleus and Lilia caring for someone together. This creates shared responsibility, emotional collaboration, and companionship. Raising Silver together may have contributed to Malleus seeing Lilia less as a distant parental authority and more as someone beside him.

Comparing Silver and Malleus’s views of Lilia

Silver openly calls Lilia his “father” and has experienced direct caregiving in a more traditionally familial way. He has had Lilia feed him, guide him, and compliment him through his growth. Since Silver was happy when Lilia called them father and son in Book 8 Chapter 29, it’s evident that their bond as family is very important to him. Silver seeks parental warmth and reassurance from Lilia. 

(Dialogue:

No, we’re father and son. It’s a long story, so I’ll explain next time. Next is…)

Meanwhile, Malleus sees Lilia more as a companion and equal. Unlike Silver, he lacks a strong familial framework, and instead seems to value relationships built on mutual understanding and reliance. His royal status and isolation may make friendship feel rarer and more precious than family. Malleus seeks understanding and companionship from Lilia.

Conclusion

Malleus calling Lilia his friend doesn’t weaken their bond. Instead, it reveals the particular way Malleus understands love and closeness. While players may instinctively view Lilia as a father figure, Malleus values him as someone who chose to stay beside him—not because of duty, but because of genuine companionship. This is especially evident in Book 7, where Malleus overblots because he cannot accept losing Lilia and ultimately resurrects him through his love. Although Lilia fulfills many parental roles in Malleus’s life, Malleus treasures him as a companion, confidant, and emotional equal.

Introduction

Silver is my favorite character in TWST and I think his bond with Diasomnia is beautiful. He may seem like an outsider among them at first glance, but his relationships reveal a more complex truth: Silver doesn’t simply fit in Diasomnia—he helps define it.

In this blog, I’ll analyze Silver’s relationship with Sebek, Malleus, and Lilia respectively and how they reinforce his belonging in Diasomnia.

⚠️Spoilers for Books 7 and 8⚠️

Silver and Sebek: equality through mutual affirmation and correction

Silver and Sebek’s relationship reveals a form of equality grounded in mutual recognition and correction. This dynamic stands in contrast to Diasomnia’s other hierarchical relationships, making Silver and Sebek’s bond one of the few spaces where authority doesn’t dictate interaction.

In Book 7 Chapter 86, Sebek’s assertion that Silver’s strength reflects Lilia’s love marks a rare moment where he evaluates Silver on his own terms, rather than in relation to Malleus. This allows Silver to snap out of despair from being consumed by the darkness. Sebek’s recognition of Silver reframes him as an equal person in Diasomnia, not just a retainer.

Meanwhile, in Ace’s dream (Book 7, Chapter 250), Silver openly criticizes Sebek’s demanding behavior, demonstrating a willingness to challenge him directly. Sebek, in response, uncharacteristically seems timid and listens to Silver’s criticism. Silver’s assertion reveals an equal dynamic among the two, where they not only affirm but also correct each other when needed.

These interactions suggest a relationship that is not hierarchical but reciprocal, where both are capable of acknowledging strengths and addressing flaws. In this sense, they function as mirrors: Sebek externalizes what Silver internalizes, while Silver softens what Sebek intensifies.

Silver and Malleus: equality through emotional recognition

Formally, Silver is the retainer of Malleus. But emotionally, their relationship feels much more equal. Unlike a typical servant dynamic where the servant prioritizes duty over personal boundaries, Silver instead respects Malleus’s autonomy, not just his authority.

In Silver’s School Uniform Vignette, Silver’s decision to give Malleus space reflects an understanding of him as a person with emotional needs, rather than just a figure to serve.

In the emotional climax of post-Malleus’s overblot (Book 7, Chapter 338), Silver asks Malleus to help him in Lilia’s resurrection. A purely hierarchical servant wouldn’t make that kind of request, since doing so assumes not only permission, but shared emotional investment.

