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Beyond the overblot: whose aftermath does TWST choose to tell?

Introduction

The common player experience of TWST’s overblot arcs is designed around understanding the overblotters. We learn their trauma, insecurities, and the reasons behind their actions, and their post-overblot growth is often emotionally rewarding. However, this raises another question: what happens to the people who were affected by them?

TWST does acknowledge the aftermath of overblots, but its narrative focus consistently remains on the overblotters’ emotional recovery and growth. The people around them often experience the aftermath through their relationships with the overblotter rather than through independent reflection. Instead, TWST frequently portrays the aftermath through continued love, loyalty, and changed behavior.

As a Silver fan, I was especially interested in this question after Book 7. I was deeply moved by Silver’s loyalty and love for his family, but I also found myself wondering: while Malleus confronts his loneliness and fear of abandonment, how do the people affected by his actions process what happened? Silver’s bond with Malleus and Lilia is central to Diasomnia, yet his own emotional aftermath remains relatively unexplored.

This analysis was more difficult to write than my previous discussions of overblots because the aftermath isn’t always explicitly explored. While some characters openly reflect on what happened, others are represented through subtle changes in behavior, brief dialogue, or continued relationships. Because TWST is a long-form mobile game, this post focuses primarily on main story chapters and scenes directly related to post-overblot relationships.

⚠️This post will contain spoilers from Books 1 to 7⚠️

Part 1: Heartslabyul — Riddle and the people who adapted to him

🌹After Riddle’s overblot

Riddle’s overblot is about his abusive upbringing and fear of failure. The game asks us to understand why he became strict.

His aftermath focuses on Riddle learning to listen and become kinder. On the other hand, the surrounding characters are also important to discuss. Trey enabled him because he understood Riddle’s circumstances, Cater hid his discomfort, and the dorm adapted around Riddle’s strict ruling. I’d like to focus on how Trey, Cater, Ace, and Deuce interact with Riddle afterward.

Overall, the change in the characters’ interactions with Riddle are shown through behavior rather than telling through dialogue. 

Right after the overblot, Trey acknowledges that he ignored Riddle struggling and tells him to apologize to the other dorm members. Ace refuses to forgive him, unless he makes a tart for the upcoming unbirthday party (Book 1, Chapter 26). While Riddle does his best to be less strict with the rules during the unbirthday party, Trey encourages him to become lenient little by little. Deuce expresses relief that Riddle recovered (Book 1, Chapter 28).

Book 2 shows the Heartslabyul members becoming less tense around Riddle. Trey protects Riddle from tripping down the stairs when he is under the effect of Ruggie’s signature spell (Book 2, Chapter 9). Cater mentions Riddle has become lenient with the rules (Book 2, Chapter 12). Throughout the Book, Ace and Deuce respect Riddle’s authority as housewarden.

The aftermath of Riddle’s overblot focuses on Riddle learning to change while the change of others around him were shown through a calmer dorm atmosphere.

Part 2: Savanaclaw and Octavinelle — The people who stayed

🦁After Leona’s overblot

Leona’s overblot is about his social standing pre-determining his path in life. Leona's aftermath is perhaps the least explicit among the overblotters. While other characters openly acknowledge their mistakes, Leona rarely verbalizes regret or directly confronts the harm he caused. Instead, his growth is suggested through his continued relationships, particularly with Ruggie, and through his gradual willingness to participate rather than withdraw. However, the lack of an explicit reflection scene leaves ambiguity regarding how much Leona has truly processed the consequences of his actions.

After the overblot, Ruggie doesn't erase what happened, but neither does he allow it to permanently poison their relationship. That feels very true to both his pragmatic personality and the understated way Savanaclaw tends to express emotion. In the immediate aftermath, Ruggie reminds Leona that he hasn’t earned his forgiveness. Yet, he casts Laugh With Me to ease the tension between them (Book 2, Chapter 28).

Book 3 shows the two of them returning to normal operations. While Leona and Ruggie were giving Yuu insight on Azul’s contracts, they were at the cafeteria together, suggesting they were eating together (Book 3, Chapter 16). There is also teasing from Ruggie towards Leona, like suggesting Yuu and Grim to stay at Leona’s room (Book 3, Chapter 13) and saying Leona is “the duke of dirty plays; the tyrant of technical fouls” (Book 3, Chapter 20). Combined with these playful remarks, the relationship seems unchanged on the surface. Yet, this shows that Ruggie chooses to continue the relationship despite the consequences of being hurt by Leona’s signature spell.

🐙After Azul’s overblot

Azul’s overblot is about his dependence on competence and contracts for his self-worth. Azul’s aftermath follows him relying less on contracts but more on negotiation. Jade and Floyd tease Azul and return to their partnership after the overblot.

The aftermath surrounding Jade and Floyd focuses on humor and restored chemistry. Right after the overblot, Floyd says Azul’s breakdown was the cringiest thing he’d ever seen (Book 3, Chapter 35). In the museum, Jade and Floyd tease Azul about his octopus form (Book 3, Chapter 38).

In Book 4, their schemes seem to rely less on exploiting magical contracts and more on information gathering and persuasion, compared to Book 3. The three of them agree to go to Scarabia during winter break. They’re in sync when they sigh and say “alas” to try and gain Kalim’s sympathy (Book 4, Chapter 23), even when they laugh (Book 4, Chapter 24). The dynamic returns to a partnership with comfortable teasing, with Jade and Floyd choosing to remain by Azul’s side.

Part 3: Scarabia — Understanding someone doesn’t erase betrayal

🐍After Jamil’s overblot

Jamil’s overblot is about years of resentment accumulating about being trapped in an unequal dynamic. Jamil’s aftermath is probably the most explicit among the overblotters. Both Jamil and Kalim acknowledge the imbalance in their dynamic and try to change.

The aftermath focuses on Jamil and Kalim openly acknowledging the imbalance and attempting to redefine it. Right after the overblot, Kalim says that he never knew how miserable Jamil was, while acknowledging that Jamil is both a jerk and the person who’s helped him his whole life. Kalim wants the two of them to be equals and friends, but Jamil openly refuses saying, “NOT! ON! YOUR! LIFE!” (Book 4, Chapter 37).

