#the wallflower anime discussion

[rutilation]

This opening is replete with symbolism. 

Flower language has been a recent fascination of mine.

Do you want to make my new hyperfixation your problem? If so, then let's take a deep dive into the first opening before the new one airs tomorrow.

Before I start, here are a couple of things to keep in mind.

While the use of flower language in this show mostly lines up with Japanese hanakotoba, there are still a number of flowers here that hold particular significance within Chinese culture, and thus have additional meanings that don't line up with those from Japan.  I’ll be mentioning them alongside the Japanese meanings where I deem it relevant.

The following will contain light spoilers of content from the novels/manga which has not been animated at the time of writing. I'll try to be vague and sparing with it, but there are a few flowers I can't discuss without them.

Past the title card, the opening begins with eight blooming flowers dancing through the frame in rapid succession.  These represent the storylines covered by the first cour of the anime in order of appearance, and each can be found in the episode(s) they signify.  From the top:

Rhododendron: This plant is all over the first two episodes, so I'm going to cover its appearances before delving into its meaning. In episode one, there are two shots of the buds of this plant, one as Lihua gives birth, and then again as the doctor examines her baby. They're finally shown in full bloom as one of her ladies disregards the branch Maomao used to warn of the toxic makeup. In the following episode, Gyokuyou has seemingly taken a liking to the flower that saved her daughter's life, and a few clusters can be seen in a vase during several shots before Maomao uses them as an example of a seemingly innocuous plant that could cause accidental poisoning, and indeed, if you look closely at the background during the scene with the soldiers, you can see what appear to be rhododendron shrubs. There are actually quite a few different possible meanings for the many granular varieties of Rhododendrons/azaleas.  Luckily, the characters said the name of the plant out loud for me: shakunage.  So, this is Rhododendron subg. Hymenanthes.  In hanakotoba it means dignity and majesty, but also, on account of its poison, danger and caution. Those last two meanings clearly line up with its ominous usage in these first episodes, growing and maturing as the babies grew sicker. But in addition to their function as a warning of danger, I think there's a case to be made that they also represent Gyokuyou herself. As I stated earlier, she starts keeping them after the first episode, and Hongniang later starts growing the closely-related azaleas in the jade pavilion as well. As for how its meanings apply to her, Gyokuyou is regal, magnanimous, and never loses her composure (unless it's at Jinshi's expense lol,) but she's also described by Gaoshun as shrewd and cautious, being unwilling to hire any lady she doesn't absolutely trust, and constantly gleaning information to send back to her family. These all fit with the dual meanings of rhododendron. In Chinese culture, rhododendrons and azaleas represent womanhood and passion, as well as home and a desire for homecoming.

Cotton rose: A type of hibiscus, this represents Fuyou, decorating both her person and her chambers in episode 3.  It means 'delicate beauty' and 'graceful lover.' I think these are referring to both her skill in dancing, as well as her affectation of frailty and neuroticism. As far as I could dig up, its unique tendency to change color based on the time of day doesn't have particular bearing on its meaning in either Chinese or Japanese culture, but the story itself uses it as a metaphor for Fuyou hiding her passion, will, and cunning behind a wallflower exterior.

Balloon flower:  In hanakotoba, it represents undying love, sincerity, and grace. These grow in the crystal pavilion, adorn the iconography of Lihua's furniture, and likely inform her blue and violet color scheme. Its last two descriptors gesture towards Lihua's style and personality. She's elegant and staid, but she also takes everything quite seriously, and wears her heart on her sleeve. As for the undying love element, I see that as alluding to her love for her son, her agony at his passing, and her hopes of reclaiming that love again through having another child.

Violet: This one actually tripped me up for the longest time.  The flowers in the opening looked like hostas to me, but no matter how closely I looked at the backgrounds in this show, I couldn’t find anything along those lines.  Eventually though, I caught on that these must be the violets from episode five, even if they’re a different color from those shown in the episode.  And also droopier.  Anyway, violets mean humility, sincerity, and ‘a little bit of happiness.’  In the episode proper, they are crushed underfoot as Maomao narrates about the lengths she had to go to keep herself safe while growing up in the red-light district, illustrating how even the modest aspirations of an ordinary peasant are in perpetual danger in such a cutthroat environment.

Chinese aster: Daisies and asters are my least favorite flowers to identify.  They all look the same.  As such, I’m a little less confident about this one, but I think it’s a Chinese aster.  The leaves and buds look similar, and the context in which it appears in episode six suits its meaning.  As Lishu’s ladies disparage her so-called pickiness, a shot of this flower opens the episode.  While the Chinese aster’s meaning changes based on color, white in particular means ‘please believe me.’ I think that speaks for itself

Toad lily:  This appears twice during episode eight, where Maomao gets drawn into the mystery of an attempted murder during her vacation.  Toad lilies symbolize hidden thoughts and intentions, alluding both to the possible conspiracy on the part of the women of the brothel, and to the fact that Maomao will never really know the truth of the incident, having to content herself with speculation.

Sacred bamboo: This one is easy to miss, because while the plant is in full bloom in the opening, it’s laden with berries in the show proper.  This is Nandina, a.k.a. the sacred bamboo, a mainstay of autumn and winter floral arrangements in both China and Japan.  It’s considered auspicious, symbolizing a reversal of ill fortune into prosperity--the precise opposite of how it’s presented in episode nine of the show.  There, Maomao fiddles with the plant as she contemplates all the instances she’s seen of good fortune being struck down by tragedy, and the prospect of that same sword of Damocles falling upon her head as well, a harbinger of eucatasrophe being used to symbolize straight catastrophe.  Also worth noting is the fact that the plant is very poisonous, so much so that it has a reputation for killing any birds which try to eat its berries; I think that bit of trivia might be the inspiration behind the decision to ironically invert its lucky image.  In addition to its central appearance in episode nine, it can also be seen in Lishu’s chambers in episode ten, mixed in among the vases of white camellias.

Japanese azalea: These mean passion and steadfastness, alluding, in my view, to Fengming’s devotion towards Ah-duo.  Fun fact: did you know that honey made from toxic azaleas, termed ‘mad honey,’ is sometimes manufactured on purpose?  It’s not super legal in most of the world, but apparently it can be used as a psychedelic.

After this, we see a panning shot of seven flowers, with the top four representing the high-ranking concubines, and the bottom three representing the high-ranking courtesans. While the first set of flowers grew from buds and flew across the screen, this set consists of still images. If I were to hazard a guess as to why, I'd say that it's because those previous flowers were conveying the movement of emergent stories, while these upcoming flowers portray the relatively static personality traits of individual characters. I'm going to tackle these in reverse order, as the first three flowers to appear are somewhat tricky to talk about.

Peony: This flower represents Gyokuyou, and in addition to appearing in her non-diegetic floral backgrounds, it also decorates the tapestries of the jade pavilion. In Chinese culture, peonies are one of, if not the most, important flowers. They represent feminine beauty, pride, honor, renown, wealth, prosperity, high-status, opulence, and a nobility of spirit. They are considered to be the king of flowers, and were historically only permitted to be grown by nobility. All of these superlatives are likely alluding towards Gyokuyou's status as the emperor's favorite consort, with the best shot at becoming empress.

Balloon flower: See above.

Lily-of-the-valley: This means purity, chastity, humility, and 'happiness will come again.' While the first three all seem to fit Lishu on their face, I find myself curious about the fourth meaning. I'm only partway through the third novel, but if this indicates that, at some point in the future, Lishu finally catches a break, then I'll certainly be happy to see it.

Dendrobium: In China, orchids in general are associated with elegance, refinement, and good taste, which fits with Maomao's description of the garnet pavilion as being beautiful in a minimalist sort of way. They also represent the virtues of an ideal gentleman-scholar: integrity, humility, temperance, and nobility. Furthermore, they are considered emblematic of spring; it, along with bamboo, chrysanthemum, and plum blossom, represent the four seasons. Returning to Japanese symbolism, the flower associated with Ah-duo seems to specifically be Dendrobium nobile. Nobile in particular means 'honest and to-the-point' in hanakotoba, likely alluding to Ah-duo's candid personality, and the fact that she is on casual terms with the emperor.

Regarding the final three flowers, the show itself doesn't explicitly tie any one of them to a particular courtesan--their flowers only appear as a group in episode twelve. But, by contemplating their meanings, and with some help from the characters' wiki pages, we can make some educated guesses.

Yulan Magnolia: This one, I'm guessing, represents Joka. On one hand, I'm kind of dumping her with this because the other two flowers just seem to fit the other two courtesans better, but its attributes nonetheless seem to accord what we know of her character--which admittedly isn't very much. In hanakotoba the yulan magnolia means nobility, sublimity and a love of nature. In China, its pretty similar: purity, nobility, dignity. It's also worth noting that they're commonly planted around Buddhist temples in China, and have been for many centuries, granting them an air of spiritual profundity. Joka is said to be aloof and cold, which is part of her appeal as a courtesan. While chrysanthemums and plum blossoms have a warmer aspect to their meanings, the loftiness of magnolia hews more closely to her characterization. Then there's the matter of her name, which is apparently a stage name. It translates to 'Lady Ka' (or 'Hua,' if you want to go with the Mandarin pronunciation.) Now, the 'ka' in her name is written as 華, and in the story, that character is only permitted to be used by the emperor and his family. So, for her to use it, even as a stage name, is a pretty bold pretense to nobility.

Chrysanthemum: In Japan, chrysanthemums are associated with nobility and the imperial family. In China, they are associated with longevity, endurance, and vitality, on account of their long-lasting blooms that persist late into autumn. I think this is most likely to be Pairin's flower. She's one of the few courtesans who's in her line of work because she wants to be, and is flourishing in an environment where others are desperate and debt-ridden. That covers 'vitality,' and Lihaku can attest to her endurance, if you know what I mean... Moving on, its mentioned in the novels that she's actually in her thirties, but still looks quite young, again harkening to the chrysanthemum's persistence.

As far as symbolism is concerned, chrysanthemums do seem to fit her character better than magnolias. But, something that gives me pause is her name, which means 'white bell,' on account of yulan magnolias being white and having a bell-like shape. I still think it's most likely that the chrysanthemum, and not the magnolia, belongs to her, but it was too notable a coincidence to not at least mention.

Plum Blossom: We can safely assume this one refers to Meimei, as her name is written with the character for plum. As plum trees are among the earliest to bloom each year, and will even bloom while snow still covers their branches, both China and Japan associate them with resilience, hope, inner-strength, and renewal. We don't know much about Meimei either, but my impression of her is that she seems to be the nicest and most even-keeled of Maomao's sisters.

Following this parade of showy flowers, we finally glimpse the emblem of our protagonist, Oxalis corniculata, the creeping wood sorrel, downcast and huddled amidst the underbrush of a forest. Whereas the other flowers we've seen thus far are primarily ornamental (even if some are also edible/medicinal,) wood sorrel is herbaceous and weedy, and is unlikely to grace any vases, wreaths, or arrangements. If it were spotted in a noble's garden, it would likely be uprooted, but to the peasant who finds it growing in a ditch, it's a tasty snack.

In hanakotoba, wood sorrel means joy, 'shining heart,' and 'a mother's love.' All three descriptors, I believe, are relevant to Maomao's character. Despite her flat affect, Maomao has a strong passion and sense of joie de vivre driving her through life. Those further along in either the novels or the manga will recognize 'a mother's love' as (somewhat ironically) gesturing towards her complicated relationship with her mother. As for 'shining heart,' I think that will become apparent as we go further through the opening.

But, before we do that, I'd like to take a moment to examine the moments when wood sorrel appears in the show itself. Thus far, by my recollection, it has appeared in episodes one, three, and twelve. The opening shot of the first episode is of a wood sorrel, informing the viewer in no uncertain terms that this is Maomao's flower, (in case the opening was too subtle.) In the third episode, several wood sorrels dot the field where Fuyou sits with her lover, symbolizing how Maomao has aided and protected them. In episode twelve, a single wood sorrel is tucked inside a lavish bouquet of her sister's flowers, a visual gag paralleling them fussing and fawning over her.

Returning to the opening, Maomao is shown contemplating a subtle glow in her closed hands while a reflected, sunlit version of herself glances back at her. Then, as all the previous flowers fall away, as Maomao casts the light up into the air, its glow illuminating her face, the wood sorrel finally stands upright, and blooms in full.

Now is a good time to mention a relevant characteristic of creeping wood sorrel: it only blooms in direct sunlight. When crowded by other plants, it curls in on itself, closing both its flower and leaves. This serves as a clear metaphor for Maomao's personality; under most circumstances, she seeks to be invisible and unobtrusive, but when she's in her element, she commands attention and respect.

Following this, we have her magical girl-esque transformation sequence, with her outstretched hands forming the shape of a blooming flower as she dances through a whirl of yellow wood sorrel petals. She then bows down in imitation of the flower, taking the light back into her chest (there's that shining heart I mentioned earlier,) as she dissolves into the stoic, unassuming version of herself once more, closing out the opening. (Jinshi who?)

I'd like to end this analysis with an observation. While the real wood sorrel exists at the perpetual mercy of outside forces, Maomao is not merely reacting to a light source that exists beyond her control. The light exists within her, and she chooses when it will shine down for all to see, and when she will hide it away in the depths of her heart. To those who've gotten this far, thank you so much for reading.

[voltstone]

i hAVE FIGURED OUT HOW TO FIX MY BLOG.

anyway so longer written-form content's gonna be easier to read now. >:) so i will give the links to my stuff, both essays and the fics i've written in this post.

some of the stuff i wrote a while ago. others are pretty new, like a violet essay.

so enjoy if you want (the keep reading will have all the links).