By both respecting Malleus’s need for solitude and directly appealing to him in a moment of emotional urgency, Silver navigates a balance between distance and intimacy that challenges the traditional boundaries of servitude and destabilizes hierarchy within their relationship.

Silver and Lilia: chosen and reaffirmed belonging

Silver’s identity is fundamentally shaped by Lilia’s role as his father. They may have had their ups and downs as father and son, but they strengthened their bond and ultimately affirmed their relationship as a genuine family. 

Book 7 Chapter 12 complicates their foundation through Lilia’s announcement of his departure, introducing the possibility that even this defining relationship may not be permanent. As explored in my Lilia’s fatherhood analysis, Book 7 is about the hardships they have endured and reinforcing their bond as father and son. 

Lilia’s statement in Book 8 Chapter 29, openly referring to Silver and him as father and son, takes on new weight. Rather than a casual expression of affection, it becomes a deliberate reaffirmation of a bond that has already endured the threat of separation. 

(Dialogue:

Mickey: Since you have the same last name, are you two brothers?

Lilia: No, we’re father and son. It’s a long story, so I’ll explain next time. Next is…)

In this way, Silver’s belonging isn’t simply inherited through Lilia, but reinforced through hardship. Their trust may have been challenged momentarily, but now Silver can proudly belong as Lilia’s son.

Conclusion

Silver’s place in Diasomnia is not defined by status or origin, but by the relationships he builds within it. 

Through his dynamic with Sebek, he engages in a form of equality grounded in both affirmation and correction, allowing them to grow alongside each other. In his interactions with Malleus, he recognizes him as a person rather than simply a superior, creating a balance between emotional closeness and respect for independence. Most importantly, through Lilia, his identity and belonging are not only shaped but tested and reaffirmed through hardship.

Overall, these relationships show that Silver doesn’t passively belong in Diasomnia—he actively creates that belonging. His empathy, earnestness, and quiet strength allow him to bridge differences in personality, status, and experience, transforming hierarchy into connection. In this sense, Diasomnia isn’t just a dorm he resides in, but a space where his presence brings balance, and where he is, without question, home.

Introduction

If Part 1 focused on where Lilia struggled as a parent, Part 2 looks at how that begins to change. The turning point in the Vanrouge household isn’t one-sided—it requires both Silver and Lilia to shift their perspectives.

Silver has to start seeing himself as more than someone who “owes” his life, while Lilia has to stop viewing everything through the lens of a soldier and actually face his son as he is. This is where their relationship starts moving from something shaped by circumstance to something they actively choose.

⚠️Spoilers for Books 7 and 7.5 below⚠️ (More images to be added)

The turning point: being seen

Silver’s lowest point comes when he starts questioning his own worth. What changes things isn’t Lilia at first, but Sebek Zigvolt. By pointing out that Silver himself is proof of Lilia’s love (Book 7, Chapter 86), Sebek gives him a perspective he couldn’t reach on his own. If the people around him can see that love reflected in who he is, then it isn’t something he has to earn but something that has already been there.

That realization is what allows Silver to move forward: waking Lilia from his dream and choosing to act, not out of obligation, but out of his own will.

At the same time, Lilia is forced to confront something he has avoided for a long time. His belief has always been simple: if a soldier can no longer fight, they should step away (Book 7.5, Chapter 4).

But through Silver and Malleus Draconia’s wish (Book 7, Chapter 338), he was brought back to life and made to see the impact of that mindset. Leaving wasn’t protecting anyone. It was hurting them.

This is the point where Lilia finally starts letting go of the “General” mindset and begins to act as a father. He is not someone who protects from a distance anymore, but someone who stays, even when it means being vulnerable.

The resolution: from "Silver" to "Silver Vanrouge"

The resolution of their relationship is surprisingly quiet, but very direct.

At the post-overblot celebration, which also happens to be Silver’s birthday, he asks for the name “Vanrouge” (Book 7, Chapter 348). This isn’t just about gratitude, it’s a choice. Instead of defining himself by being “saved,” he chooses to belong.