In Book 5, there are signs that both of them reflected after the overblot. In Jamil’s flashback in Book 5 Chapter 10, Kalim talks to his dorm members admitting he shares the blame for what happened and suggesting that Jamil is a capable vice housewarden despite what he’s done, which Jamil overhears. Jamil also admits to Azul that his reputation at school plummeted after his overblot but he’ll continue to prove himself (Book 5, Chapter 10). After his practice for the SDC being heard by Yuu and Grim, Kalim admits to them that he was always chosen because of Jamil’s constant sacrifices, which Jamil overhears yet again (Book 5, Chapter 30).

The occurrences of Jamil overhearing Kalim highlights the acknowledgement of the imbalance and change from both sides. There is also a pattern of the game revealed through the two of them: the more an overblot is rooted in a long-standing relationship, the more likely TWST is to explore the aftermath through that relationship.

Part 4: Pomefiore — Being seen after the fall

👑After Vil’s overblot

Vil's overblot is about his obsession with perfection and his inability to accept losing. Among the overblotters, he’s one of the most vocal in acknowledging the harm he caused. However, while Vil openly reflects on betraying the people around him, the aftermath experienced by those who supported him receives far less attention. Instead, it’s expressed through Rook's continued trust and brief moments of guilt.

Vil reflects on his actions and the harm he inflicted. Right after the overblot, Vil apologizes for the “undignified display” and says he isn’t fit to be a leader (Book 5, Chapter 66). In Book 6, he also apologizes to the NRC Tribe for betraying their trust and reflects that cursing his rival was the ugliest thing he could’ve done. He also believes the NRC’s loss in the SDC is his fault (Book 6, Chapter 5).

Rook responds to Vil, whether it’s through his actions or words. Right after Vil’s overblot, Rook is the first person to lend Vil his shoulder (Book 5, Chapter 66) and he continues to check on Vil (Book 5, Chapter 68).

Yet he follows his values for beauty and votes for RSA, which Vil acknowledges isn’t an act from personal bias (Book 5, Chapter 73).

Book 6 Chapter 40 briefly acknowledges that Rook continues to be affected by Vil's overblot through his recurring nightmares and feelings of guilt over not recognizing Vil's struggles. However, this reflection occupies only a small portion of the narrative before the story shifts its attention to the STYX incident.

Rather than exploring Rook's fear or hurt in depth, TWST portrays his aftermath through continued trust. Rook remains true to his own ideals while choosing to continue standing beside Vil, suggesting that the relationship survives not because the overblot is forgotten, but because both characters continue to believe in one another.

Part 5: Ignihyde — A heart still searching for itself

💀After Idia’s overblot

Idia's overblot centers on grief, guilt, and his inability to let Ortho go. Unlike the other overblots, however, the aftermath raises questions about Ortho's own identity. After gaining a heart, Ortho begins developing emotions and self-awareness. Yet much of this growth continues to be portrayed through his relationship with Idia rather than through an independent journey of self-discovery.

After Idia’s overblot, Ortho gains a heart, which starts his journey in becoming human. When Idia checks in on Ortho after recovering his memory, Ortho says he feels warmth for the first time. Idia tells Ortho he’s gained self-awareness, in other words, a heart, and tells him he doesn’t have to confine himself in the role of his brother (Book 6, Chapter 83).

Yet Ortho chooses to remain by Idia’s side. Ortho says to Idia he wants to be Idia’s real little brother (Book 6, Chapter 84). Outside of the main story, in Ortho’s School Uniform Gear vignette, he joins the Film Research Club because he wants to convey and learn about emotions. In Book 7, however, his actions seem to revolve around Idia. He supports Silver and co. in the dream world because of the encouragement from Idia and STYX. When he cannot communicate with Idia for the first time, he doesn’t recognize he’s feeling anxious (Book 7, Chapter 296). He also mistakes his tears as coolant (Book 7, Chapter 297). The main story presents many of Ortho's milestones in becoming more human through his relationship with Idia.

Unlike the other aftermaths, Ortho's story is less about repairing a damaged relationship than discovering who he is after gaining a heart. Although the Film Research Club hints at an identity beyond Idia, the main story continues to frame much of Ortho's emotional development through his bond with his brother, leaving his own independent perspective only partially explored.

Part 5: Diasomnia — Understanding someone without exploring everyone’s pain

🐉After Malleus’s overblot

Malleus’s overblot is about the inability to process letting someone go alongside the inevitable passing of time. Malleus’s aftermath is the strongest narrative focus after his overblot. As a result, there is less focus on how Lilia, Silver, and Sebek processed their feelings after Malleus’s overblot.

The aftermath acknowledges the people who understand the overblotter because they love them, with the risk of their own pain becoming less visible. Right after Malleus awakens from his overblot, Silver and Sebek are distressed that Lilia isn’t awake. Before Silver and Sebek say anything, Malleus blames himself for Lilia not waking up and the three grieve together (Book 7, Chapter 337). The first instinct is solidarity.

However, after Silver’s ring and Malleus’s broken horn resonate together, Silver requests Malleus to wish strongly to awaken Lilia together. Earlier, Silver was willing to oppose Malleus in the dream because he understood that love sometimes means saying no. Here, he supports Malleus because he understands that Malleus's love is also sincere. After Lilia is awakened, he acknowledges how he made Malleus miserably lonely and apologizes for not realizing it sooner (Book 7, Chapter 338).

A few weeks after the overblot, when it’s announced that Malleus would return to NRC, both Sebek and Silver are extremely happy (Book 7, Chapter 344). During the post-overblot party, when Malleus asks Silver what he wants for his birthday, Silver wishes for the last name Vanrouge, which Malleus happily obliged to do (Book 7, Chapter 348). Lilia tells Malleus that the people in the party are those he’ll eventually lose. Even so, Malleus tells Lilia that he wants to remember the joy and pain he felt that day (Book 7, Chapter 349). This shows that Malleus has learned how to process change.

In Book 7.5, Lilia admits to Malleus his old ways of thinking and how it was reflected in his decision to leave (Book 7.5, Chapter 4). Malleus also shows his distress for Lilia making Silver cry. 

TWST often portrays the aftermath through the lens of continued relationships. This creates beautiful portrayals of forgiveness, loyalty, and growth, but it also means the private struggles of those affected can remain unexplored. Diasomnia absolutely experiences a traumatic aftermath, but the narrative frames it primarily through Malleus's emotional journey rather than through the others' experience of that trauma. Malleus got an extended aftermath with his conversations about loss with Lilia. But Silver and Sebek have a much more compressed aftermath, with their fear and grief being acknowledged but not explored further.