[Fanfiction]

they adopt a cat named floof | Wednesday

wednesday, for her girlfriend, gets a cat. she finds a way to bypass the “no pet” policy in order to do so. :)

Wenclair

stagger | Wednesday

Enid is her one exception, so Wednesday tries. Again, and again, and again. She gets it right, asking Enid to…not a date. Eventually.

Wenclair

just a bear (or some other wild animal) | Wednesday

“I’ve hibernated with some grizzlies. I know the difference." the story of the time when wednesday slept in a bear cave for a week. she was seven and knew what felt just right.

Back Again | Fallout 4

In other words, Piper Wright walked out of Diamond City with the woman written as the “View from the Vault.” Though, well, the city folk were quick to suspect that there was something else going on between them… And they weren’t wrong. So when Piper walked back into Diamond City without the woman, there was something wrong. Especially the longer she waited on the Publick Occurrences rooftop. Alcohol in her breath. Less shouting and interrogating for interviews. It was all just…wrong.

F!SS x Piper Wright

Bottom Bunk | LWA

With another Samhain Festival celebrated and slept off, Atsuko Kagari finds her room empty of Sucy and Lotte. Yet, she feels the warmth of another girl in her bed. And so a conversation is to be had.

Diakko/Dianakko

toxin | LWA

[toxin] - an antigenic poison or venom of plant or animal origin, especially one produced by or derived from microorganisms and causing disease when present at low concentration in the body. A definition, which, Sucy knows well. It’s why she doesn’t have a heart, nor any sense for what compassion can bring. Although, one night changes things, and maybe—just maybe—Akko proves Sucy otherwise.

Suakko

Sphynx | LWA

Sucy didn’t care about an hour of transformative magic, nor that it was supposed to be “fun” and all about “finding your inner animal.” Well, companion animal, which really meant cats and dogs because…magic. Or something stupid.  And Sucy was left cold and huddled underneath a curtain because she was this ugly naked chicken gremlin? …okay, maybe she did care a little bit.

Suakko

Burning a Cauldron | LWA

Chariot is always one to sleep in—which, frankly, irritates Anne to no end (being the early, responsible bird, after all). However…the early, responsible bird notices that this morning is different.

Finnelariot

She's a Peach, an Apricot | LWA

Amanda didn’t expect this. Lotte didn’t either. One burned of passion, a slip of carnality, yet not the words to reach the other so well-spoken. And the other, all the words in the world, from her books, yet not the body that could easily decipher what she wanted.

Amalotte

[Fandom Essays]

…so about that clementine comic: a (very long, sorry) essay | TWDG

Discussion on TWDG & canonicity, pre-comic full release

…about the clementine comic (again): why is she illiterate? | TWDG

Discussion on how weird the comic is about Clementine's knowledge and understanding of her own world (medically/medicinally and linguistically).

ERICSON'S WALLFLOWER: or bpd as a twdg fandom essay, & violet's analysis | TWDG

Exploration and deconstruction of Violet's character in regards to BPD, BPD as a disorder (with experiences pulled from my own), and how stigma gets in the way of understanding both.

Or or I am feral and am still frothing at the mouth over this character plz people appreciate violet 🥺🥺

[leek-inherent]

The last three of my mane 6 redesigns! Brief descriptions below the cut.

Pinkie Pie is Confetti Cannon (Connie). She’s an energetic party pony who loves her friends more than anything. She remembers everything anypony tells her about themselves, which makes her capable of amazing things, like breaking into your house while you’re out and leaving amazing gifts in unexpected places. She has insanely strong magic, and can use it to do impossible things but only when it’s funny. Like, she can teleport and hover and grow extra limbs but only if she’s doing a bit. She draws her magic from the element of friendship. Fluttershy is Erysimum, which is a wallflower with four petals (so it kinda looks like her butterflies). She loves to frolic in the meadows, care for plants and animals, and hang out with her silly friends and silently raise her eyebrows at the stupid things they say. Over the years she has learned to handle her social anxiety much better and she is very proud of her own growth. She draws her magic from the element of growth.  Applejack is still Applejack because it just feels wrong to change it. She is a very reliable and confident pony who is good at what she does. She has trouble diverting from routine or having nuanced discussion as she is very stubborn and sure of herself. She is extremely friendly and sociable, treating all other ponies like family, no matter who they are. She draws her magic from the element of stability.

[lord-emerson]

🎈 (balloon) - What does your character do at parties? Are they a wallflower or a party animal? Do they go with friends or alone?

🍷 (wine) - Does your oc drink? What kind of alcohol do they enjoy? What are their drinking habits? What kind of drunk are they?

[🎈 - I wouldn't call Oswald a party animal, but he certainly likes to be the centre of attention. Or knows he's supposed to enjoy it and can't really tell the difference anymore. He's equally likely to bring a plus one as he is to choose somebody new to leave the party with that night. He's a good dancer but an even better conversationalist; his time is better spent charming his fellow Lords and Ladies than on the dancefloor.

That is, if we're talking about a Society party. When he's out at Zee? He's just here to drink, make out with people and sing zee shanties at the top of his lungs.

🍷 - He does, though he's very careful about whose company he gets drunk in. He often fakes being drunk at parties, to make other people around him more relaxed and pliable when it comes to discussing secrets. But at the end of the day he is known to indulge in a glass of wine or scotch, either alone or with company.]

[callmemossbrain]

💥*blows you up with my mind*💥

i don’t know if we’ve discussed this before but top three movies >:3 (or shows! whichever comes to mind first)

>:O excuse me, you're already blown up, this inception is beyond marketing teams abilities.

oooohohogogo this is tricky. I say first that Everything Everywhere All At Once is a phenomenal top movie of mine. I'd say my favorite ever. see I've also been missing the anime Madoka Magica, because wow that made such an impression on me years ago. Perks of being a wallflower is unquestionably and undoubtedly a top too. Ponyo is a childhood comfort. land I'm sure I'm gonna think of more after this but I'll settle on first thoughts 😵‍💫

[theunconventionalstudent]

About The Owner

Hello there! As the owner of this blog, I figured that the most appropriate task would be for you all to get to know me. So, here it goes:

Basic Info:

My name is Aly, and I am twenty years old, soon to be twenty one. I am a second year student in college, and I hope to go on to graduate school! Cats are my favorite animal and chocolate ice cream is the superior flavor of ice cream!

Interests: Reading, writing, going to the beach, exploring new movies, creating Pinterest boards, and vlogging are some of the things that interest me. I love traveling and aspire to do more of it in the future.

Favorite Films: I love The Lord of the Rings & The Hobbits films, the Conjuring and Insidious, and a plethora of 2000s romcoms that I will get into one day. The Secret Life of Walter Mitty is also a fantastic movie and I would completely recommend it to any and everyone that I meet. The Edge of Seventeen, The Perks of Being a Wallflower, and Everything Everything are just a few of the films that altered my teenage life....But I'll stop here, as I can go on and on about every film that I love.

Most Enjoyed Artists: I like to think that I am a lover of most music genres, and I think that it reflects in my music taste. I love listening to boa, Abba, the cranberries, sza, the Sundays, Stevie Nicks, Coldplay, Amy Winehouse, Debbi Dawson, xg, and willow Smith. Similarly to the films section, I can go on and on about my favorite musical artists, but I think you get the point.

What I Hope to Gain From This Blog:

Overall, I aspire to create a community of people who find comfort in my posts, and find that they are not alone in the discussions that we are sometimes too afraid or ashamed to have.

[gaytorgirl]

discussing…

the sunako and kyohei kiss!!

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episode 9 of the wallflower (anime) / perfect girl evolution / yamato nadeshiko shichi henge

OK OK OK i understand that wallflower fans are scarce but i’ve rewatched the wallflower so many times and the kiss STILL gets me. of course the kiss didn’t happen out of love and was virtually impossible, but i still think it was their perfect kiss. kyohei and sunako rival and bicker all the time… it’s only fitting that they would kiss in the midst of all that … ⭐️

YUKI WITH THE CAMERAJDJWJS FILMINGJEIS i petition to release the footage

the way kyohei tried to level with her and knock some sense into her i think accelerated the development of their feelings for each other ~~~ plus i find it so funny how in classic fashion sunako she blocked the kiss out and thought her “darkness” was tainted by the “creature of light”

ahhhhh i love them too much i wish i could see more of their romance ~~~ i love them both together imagine a season two jfksnfsiaosh i’d die

[guardian-nightowl]

So I was rewatching Gakuen Alice and went online and tried to buy the rest of the manga before realizing the translation wasn’t finished because the company working on it had shut down.

Sigh~

Like that is the worst thing that can happen. An unfinished project. I emailed Viz and asked if they could pick it up, but we’ll see. I also hope this series can be reanimated as well since it finished despite it’s unsatisfying ending. (Sorry, I had to say it.) It’s hilarious and the characters are the best, especially Hotaru and Natsume. XD 

I’m actually going to go back and read or watch animes that weren’t finished, hoping in my heart that they will be rebooted as well like Fruits Basket. They don’t have to do it all at the same time, but it’s a shame they only give us one season (most of them) when it comes to shoujo. 

I mean, I would like to see The Wallflower, Special A, and Kaichou wa Maid sama rebooted. And to be fair, it doesn’t even have to be an anime that was already animated, but a manga series that fans want to see. I liked this one called Sensual Phrase as well, but suprisingly the anime was totally different from the manga. The manga being more mature and mainly focused on the couple’s romance. I’m not sure if I spoke of it before but I prefered the anime, lol. A mixture of the band and the couple.

Well, getting back on topic... although, I’m not sure how many people recieved Gakuen Alice, I liked the relationships between the characters and hope it might be one of the anime series that are rebooted. After all, it would suck if they just reboot Fruits Basket. The shoujo fans need more finished series. It’s heartbreaking, lol. 

[stratuscloudsurfer]

Ok I love the idea of Emmet getting thrown back in time and being recruited by the Diamond Clan and suffering from amnesia just like Ingo and the two getting along like a house on fire when reunited but consider for a moment if. They despise each other at first.

It’s hate at first sight. Emmet thinks Ingo is way too uptight and Ingo gets irritated because Emmet can’t take anything seriously. They both get annoyed that the other person is “copying” them and they get into intense battles with each other every time they meet. They are extremely competitive and consider each other rivals. They’re constantly squabbling like… well, like siblings. At joint clan meetings they seem to go out of their way to disagree with each other and often the discussion devolves into bickering and petty insults.

Despite this, they’re also fiercely protective of each other and one is quick to step in if the other one is in trouble. Ingo’s been quoted with saying, “Oh no… The only one allowed to kill Emmet is me” before stepping between his little brother and an alpha Garchomp.

Over time, however, the rivalry eases and they start appreciating things about each other. Emmet respects Ingo as a someone who always takes care of his people and Pokémon and Ingo starts to appreciate Emmet’s ability to be optimistic in even the darkest situations.

After a while, the two brothers who couldn’t stand to breathe the same air as each other start eating together at the Wallflower, battling together at the training grounds, exploring together in the wilds. They have animated discussions about Pokémon and some machine that runs on tracks that neither can quite remember the name of.

And so just like they did growing up, they go from being each other’s fiercest enemy to each other’s closest friend.

[pathofcomet]

look at what you taught me

fandom: bridgerton series

pairing: colin/penelope

summary: Colin and Penelope have never been awkward with one another. Except for this one time.  (AO3) (book spoiler ahead)

In the beginning, when he travels, Colin can think of nothing else but the present moment: a ship under his feet, the lull of a carriage, the wide expanse of the world all around him. Whatever destination is coming next, if he is certain enough – if not, he’ll just make it up as he goes. The furious scribbling of his quill against paper, as he races to put down in words all his eyes take not but a second to admire. It feels like everything he never knew he wanted to do so desperately. It feels right.

Then, it becomes more difficult to return home, the more he travels. But soon enough, the travel starts to wear him down. He begins to look forward to when he’ll return home: despite his own mother’s incessant remarks, despite the brotherly arguments, despite having to see another sister married off. Even the most loving mamas trying to marry off their daughters to him seem somewhat adorable, if he is gone long enough. But the need to travel comes back, like an itch that won’t go away unless he scratches it away. He makes promises to his sisters – so that he can stay as much as possible, but he goes insane with anything more than a couple of months. He likes to believe that by now his family simply made peace with his many eccentricities, and simply paid the cook more when he was around.

He treasures the pockets of familiarity he gets when in London as much as the breathes of fresh air he gets when he’s away. He imagines he drives his mother wild, with all his coming and going across the continent. He knows what Lady Whistledown writes about him as well, and he’d strangle the woman himself, for alerting everyone of his return so punctually. Ambitious mamas are hard to fend off when you’re a young man, and it only gets worse the older he becomes, because the expectation of marriage dawns ever closer.

***

“You must agree, Colin,” his mother says, and at the mention of his name, he straightens in his chair, because it’s a terrible thing to be singled out in a conversation by Violet. “Penelope is quite an agreeable young lady.”

Colin agrees, both because he truly believes so, and because while his mother doesn’t need his confirmation, she’s kinder when she has it. Benedict, from the other side of the room, leans closer in his chair, so he can hear better whatever commentary their dear mother is about to impart with them.

“I dare say she’d make quite a suitable bride for you, really.”

All hell breaks loose. Benedict drops his foot to the floor with a loud thud, while Colin drops his sandwich, eliciting a swear for which he’s reprimanded by three of his sisters. And then.

“Mother!” Eloise shrieks, quite offended – which Colin finds surprising, considering that the two of them are best friends. “That is entirely too daring!”

Colin agrees, but he is too busy desperately trying to cough away the piece of sandwich stuck in his throat. Eloise, though still quite shocked, pushes her cup of tea in his hands, just to get him to make less noise. He downs it in one go, grateful to not have died of this particular cause. His heart, quite in override still, might provoke a heart attack soon enough if his mother does not change the subject.