Later, when they sign the adoption papers (Book 7.5, Chapter 21), that choice becomes official. Writing “Silver Vanrouge” isn’t just symbolic, it marks the end of the roles they were stuck in.

Lilia is no longer acting as a distant guardian, and Silver is no longer trying to repay something that can’t really be repaid. They’re just family. What makes these moments important is that nothing about them is forced. The bond between them isn’t based on obligation anymore—it’s something they both accept and affirm.

Conclusion: from debt to belonging

Lilia doesn’t become a “perfect” parent. He still started without a model, and a lot of his mistakes came from that. But what changes is his understanding of what it means to stay. For someone who lived as a soldier for so long, choosing to remain—even when he’s no longer strong—is a big shift.

Silver also changes in a way that feels just as important. He stops seeing himself as someone who exists to repay a debt, and starts accepting that he’s allowed to belong without proving his worth.

Lilia’s story starts with distance and responsibility, but it ends with something much simpler: being there, and letting himself be loved in return. Even without a “blueprint,” they still manage to build something real, just not in the way Lilia first imagined.

EDIT: Images from Book 7.5 have been added!

Introduction

I’ve been thinking about whether Lilia is actually a “good” parent, and the answer isn’t simple.

While Lilia is known as a legendary figure from the war between fae and humans, raising Silver might be one of the most important things he has ever done. Still, Lilia is a parent who had to figure everything out on his own.

His love for Silver is genuine, but the way he expresses it is shaped by his past. Without a model for what parenting should look like, he relied on what he knew best: military logic and independence. This creates a contradiction—Silver grows into a “perfect knight,” but struggles as a “human.”

In this post, I’ll look at how Lilia’s lack of a parental reference point led to unintentional neglect and a kind of “debt of gratitude” dynamic, leaving both of them emotionally stuck.

⚠️Spoilers for Book 7 and Lilia’s Dorm Uniform vignette below⚠️ (More images to be added)

The root: the lack of a mirror

As an orphan, Lilia never experienced being raised by a parent. So when he found Silver, he approached parenting using the only framework he had: survival and self-sufficiency.

His calm reaction to the cradle incident (Lilia Dorm Uniform Vignette, Part 3) doesn’t come from cruelty, but from a misunderstanding—he treated a human child with the same expectations he would have for a fae soldier. In a way, Lilia wasn’t just raising a child. He was trying to build an idea of fatherhood from nothing.

(Dialogue: I remember the time Silver tumbled out of his stroller and crawled off while I was napping in the park. I relaxed and waited, figuring he'd be back sooner or later… But then the Zigvolts came over with their children to play, and they really let me have it. "Regular babies don't just come back on their own!" My goodness, were they ever cross!)

At the same time, this makes his emotional growth more meaningful. Even without having received parental love himself, Lilia still manages to show affection in his own way. He celebrates Silver’s small achievements and takes pride in his development. These moments show that, despite everything, Lilia is trying—and that effort matters.

The method: love as a form of validation

Lilia often shows his love through praise and actions. Whether it’s giving Silver playful titles like “acorn-picking prodigy” (Book 7, Chapter 81) or attempting to cook food despite struggling with it, he expresses care in ways that feel natural to him.

However, this kind of praise is often tied to achievement. Over time, this can teach Silver that love is something to be earned rather than something unconditional. The “perfect knight” is acknowledged, but the more vulnerable parts of him are overlooked.

This pattern shows up in more serious ways too. Silver is left to handle situations alone from a young age, and later, Lilia makes major decisions—like leaving NRC—without fully opening up to him (Book 7, Chapters 8 and 12). By hiding his declining magic, Lilia maintains the image of being strong and dependable, but avoids showing weakness.

Even if unintentional, this creates distance. It can come across as: “I don’t want you to see this side of me,” which may make Silver feel like he isn’t someone Lilia can rely on. Over time, this reinforces the idea that his value comes from being useful.