Conclusion

The aftermath isn’t absent, but instead, it’s distributed differently. Sometimes it appears in apologies, sometimes in quieter interactions, and sometimes simply in the decision to continue standing beside someone. By centering the overblotters' emotional recovery, TWST creates compelling redemption arcs while leaving parts of the surrounding characters' healing to be inferred. Rather than a flaw alone, this tension became one of the most interesting aspects of revisiting the story.

It will also be interesting to see whether future chapters, particularly Book 8 and beyond, continue this pattern or begin exploring the aftermath more directly. Even subtle behavioral changes, such as Riddle naturally listening to others or Silver confidently challenging Malleus when necessary, could suggest that these relationships continue to evolve long after the overblot itself has ended.

[raykee-ray]

Rethinking the "validity" of TWST’s overblots

Introduction

Why are some overblots considered “less valid” by the fandom, and what assumptions are behind those judgments? Since the early chapters of TWST, fans have debated whether certain overblots were “valid.” In fact, according to this X post, there was a poll on the most and least valid overblots. While characters like Riddle or Jamil often receive widespread sympathy, Leona and Vil are frequently criticized for having “unreasonable” motivations. But what does it actually mean for an overblot to be “valid?”

I don't think this is because some characters suffered more. Instead, I think the background behind some overblots are clearly explained, while others ask the player to interpret motivations that aren't stated as explicitly. Not every overblot is equally easy to understand, but that doesn't make some more or less valid.

When a story explains a character's emotional logic explicitly, most players arrive at a similar interpretation. When that emotional logic is implied rather than explained, players are more likely to fill in the gaps with their own assumptions.

In this blog, I’ve divided the overblots into two categories:

Explicit emotional narratives: The game clearly explains the connection between upbringing, worldview, and overblot (Riddle, Jamil, Malleus).

Implicit emotional narratives: The game gives you pieces—dialogue, symbolism, recurring behaviors—but expects the player to connect them (Leona, Vil, Azul).

This isn't a ranking of complexity or writing quality. Every overblot contains multiple layers, but some communicate their central conflict more explicitly than others. (Idia sits in the middle ground)

What fans usually mean by “valid”

Before I delve into the overblots, I’d like to explore what fans often mean by how they are “valid.”

Trauma tends to receive more sympathy than jealousy. Structural discrimination gets more sympathy than personal insecurity. Long-term suffering feels “earned.” A single incident feels “petty.”

Based on the discourse, I think the overblots that wear their emotions on their sleeves are considered as more “valid.” The ones often considered as “invalid” reveal themselves piece by piece.

Explicit emotional narratives

The overblots below contain stories that are easier to grasp.

🌹Riddle

The trigger of the overblot was the Heartslabyul students' repeated rule-breaking. Each time Riddle collared the students, his stress and blot accumulated.

The underlying issue is his mother’s strict upbringing and his belief that rules create order. In Riddle’s flashback, it was explicitly shown that his mother connected rules with safety.

Nearly every player understands Riddle's breaking point even on a first playthrough.

🐍Jamil

The trigger of the overblot was years of serving Kalim. Jamil explicitly states his stress from his servitude before his overblot.

The underlying issue is the lack of freedom and suppressed resentment due to his servitude. This was clearly shown in his flashbacks with how he had to suppress his abilities to never overshadow Kalim and the surrounding adults saying he’d “understand” why he has to do so.

Again, the game directly tells us this.

🐉Malleus

The trigger is losing Lilia, the person he loves. He explicitly says that he would give the endless dreams as his gift because he wouldn’t lose Lilia.

The underlying issue is his fear of abandonment and loneliness. His flashbacks show how he was feared by those around him and how that led to his loneliness since his youth.

Players don't have to infer much because the story repeatedly emphasizes isolation.

The middle ground

💀Idia

Idia sits somewhere between these categories.

His grief is obvious. His tone is sad when he talks about human Ortho.

But understanding why he blames himself requires thinking about survivor's guilt and how he's spent years avoiding the world. He never explicitly states the link between losing Ortho and how he spent a long time in isolation. It’s implied in how he created humanoid Ortho and his social anxiety.

Implicit emotional narratives

These are the overblots that encourage deeper reading in order to understand them.

🦁Leona

The surface reading is that he’s jealous because he’s the second prince.

But underneath that are questions about inherited identity, learned helplessness, expectations, and what happens when someone believes that no amount of effort can overcome the role society has assigned them. His resentment isn't born overnight—it's the accumulation of years spent believing his future was decided before he had any agency.

His dialogue right before his overblot (Book 2, Chapter 26) stood out to me.

The dialogue itself often signals that there's something deeper, but it doesn't necessarily spell out what that deeper issue is. The player has to ask what his disappointment and pain are, or what he implied when he said how anyone could possibly understand. That's why some people stop at “he's jealous,” while others read it as a crisis of identity and learned helplessness.

🐙Azul

The surface reading is that Azul is a bullied kid that wants power.

What can be interpreted deeper is his transactional worldview, fear of vulnerability, self-worth becoming dependent on competence and contracts, and belief that if he stops being useful, people won't value him. There's a lot beneath “bullied as a child.”

His overblot isn't framed around one emotionally revealing line. His characterization is spread across Book 3, like constantly referencing contracts, wanting to obtain everyone’s strength, and hiding his octopus form. Rather than confessing his insecurities outright, Azul consistently expresses them through contracts, negotiations, and the pursuit of power. The player has to infer that these behaviors stem from a fear of becoming powerless and vulnerable again.

👑Vil

The surface reading is that he was jealous of Neige.

On a deeper level, there's the entertainment industry, where Vil has spent years being cast as the villain despite his relentless effort. There's his perfectionism, which leads him to believe that any flaw is unacceptable. And there's the symbolic role of Neige, who represents effortless success; he represents the idea that natural charm can trump over years of disciplined work.

His dialogue about him unable to forgive himself after his attempt to poison Neige (Book 5, Chapter 62) is one of the biggest clues that Vil's overblot isn't just about jealousy.

If the issue were simply “I wanted to beat Neige,” that line wouldn't carry as much weight. Instead, it reveals a contradiction: Vil spent his entire life pursuing beauty, not just physical beauty, but elegance, dignity, discipline, professionalism. Then, in one moment, he becomes the very thing he despises. His breakdown isn't only that he lost. It's also the fact that he betrayed the ideals he’s lived by. That adds another emotional layer.

Why fandom sympathizes differently

People often sympathize with stories they understand immediately. Interpretive stories leave room for assumptions.