“I believe you misremember your ABCs, dear mother,” he jests, because he does not want to take the idea seriously. “There’s one son for whom you haven’t found a bride quite yet.”

Benedict shifts in his seat, suddenly finding his newspaper way more interesting. But this time around, Violet doesn’t rise to the so delicious bait of teasing her second, not when her brain is so set on match-making her third.

“I don’t see why not. Isn’t she a friend to all of us?”

She stops, waits for a nod from each one of her children currently engaged in eaves-dropping on the topic.

“She’s polite, witty,” she continues listing reason after reason, all to which Colin is entirely familiar and now that he thinks about, has noticed himself, several times over, in Penelope. “And quite darling.”

He imagines darling is what girls who aren’t called beautiful get stuck with by kind mothers. He never actually stopped to even consider Penelope in any of these ways: she’s always been there, ever since he was in short pants – and that’s almost already half their lives. A fixed presence by the side of his younger sister, and a favourite of his mother, despite all the awkward wallflower tendencies in Penelope. But he doesn’t recall ever trying to pick apart her character, find her individual traits, even consider her as a… woman.

Colin is suddenly shamed by his wilful, manly indifference. Violet arches her eyebrow at him, clearly still expecting an answer.

“Mother,” he adds with a sigh. “I can promise you most certainly that I am not marrying any time soon.”

“One never knows,” she murmurs, though she allows him his momentary peace, and returns to her embroidery.

***

Only that his mother doesn’t stop with her comments, and they seem to grow in number each time she meets Penelope, which unfortunate for him, is often enough. The next morning, as she returns from shopping, she comments on how nice she looked in a dress of her own picking, and not her mother’s own distasteful choices. Each time any married sibling sends a letter, or comes visit, her efforts in getting Colin to marry are reinforced. She jabs at him with comments: morning, afternoon and evening.

And suddenly, Colin can find that there’s nothing else much that he can think about, but Penelope, and how exactly this insane idea came to live in his mother’s mind. So he starts paying attention.

He supposes parties would be generally more enjoyable if he didn’t have to attend them with his family, as much as he loves them. He can physically feel Violet’s eyes drawing across the room, and then settling, decisively, on his back, a list of eligible ladies for marriage already compiled in her mind, alongside one for dancing partners. Colin can already guess what her mother is about to tell him.

And he is right. She pokes at his elbow with her fan, nodding to the edge of the ballroom, where Penelope Featheringston stands, card empty and looking like she’d rather be anywhere else but here. Well, at least they do have that in common.

“Colin, darling,” and really, that’s all that Mrs. Bridgerton has to say to any of her children for them to do her bidding.

He makes his way across the room, trying his best to avoid getting roped into introductions by mothers or old friends alike. The faster he’s getting this over with, the faster he can return to the appetizers, and to a reconnaissance of the room of his own.

“Pen,” he says, and she startles, turning around to him with the widest of eyes, and the shyest of smiles. Huh, maybe she does look quite darling.

“Colin!” she exclaims, smoothing down a hand over her dress, and while it’s a gesture driven by nerves, it looks quite adorable.

“Would you do me the honour of a dance?”

He extends out his arm, which she takes – an answer without needing one. And it’s quite a shame, to all the other men in the room, because Penelope is a wonderful dancer, and a most attentive conversationalist during them. She asks him of his most recent travels, destination known through the letters he sent to Eloise, most likely. He’s received his fair share of foot stepping and the occasional elbow in his side, but never with Penelope.

She animates with each step, blushing at his hand around her back, smiling at a spin. He never considered how soft her body feels under his fingers, underneath the thin material of her dress, but now he is acutely aware of her warmth seeping through. He asks of the books she’s been reading, which he knows are plenty.

And at the end of the dance, he finds that maybe dancing with Penelope Featherington is not such a tedious task, after all. And at the end of the night, he’s quite certain she’s been his best partner.

***

Art exhibitions are not really Colin’s thing, really. His interest lays in a world painted in words, not in colours. But considering the fact that one of Benedict’s pieces is to be exposed to the world for the first time, of course his entire family must be present. He is proud of his brother, for having found a path in life, having chased it so full of determination.

Colin’s good at chasing as well. He’s just been proven, more and more lately, that he chases only things that cannot last, which displeases him greatly. It doesn’t mean he is not entirely supportive of his older brother. What other reason he’d have to be present here, at all?

“Penelope!” Eloise shouts, gathering the attention of her friend.

Penelope spins around, red curls jumping with the movement, and she blushes. Colin is pretty sure she’s done this every single time he’s seen her, though maybe he now begins to understand why. She nods her head in their direction, all Bridgertons replying in kind. Eloise lets go of his arm, rushing instead by her best friend’s side, hands entangled in a most obvious display of friendship and affection.

Colin knows Penelope’s family – and so he knows there’s no such camaraderie between her and her sisters, as it can be so easily observed between himself and his own siblings. He’s glad these two have each other then: a friend is one’s most fearful champion.

He walks by his mother’s side, going through the gallery, the two girls just a few feet ahead. Eloise is the taller one, yet both their heads are bent together as they discuss, such an air of ease and comfort about them. His sister says something, and suddenly Penelope turns a bit more to the side, laughing: a sparkle of mischief in her eyes and the loveliest pull at her mouth. Now, Colin finds himself quite taken with her mouth, staring because he finds it impossible not to. The soft pink of her lips, as she’s worried at them trying to come up with a comment about this and that painting. The white of her teeth, as she smiles. Her tongue, wetting her lips, from time to time, as the rooms grow hotter, with all the people passing around.

He’s lucky that the art pieces all around are distracting enough that Penelope herself doesn’t notice. His mother does, though.

“Quite darling, no?”

And she looks at the exact same person that he is, and most certainly not at the painting of a fruit basket in front of them.

“Mother,” he warns, a slight squeeze around her arm.

“Oh,” she sighs. “You can’t blame me for caring enough to try.”

Maybe not. But he can blame her for opening his eyes to something that he, like everyone else – he begins to realize - didn’t really know was right there.

***

So Colin Bridgerton, like a true hero of his days, leaves for Wales. And like the caring gentleman that he also is, he uses one of his friends as his excuse. It helps – it’s quite a useful distraction, for a while, walking over the hills, staring out at the sea, spending evenings eating hearty meals with someone that knows him well enough, but not too much. And he writes in his journal, of his quiet passing days.

By contrast, the nights are not so quiet. While he tries so hard to forget the society back in London, at night there are no distractions: and even so, while asleep, he cannot really control his unconscious mind.

So Colin dreams: at first, the most innocent of shadows, people that he can vaguely make out. Then the visions get clearer, and longer, and more tormenting. It starts with Penelope’s smile, and that mouth of hers, which in a dream he can admit to wanting to desperately kiss. Which, in a dream, he has leave to do. He knows, upon waking, that whatever taste lingers on his tongue from his haze, it certainly has nothing on the reality, and hates himself all the more for it. Then her body, close to his, the press of her bosom hard against his chest, the roundness of her bottom in his palms. The next morning, he is in need of a change of bedsheets, like he is nothing but a horny teenager.

He is sure his mother must have cursed him. The dreams continue, sweet haunting that only makes the guilt rise in his throat. She’s his sister’s best friend, for heaven’s sake, and here he is, conjuring her up in his dreams with no respite! It’s like his body has decided to take an entirely different path from his mind.

Colin is miserable on a travel, for the first time in way too long.

***

Maybe that’s his excuse. He lacks sleep, and for him, the most pressing issue is, obviously, still the one of his marriage. Violet Bridgerton is popular for many things between her children, but her cutting words and sharp mind are not necessarily one of those, especially if used against one of them. Colin has found himself at the receiving end of exactly that for weeks and months now, so he is apprehensive when he is summoned back to London.

But if his mother has need of him, then he must make haste. Of course, the real reason is simply the news of Daphne’s new pregnancy, which is incredibly happy. Colin loves to be an uncle way better than he likes being a younger brother.

Especially since right now, Anthony and Benedict have taken the liberty to pick up with the teasing where their mother stopped.

“You left in the middle of the season,” Benedict remarks, and Anthony clasps his back in a way that only eldest brothers can do, when they require an immediate answer.

“Oh, very well,” and Colin actually scowls. “I needed to get away. Mother has been incessant with this bloody marriage thing.”

And because they’re his brothers, of course they joke and jest more, at his own expense. Everyone in their house knows that his mother has her eyes set on Penelope, and everyone in their house is already tired of her insinuations, Colin most of all. That doesn’t mean that Anthony, or Benedict are going to pass up the opportunity to rile him up on the subject. It’s been a while, after all, since they’ve had reason to laugh at him in particular.

It’s the damn lack of sleep, and all of these comments, which are entirely unwarranted and so overwhelming, despite his protests, that make him throw all decorum out the window.

“I am not going to marry soon, and I am certainly not going to marry Penelope Featherington!”

“Oh!”

The softest sound, really – feminine and delicate and belonging to the single person that he didn’t want to see right this moment. With much slowness, burning red with shame, Colin turns around to look at Penelope Featherington. And he knows: by the expression on her face, the haggard breathing with the desperate rise and fall of her chest, and her eyes, that he just broke her heart.

What he says right there on the spot, he cannot truly recall. A fumbling of stupid, empty nothings, apology too small, too unfulfilling, because Penelope draws herself up and protects the little bit of her dignity left.

And she leaves, so fast that he doesn’t have the time to do what he wants: follow her to clear up things.

Benedict punches him in the arm, quite terribly hard. It still doesn’t feel as bad as the gut-wrenching guilt building up inside himself, or the self-loathe that he so much deserves. Because just as he was beginning to make up his mind regarding how dear, truly, she has grown to be for him, he has done the worst thing a person who cares about another can do: hurt her.

***

He shows up at the doorsteps of her house the following day, surprised to find Penelope alone in the drawing room.

“As you might suspect, Mr. Bridgerton,” she says, when he inquires after her mother and sisters. “Many men before you have made the same declaration, though maybe in more private settings. I am afraid any hope of marriage left in this household falls upon my sisters.”

It is the fact that she doesn’t use his name that stings the worst, and makes him understand exactly how much harm he’s done with his extremely horrifying comment.

“Penelope, I am so entirely sorry for the way I behaved yesterday. You must believe me when I say I did not mean to offend you in any way.”

“Must I?”

He stops, opens his mouth: no words come out. She looks the picture perfect of peace, and maybe this is what should worry him the most. It is his first time seeing her as more than a blushing young woman, and suddenly maybe he realizes why she is Eloise’s best friend: she’s made of tougher stuff than what he’s been led to believe so far.

“What I said, the way I’ve said it. I’ve hurt you… It’s entirely intolerable and I apologize for the situation you’ve been put in because of me being an ass.”

Situation that she handled entirely fine, given the fact that he so singled her out in a market of numerous others undesirable young ladies. She sighs at his curse, something that sounds like Colin, that has the tiniest of fondness in the tone. Something in his chest tightens with fondness of its own, for this woman in front of him, who has been nothing but a most beloved friend, to his entire family – and to him, as well.

“I…” she stops, taking in a deep breath, her hands shaking. “I already told you, no feelings were hurt. You’ve made no remark that wasn’t already obvious to everybody in the ton,” she says, and she waves in the air the latest number of Lady Whistledown.

Of course, even when he misses it, his sisters and his dear mama are quick to fill him up on the happenings of the season. In today’s fresh paper, Whistledown has written down that were the two of them ever to get married, she’d have to give up writing altogether – such an unfitting match never having been seen before.

“You can’t possibly believe those writings,” he says, suddenly offended at the paper, though he’s not quite certain on whose behalf anymore.

“I didn’t, until –”

Until he has reinforced them all the more, with his declaration. Colin suddenly feels himself flush from head to toes, at being so openly chastised. His brother Benedict has already told him, that he has cruelly overstepped most demands of polite society when he lost his temper in that way, in such a public place.

“I really do apologize, Penelope.”

He hadn’t realize how much he enjoys saying her name until now, when he so desperately wants her, needs her to say his own. A sign that things between them can be mended, move from the terrible awkwardness between them.

“Pity doesn’t feel that nice to those who already know how pitiful they are, Colin.” His gaze snaps up at her, and finds her already smiling at him – quite charming, even if so utterly self-depreciating. “Though you are forgiven.”

He bows at her in thanks, lower than he’s gone in months, if not years, just to show how entirely grateful he is. Of course, Colin is yet too young, rich, handsome and charismatic to know the meaning of her words, and too stupid of a man to try and understand where she is coming from.

But he will, in due time.

For now, maybe his favourite sight to see during his travels becomes the shores of England, when returning home. Because home has just started to mean just a tiny bit more.

[girl-in-the-tower]

WHY I LOVE THE SCARABIA CM AND YOU SHOULD TOO

Listen, I don’t even know why you’d actually need to look for a reason to love and cherish this beautiful piece of animation, but to each their own. Regardless, you’re in the right place, because I’m about to gush and cry over this CM just to convince you to show it the same level of love that I feel for it. It’ll be difficult, but don’t worry, I’ll be there with you the entire time. So, let’s start with the beginning. 

What makes this CM different from the others? Well, let’s look at the most obvious aspect: it’s narrated by two people, instead of just the Overblot victim like in the case of the Heartslaybyul, Savanaclaw and Octavinelle. There we had only Riddle, Leona and Azul speak because, obviously, as the Prefects and shadows of the villains they would be the most important characters. You could call that antagonist privileges if you want, but there’s a reason a show with a big cast doesn’t go in depth with every single one of their characters. Not only would it be infeasible, but also useless. Narratives need a point of focus, otherwise they end up disjointed and incomprehensible. 