The consequence: debt of gratitude and low self-worth

Silver’s loyalty to Lilia runs very deep, but it’s not just based on love—it also feels like obligation. In Book 7 Chapter 28, he talks about wanting to spend his whole life repaying Lilia. Instead of seeing himself simply as a son, he sees himself as someone who owes a debt, needing to justify his existence through constant effort and service.

This mindset becomes especially clear during the Dawn Knight reveal. Learning that his biological father was responsible for Malleus’s mother’s death reframes his entire sense of self. He is no longer just someone who was “saved,” but someone who believes his very existence carries something that must be compensated for.

In that moment, repayment stops being gratitude and becomes justification. If his existence is tied to harm, then the only way he can remain by Lilia’s side is by proving his worth through usefulness. His discipline and sense of duty, once a source of stability, become a way to earn the right to stay.

This is where Lilia’s parenting both succeeds and fails. He raised someone strong, disciplined, and deeply loyal—but also someone who cannot accept himself without conditions. In Lilia’s dream, when faced with the memory of nearly being killed, Silver does not blame Lilia. Instead, he turns inward, shouting at his younger self, “you don’t have the right to cry” (Book 7, Chapter 81).

Lilia’s failure was not a lack of love, but a lack of clarity. He never made it clear that Silver’s worth was unconditional—that he was allowed to exist, and to be loved, regardless of where he came from.

Closing of Part 1

This is where Part 1 ends, with both of them stuck in the roles they’ve created. Silver feels bound by a need to repay, and Lilia continues to act based on the habits he formed as a soldier. It’s not a lack of love that creates this situation, but a gap in understanding.

So how does this change? In Part 2, I’ll look at what breaks this cycle—Silver’s turning point, Lilia’s awakening, and how their relationship begins to shift from obligation to something more genuine.

Part 2 will be posted tomorrow. Stay tuned!

EDIT: Part 2 is out!

Introduction

In late March, Minajael Tealrajah—an RSA third-year student inspired by Jasmine from Aladdin—was introduced as a player in the interscholastic tournament in TWST.

His appearance sparked immediate discussion in the EN fandom, particularly around concerns of orientalism in his design, name, and overall cultural representation. However, similar criticism wasn't prominent in the JP fandom. This raises an important question: why is the reception so different?

In this post, I'll compare EN and JP fandom reactions to Minajael and explore why they diverge.

⚠️Spoilers for Book 8 Chapter 2 (JP only content) below⚠️

Reactions in the EN fandom

The EN fandom largely critiqued Minajael’s design as orientalist or culturally inconsistent.

For example:

“Minajael” isn’t recognized as an Arabic name, unlike Kalim or Jamil

His last name combines elements from different cultures (“teal” referencing Jasmine’s color palette, “rajah” meaning king in South and Southeast Asia)

Certain design elements, such as his sheer sleeves, were perceived as orientalist

In response, some fans began calling him “Minhaj Al-Rajah” as a more culturally coherent alternative.

This X post compiled these critiques and reflects one perspective within the EN fandom. It highlights how some fans interpret Minajael’s design through a critical lens.

These reactions also reflect broader awareness of the historical issues surrounding Aladdin, particularly its portrayal of Middle Eastern and South Asian cultures. As a result, EN fans tend to read Minajael through a lens of accountability and historical context, with a stronger emphasis on respectful representation.

(Similar color palette and clothing design)

Reactions in the JP fandom

In contrast, Japanese fans focused more on Minajael’s design appeal and characterization.

Following his reveal, many fans expressed admiration for:

his visual design

his mysterious personality

his desire for freedom from royal constraints

his perceptiveness toward Jamil

He was often described as メロい (meroi), a slang term roughly capturing a subtle, effortless charm—similar to characters like Gojo Satoru or Nick Wilde.