Fans may fill in those gaps differently. For example, maybe Leona is just lazy. Maybe Azul just likes manipulating people. And maybe Vil is just jealous. These aren't necessarily wrong observations. They're just incomplete because they stop at the catalyst of the overblots.

On the other hand, some fans may mistake difficulty of interpretation for weakness of writing. Readers naturally sympathize with stories they immediately understand. If a story requires more interpretation, some people stop at the surface-level explanation.

Conclusion

After revisiting each overblot, I don't think “validity” depends on how dramatic a character's suffering is. Instead, I think it often depends on how easily we can understand their emotional logic. Some overblots hand us that logic directly, while others ask us to uncover it ourselves.

Perhaps asking whether an overblot is “valid” isn't the most interesting question. A more interesting question might be why certain overblots feel immediately understandable while others divide the fandom. Is it because of the writing itself? Our own experiences? Or the way we interpret each character's motivations?

I didn’t read into the deeper levels of some of the overblots immediately. When I first read Vil's overblot, I understood it as jealousy toward Neige. It wasn't until I revisited the chapter that I started noticing how much of his breakdown stemmed from perfectionism, industry expectations, and the pressure he placed on himself.

Feel free to share your opinions about the overblots in the comments! Which overblot did you sympathize with immediately, and which one took longer to understand? Has your opinion on any overblot changed over time? If so, what changed it? The comments don’t have to answer these questions. Please share your thoughts!

[raykee-ray]

The Princess Glow debate: history, justice, and the cycle of resentment

⚠️This blog will contain spoilers for TWST Book 8 Part 3/Chapter 3 (JP only content)⚠️

Introduction

The Princess Glow is a special stone that used to be attached to Maleanor’s scepter and had healing abilities. After the defeat of Maleanor, the Princess Glow was under the possession of the Bladevale, attached to a golden cup, and was passed on to a mage named Ambrose. It eventually became (or is hypothesized/rumored to be) part of the interscholastic tournament’s trophy.

After Trein’s findings about the whereabouts of the Princess Glow, the rumor that the Princess Glow was part of the tournament’s trophy spread through NRC. It eventually reached the ears of Malleus and Lilia and they were called by Crowley and Trein to discuss the right of its possession.

Following Book 8 Chapter 3, many fans expected Malleus and Lilia to react angrily upon learning that Princess Glow had become part of the interscholastic tournament trophy.

In this blog, I’ll mention fan expectations of their reactions, what actually happened in Book 8 Chapter 3, alternative interpretations, and my analysis.

✅I’ll refer to Maleanor’s magical gem as the Princess Glow, the original JP term, despite its EN localization Majestic Ember.

Fan expectations

Many fans expected outrage from Malleus and Lilia. 

The Princess Glow originally belonged to the Briar Valley royal family, specifically Princess Maleanor. Given TWST's recurring themes of injustice and historical discrimination against fae, many assumed Malleus and Lilia would demand its return.

Some fans argued they were simply suppressing their emotions because they occupy important political positions, especially Malleus, and have to think about the future rather than acting impulsively.

Others criticized the writing, with a few even questioning whether a Japanese writing team could appropriately portray themes resembling colonialism or cultural appropriation.

What actually happened

Instead of demanding the artifact back, Malleus proposed reclaiming it by winning the interscholastic tournament (Book 8, Chapter 47). 

Dialogue: “The Princess Glow should belong to the victor.  We simply have to win the interscholastic tournament and claim it through our victory. Isn’t that right?”

He also revealed that the Princess Glow originally belonged to the diurnal fae before Princess Maleanor and even Queen Maleficia. Lilia responded by emphasizing that history is shaped by perspective and that tracing ownership indefinitely only perpetuates resentment.

Alternative interpretations

Some fans argued that Lilia's response reflected lessons learned from Maleanor's death. Having witnessed the consequences of fighting for pride, he may have come to value survival and the protection of future generations over symbolic revenge, which he may have taught to Malleus (and Silver). Likewise, Malleus's proposal to win the Princess Glow through the tournament was interpreted as consistent with his responsibilities as Briar Valley's future ruler.

Others praised the scene because both characters acknowledged the complicated nature of history instead of reducing it to "take back what was ours."

My analysis

One thing that stood out to me was that many fans projected an expected emotional response onto Malleus and Lilia. Since fans know the historical injustice behind the Princess Glow, some assumed that anger or demands for restitution would be the "correct" reaction. However, I think their responses are consistent with both their characterization and the themes presented in the chapter.

Lilia has lived through war as the General of the Right, witnessed Princess Maleanor's death, and experienced centuries of political and historical change. Similarly, Malleus was speaking not only as an individual but as Briar Valley's future ruler. Rather than reacting emotionally, both approached the issue with the responsibility expected of leaders. Malleus's proposal to reclaim the Princess Glow through the interscholastic tournament reflects confidence without escalating the situation into a political conflict.

Lilia's dialogue from Book 8 Chapter 47 especially stood out to me. 

Dialogue: “If the storyteller changes, then justice and evil easily trade places. That is the nature of history.” “If we continue tracing the past to ask 'who originally owned it,' the cycle of resentment will never end.”

Rather than dismissing Briar Valley's loss, these lines acknowledge how complicated history can become. Lilia recognizes that if every generation continues asking who "originally" owned something, resentment never truly ends. His comment about justice and evil changing depending on the narrator also suggests that historical events are remembered differently by those on opposing sides. I think this perspective feels fitting for someone who has personally witnessed centuries of history rather than simply read about it.

The revelation that the Princess Glow originally belonged to the diurnal fae reinforces this idea. Instead of presenting ownership as a straightforward matter, the story introduces another historical layer that complicates the question of who has the strongest claim. In that context, Malleus's decision to win the Princess Glow through fair competition feels symbolic. Rather than repeating the cycle of conflict, he chooses to create a new piece of history through peaceful means. Because of this, I find it difficult to interpret the scene as the writers ignoring history. Instead, they seem to be emphasizing that remembering the past and deciding how to respond to it are two different things.

Conclusion

Some fans interpret Malleus and Lilia's calm response as unrealistic given the Princess Glow's history. Another reading is that their reaction reflects Lilia's long-held belief that survival is more important than pride, a lesson born from Maleanor's death. While later chapters may clarify their feelings, the current text leaves room for both interpretations.