So why didn’t this CM just have Jamil narrate? He’s the antagonist of chapter 4, after all. Shouldn’t he get his own moment in the spotlight, separate from Kalim? Well, yes and no. For you see, the thing about Scarabia is that unlike other dorms the relationship between the Prefect and vice dorm leader is much more complicated. By which I mean that no other vice dorm leader is an indentured servant to the family of their dorm’s Prefect. Trey is Riddle’s childhood friend, Ruggie sticks with Leona because it gives him a better chance for survival, the Leech twins stay with Azul out of curiosity, Rook admires Vil, Ortho is Idia’s little brother (?) and Lilia has served as Malleus’ parental figure.

(Also, yes, I’m counting Ruggie and Ortho as vice dorm leaders since that’s basically their role anyways.)

None of them are bound to their Prefect. Trey has a life outside of Riddle, Ruggie will drop Leona like a sack of potatoes if the latter gets too much to deal with, the Leech twins EXPLICITLY say that they will turn on Azul if they get bored, Rook actually points out Vil’s flaws to his face, Ortho doesn’t let his brother get away with everything and Lilia’s position is more of a trusted family friend, than an actual guard/babysitter. The point I’m trying to make is that all these people have choices when it comes to their relationships with their respective Prefects. They stay by their side out of their own will and not because someone is forcing them to be there. 

The same doesn’t apply to Jamil. He can’t just decide to leave Kalim’s side one day, because he was getting sick of looking after him. And that’s because he didn’t have a choice in being by his side in the first place. That decision was made for him by his parents. Because that’s how indentured servitude works: when you’re in the service of a lord, especially if you’re a poor peasant, your period of time decided upon entering the contract tends to extend to future generations as well since you’re not given any money to save. Most peasants that found themselves in such positions often would marry and start a family while still in the service of their lord and should they die, their family, unable to provide for themselves because their whole life was spent doing unpaid labour, will also enter the same contract. This process would go on until either slavery, which this most certainly is, was banned or the lord decided to set you free. The former was much preferable to the latter, because in a feudal system to be set free by your lord often marked you as an undesirable servant. You would be hard pressed to find a lord that would ‘hire’ you after finding out your former ‘employee’ decided to ‘fire’ you. So it would be very rare for indentured servants to actually manage to free themselves from that position. 

This is precisely where Jamil’s frustration arises from as well. As a capable individual, he’s acutely aware of the limitations his status imposes on him. He’s a servant of the Asim family from birth, much like his parents and grandparents were before him. This is not something he chose for himself, but rather something that was imposed upon him. Herein lies the central issue that defines Jamil’s character: lack of choice. Much more than any character, Jamil’s life is governed by the limitations that arise due to his social position. We see that ever since his childhood he was forced to always take into consideration Kalim’s abilities and model his performance as not to eclipse him in any way. If Kalim placed second place in a dancing competition, Jamil must not be among the top three. If Kalim’s grades slipped, his own grades must as well. If Kalim lost two times in a row at mancala, Jamil must make sure he loses the next three games. Yet, paradoxically enough he mustn’t fall behind too much either, for that would make him a useless servant. And as I pointed out before, inept servants are not considered desirable by those in power. 

It is in essence a balancing act that Jamil must make sure he adheres to strictly, as not to bring shame to the Asim family to whom he is, in theory, loyal. In relation to Kalim, Jamil must make sure he performs poorly, but in relation to others he must make sure he performs well. It’s that precise position between exceptional and ordinary that he must achieve, and according to Azul, Jamil is excelling at that.

Azul: You usually never make yourself stand out—A wallflower, so to speak.

You make sure not to stand out academically, too. Whether it’s with class standing, or with practical training. But, at the same time…

You never get failing scores. (4-37)

Yet the question we must ask is why? Why must Jamil follow these demands? 

Well, for one it’s the issue of the indentured servant that we have discussed before. Jamil is bound to the Asims and going against them will bring repercussions not only on himself, but on his family as well. In the modern age in which Twisted Wonderland seems to be set in, this would not be much of an issue, we would guess. However, while that might be true, we must consider it not only from a logical perspective, but a psychological one as well. The human brain is fascinating in the sense in which it is able to transform information into patterns. And nowhere is this most apparent than in the impregnation of cultural norms into the mind. We tend to think of some things as innately ‘normal’ and ‘ordinary’ and everything that goes against those beliefs as ‘perverse’ and ‘immoral’. For example, up until a few decades ago, the idea of women as second-class citizens was seen as a perfectly reasonable notion. Those that did not agree with it were considered troublemakers and agitators, and if there’s anything the human individual loves more conformity, it’s ensuring that it’s enacted upon the population at large. The nail that sticks out gets the hammer, as the saying goes. 

But what does this have to do with Jamil? Well, the fact is that his role, as Kalim’s servant, comes with certain social expectations. 

Jamil: Kalim’s parents were always better than my parents. That’s why… Kalim should be better than me, too. That’s why, I could never surpass Kalim when it comes to studying, exercise, and even playing— (4-36)

The role of a servant is that of support. The Master leads while they provide the conditions and the means to do that. That is precisely the position that the Viper family is supposed to take in relation to the Asim family. For a servant to surpass his master, it leads to a deeply problematic realization: that one’s status is divorced from one’s capacity. Medieval rule was often characterized by monarchs assigning themselves as God’s anointed on Earth. Their right to the throne was not ensured by their capacity or disposition or ideals, but simply by their nature. They were meant to rule, because of the social class and family they were born into. Nothing less, nothing more. It was instinctively understood that there was a great differentiation between them and the common people and that was translated in their position as those to be considered ‘elevated’. They did not mingle with the common folk, because that was beneath them. 

And unfortunately, that is a cultural inheritance that is not easily done away with. For though we might claim we left behind the days of feudalism and vassals, there is still a great divide between social classes. It merely took a different form. Lords of the castle turned into politicians, celebrities and glamorous multimillionaires. A rose by any other name would smell as sweet, as Shakespeare would put it. Call it what you will, but the end result is that social divide still exists. And we can see that is the case in Twisted Wonderland as well.

Though the game tends to gloss over it in certain aspects, by having Leona’s reception by the main student body be as that of a lazy Prefect, and Malleus’s position is often eclipsed by his elusive attitude, it is constantly made clear that Kalim is someone with an important social background. We might have to be reminded that Leona is the second prince of the Afterglow Savannah, or that Malleus is the next king of the Valley of Thorns, but we aren’t offered the same discretion with Kalim’s character. He is almost always introduced as Kalim, the heir of a multimillionaire family. It is thus impossible to separate him from this title, and by extension, Jamil as well. Whether he likes it or not, as the servant of the Asims, Jamil is tethered to Kalim by being a part of his social image. No true Master can exist without servants, and no servants can be had without a Master. The two are reliant on each other, much like Kalim and Jamil are reliant on the other to define their position in life. 

Kalim is the son of a wealthy family because he has Jamil to prove his special status. Jamil is a servant of the Asim family because he has someone to serve. But whether he wants to be part of this system and have his identity be defined by this connection is out of his hands. And that’s the truly unbearable notion that Jamil has to deal with in his chapter: no matter what he does he is never in control of his own life. It’s always something that is decided for him.

This, in itself, is not coincidental I would say. You see, besides being interesting social commentary, it is also an unexpected look into the underlying themes of Disney’s Aladdin. If we were asked to describe what the movie is about, I think it’s safe to say most of us would cite “poor street-rat learns a valuable lesson about not pretending to be someone else and marries the princess” as the answer. And we would not be wrong. It’s obvious that “Be Yourself” is one of the most important lessons Disney wanted to teach to young children and this in itself is not a bad thing. But while these might be understood as genuine life advice at a young age, as adults we often tend to look more closely into the themes and motifs of the movies that shaped our childhoods. And thus I would argue that Aladdin is more than just a story about interclass romance, but rather a look into how the social class system functions as a whole. Aladdin, the main hero, is a street urchin with no money to his name. Jasmine, the heroine, is the daughter of one of the most powerful men in the land. Their romance and subsequent marriage is interpreted as a victory over a flawed and classist system, because they managed to surpass the limitations imposed upon them by society and ‘be themselves’. And though this is a heartwarming message to see performed on screen, it’s important to remember that there are more than just the protagonists in the story. Alongside them we have three more characters we must pay close attention to: the Sultan, Jafar and the Genie. 

To do a short summary:

The Sultan: Jasmine’s father and the most powerful man in the country, but rather bumbling and childishly naive. As is typical with Disney parents who are still alive by the start of the movie, he is a figure that possesses authority merely in name. Though kind and generally well disposed, he lacks any real power when it comes to the plot of the movie being tricked by both Jafar and Aladdin, as Prince Ali, and ultimately having to rely on the latter to be saved from the former. The Sultan is the quintessential look at a spoiled monarch whose rule is being facilitated by someone more competent than him, and this informs most of his character as a result. He himself might be a doting and benevolent figure, yet his reign is a prosperous one by accident not by his own making.

The Genie: The spirit who resides in the lamp that Aladdin finds in the Cave of Wonders and who becomes his ally in his quest to marry Jasmine. Perhaps one of the most memorable characters in the movie, thanks to the late William Robbins’ performance, Genie's entire quest in the movie is to achieve freedom by helping out his Master. The parallels between him and the indentured servant position are made abundantly clear by the fact that he is bound to Aladdin until the latter agrees to set him free. Genie’s role in the story is one that is important, but his position is one that mirrors Jafar: they are in the service of someone who is less than them, whether it be competence or magical ability. However, while Jafar detests his position and the Sultan, Genie becomes a father figure to the protagonist. The fact that the two exchange places (Jafar is turned into a Genie and imprisoned, Genie being set free and retaining all his powers) stems directly from how they relate to their social class. Jafar is self-serving and ambitious and Genie is altruistic and self-sacrificial. Genie thinks of the happiness of his Master, though he is still displeased by the concept itself, and for that he is rewarded, proving that putting the well-being of others above your interests is the way to happiness after all. That is, if you’re a Disney hero.

Jafar: The Grand Vizier and the second most powerful man in the land, but is a scheming backstabber that plans to take the throne for himself. As one of the most easily recognizable Disney villains, Jafar makes a strong impression through not only his design, but through his philosophy as well. He’s in spite of his high rank, still pretty much a servant, having to ensure that the rule of the Sultan is enacted accordingly. Yet, as an antagonist he makes certain that whatever he does is in his own interest as well. To say that he is ambitious would be an understatement, but what is it that he wants exactly? There is no clear answer, but the closest we can get to is that Jafar wants power. 

But wait, you might say. Didn’t Aladdin also want that? Why is only Jafar the villain, if they were both after the same thing?

That is a good question! And the answer to it is yes and no. Though indeed, both Jafar and Aladdin wanted power it was for different purposes. Aladdin wanted it for the sake of overcoming his social limitations and thus becoming a worthy candidate for Jasmine, while Jafar wanted power for power’s sake. The lesson that Aladdin learns is that he shouldn’t have attempted to do that, because it would have never worked out in the way he intended it to. Though Jasmine can bring herself down to his level, he cannot bring himself up to hers since it would disrupt the social system. One cannot rise up to a higher social standing through power alone, they need recognition as well. Which is why marrying Jasmine becomes an important plot point. Jafar, who achieved power through his scheming, still lacks the recognition, which can only be granted through marriage to a royal or someone of higher social standing. He fails to achieve it, because his rise in social ranks did not have a ‘noble’ purpose like Aladdin’s but it merely satisfied his own agenda and needs.

Jafar’s status as a villain is thus due to the fact that in Western media ‘Ambition Is Evil’ is one of the most prevalent tropes. Think of the Becky Sharps, the Slytherins, the Lucifers, the Littlefingers that populate our literature, their evil nature is more often than not tied to their necessity to rise above others. 

To reign is worth ambition though in hell; 

Better to reign in hell than serve in heaven. (Paradise Lost)

Power corrupts, and ambition corrupts absolutely. Disney characters thus often learn that it is better not to be swayed by power from their role in society for the sake of power, or they will pay the heavy price for doing so. That is why Jafar fails and Genie succeeds, because they related differently to their role in their Master’s lives. 

And that is a theme that Twisted Wonderland also touches upon in Jamil’s story. Twisted from Jafar itself it was inevitable that his story would deal with such a topic. However, what deeply impressed me was how self-aware the narrative had been in regards to it. 

Ruggie: I feel bad for you. By helping out Kalim you have burned your hands considerably. (R Card School Uniform)

Jamil: I want to avoid standing out. I can’t be satisfied with this. I cannot be too good, nor fall behind, and neither should I get satisfactory grades or fail. This is the best shortcut to success. (SR Card Lab Coat)

Jamil: I am a sworn servant to the house of Asim and thus have a duty to protect the master. (SR Card Ceremony Robes)

Azul: You are always welcome in Octavinelle should you find yourself freed from Kalim. (5-10)

The matter of Jamil’s role as Kalim’s caretaker is one that has been brought up at several points throughout the game. This is usually done with the express purpose of reinforcing his status as his servant, but also to affirm that it is indeed this very position that is preventing him from achieving his full potential. 

Azul: If you look at your grades, there are no visible gaps in your classroom lectures, practical skills and physical training. Even I have a weak point when it comes to flying… For you to not even have such an instability is frankly amazing. It is like you can tailor yourself to suit your needs. (SR Card Lab Coat)

Just as Azul remarks Jamil holds himself back on account of his need to perfectly perform a certain persona: the reliable valet. It is a character we often see in media disguised as the Hypercompetent Sidekick or Servile Snarker, who is by his very nature much more accomplished than the master, but must out of financial necessity submit himself to someone else. Or in Jamil’s case, out of filial obligation. And this is where the comparison with Jafar becomes important because while Jamil does embody Jafar’s ambition, it is not treated in the same manner as in the movie. Jamil’s motives for betraying Kamil are similar to the villain: he wants to impose himself upon others and overcome his social position. Having been raised in servitude since young he has been forced to ‘tailor himself’ to the demands and expectations placed upon him. However, because this position has been imposed upon him and it wasn’t of his own volition, Jamil comes to resemble the genie much more than he does Jafar. Which is completely intentional, I believe. But we’ll get to that soon enough. 