Compared to EN spaces, there was less emphasis on cultural accuracy debates. Instead, engagement focused on character interpretation and appeal. In this sense, Minajael was largely approached as a fictional character, with fewer connections drawn to real-world cultural contexts.

(Dialogue: “Just a spoiled, carefree prince… That’s probably how he sees me.”)

Why this difference occurs

One reason for this difference may be that discussions of cultural representation are more prominent in EN spaces. Greater cultural diversity and exposure to critical frameworks can lead to increased awareness of representation in media, which in turn encourages critique.

Another factor is that TWST itself is a Japanese work that remixes Disney properties. If the original Aladdin contained cultural inaccuracies, those elements may carry over. Additionally, Japanese media has its own limitations in representing foreign cultures, which can contribute to these gaps.

Final thoughts

In the EN fandom, criticism of Minajael stems from an awareness of media’s cultural impact. In the JP fandom, enjoyment is more often rooted in engagement with fiction as fiction.

This difference highlights how global media texts are interpreted through local cultural lenses. Neither approach is inherently “wrong”—they reflect different relationships to media.

At the same time:

Not all EN fans are critical, and not all JP fans are uncritical

These are tendencies, not absolutes

It's also important to recognize that enjoyment and critique aren't mutually exclusive. One can appreciate Minajael’s character while acknowledging potential issues in his design.

Fictional media has the power to shape identity and belonging, which is why audiences both celebrate representation (such as queer-coded characters) and critique portrayals that draw from problematic cultural patterns.

Introduction

This is my first time posting something here, but I hope to make this a series of cross-cultural observations about Twisted-Wonderland and fandom discussions. I hope this post gives you a bit of insight!

Since it’s been a while since Book 7 of TWST ended, I wanted to share something interesting I noticed after the final chapter’s release.

⚠️Spoilers for Book 7 Chapter 13 below⚠️

The scene

The moment I’m referring to is the Twistune during Malleus’s party, hosted as his apology and expression of gratitude after his overblot.

After Lilia uses his signature spell “Far Cry Cradle” with Malleus’s help, illusions of the past Briar Castle appear, including fae soldiers and Silver Owl soldiers.

In a cutscene during the Twistune, Lilia bows to a Silver Owl soldier while Malleus bows to a fae soldier. Soldiers from both sides can also be seen dancing in the background.

Reactions in the EN fandom

In some EN discussions, I saw criticism about the fae characters dancing alongside the Silver Owl soldiers. Some people interpreted it as “dancing with the colonizers” or felt it was disrespectful to the tragedy of the war.

From what I observed, this interpretation often read the scene through a historical or political lens. Because the Silver Owls represent the oppressors in the fae-human conflict, dancing with them can feel uncomfortable or symbolic of forgiving violence too easily. In that sense, the scene was sometimes interpreted as colonial symbolism.

Reactions in JP fandom

However, I didn’t see this reaction very much in JP fandom discussions when Book 7 ended there earlier.

From what I observed, the reactions in JP spaces seemed more neutral or reflective. The scene was often interpreted as remembering the past and acknowledging the tragedy of the war rather than forgiving or celebrating the soldiers.

In other words, the moment felt more like a symbolic expression of coexistence and peace, rather than a political statement about the conflict.

My interpretation

Personally, the scene felt a bit strange to me at first as well.

However, I eventually interpreted it more as a symbolic moment about memory and coexistence.

The figures appearing in the scene are not the real soldiers, but illusions created from memories of the past. Because of this, the dance felt less like reconciling with the soldiers themselves and more like acknowledging the history that shaped the present.

The Diasomnia characters themselves also represent the possibility of peaceful bonds between humans and fae (Lilia wishes for coexistence between all beings and Sebek literally represents love between a human and a fae!).

Because of that, the dance felt to me like a moment of remembering the past while still choosing to move forward.

Final thoughts

Seeing the different reactions made me realize how differently fandoms can interpret the same scene depending on cultural context.