Rather than providing a simple answer, Book 8 Chapter 3 presents history as layered and contested. Through Lilia's reflections, the chapter suggests that historical injustice should be remembered, but that responding to it is rarely straightforward. Malleus and Lilia's decision doesn’t erase Briar Valley's past; instead, it reflects a belief that the future should not be shaped by repeating cycles of resentment.

Whether fans agree with their approach or not, the Princess Glow debate highlights how TWST encourages discussion about history, leadership, and justice rather than offering easy moral resolutions. That complexity is what made this scene one of the most interesting moments of Book 8’s most recent update for me.

[raykee-ray]

The different endings of Go For It, Nakamura-kun!! (Part 2)

Introduction

In Part 1, I argued that the endings of Go For It, Nakamura-kun!! function as emotional extensions of Nakamura’s interiority, expressing feelings that he often struggles to communicate in the main story. Episodes 1-6 focused largely on Nakamura’s longing for Hirose, gradually moving toward friendship and hope.

Episodes 7-13 take the series in a different direction. Rather than focusing only on Nakamura’s desire to get closer to Hirose, the later endings increasingly explore how those feelings change him. Through friendship, self-reflection, heartbreak, and acceptance, the EDs follow Nakamura’s emotional growth as he learns what it means to genuinely care for another person.

This progression reaches its peak in Episode 12, which abandons the series’ established ending format altogether, before culminating in a quieter finale that celebrates the sincerity of Nakamura’s feelings. In this second half of the series, the endings become less focused on the possibility of romance and more focused on the value of love itself.

EP7: “THE HOUSE OF WAX” by SEIKIMA II

This ED gives off creepy vibes, which fits the episode about Nakamura and co. exploring the school at night. The lyrics “今夜もひとり 生贄になる (today once more a sacrifice was made)” seem like a part of a horror story. This matches the dark room and the eventual mysterious hand in the ED, which visually shows Nakamura’s fear.

The ED externalizes a different emotion from the previous episodes: not romantic longing, not joy, but anxiety and unease.

That broadens the emotional vocabulary of the series. The EDs aren't only about romance. They're about whatever emotional state dominates Nakamura's inner world that week.

EP8: “Runner” by Bakufu-Slump

The ED represents Nakamura moving forward. With Nakamura doing push-ups in the ending, it seems he is motivated to impress Hirose someday. The title “Runner” reminded me of Nakamura and Matsumura chasing each other in front of the school gates, both wanting to take a hold of Hirose’s pictures.

The lyrics “いつかたどり着いたら 君にうちあけられるだろ (I might be able to confess to you once I’m by your side)” show a hopeful side of Nakamura. Even if Nakamura himself isn't consciously ready, the music keeps imagining a future where confession is possible. That's a recurring pattern throughout the series: the songs are often emotionally ahead of Nakamura.

EP9: “Friends” by REBECCA

The lyrics and title seem to reframe what success means. A lot of romance narratives treat friendship as a failure state. But Nakamura has always wanted friendship first.

So if the song is called "Friends" and has bittersweet lyrics like “どこでこわれたの oh フレンズ (where did we break oh friends),” it creates an emotional complexity: he still loves Hirose, friendship isn't the same as romance, but friendship is genuinely valuable. The ED seems to acknowledge both realities simultaneously.

The world of the series has gradually expanded beyond Nakamura’s attempts to get closer to Hirose to include classmates and broader social connections, with the depiction of them in the cultural festival. The song may be recognizing that growth.

EP10: “GLORY DAYS” by Senri Ooe

The ED seems to focus on Nakamura being grateful to have met Hirose. The lyrics “きみと出逢えてよかった 愛だけが いま力になる (I’m glad to have to have met you, now this love becomes my strength)” feels less focused on obtaining something and more focused on appreciating something. Earlier songs often looked toward confession, possibility, and reaching Hirose. These lyrics sound more like: "I'm glad you existed in my life." That's a surprisingly mature emotional position. Whether or not Nakamura confesses, whether or not the feelings are returned, the experience itself has become meaningful.

At the same time, there is a sense of bittersweetness in this episode, especially in the restaurant scene. Nakamura wasn’t able to keep up with Hirose and his friends’ conversation and learns that there’s still a lot he doesn’t know about Hirose. At the same time, the lyrics ”愛だけが いま力になる (now this love becomes my strength)” suggest that Nakamura isn't discouraged by that realization. If anything, it motivates him.

The encounter with his favorite mangaka also reflects Nakamura's gradual increase in emotional honesty. While he is still unable to confess his feelings to Hirose, he finds the courage to tell the mangaka that he loves one of the characters. This moment suggests that Nakamura is becoming more willing to express feelings that he would previously have kept entirely to himself. The mangaka's response also creates a sense of understanding between the two. Whether or not he fully understands Nakamura's situation, the conversation suggests that the feelings Nakamura has been carrying are not as isolated as he believes.

Episode 10 marks a transition from being in love with the idea of Hirose toward wanting to know Hirose as a person. That makes the ED's hopeful tone feel earned. Nakamura's feelings are no longer just excitement and yearning. They're becoming deeper, more complicated, and more grounded in reality.

EP11: “Romantic Flight” by Kome Kome Club

Episode 11's ED’s lyrics feel much more expansive. The lyrics “逢いたいと思うことが何よりも大切だよ (wanting to meet someone is more important than anything else)” don't sound focused on possession, confession, or even reciprocation. It's almost saying that the desire to see someone is valuable in itself. That's a surprisingly mature sentiment. They’re similar to the lyrics from Episode 10:  “きみと出逢えてよかった (I’m glad I met you).” Both lyrics place value on the experience itself rather than the outcome. This is a huge emotional shift from Episode 1, where Nakamura felt hesitation and wanted to be close to him. Nakamura in Episode 11 seems to believe that being able to care about Hirose is already meaningful.

The lyrics “トランク一つだけで浪漫飛行へ (going on a romantic flight with only one suitcase)” adds a completely different energy. They feel adventurous, youthful, and optimistic. There’s movement in them. Throughout the series, Nakamura often gets stuck overthinking and freezing up. But "romantic flight with only one suitcase" suggests someone willing to move forward despite uncertainty. Not because everything is guaranteed to work out, but because the journey itself is worth taking.

With Nakamura wanting to buy the limited T-shirt as a gift for Hirose, Episode 11 shifts the focus from Nakamura's desire to Hirose's happiness. When a crush matures, sometimes that's exactly what happens. The gift competition is comedic, but underneath it is genuine care.