Taking this into consideration it is interesting to note how the resolution of Jamil’s arc differs from Jafar’s in terms of narrative. The end of Aladdin has us witness the defeat of Jafar at the hands of Aladdin, his imprisonment in the lamp and the release of the genie from his bonds of servitude. It is, of course, a typical Disney happy ending: the villain was defeated by his own hubris, while the heroes prevailed through self-sacrifice and cleverness. The main character has learned the necessary moral lesson (cynically phrased as: do not aspire to overcome your social class through hard work, but wait for recognition from your superiors) and all the characters that aided them during their journey get rewarded as well. It’s the culmination of the Disney formula that selflessness and altruism are the values that separate the heroes from villains, and by extension good from evil. Evil only seeks its own interests, while good works in the interests of others. So what about Jamil?

The end of the Scarabia arc is quite ‘Disney’ to a certain degree: the villain has been exposed, the heroes send to the other end of the ‘world’, they get their second wind, defeat him and live happily ever after. Well, not really. You see, what happens before the heroes go to defeat the antagonist is that Kalim breaks down crying due to Jamil’s betrayal and Azul remarks the following thing:

Azul: Kalim’s gentle disposition towards others is completely different from Jamil and I… No… Taking into account everything, he probably built a grudge over the years. You have been causing trouble for Jamil since you were little, after all. However, you are not in the wrong. You were born a cut above the others. You were loved by everyone around you and we were raised under such a good environment.

You were simply unaware of the greed you’ve been showing. (4-34)   

Jamil’s actions aren’t excused, because they are indeed those of a villain: plotting, backstabbing and double-crossing the heroes for his own gains. Yet, they are not simply attributed to his ‘evil’ nature, but rather explained by the environment in which he was raised and the morals that were instilled in him. Jamil is not evil, but rather merely desperate enough to resort to evil means. And that is a profusely important distinction. Though we might commit malicious acts that does not mean that we are malicious by nature, much as committing benevolent acts does not make one irreproachable. And Twisted Wonderland understands this notion: not in the sense that Jamil was right in what he did, but rather than we can understand why he felt like he was pushed to such extremes. 

Jamil’s story is one of the more complex ones, in my opinion. It speaks about an issue much deeper and much more insidious than any that have been explored so far in the game. The result is that unlike the other three previous Overblot victims, Jamil has no clear-cut solution to his problem. Even after the incident he is still in the service of the Asim family. Even if Kalim asserts that they are equals at school, he still will remain a servant everywhere else. No matter what he does he is bound to the Asim’s and more specifically to Kalim. 

I feel like this would be the note on which I should safely conclude this very long introduction, as we move further and into the real meat of this post: the analysis itself. Thus, without further ado, let’s see why this CM is such a treat from a symbolical and storytelling perspective.

The opening of Aladdin (1992) is perhaps one of my favorites due to the fact that it seeks out to reference its source material: One Thousand and One Nights. By that I mean that it utilizes a technique known as the ‘frame story’: a story which contains within it another story. In the novel the framing device is Scheherezade, the vizier’s daughter who upon learning that she will marry Sultan Shahryar and be promptly killed at dawn, devised a plan to subvert her fate. She would each night begin a tale that would leave the Sultan so enchanted that he postponed her beheading until the next day so she might finish her tale. However, upon finishing the previous story Scheherezade would continue with another one and so on and so on until she eventually managed to avoid death for one thousand and one nights. Hence the name of the collection. 

Aladdin uses a similar device in the character of the Merchant who appears at the start of the movie and introduces us, the viewers, to the world of Agrabah which is a place “where they cut off your ear if they don’t like your face” according to the original lyrics of the song. But it also includes a shot at the end of the movie which has the Genie lift up the ‘wallpaper’ and speak directly to the audience. These scenes, though easy to disregard, do reinforce the fact that the movie we’re about to see is not taking place as it happens, but rather a second-hand account of it. Much like Scheherezade attempts to avoid her decapitation, so does the Merchant at the start of the movie attempt to convince us to give the story a try, become immersed and then abruptly reminded of the fictionality of what we have just witnessed. And I don’t mean in the sense that it is a movie, but rather in the sense that even within the logic of the movie, this whole set of events has a certain fictionality to it. The fact that initial plans had the Genie and the Merchant be the same character only strengthens this notion. 

But the Scarabia CM doesn’t start with the Merchant now, does it? No, it does not. But rather it starts with the very first image of the movie itself: purple smoke against a red flaming background. Except that there is no red flaming background this time, but a calming blue shot of the dunes with what appears to be the Scarabia dorm building in the background, or even Agrabah itself. There is no smoke either but sparkling dust that emanates from a lamp half-buried into the sand. The images are clearly meant to evoke the general aesthetic of Aladdin (1992), but they can also be interpreted symbolically. 

The imagery of smoke is often one of ascension, of leaving the earthly shackles and rising higher towards the spiritual world. But it is also a rather solemn symbol as well, given that it can also be associated with the burning of corpses. Its presence in the movie is explained by the fact that this is after all a story about liberation: most obviously the Genie’s, but also the other characters. Everybody wants to be free in some form or another. The colour symbolism is also interesting to remark upon as according to Richard Vander Wende, the production designer of the original film, certain colours have different meanings within the movie. Red symbolizes heat and evil, while blue is a calm colour associated with water. The red background thus carries negative connotations, but it is eclipsed by the presence of the smoke in the foreground, that is a combination of red and blue. If we were to interpret this visual choice we could claim that the movie is trying to let us know that the story we are about to watch is one in which morally-grey protagonists overcome the forces of evil. For, even though Aladdin is our main character, he is not a pure hero by Disney standards as he is after all a thief and the lesson he has to learn is that he should not attempt to scam his way into a better social position. 

But the Scarabia CM uses a blue background instead, so this is certainly not the same message it might try to send. Rather, due to the positioning of Scarabia/Agrabah in the background, I believe that it is indeed a story about rising above, but not above the forces of evil as much as above social norms accepted as standards. The Scarabia storyline is very much centered around the notion of social positions and how they function within a system of indentured servitude, as is obvious through the way in which Jamil attempts to overcome the position of servant through schemes and planning. We most certainly encounter the thread of evil within his character, but though his methods are unsavory, his end is, I would say, understandable: freedom. 

Jamil: For me, and my family... I'll do anything for our sake!!! (4-31)

Jamil: I’m done playing servant!! I WILL BE FREE—!! (4-32)

The choice of a blue background might thus allude not necessarily to goodness as in the moral concept itself, but rather to the comfort of social norms. There is a certain stability to be had in a system that declares that all those born into wealthy families shall remain wealthy, and all those born into servant families should remain servants. To quote Aladdin: “It’s barbaric, but hey, it’s home.” (Arabian Nights) In such a system that relies on absolute conventions regarding social classes, someone like Jamil is a threat, because he questions and subverts the limitations imposed upon him. He is smarter and more capable than Kalim, yes, but because he must ensure that he does not draw negative attention upon himself, he is forced to adhere to a lifestyle that is not representative to whom he truly is. The similar shape of Scarabia and Agrabah only serves to highlight that regardless of his environment, as long as he remains a servant through his bond to the Asims, he shall never be able to change his destiny.

The lamp is the most important object in Aladdin (1992) as it is the MacGuffin that is coveted by Jafar and the prison of the all powerful entity that is Genie. The lamp in the movie has thus two connotations: power and imprisonment. The juxtaposition between the two creates an interesting image of how power changes according to one’s position in society. Though Genie’s powers are indeed great it seems that he is incapable of wishing himself free, which is I think a good analogy to the position of indentured servitude in which only a lord’s permission would be capable of restoring an individual’s freedom, even though they would be in theory capable of physically leaving their place of servitude. Their choice not to is not only a reflection of the possible corporal punishment they would endure if captured, but also due to the social contract that forced them to remain in that position. As servants they would remain branded forever as second-class citizens at best or dangerous felons at worst. Not a fate one would ever wish upon themselves in those days. 

It is clear that besides Jafar, Jamil also bears quite a lot of similarities to Genie.

It’s like being the genie of the lamp, calling me anytime and anywhere. (Jamil Chat 1)

As I mentioned above, Disney draws an interesting parallel between Jafar and Genie when it comes to relating towards their ‘superiors’: Jafar despises the Sultan and wishes to disposes of him, while Genie forms a parental bond with Aladdin and even reluctantly agrees to remaining bound to the lamp if it means his ward’s happiness. The fact that they exchange positions at the end (Jafar being imprisoned in the lamp, Genie being freed) is the result of the moral choices they make. Genie’s altruism is what allows him to be freed, while Jafar’s ambition is what traps him as thus is the rule of Western philosophy: the needs of the others are superior to our own. 

But ignoring Jamil’s OB for now, we realize that he does not truly commit to either one of those positions. He is resentful of his enslavement at the hands of the Asims, but I believe he does not genuinely wish harm upon Kalim himself, but rather towards the system as a whole, which is represented by him. This is an idea we’ll return to eventually, but it is important to mention it in advance, because it paints a better picture of what Jamil’s true intentions were during his attempt to take over Scarabia. It was not power for power’s sake as in the case of Jafar, but rather him trying to assert control over an aspect of his life, which in this case would be his position within the dorm. Jamil isn’t truly interested in the position of Prefect as is, but in what it symbolizes: freedom. As Aladdin shows power is not synonymous to freedom, but rather something adjacent to it. Even a most powerful creature like Genie is bound to the whims and wishes of a mere mortal, much like Jamil is bound to those of Kalim. To overthrow him as Prefect would mean to assert himself as independent of social bonds by having no one be superior to him anymore. Yet, because he does it through immoral means he fails and thus keeps in line with the moral of the movie: you cannot advance socially without the approval of your superiors.

The moon is one of the most referenced symbols in literature due to the fact that it innately appeals to writers and poets alike. It is fundamentally female in nature, due to its connection to the Roman Diana and the Greek Artemis, and associated as a result either with the concept lunacy, to which it lent its name, as well as with witchcraft, solitude, power and change. The moon’s circular shape as observed from Earth is also associated with the notion of eternity and cyclicity, which is perhaps the symbol that is of most interest to us when it comes to Western interpretation, as in Japanese culture the moon can represent a person’s core, unaffected by others. It is more succinctly put a representation of the Self, that which is considered quintessential to one’s identity. And it is this imagery which the CM tends to gravitate towards I would argue.

The moon is a particularly prominent symbol in Aladdin (1992) as it symbolizes the notion of change and new beginnings. Aladdin and Jasmine’s flight during the song sequence “A Whole New World” uses the moon as a backdrop and confers upon it a romantic aura of serenity and calmness, which is referenced towards the end of the movie wherein they fly towards it upon their success at convincing Jasmine’s father to allow their marriage. The moon in this regard is symbolic of unity and fortune, synonymous with true love’s conquest over everything else. But there is also a comedic twist to it as seen in the very last scene of the movie wherein Genie’s face is projected upon it. It is thus primarily a positive symbol associated with goodness.

The CM however is closer in meaning to the notion of the moon as the human core observed in solitude. Unlike the moon in Aladdin, whose shadows are barely perceptible and thus looks more natural, the moon here is overtly engulfed by darkness, with the sole space of light providing a sharp contrast in tone. It is not a symbol of unity, but rather of division creating barriers and boundaries between the characters who are positioned at opposite ends of the circle. Kalim, as a superior in terms of social and financial power, is situated upon the side that shines brighter to symbolize his role as the face of the dorm. He is the Prefect, the one that represents his dorm and the ideals that it is founded upon. Yet, upon further inspection we notice that the word ‘Scarabia’ appears on Jamil’s side, which is not only the dark part, but also takes more space. It is an unequal division but so is much of their life: Jamil remains in Kalim’s shadow, though it is only due to the former’s help that the latter manages to shine as a Prefect. This is confirmed by the positioning of their dorm’s name on Jamil’s side, as he is in fact the one that more overtly exhibits the ideals of careful planning that the Sorcerer of the Hot Lands is known for.  

Kalim’s face change is interesting if we consider the notion of the moon representing the human core on which one’s identity is formed, because it confirms that he is indeed as cheerful as he appears to be. His cheerful disposition though likened to the image of the sun, lacks the usual masculine and aggressive features associated with it in Western culture, as he tends towards more feminine ideals of pacifism and serenity, which are associated with the moon. Moreover, as it has been pointed out to me, if one is to consider the Japanese cultural context we would be able to observe that the feminine characteristics of the sun are in perfect accordance with the female interpretation of the star in the form of Amaterasu. His body language is relaxed and openly friendly and there’s nothing about him that truly stands out in terms of contradictions. 

Jamil on the other hand presents an entirely different picture. His stance is guarded, that much is certain, and his expression is to be considered at best wooden. Unlike Kalim’s dynamic movement, he remains static and unchanging, sporting merely a look of resigned indulgence towards Kalim, and it seems to a certain extent as if he asserts control over his own reaction towards it. In other words, it is not in the slightest bit natural. Moreover, what does attract our attention is not his expression as in the case of Kalim, but rather the shine of the metal of his choker. 

Unlike Kalim which is bathed in light in warmth, Jamil is surrounded by dark and shadows, with the sole point of light being the metal around his neck. This is different from Kalim whose accessories do not stand out in the same vein. The reason is that on a fundamental level they represent entirely different notions. In Kalim’s case it is a representation of his wealth and power, with the lack of focus on them hinting perhaps to the fact that he is at ease with his position as the heir of a multimillionaire family. It does not stand out because that is his right by birth and thus just a natural part of himself. Jamil’s core, on the other hand, reveals that his identity is very much forged by the Viper’s bond to the Asims. 

