Minajael Tealrajah: appealing character design or cultural misrepresentation?
Introduction
In late March, Minajael Tealrajahāan RSA third-year student inspired by Jasmine from Aladdināwas 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.
ā ļøSpoilers for Book 8 Chapter 2 (JP only content) belowā ļø
Reactions in the EN fandom
The EN fandom largely critiqued Minajaelās design as orientalist or culturally inconsistent.
For example:
āMinajaelā isnāt recognized as an Arabic name, unlike Kalim or Jamil
His last name combines elements from different cultures (ātealā referencing Jasmineās color palette, ārajahā 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 āMinhaj Al-Rajahā 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 Minajaelās 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 Minajaelās 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 ć”ćć (meroi), a slang term roughly capturing a subtle, effortless charmāsimilar 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: āJust a spoiled, carefree princeā¦ Thatās probably how he sees me.ā)
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 mediaās 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 āwrongāāthey 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 Minajaelās 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.
Ultimately, the discussion surrounding Minajael reveals not just opinions on a single character, but how audiences negotiate the balance between fiction, representation, and cultural responsibility.