Nakamura is also living the reality he has wanted as Hirose’s friend. So the lyrics feel less like a love song from a distance and more like a reflection from someone who has already gained something precious. The friendship doesn't erase his romantic feelings but it changes their texture.

The ED feels both youthful and wise at the same time. The adventure isn't necessarily about romance anymore. It's about discovering how meaningful it is to care for someone, spend time with them, and be part of their life. That's a lesson Nakamura couldn't have understood back in Episode 1.

EP12: none

In hindsight, Episode 11's celebration of friendship and shared experiences makes Episode 12 even more painful. Just as Nakamura begins to appreciate the value of his relationship with Hirose for what it is, he is confronted with the possibility that his feelings may never be returned.

Episode 12 abandons the format that the previous episodes established. Up until Episode 11, the endings have done at least one of these things: reframed Nakamura's emotions, offered hope beyond the episode, externalized feelings he couldn't express, or transformed awkwardness into longing, joy, nostalgia, or reflection. Even when Nakamura was embarrassed or upset, the ED usually provided another emotional layer. But since Episode 12 ends with a dark room, Nakamura absent from the scene, and no song, then the audience is denied that emotional reassurance. In a way, the series is doing to the viewer what Hirose's "girlfriend" revelation does to Nakamura: it leaves us hanging.

EDs usually indicate what Nakamura is feeling or could feel in the future. The EDs have often been emotionally ahead of Nakamura. There has also been a buildup up to Nakamura valuing his friendship with Hirose. Episode 2's hopeful lyrics suggested a future Nakamura couldn't yet imagine. Episode 8's lyrics imagined a future confession. Episode 10's lyrics suggested gratitude and growth.

So when Episode 12 gives us nothing, there's no emotional roadmap. No “things will get better,” no “someday I’ll tell him,” or no “I’m glad I met you.” Nothing, which creates uncertainty. For the first time, Nakamura himself cannot imagine what comes next. The darkness of the room reinforces this uncertainty. The more meaningful the friendship becomes, the more devastating the possibility of an unreachable future feels.

This only works because the series has trained viewers to expect an ED as emotional commentary. If there had never been meaningful EDs, their absence wouldn't matter much. But because the audience has spent eleven episodes looking for clues in the music and visuals, Episode 12's refusal to provide one becomes its own statement.

The background noise of his mother and sister eating dinner might be one of the saddest details. Not because they're cruel. Actually, the opposite. His mother is worried. His sister says he'll be fine. That's such a normal family interaction. But Nakamura's pain is invisible to them. They can't understand what's happening because they don't know what's happening. And maybe Nakamura has never told them enough for them to know. That's what makes it feel lonely. The family isn't rejecting him. They're simply outside the emotional reality he's experiencing.

EP13: “Daisuki” by Yasuyuki Okamura

The finale doesn’t fully return to the earlier ED format. Instead, the song functions almost like background music, to the point that some lyrics, such as “女の子” (girl), are difficult to hear. Unlike previous endings, which openly externalized Nakamura’s emotions through music and imagery, the finale’s song remains understated and partially unclear. This subtle presentation suggests that Nakamura’s feelings for Hirose have become something quieter and more internal rather than something that needs to be dramatically expressed.

The movie date especially leads Nakamura to realize that he still loves Hirose and doesn’t want to abandon those feelings. Instead, he comes to cherish them. In this sense, the finale echoes ideas that appeared throughout the earlier EDs: loving someone and caring about them can have value in itself, regardless of whether those feelings are returned.

The difficulty of hearing the song also contributes to its emotional effect. While previous EDs often announced Nakamura’s emotions loudly and directly, the finale presents them with a sense of calm acceptance. His feelings are still there, but they no longer need to be transformed into grand fantasies, nostalgic imagery, or imagined futures.

While earlier endings frequently pointed toward future possibilities for Nakamura, the final episode’s subtle ending music focuses on the value of the feelings themselves. After confronting heartbreak in Episode 12, Nakamura doesn’t reject his love for Hirose. Instead, he chooses to cherish it. In this sense, the finale celebrates not the fulfillment of Nakamura’s romance, but the sincerity of his emotions.

Conclusion

Across all thirteen episodes, the endings of Go For It, Nakamura-kun!! became much more than simple ending credits. Each week, I looked forward to seeing which song would be chosen and how it would reflect Nakamura’s emotional state. Whether expressing longing, joy, anxiety, friendship, heartbreak, or acceptance, the EDs always felt meaningful. They acted as emotional companions to the story, revealing feelings that Nakamura often struggled to put into words himself.

Looking back, what stands out most is Nakamura’s growth. The later episodes are not simply about whether he will confess to Hirose. Instead, they explore how loving someone changes him. Through friendship, disappointment, and self-reflection, Nakamura gradually learns to value his feelings rather than be defined by their outcome. The progression from Episode 1 to Episode 13 makes the series feel surprisingly mature despite its comedic premise.

As a queer viewer, Nakamura’s journey deeply resonated with me. While my experiences are not exactly the same as his, I understood the fear of unspoken feelings and the uncertainty that can come with having a crush. Watching Nakamura grow made me want to cheer for him every week.

Go For It, Nakamura-kun!! is also the kind of series I know my younger self would have cherished. Beneath its comedy and retro aesthetic is a sincere story about love, friendship, and growing up. The endings capture that sincerity perfectly, which is why they remain one of my favorite parts of the series.

[raykee-ray]

Imagining queer possibilities in utaite spaces: SIXFONIA as a case study

Introduction

Few music spaces seem as creatively unrestricted as utaite groups. Performers hide behind illustrated avatars and tell stories through songs that blur the line between character and creator. With that level of creative freedom, one might expect a wide range of narratives to emerge. Yet in practice, romance in these spaces can often feel familiar, frequently aligning with heterosexual norms. For some audiences, this can create a subtle sense of distance within a fandom that is otherwise imaginative and full of potential.

Having spent much of my time in queer-friendly fandom spaces, I’ve come to value environments where different identities and interpretations are naturally welcomed. In the utaite fandom, I sometimes notice a quiet disconnect, particularly in moments where romance follows more traditional patterns. Rather than viewing this as a flaw, it highlights for me the possibilities that utaite spaces hold. Because of their flexibility, utaite groups are in a unique position to create narratives where more people can see themselves reflected.

As someone who frequently engages with the content of SIXFONIA, I’ll use their videos and covers as a case study—not as a critique, but as a way to explore broader patterns within utaite culture.