Jamil: I’ve been looking after Kalim ever since we were kids. That’s the Viper family’s duty. (Jamil R School Uniform Lines)

In Kalim’s case the accessories are just that: accessories. But in Jamil’s case they are a mark of servitude. They stand out among the darkness because this is how he perceives his own persona: dominated by the image of the loyal servant who is socially inferior to his master. Even the metal itself seems to have a silver tint, rather than gold, symbolizing that even though he and Kalim should be equal (both sporting gold chokers) reality is very much different, since he is forced to be subservient even though it goes against his instincts.

It is interesting to note that in Aladdin (1992) the notion of space and how it relates to characters plays a significant part. Agrabah, the setting of the movie, is a place of social division in which those of lower status live in poverty, financial distress and crowded spaces, whereas those of a higher status enjoy the luxury and the vast space provided by the palace. Compare the streets of Agrabah during “One Jump Ahead” which are constantly filled with people, objects and animals and project an image of recurring chaos, to the quiet serenity of the palace where the Sultan and Jasmine live. The contrast is staggering. But more than that it is indicative how much social class can make a difference. 

It is also interesting to note that with the exception of the Sultan, all characters have at some point transversed these two spaces: Jafar and Aladdin move between the city, the palace and the desert, Jasmine sneaks into the city in order to experience real life and the Genie has access to a fourth space in the form of the lamp. However, the Sultan always remains within the palace walls. The reason for that is rather obvious: it is the seat of power and to leave it would be to admit to inferiority in regards to his position. Unlike the other characters that long for something more, the Sultan is content in his role as representative of financial and social power. He does not need to switch locations, because his static nature is what allows the other characters to progress in their journey. 

The CM builts on this premise as well, by showing us the very different worldviews that Kalim and Jamil experience. Fulfilling the role of Sultan, Kalim is surrounded by luxury and comfort, as he rests in his room at the dorm. The colours are warm and calming, as the light very gently illuminates the room in order to cause an impression of coziness, which fits perfectly with his own character. Kalim’s personality is at its core a ‘refreshing’ one, orientated towards creating harmony and a content attitude. All his life was spent among servants that catered to his every whim and desire, so his sense of independence was greatly stifled. If we may put in blunt terms, he’s sleeping through life, relying entirely on his social position due not necessarily to laziness, but rather naivety. Because he never had to leave the palace walls, he never had to develop any sense of autonomy and thus has managed to remain faithful to his social role. He does not experience a sensation of contradiction between who he is and who he is regarded as because he lives in accordance to the characteristics deemed appropriate for him as a member of the elite.

The same cannot be said for Jamil. Juxtaposed with Kalim’s scene we see Jamil walking through the desert as the harsh light shines upon him. There is no comfort to be found in this particular shot. Whereas Kalim is sleeping peacefully and at ease, unaware of the difficulties of life, Jamil is wide awake. Unlike the former, the latter’s life is dictated by restrictions and hardships, all which he has to endure without showing displeasure as befitting his social role. He does not have the privilege of laying around not only due to the demands that are made of him, but also due to his innate desire for change. The desert can thus very easily symbolize the unfairness which he has to endure as a servant, but it can also symbolize his ambition and the effort he is willing to spend on making sure he can change his social status. Unlike Kalim, who rests in the palace, Jamil seeks to escape its confines even if it means enduring hardship. For you see, though the palace is indeed a place of stability, it is also a prison.

The similarities between Agrabah’s palace and the Scarabia dorm building are most certainly intentional. They’re places of unimaginable wealth that function as status symbols for the people that control them. Agrabah is, as we mentioned before, heavily divided, but it is paradoxically the slums that offer more freedom than the palace itself. Looking back at the movie we notice that the biggest symbol we can associate with Jasmine is the bird in the cage yearning to be free. The notion, moreover, is also supported by imagery such as setting the birds free after a talk with her father and, as it had also been pointed out by other critics, that the canopy of her bed is designed to resemble a birdcage. As a princess Jasmine is bound by social roles and conventions to adhere to the expectations placed upon her, and her journey in the movie is to assert herself as an autonomous person before her father by insisting that she be allowed to make her own choices. The problem however lies with the word ‘allow’ itself which once again contradicts her ideals. The notion of allowing someone to do what they want situates the power in the hands of the person who is recognized as the social superior. In the case of Jasmine, it is her father, the Sultan. In the case of Jamil, it is the Asims. 

The Scarabia dorm as a symbol of the prison is an obvious one due to the fact that it served as such for Grim and Yuu during episode 4. But that is what we might refer to as physical confinement, which at its core is not compatible with the message of the CM and even of the movie. Because the CM does not focus on Grim and Yuu, but on Jamil and Kalim, so this is not a case of a physical prison, but rather a mental one I would argue.

In several respects, the prison must be an exhaustive disciplinary apparatus: it must assume responsibility for all aspects of the everyday individual, his physical training, his aptitude to work, his conduct, his moral attitude, his state of mind; the prison, much more a than the school, the or the army, which always involved workshop certain specialization, is 'omni-disciplinary'. Moreover, the prison has neither exterior nor gap; it cannot be interrupted, except when its task is totally completed; its action on the individual must be uninterrupted: an unceasing discipline. Lastly, it gives almost total power over the prisoners; it has its internal mechanisms of repression and punishment: a despotic discipline. It carries to their greatest intensity all the procedures to be found in the other disciplinary mechanisms. (Foucault 235-236)

Foucault’s Discipline and Punishment: The Birth of the Prison is an interesting look into the social and theoretical mechanisms employed by prisons in order to ‘reform’ convicts. The end goal of these institutions is to reintegrate the individual into society and to achieve such a thing it is not necessary just to punish and torment them, but to discipline them. By this Foucault understood as allowing one’s life to be entirely dictated by “a disciplinary apparatus” decided by those within power. It’s main aim was to restructure one into a “docile body” beneficial for the economical and political necessities of that specific age, which in many cases referred to the idea of one being content to pursue the interests of the state and those that governed it. 

I bring this up because I can see the same ideas reflected in Jamil’s character arc as well. Foucault mentions that the prison is a space in which discipline is uninterrupted and unceasing. In other words it is a space which constantly reinforces the ideals that are considered desirable, and we can see that Scarabia unintentionally functions the same way. It is a space in which Jamil is cast as inferior to Kalim once again, trapped into the position of Vice Prefect, despite the fact that he embodies the ideals of the dorm more than he does. Though this is a different place, his routine has remained unchanged: he must still cater to Kalim’s wishes and perform the role of the servant, despite the fact that in theory the two of them should be equal now.

Scarabia Student B: Our family standing and status shouldn’t matter inside the school! We’re all equal here, right? (4-18)

Under normal circumstances, Night Raven College is supposed to be a neutral space in terms of social standing. Leona and Malleus are recognized as princes, but are not given any particular attention in terms of political and social superiority, and rather scrutinized due to their peculiar attitudes and personalities. They are, in theory, equal to the other students at the academy and the same should apply to the relationship between Kalim and Jamil as well. But things are not so.

During episode 4 we find an interesting detail about Scarabia: it seems that the building had been renovated once Kalim was accepted into the dorm. This is not usually a detail that would require any particular attention, but it reveals something about the environment in which Jamil resides: it is representative of the Asims. The ostentatiousness and extravagance are the result of their direct influence and thus molded by their own desires. By remodeling the building they have reforged it into an image of their social position and installed a member of its own family as leader. Its neutrality has been compromised and so has Jamil’s attempted escape. Attending Night Raven College is not merely a case of attending one of the best magic schools in the world, but also one of asserting one’s independence. Jamil was given the chance to finally break free from the system that has had him ensnared for all his life, only to have his hopes be dashed by being reminded that in the end the influence of his masters is much greater than he could have anticipated. Thus, Scarabia was turned into a space of imprisonment which perfectly replicates the dynamics of the Asim household and thus denies Jamil any possible form of freedom. Much like Genie and Jafar at the end of the movie, he is unable to escape his prison without the approval of his superiors.

Jamil is aware, however, that he is not and will most likely not ever be able to receive such freedom from the Asims. And consciously he knows he cannot attempt to break free on his own either. 

Jamil: My family, the Viper Household, has been serving the Asim Family since olden times. A retainer drawing his sword against his master is unforgivable. Even more so, if Kalim’s father found out about it, my family will end up being punished. I’m sorry, but I cannot put my family in danger just because of a selfish request. (4-18)

Jamil’s sense of filial duty is one of the driving forces behind his character. It’s not only that he himself wants to be free, but wants his family to be released from their bonds as well. Because the system in which he has been raised permits a master to punish an entire family for the disobedience of one member it becomes understandable why Jamil is such a guarded person. It is not merely his own person that is at stake, but the lives of those he cares about also. It is a thought that has weighed heavily upon his head since young childhood most likely, once he became aware of how exactly the social system set in place works. To go against it would not be an act of brave rebellion, but that of sentencing others to punishment to fulfill his own ambitions. Which for a character twisted from Jafar seems contradictory. Yet we must remember that he has certain traits of Genie as well. Unlike him whose loyalty lies to his Master, Aladdin, Jamil’s loyalty lies to his family. He’s only willing to endure things as they are now due to the fact that rebelling would mean having them suffer the consequences. And Jamil is aware of that.

Yet, it is also necessary to ask the following question: Why does he end up rebelling in the end?

The most obvious answer: accumulated frustration. 

As I stated before, Jamil does not hate Kalim. However, it is also obvious that his Overblot had very much to do with the fact that he had become increasingly irked by the latter’s attitude to life. His critique of Kalim’s character, though harsh, was entirely accurate. Kalim is indeed spoiled and naive to an almost ridiculous degree, even though it is not entirely due to his own fault. Moreover, it is not necessarily these particular traits that Jamil takes issue with, but rather his predilection towards inaction. To briefly reference a previously discussed shot: though Kalim is content in his passivity, Jamil cannot abide by the current system. He desires change, but he knows he is in no position to enact it and is thus frustrated that the one who would be able to perform this task is oblivious to the struggles of those around him. Jamil does not hate Kalim as a person, but rather that which he represents: the power of the system itself. As the CM shows Kalim is able to move forwards, uncaring of limits and boundaries, but uninterested in change (initially) while Jamil, though he desires to advance, is stuck in one spot. 

The brief image of Kalim reflected in the surface of running water captures this concept perfectly. Jamil is not looking at Kalim as he is, but rather as perceives him to be: an unclear image. Water has the same reflective properties of mirrors, but due to their unstable state they cannot portray accurate images. Jamil attributes maliciousness to Kalim’s denseness as not only a means of explaining his actions, but as a way to excuse his own eventual betrayal of him. If Jamil considers Kalim as a representative of the system, he feels justified in his actions and thus more willing to go through with them, since he can project his frustrations upon a material, solid person rather than an abstract entity. Kalim is in a sense a scapegoat for Jamil’s anger.

The snake is laden with multiple meanings being both a manifestation of evil (Satan taking the form of a serpent to trick Eve into sinning) as well as a symbol of rebirth and transformation. In keeping with the colour motif of the movie the serpent staff that Jafar carries with him has eyes which glow red when he’s using it to hypnotize the Sultan to indicate his evil influence upon him. In the CM we have the image of a red snake coiling around Jamil’s feet which is the physical manifestation of all his feelings of dissatisfaction regarding his position as a servant finally bursting apart. But before he is overtaken by those negative feelings we notice interestingly enough that the snake takes the form of an ouroboros: a snake which eats its own tail. A symbol of eternity.

Jamil: I’ve been raised as a retainer to serve his family, so I really can’t understand. A master is a master and a servant will be a servant. Most probably for as long as we’re alive. (4-26)

When discussing Jamil’s character we must admit to a certain cyclicity. Not one he engages in, but rather one in which he is stuck. He is the son of a family that has served the Asims for generations, creating a chain of servants and masters that is currently supposed to be replicated by him and Kalim. His sense of autonomy is constantly denied due to the intervention of forces beyond his control. Moreover, in chapter 4 itself his plans get constantly ruined by either Grim or the Octavinelle Trio, creating a sense that the universe itself has aligned itself in opposition to him. 

But there is more to it still. Jamil is a highly ambitious person, who desires to establish himself through his talent and skill, thus giving him the perfect reason to despise a system that requires some individuals to be subservient to others for arbitrary reasons. However, by his own admission he cannot envision a life outside the system either. This is in essence the insidiousness of such phenomena: they entrap not only the person physically but psychologically as well. Once one’s identity is dependent upon a certain ideology and philosophy of life it is extremely difficult to extract themselves from that mindset. Much like Foucault said, once the mind is disciplined and the individual turns into a ‘docile body’ they become reliant on that particular system in order to form a coherent identity. 

Though Kalim can step outside the bounds and limits imposed upon him, by virtue of his social position, Jamil is only allowed to operate within those boundaries. It is precisely why he stops advancing further once he reaches the end of the round court. Though physically he should be able to overcome such obstacles, mentally he is unable to not. Not as long as he remains under the governance of the Asim family, at the very least. It is obvious however that he cannot simply rise against them, and this realization is what causes him to hit the limit in terms of patience. He finally realizes that he has been robbed of his independence even before he was born.

Jamil: But if I have, it’s better you don’t know what I really think of you. If everything goes to plan… I’ll finally be free. (Scarabia CM)

Sight is an important theme to Jamil’s character as he, much more than any other character perhaps, actively attempts to manipulate the perception of others about him. He is not what he appears as Azul remarks in many of their interactions, and that is because to Jamil allowing himself to be genuine would come with a price: revealing his true feelings regarding his social position. And that, as previously stated, is not something he can afford.

