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WHY I LOVE THE SCARABIA CM AND YOU SHOULD TOO

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

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

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

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

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

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

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

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

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

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

You never get failing scores. (4-37)

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

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

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

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

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

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

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

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

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

To do a short summary:

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

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

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

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

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

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

To reign is worth ambition though in hell;

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The most obvious answer: accumulated frustration.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Additional Links

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

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

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

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

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

Scarabia CM:

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

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

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

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

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

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