The “boy idol fantasy” model

Content formats such as ranking or “格付け (kakuzuke)” videos highlight how utaite groups can take on characteristics similar to idol culture. In these videos, the members of SIXFONIA evaluate or compare each other based on taste, intuition, or personality, allowing viewers to see different sides of them beyond their musical performances. This type of content can encourage audiences to form attachments to individual members and develop preferences, similar to “oshi” culture in idol fandoms.

In addition to this structured format, more casual interactions, such as free talk segments, often highlight playful teasing between members. For example, in the video “どうです僕達 ‘てぇてぇ’ でしょう？？？ (How is this, aren’t we ‘precious???’),” the members say that illma’s smile is cute. While these interactions are typically comedic and not meant to represent actual relationships, they contribute to a sense of intimacy that audiences can engage with. At the same time, because these interactions are often framed in ways that remain broadly accessible, they tend to preserve ambiguity rather than develop into more explicitly defined narratives.

These interactions often emphasize charm, relatability, and appeal in ways that feel oriented toward the viewer’s perspective. While not explicitly romantic, this framework can position the audience in relation to the performers, which may influence how interpersonal or romantic dynamics are perceived in other types of content. For some viewers, this structure feels familiar and engaging, while for others, it can shape the ways they are able, or unable, to relate to the content.

Cultural hesitation toward explicit discourse

This dynamic is shaped not only by creators, but also by how fans engage with and discuss media within the fandom.

In many Japanese fandom spaces, public criticism of creators is often discouraged, and discussions tend to remain relatively private rather than developing into larger, collective discourse. Because of this, even when fans notice queer subtext or are interested in alternative interpretations, these perspectives may not always be expressed openly. This tendency is often more visible in fandoms centered around real people, such as performers, compared to those focused on fictional characters.

In contrast, in the English-speaking fandom spaces I’ve personally been part of, shared interpretation often takes a more visible form through theory threads, headcanons, and meta analysis, including conversations about representation. Because of this, queer readings can feel more openly discussed and normalized, even when engaging with similar kinds of media.

BL consumption and queer representation

At the same time, Japanese fandoms have a strong culture of consuming BL (Boys’ Love). However, BL is not always approached as a form of queer representation. Instead, it is often understood as a distinct genre of fantasy romance, separate from real-life LGBTQ+ identities and experiences.

Because of this distinction, creators may lean toward maintaining a separation between fantasy and representation, rather than including explicit queer narratives in their own content.

For example, in covers of songs such as “Romeo and Cinderella” by hima72, LAN, and mikoto, which are originally written from a female perspective, the performance may be reinterpreted visually and stylistically in ways that align with audience expectations. Elements such as character design, costuming, or framing can emphasize a romantic dynamic that feels directed toward a presumed female viewer. For some audiences, this can make it more difficult to read the performance through a queer lens, even though the format itself allows for multiple interpretations.

This creates an interesting contrast: even in a context where BL is widely enjoyed, explicit queer narratives in utaite group content remain less visible. Rather than indicating a lack of possibility, this may reflect how different boundaries are maintained between fantasy, performance, and representation.

Creative flexibility and narrative possibilities

Utaite groups operate within a uniquely flexible creative space. By performing through illustrated avatars and maintaining anonymity, they are able to separate their real identities from the characters they present. This allows for a wide range of expressive possibilities, from experimenting with vocal styles to developing fictional group dynamics and narratives.

Because of this, utaite content has the potential to explore many different kinds of stories and relationships without being tied to real-world expectations. In some cases, however, the narratives that emerge—particularly those involving romance—can feel familiar, often aligning with patterns that audiences already recognize.

Rather than limiting what utaite groups can do, this contrast highlights how much room there still is for interpretation and expansion. It raises an open question: what kinds of narratives might emerge if this creative flexibility were explored in even more diverse ways, and how might audiences respond to them?

Final thoughts

Utaite groups already exist in a space defined by creativity and flexibility, where identity and storytelling are not bound by physical reality. Because of that, even small shifts—whether in narrative choices or the ways relationships are portrayed—could open the door to a wider range of interpretations and experiences. For fans like me, that possibility is what makes utaite culture so compelling. It is not about changing what these groups are, but about imagining what they could become as spaces where more people feel seen, included, and at home.

I’ve also seen moments where individual members express openness toward queer fans, which suggests that inclusivity is not entirely absent from these spaces. It makes me wonder what it might look like if that sense of acceptance were reflected more consistently in the narratives and dynamics presented in their content.

In addition, the presence of queer creators or fans doesn’t automatically determine how a space feels to navigate. What shapes that experience just as much are the stories being told, the assumptions embedded within them, and the ways audiences are invited to engage with them.

[raykee-ray]

Queer-coded characters in TWST

Introduction

HAPPY PRIDE MONTH!!

To celebrate, I'd like to discuss some characters in TWST that fans often read through queer lenses.

The characters I’ll mention are as follows:

Cater Diamond

Vil Schoenheit

Epel Felmier

Lilia Vanrouge

Cater Diamond

Cater is often headcanoned as bisexual in the fandom due to the way his flirtation moves across gender lines. In the original Japanese version of Vil’s School Uniform vignette, he jokingly tells Vil he considered dating him.

Dialogue: For a second, I think I kind of wanted to date you.

However, the English localization was less explicitly romantic with the quote: “is this real? Am I dreaming?”

In Book 7, he jokingly remarks that a prince awakened him from his dream when speaking to Leona, another example of his flirtation crossing gender lines.

Combined with other vignettes where he clearly expresses attraction toward women, these moments make his attraction feel intentionally broad or at least playfully ambiguous. The bisexual headcanon fits his playful and teasing personality.

Vil Schoenheit

Vil explores gender expression diversely with his fashion and attitude. He adorns both masculine and feminine fashion, such as his dream outfit and dorm uniform. Elegance and femininity is central to his character without undermining his authority. Vil is admired, feared, competent, and emotionally complex.

With this, fans may interpret Vil as being queer or transfeminine.

Vil’s femininity is expressed not only visually but linguistically. In the Japanese script, he frequently uses オネエ言葉 (onee kotoba), including the first-person pronoun “アタシ (atashi)” and sentence endings like “だわ (da wa)” and “のよ (no yo).” These speech patterns are culturally associated with femininity and sometimes feminine male characters. Because this linguistic femininity is paired with confidence rather than embarrassment, Vil stands out as a character who openly embraces femininity as part of his identity.