Eyes are often called the ‘windows of the soul’ in the sense that they reflect a person’s true intentions and thoughts. Moreover, the notion of sight is one that literary authors often like to explore in their works. Out of all the senses, sight seems to be considered the most unreliable, since it often fails to discern that which exists in obscurity. The notion is explored in Aladdin (1992) too to a certain degree. Everybody sees only what they desire to see, and because the images they form are so contradictory that it creates misunderstandings and unnecessary conflict. Jafar’s power of hypnotism is even more interesting in this context since by definition it allows him to influence a person’s perception of reality and thus a part of their identity and how they relate to their environment. 

The end of the CM hints towards this notion as well, as we see that the Overblot first manifests itself is his eyes, obscuring his sight from the reality around him. He’s chosen to throw himself into the negative emotions that have finally overtaken him, and as a result given him the power to recreate reality to his discretion. We see the parallel with Genie and Jafar in his Unique Magic as well, since though he possesses one of the most potent powers, he’s still considered an inferior. Jamil’s Overblot is thus one formed by the depressing realization that for as long as he exists within the system, he’ll be forced to endure the continuous cycle of subservience forced upon him since before his birth. His transformation moreover is the result of a desperate yearning for freedom which has driven him to extreme actions. The appearance of the red eyes behind him symbolize more than the eyes of the serpent staff. They are a stark reminder that he is consumed entirely by the realization of his own powerlessness and over-dependence upon the Asims, even if it’s against his desire. 

To note is also the fact that out of all the Overblot victims, Jamil’s expression is the only one that is peaceful. If we take a look at the Heartslaybyul, Savanaclaw and Octavinelle CMs all of the Prefects display either rage or shock during their transformations. It is clear that this process is a horrific one, which explains their reactions, yet strangely enough Jamil seems serene and accepting as if he has come to terms with this course of action. Unlike the Overblot victims before him, his transformation is liberating to a certain degree, because it allows him to finally achieve his goal: get rid of Kalim and instate himself as leader of the dorm. Not because he covets the position itself, but rather because through it he manages to finally become free and unburdened by his social position. In a way, the dark appeal of Overbloting is just that: unlimited power, and for a character like Jamil, who very much lacks this, it is especially hypnotic. 

Out of all the Overblots so far, I consider Jamil’s the most tragic because in the end there seems to be no obvious escape for him, perhaps except in the case of Kalim setting him free. But this is still an event that will happen in a few years at best. It does not answer his current need for autonomy. Yet, despite this we see in chapter 5 that there is indeed some improvement. Though he has refused Kalim’s offer of being friends, he nevertheless has begun acting more like his equal within school grounds and their relationship overall seems less hostile on his end. The fact that much of the action of chapter 5 takes place in Ramshackle Dorm is also an important thing to note as it manages to create a neutral space, untainted by the Asim’s interference. In Vil’s system of meritocracy Jamil is finally able to act as himself and stop performing a role for others, thus he is finally able to assert a degree of autonomy over his own person, which he was not capable of doing before.

Coming now to the ends of this post I think it goes without saying that in terms of narrative cinematography the Scarabia CM is currently unmatched. Though short it manages to give a perfect summary of the themes explored in episode 4, the relationship between Kalim and Jamil and a brief but insightful look into the latter’s psychology and reasons for Overbloting. 

So, there’s really nothing else to do but thank Yana for giving us such a wonderful CM for what I consider the best dorm and best boys in the whole game.  

Additional Links

Indentured Servitude: https://www.youtube.com/watch?v=Qt--B1Y-u6Y

https://www.youtube.com/watch?v=Ti7Kbd6gSIo

Twisted Wonderland, Episode 4: https://kanadesmusingsblog.wordpress.com/2020/06/01/masterpost-twisted-wonderland-episode-4-translations/

Jamil Chats, Personal Stories: https://twisted-wonderland.fandom.com/wiki/Jamil_Viper/Personal_Story

https://twisted-wonderland.fandom.com/wiki/Jamil_Viper/Chat

Scarabia CM: 

https://www.youtube.com/watch?v=EVSx_BvTlmQ

Aladdin (1992) commentary: https://filmschoolrejects.com/38-things-we-learned-from-the-aladdin-commentary-fd9f1d8573b3/

--------------

The peeps over in the Twisted Writings discord know this has been brewing for a while, but I’ve finally managed to sit down, write and edit this monster. It bears witness to the fact that I adore Scarabia more it is healthy (lol). 

Also wanted to thank fellow Scarabia stan buddy @chillableu​ for proofreading and brainroting with me about these boys. You’ve been such a great help and I’m so thankful to you!  ❤️ ❤️ ❤️

All the translation sources have been linked in the last section of the commentary.

[doorbloggr]

Tuesday 4/5/21 - Background Noise for a Wallflower (Podcasts)

The distinction between introvert and extrovert is not as cut and dry as people will have you believe. Like many things in the human experience, it is a spectrum; though I have long described myself as definitively an introvert, the Pandemic Arc showed me that all humans crave human contact to some degree.

Source: K-On (Anime)

When I hang out with friends, I enjoy listening to conversations around me, but my stunted social growth means that I struggle to start and maintain conversations myself. But I am content being the person sitting in the background, chiming in everyone now and then. It is somewhat calming just to chill as 3rd, 5th or even 8th wheel in a hangout session. I recently found that this type of person is referred to as a Wallflower.

Mio (K-On) also enjoys company, but enjoys being in the background

Being able to engage socially all the time is never a given though, and for most days of the week, on the road, in the afternoon after work, late night in bed, I am stuck without the background noise of friends. But luckily for me, there are podcasts.

Podcasts are an interesting long form media that have been perfectly crafted for being played in the background during other tasks. And though I have tried to keep up with various types of podcast, the ones I've actually kept following are podcasts of just... conversation.

A Podcast About Nothing

SuperMega is a small-ish YouTube comedy/gaming channel run by two friends Matt Watson and Ryan Magee, with help from other friends. Their podcast SuperMegaCast is a roughly weekly show where the two just talk about their weeks, tell stories about their lives, childhoods, and just the world at large.

SuperMegaCast's conversations just like talk you'd expect from a couple mates catching up on a Friday afternoon. The two both come from different parts of South Carolina, so they talk about family and friends growing up, and often joke about being raised in the bible belt. They'll talk about the latest movies, issues in politics, what videogames they've been playing, on and off their channel, and just what happened to them in their lives that week.

However, the two rarely miss an opportunity to devolve any topic into silly jokes and toilet humour. Even though their opinions are interesting and occasionally thought provoking, nothing is safe from being followed up by a "Yo Mama" or "Deez Nuts". When I need background noise while sitting down to play a game or draw a picture, they are my first go to.

Although they have amassed more than 200 episodes, I'd recommend to just jump in wherever. Since it's just chatting about whatever the week has given them, you won't be missing out on much context if you've missed episodes.

A Podcast About Something

Nearly on the opposite end of the spectrum is Cortex Podcast. The union of professional podcaster Myke Hurley and Educational YouTuber CGP Grey, Cortex is a higher brow, but still fun podcast about making it work in the digital world. This pair do not work together directly much outside of the podcast, so their conversations revolve around their own technical, mental, and financial issues of a career in online media (and adulting in general).

Myke and Grey have a very fun dynamic, and very importantly for audio media, both have very soothing voices (in my opinion). A lot of the show involves Myke explaining the challenge of driving the industry forward while Grey rants about being being driven forward by a lot of things he doesn't understand. The contrast of someone who is very willing to ride the wave and someone who is experienced, but educationally sceptical, is fun. Grey is also a very philosophical person, and has very interesting takes on balancing life in general, his video on his own channel about sectioning up your life during the pandemic is a must watch.

They are two very different people, but they are both very intelligent. For someone who doesn't work in digital media, some of their conversations go over my head. But when I put on a podcast, I rarely intend to put 100% of my attention in. Listening to a pair of nerds nerd out about nerdy stuff is just what I need when trying to emulate the feeling of being a Wallflower among friends.

Cortex is not a very frequent podcast, but when they do drop an episode, they are a very welcome addition to my background noise quota.

My recommendations:

If you want a relaxed, hang-out sesh type podcast where the hosts are immature, and the topic is never set in stone, watch SuperMegaCast.

If you want a chill, but intellectual sort of podcast, where two internet nerds geek out about the intricacies of navigating work in digital media, watch Cortex Podcast.

[babieateez]

ateez as people in my philosophy class

hongjoong: the one who asks questions

this guy just wants to make sure his notes are Perfect. he asks so many questions but is very respectful and is as non-disruptive as he can be. he uses the “raise hand” function in zoom and doesn’t just call out or interrupt. if there’s questions in the chat that the professor isn’t looking at, he’ll be the one to ask for the class.

seonghwa: the professor

such a sweet man, seonghwa is the professor of the class!! he’s so patient and kind and makes even the smallest bits of class fun, like asking us to turn on our cameras just so he feels less lonely. he assigns a lot, but it’s just because it’s a complex subject and he wants to make sure we have the understanding needed to pass the class and have a good time doing it.

yunho: the one who shows off his pets

every time someone mentions animals, yunho is there to show off his pets. sometimes he’ll just bring them on screen to chill, and other times he starts playing with them in the middle of the lecture. much to hongjoong’s chagrin, the chat quickly veers away from educational content and towards “omg yunho your cats are so cute!!” or “wow what kind of dog is that?” and he’ll respond to every question in the chat. he especially loves when the professor catches sight of his pets and compliments them.

yeosang: the one that you’ve never seen or heard before

is yeosang even awake for the lectures? he’s in the meeting, but his camera is off, he’s muted, never types in the chat, and even when the professor puts the class into breakout rooms, the group he’s with hardly even notices he’s there. of course he is awake, and despite being on his phone for most of the class, his notes are immaculate. thinks he is being enigmatic but really, he’s just a wallflower. a for effort though!

san: the one who is always in the chat

san honestly may as well have muted the lecture. half the stuff he writes in the chat is not at all pertinent to class, and does he even know what philosophy is? he’s more focused on making friends (or party buddies) than he is on getting good grades. he’s totally capable of passing the class, but just isn’t interested in applying himself in this case. he definitely tries to ask the professor for extra credit at the end of the semester, but as much as the professor likes san, he’s not gonna give him the extra credit lol.

mingi: the one who has a dope zoom setup

he’s all out on the zoom setup with a greenscreen, a nice gaming chair, and even a professional quality microphone. it’s like he’s a twitch streamer, but he really just wants to look and sound professional for his zoom classes. nobody else sees the point of it, but mingi hasn’t had much contact with other people due to corona so he really wants to make sure that he’s presenting himself the best he can to some of the only people he sees on a regular basis. such a kind boy who does his best to be friendly and kind to everyone else.

wooyoung: the one who won’t shut up

a lot of students in a philosophy class seem to think that they are superior. the sort of holier-than-thou mindset where they feel the need to tell everyone their whole life story and share way too much about everything. it all starts with one question to the professor, but instead of letting the professor actually answer the question, he keeps interrupting and trying to make it about himself when he just asked a yes or no question. arguably the most annoying type of student ever. (love you wooyoung)

jongho: the one who subtly flexes

he’s not the most active during discussions, but when he answers a question, you know he’s got a big brain. he has perfect notes, but isn’t very vocal about it like hongjoong. jongho is like the best person to be in a breakout room with, especially if you haven’t done the reading. he’ll gently reprimand you and tell you to make sure to do it next time, but won’t make you feel bad, and will explain all of the key points to you. also every one of the other students think he’s the cutest and will always respond to his discussion posts.

idk where this came from but uhhhhh here we are. i hope this doesn’t come across as wooyoung bashing lol but he really is the kind of person who doesn’t know when to shut his mouth (but i love him for that!!) i hope everyone is having a good day c:

[shelovescontrol91]

Camila Cabello on how her movie Cinderella is a modern day story of female empowerment

Not waiting to be saved by a prince, Kay Cannon’s Cinderella is not your ordinary fairy-tale princess, but a feisty fashion entrepreneur. Cover stars Camila Cabello and Nicholas Galitzine open up about the classic story that’s been updated with new-age ambitions

BY UDITA JHUNJHUNWALA

Over the years, French author Charles Perrault’s 1697 folk tale Cinderella has been adapted countless times. It was a Disney animated musical (Cinderella, 1950), Cinderella was even a fella (Cinderfella, 1960), a high school student (A Cinderella Story, 2004) and a celebration of diversity with a non-white cast (Rodgers & Hammerstein’s Cinderella, 1997). In Ever After (1998), which featured historical characters from the 16th and 19th centuries, Anjelica Huston was the quintessential wicked stepmother, and Kenneth Branagh’s Cinderella (2015) adaptation featured Lily James as an empowered young Ella, the girl covered in cinder who loses her glass slipper at the ball and falls in love with a charming prince till they live happily ever after.

The latest adaptation, based on director Kay Cannon’s screenplay, sidesteps the clichés yet ticks the boxes of wicked stepmother and stepsisters, a charming prince (played by Nicholas Galitzine) and a lot of pop songs. However, in Cannon’s updated Cinderella, the fairy godparent is genderless (played by Billy Porter) and this Cinderella, played by singer-songwriter Camila Cabello in her movie debut, is no whimpering wallflower. She’s got dreams and ambition to become a fashion designer. Her happily ever after is not dependent on a handsome prince.

A new role model

When asked about how their version of the classic is different from previous versions, Cabello says via an email interview, “It’s a totally new telling of the story. I feel like other fairy tales have values that are old-fashioned and don’t reflect the independence and strength of women accurately. This version has definitely been updated for a 2021 audience and world. The spirit of the story is there, with the characters and some themes, but it feels much more current in its values.”