Vil’s queerness can also be read through how he responds to others’ gender expression. When Epel resists certain dance moves for being “girly” in Book 5 Chapter 27, Vil pushes back, essentially asking why movement should be gendered at all. He treats Epel’s discomfort not as a natural truth, but as a learned social assumption—something outdated. His comment that this mindset feels “so last century” suggests that he sees rigid gender expectations as old-fashioned rather than necessary.

Epel Felmier

Epel looks timid and feminine at first glance. However, his ambitions and attitude reveal his true nature. In Book 5 Chapter 41, he shouts to the sea that he wants to be a tough and strong man.

People constantly perceive him as cute, pretty, and doll-like, while he wants to be seen as strong, masculine, and tough. He is frustrated with being feminized against his will. Meanwhile, masculinity is something he actively negotiates rather than automatically occupies.

Some fans have compared Epel's struggle to transmasculine experiences, particularly his frustration with being perceived in ways that don’t align with how he wants to be seen. As a result, Epel may be headcanoned to be transmasculine.

Vil and Epel

Vil and Epel’s relationship is particularly interesting through a queer lens because both characters struggle with gendered expectations, but in very different ways. Vil encourages Epel to lean into his softness and beauty, believing those traits are part of his charm and should not be hidden out of shame. At the same time, Epel’s resistance feels understandable—because he is often pushed toward femininity by others rather than choosing it for himself. For him, being seen as “cute” or being asked to perform femininity can feel less like empowerment and more like something imposed on him.

Lilia Vanrouge

Lilia is usually a gender nonconforming character with his diverse and iconic outfits. He is also a single father of Silver and has also hatched Malleus. In this way, he doesn’t follow traditional parenting patterns.

Lilia’s relationships are another reason he is frequently read through queer lenses. In Book 7 Chapter 77, Maleanor jokes that he once proposed to her when they were young, and also says that he loved Raverne.

While “love” in these moments is left intentionally broad—it can be read as familial, platonic, or romantic—the ambiguity itself creates room for interpretation. If read romantically, it lends itself naturally to bisexual or pansexual readings of Lilia.

Final thoughts

TWST may not explicitly name queer identities, but it consistently creates characters whose presentation, relationships, and self-expression resist rigid categorization. Whether through Cater's playful ambiguity, Vil's confidence in femininity, Epel's struggle with perception, or Lilia's nonconformity, the game leaves space for a wide range of queer readings—and that’s one reason so many queer players connect with its characters.

Who are your favorite queer-coded TWST characters? Comment down below! 🌈✨

[raykee-ray]

The different endings of Go For It, Nakamura-kun!! (Part 1)

Introduction

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

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

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

EP1: “First Love” by Kozo Murashita

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

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

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

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

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

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

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

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

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

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

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

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

EP4: “I Won’t Lose” by Barbee Boys

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

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

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

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

EP5: “Fly-day Chinatown” by Yasuha

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

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

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

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

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

This ED is the emotional peak of Part 1. 

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

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

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

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

Conclusion

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

Part of why Nakamura resonates with me is that while I wasn’t shy around my own crush, I understand what it feels like to be gay and unable to confess. That emotional distance between feeling and saying—the space between knowing you like someone and being able to tell them—is what makes me want to cheer for Nakamura throughout the series.

EDIT: Part 2 is out!

[raykee-ray]

Why does Malleus call Lilia his “friend?”

Introduction

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

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

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

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

⚠️Spoilers for Books 7 and 8 below⚠️

Why the word "friend" feels strange

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

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

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

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

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

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

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

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

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

Malleus's view on relationships

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

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

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

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

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

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

Raising Silver together

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

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

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

Comparing Silver and Malleus’s views of Lilia

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

(Dialogue:

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

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

Conclusion

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

EDIT: Images from Books 7 and 7.5 have been added!

[raykee-ray]

Silver’s belonging in Diasomnia: his relationship with Sebek, Malleus, and Lilia

Introduction

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

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

⚠️Spoilers for Books 7 and 8⚠️

Silver and Sebek: equality through mutual affirmation and correction

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

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

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

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

Silver and Malleus: equality through emotional recognition

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

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

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

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

Silver and Lilia: chosen and reaffirmed belonging

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

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

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

(Dialogue:

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

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

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

Conclusion

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

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

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

EDIT: Images from Book 7 have been added!

[raykee-ray]

Inheriting the name “Vanrouge”: From gratitude to chosen family (Lilia’s parenthood analysis Part 2)

Introduction

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

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

⚠️Spoilers for Books 7 and 7.5 below⚠️

The turning point: being seen

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

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

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

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

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

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

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

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

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

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

Conclusion: from debt to belonging

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

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

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

EDIT: Images from Book 7.5 have been added!

EDIT 2: Images from Book 7 have been added!

[raykee-ray]

The cost of the cradle: The missing “parental” blueprint and the curse of “repayment” (Lilia’s parenthood analysis Part 1)

Introduction

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

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

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

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

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

The root: the lack of a mirror

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

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

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

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

The method: love as a form of validation

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

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

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

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

The consequence: debt of gratitude and low self-worth

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

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

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

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

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

Closing of Part 1

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

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

Part 2 will be posted tomorrow. Stay tuned!

EDIT: Part 2 is out!

EDIT 2: Images from Book 7 have been added!

[raykee-ray]

Minajael Tealrajah: appealing character design or cultural misrepresentation?

Introduction

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

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

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

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

Reactions in the EN fandom

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

For example:

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

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

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

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

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

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

(Similar color palette and clothing design)

Reactions in the JP fandom

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

Following his reveal, many fans expressed admiration for:

his visual design

his mysterious personality

his desire for freedom from royal constraints

his perceptiveness toward Jamil

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

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

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

Why this difference occurs

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

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

Final thoughts

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

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

At the same time:

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

These are tendencies, not absolutes

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

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

Ultimately, the discussion surrounding Minajael reveals not just opinions on a single character, but how audiences negotiate the balance between fiction, representation, and cultural responsibility.

[raykee-ray]

Dancing with the oppressors? A cross-cultural observation of the TWST Book 7 finale

Introduction

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

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

⚠️Spoilers for Book 7 Chapter 13 below⚠️

The scene

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

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

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

Reactions in the EN fandom

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

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

Reactions in JP fandom

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

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

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

My interpretation

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

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

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

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

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

Final thoughts

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

I’m not saying that either interpretation is wrong — people are free to feel however they want about the Book 7 finale! I just found it interesting to see how such a brief scene could produce such different readings across fandom spaces.