Featuring a CEO Cinderella, a diverse cast of townsfolk, a line-up of princesses from around the world (don’t miss the cameo by Japanese comedian Naomi Watanabe) and a fairy godparent whose costume merges masculine and feminine elements, here’s a classic tale upended to become a modern-day story of female empowerment. “The modern, fresh take on a well-trodden fairy tale allows us to discuss contemporary issues and themes and hopefully make this version more relatable to audiences. The modern songs are an amazing contrast to the period aesthetic that is represented in the costumes and setting. I also think the film brings more humour than we've seen in previous fairy tales, which is largely due to Kay Cannon and the array of comedic actors in our cast,” adds Galitzine.  

From the trailer, it appears that this version is far more empowering for Cinderella. “Definitely, and this version of Cinderella is way more relatable to young girls and women who might be able to see something from the character’s experience in their own life,” says Cabello, who describes her Ella as “empowered and ambitious, with dreams of her own. It’s a Cinderella in which she saves herself. She doesn’t aspire to be a wife or a part of the royal family, she’s too busy working on her fashion empire.”

So does that leave Galitzine’s prince simply holding a glittery glass slipper? When asked how Prince Robert is different, if at all, from the legacy character of the charming Prince, Galitzine explains, “It is often said that the prince’s role in these fairy tales is singular: to marry the princess. But while finding love is one aspect of Prince Robert’s story, his quest for freedom is more important. He’s a man who feels trapped by his circumstance, stifled by the responsibilities of the crown and the role he is expected to play. He’s figuring himself out for a lot of the movie, and Cinderella really aids in this. Bringing a level of humanity and vulnerability to him was so important in differentiating him from other princes. I also feel we tried to make him a little edgier than princes before him through the music and costumes.”

Costume drama

The fashion-obsessed will find it hard to separate Cannon’s 2021 Cinderella from the costumes, not just because fashion is Ella’s dream profession, but it’s also her mode of expression. Working with the costume department and taking on the part of an aspiring couturier were among the highlights of Cabello’s experience on this film. “I loved my work costumes! They were so comfortable but still had Ella’s swag to them. Ellen Mirojnick and her team were so passionate and full of joy for what they were doing. They were so in love with Ella and the values she represented. In a time where women’s self-expression is so limited, she uses fashion to express herself. Even when she’s dressing for work she has accessories in her hair and puts unique details in her corsets. I think it shows how much self-expression and authenticity are important to her. Obviously, the story has romantic themes and I think that shows in the costumes. They’re very romantic, magical costumes—but designed with Ella’s character in mind. As she makes her own clothes, there were considerations about how she might have made certain decisions or designed things in a certain way. She even makes her own ball gown.”

Costume designer Mirojnick, who brought alive the world of Bridgerton with her clothes, also had the edgy Porter to work with, and she took inspiration from the monarch butterfly to create the godparent’s (named Fab G), gown with wings and custom Jimmy Choo boots.

Cabello equally loved working with Porter and all that his character represents. “His version of the Fairy Godmother is genderless. After all, magic doesn’t have a gender. Fab G guides Cinderella and helps her dreams come true…but she gets there by staying true to herself along the way,” she explains.

Of all his co-actors, from Cabello to Minnie Driver and Pierce Brosnan, British actor Galitzine was most in awe of Brosnan. “Working with Pierce Brosnan and Minnie Driver was just a dream. A bit of a pinch-yourself moment. They are icons but are so down-to-earth and giving. I was just trying to soak up as much knowledge from them as possible. Minnie is so funny, and Pierce is my James Bond. I should have asked him for some tips if I ever throw my hat in the ring for a future Bond,” says the 26-year-old, perhaps not entirely in jest. On his co-star Cabello, he adds, “I feel so lucky that Camila and I clicked straight away. Even from the chemistry test. We have a similar sense of humour and a willingness to learn, which bonded us throughout the process. To me, Camila is an old soul and carries herself with such wisdom. I love working with actors like that.”

Modern day fairy tale

The lead actors, our digital cover stars for the month, agree that it’s time to update fairy tales and align them to a 21st century audience, where girls and boys of today feel seen in popular culture. Cabello says it is about time that “little girls can see themselves being represented in Aladdin or The Little Mermaid.” Galitzine adds, “The idea of the damsel in distress is fast becoming obsolete. I think young women want to see themselves, and indeed their hopes and dreams, represented in characters. This film does an incredible job in bringing diversity in its cast and crew, which I think is integral in the process of updating these fairy tales for a modern-day audience.”

So do either of them believe in ‘happily ever after’? Galitzine says he believes that relationships take work: “Nothing is ever perfect. You have to make compromises and sacrifices, and it won’t always be as glamorous as the fairy tales may suggest. But I do believe there is a person out there who will love you for all your imperfections and messiness. And those kinds of people will be with you for a very long time.”

Cabello, on the other hand, agrees with the film’s updated take that an individual’s happiness is not dependent on another. “I guess the idea of ‘happily ever after’ is part of the old ideals of fairy tales, where the princess is destined to be with a prince, and that’s where her happiness will come from. But I like to think we’re redefining that idea with this film, and that you can be happy in yourself and with your own ambition. That being said, I am a huge Disney fan, so I will always be happy that I got the chance to be in this movie.”

Cinderella will stream on Amazon Prime Video from September 3, 2021

[funkymbtifiction]

Thank you for the link to a podcast on enneagram 8! It was a bit hard to listen because looks like the quality of the recording is not so good + English is not my native language, but I did it, whoo-ah. After listening to this I think that I resonate with 8 more than with 6 (but I am also pretty sure in not being sx 8, more likely sp/so or so/sp), but I have some thoughts, both related to the podcast directly and not so much, and I want to ask you about this parts.

1) The 8s participated in this podcast were talking much about their awareness of the emotional state of the people around them, like they feel people's energy with their body and read their body language with ease. And I resonate and do not resonate with it at the same time. I really feel like I have an extra sensory system that allows me to sense unique "vibes" of people - their dress style, their manners of moving and speaking and some other details makes a quite solid energy pattern, but it's more of analyzing the personality and image at the whole, not particular moods and thoughts. I can sense a potential personality of the person, and also I can sense that something is wrong if the vibes have changed heavily, but I am very bad in recognizing particular moods and working with this information, often missing the emotional atmosphere right here and now. Looks like I have the same ability to feel people's energy, but don't have the same level of empathy and emotional intelligence as the people from the podcast. Can it be covered by the fact that I am an ENTP, because as far as I know low empathy is a common struggle for ENTP?

It could be, yeah. Also, it may be those 8s all had Se in their stack. I know Emika is an ESTP. Se helps with tuning in and feeling people on an impacting level. Ne is working with abstract tangibles, not raw data.

2) Also, not directly related to the podcast but somewhat connected to the energy sensitivity stuff. YouTube have recommended me a video with funny horses, and I got very cp6 vibes from these animals. Horses really look a lot like cp6 reactiveness for me - most of the time they look like super confident, strong and even slightly show-offish in some cases, but being herbivores, they are secretively very anxious and alert, and many horses react on unexpected stuff in a "no-no-no, f**k this sh*t, I am out!" manner, even if the reasons for them being scared is absolutely stupid. And it makes me feel more like 8 over 6, because I don't resonate with this horses' trait at all, and at the same time, when discussing "what animal are you most like?" stuff with my friends for fun, I have mostly been compared with bears, orcas, honey badgers and big birds of prey like grey owls and eagles - my friends often claim that I am observant to an edge of being a wallflower when tired/bored, but also highly playful and positive in a good mood, and at the same time I definitely would be ready to kick asses if I would need to. I am also a fan of the 'His Dark Materials' books and a part of the fandom sub-community which uses the concept of daemons from this books as a personality typing system, and a few weeks ago I have finally choosen a sea eagle for my daemon. To you opinion, would horses for cp6 and other mentioned animals for 8 be valid comparisons?

Uh. I guess? I mean... I know a cp6 cat and an 8 cat, and the 8 cat beats the shit out of other cats and then attacks any human that tries to intervene, whereas the cp6 cat acts like an 8 but it’s all “bluffing” and she will hide in her house for three days after she’s had a scare. So... there’s that. LOL IMO, it’s best to compare yourself with humans. ;)

3) Also about personal energy. There were a discussion of the fact that 8's have a tendency to carry a lot of energy which is sometimes even too much. But is it possible for a 8, who have been desintegrated for a long time, to feel like their inner "energy generator" is somewhat like broken? I can remember having this high energy in childhood and partly in high school (I had two detached periods of clear desintegration in my life), but now I feel like my inner generator needs to be heavily repaired before it would work in it's normal mode again, and now it's only capable on either working much less effectively than usually, or give burst of energy until it would crack and stop working for some time. Plus, it has never been high energy in terms of "I can be constantly busy and do 100500 things at a time" as some of my friends are, it's more like being highly endurant, "if I wish I can go the whole equator on foot and you better just deal with it", but also not being quick to react.

Think about your type and what stimulates you. You are a Ne-dom, not a Se-dom or a Fe-dom or a Te-dom. What stimulates a Ne-dom? A constant influx of abstract sensations, new ideas, and discussion of intangibles. How much of this do you regularly get in the outside world? Not much. Si inferior: navigating the sensory world, holding sensory discussions, and going places, doing things, is exhausting since... it’s an inferior function. Make sense? Ne-doms are “high brain energy” not “high body energy.”

4) [no real question]

5) Related to the influence and being the boss stuff. Is it normal for a 8 to not want being in charge, preferring freedom and control of their own life and only their own, combined with heavy "justice fighter" instinct? As I already said in my previous ask, I am not ambitious. I have some goals that require hard work, but I am not going to be a boss of any sort. All this administrative stuff, bureaucracy, paper work, negotiations... It's all so boring!

And there you’ve head-butted up against the fact that 90% of 8s are Te-doms. And what are Te-doms anyway? Workaholics. What do Te-doms want, regardless of being 8 or something else? Competency in the workplace. How do they get it? By being the boss. Etc. Can still be an 8 and an ENTP and lacking Te, you wouldn’t likely want the “boring” responsibility of being the boss and pushing papers all day long.

Or you could be a 7w8 who is over-identifying with their 8 wing who really just wants FREEDOM.

[testingthesimulation]

Mun, Muses, and Rules!

General Rules:

-NSFW must be discussed in advance

-I will not under any circumstance write smut with a minor

-Replies are not regular

-Any length responses are acceptable

-Themes such as dubious consent/no consent, pregnancy, suicide, self harm, drug abuse, gore, character death, etc must be discussed in advance. This is not up for negotiation. 

-Hate is not tolerated

-Views of the characters DO NOT reflect views of the writer. 

-Pre established relationships are a-okay!

-Multimuse, multiship, multiverse, oc, canon, and au friendly!

-I am willing to age characters up as needed!

Luka:

Hey hi hello!  As you can see I am the host behind the blog! I am 19 years old and love writing! My replies may not be very active please have patience >~<  

I’m pretty new to the roleplay world so take it easy on me? An acquaintance (a friend of a friend of a friend who better rp with me since this was his idea T-T) actually got me into rp so here i am

As stated in my Bio I use they/them pronouns and identify as nonbinary! I will on occasion roleplay nsfw themes, however not frequently and not in detail as it makes me pretty uncomfy sometimes. Feel free to ask me things anytime you want! I don’t mind making new friends, but if you just wanna be strictly rp partners that’s cool too! Replies are a bit iffy for a variety of reasons! 

1. I am a full time college student 2. I work a job outside of school and my hour are all over the place 3. as stated in my bio I prefer browser to mobile and don’t often have my laptop with me! 

I live in the eastern standard time zone and am most active during afternoons and late nights and I am not active everyday. I understand this may make it difficult for those looking for a regular rp buddy and that’s a-okay. On top of roleplay I also plan to make this account into a drabble account for the few muses I do have in order to develop them outside of any roleplay universes!

As of right now I only have three characters so here is their introductions! (I don’t think that grammar is correct)

Clementine Valet: 

Age: 17

Pronouns: He/him (Cisgender)

Sexuality: Pansexual

Clementine, or Clem for short is a shy individual. He Isn’t opposed to making friends, however he finds the concept rather difficult. In most instances the boy must be approached by someone first. He will appear timid and shy in the beginning and only start to open up once he has struck common ground with somebody. He enjoys robots and video games as well as music. He likes to find the beauty in small things. One of his biggest pet peeves is being a pushover. Despite his quiet behaviors he will not allow others to walk all over him and will, at the bare minimum, try to stand up for himself. He often does not succeed as he is very small, only 5′2 ft (157.48 cm) and lacks muscle for a proper fight. As a result he tends to rely out dodging in physical altercations and would prefer to keep it to verbal arguments he can talk his way out of. 

Image: 

Alek Hall: 

Age: 18

Pronouns: they/them (nonebinary)

Sexuality: Biromantic Asexual

Alek is stable and caring of their friends. They can however come off as rude to start. They don’t intend to come off as rude or intimidating and will often work to amend this as soon as possible. They’re affectionate, protective, warm, and have a habit of being early. They’re a hard worker and take pride in this fact. They like math, quiet, and late night outdoors. They collect candles for the aesthetic. They are 5′7 ft (170.18 cm) and have a bit of muscle, however not very much. They can hold their own but are not likely to win in hand to hand fights. They like to avoid fights as much as possible however and can be classified as a friendly wallflower. 

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Arena Hawkins:

Age: 17

Pronouns: she/her (Transgender mtf)

Sexuality: Straight

Arena is creative, friendly, pessimistic, and a bit disorganized. Many classify her as being a handful. She has a lot of energy and loves to meet new people. Despite her upbeat demeanor she is prone to having a negative outlook on life. She’s an average student even when putting in her all and she’s okay with that. She comes from a strict yet loving and accepting household that cares for her dearly. Her outlook stems from past school experiences as well as current events surrounding her. She likes theatre, binge-watching t.v shows and animes, upcycling her clothing/hand-me-downs from her siblings, and writing. She is 5′4 ft (164.592 cm) . 

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