#fairy tales

[greentrickster]

Struck with a sudden understanding for why I adore The Cursed Princess Club so much, and it's because, at its heart, it's set in this kind of world. A world that is a bit more mature than a typical fairy tale, in that it approaches questions like 'what do you do if your curse can't be broken, how does that affect your perception in the eyes of society, or of yourself?', but also one where a kind heart will serve you better than a strong arm. This is what a truly 'mature' fairy tale looks like, and it's one that I'd hand to an older kid without hesitation.

Dunno how to put it properly into words but lately I find myself thinking more about that particular innocence of fairy tales, for lack of better word. Where a traveller in the middle of a field comes across an old woman with a scythe who is very clearly Death, but he treats her as any other auntie from the village. Or meeting a strange green-skinned man by the lake and sharing your loaf of bread with him when he asks because even though he's clearly not human, your mother's last words before you left home were to be kind to everyone. Where the old man in the forest rewards you for your help with nothing but a dove feather, and when you accept even such a seemingly useless reward with gratitude, on your way home you learn that it's turned to solid gold. Where supernatural beings never harm a person directly and every action against humans is a test of character, and every supernatural punishment is the result of a person bringing on their own demise through their own actions they could have avoided had they changed their ways. Where the hero wins for no other reason than that they were a good person. I don't have the braincells to describe this better right now but I wish modern fairy tales did this more instead of trying to be fantasy action movies.

[shinyhappygoth]

Consider: Cinderella makes her grand entrance at the ball, the prince falls in love at first sight, and this feeling is immediately followed by a wave of massive annoyance at the prospect of proving his parents right.

[divineandmajesticinone]

Angela Carter, The Bloody Chamber and Other Stories; ‘The Company of Wolves’

[elizabeth-holland24]

The Beast Within - Chapter 5

Days in the sun when my life has barely begun. Not until my whole life is done will I ever leave you. Will I tremble again, to my dear one's gorgeous refrain. Will you now forever remain. Out of reach of my arms. Oh, those days in the sun. What I’d give to just relive one. Undo what's done. And bring back the light. Oh, I could sing, of the pain these dark days bring. The spell we are under. Still is the wonder of us I sing of tonight. How, in the midst of all this sorrow, can so much hope and love, endure. I was innocent and certain, now I'm wise but unsure. Days in the past, I can't go back into my childhood. Oh, those precious days couldn't last. One that my father made secure. I can feel a change in me. Oh, hold me closer. I'm stronger now, but still not free. Days in the sun, will return. We must believe as others do. That days in the sun. Will come shinning through.

Flashback

The woods always felt alive, even in their stillness. Sunlight filtered through the canopy of leaves, casting golden patterns on the forest floor. A young Mausi skipped over roots and around trees, her worn shoes crunching against the earthy path. This was her sanctuary, a place where rules didn’t matter, where she could dream endlessly and imagine a world beyond her small village.

As she wandered deeper, a muffled sound stopped her in her tracks. A soft, hiccupping sniffle.

Curiosity, tinged with concern, bubbled inside her. Who could be crying here, in her woods? The sound pulled her forward, her little feet quiet now, as if afraid to disturb the sadness lingering in the air.

And there he was—a boy, crouched by the base of an ancient oak tree, his head buried in his knees, his shoulders shaking ever so slightly. His clothes, though finer than hers, were dirtied from the forest floor. He looked about her age, maybe a little older, but it was hard to tell. His form was curled in on itself, as if he wanted to disappear, to fold himself into the shadows of the woods and never come out.

Mausi’s heart clenched. She didn’t know why, but seeing him like that hurt her in a way she couldn’t name. She wasn’t the kind of girl to ignore someone in pain—especially not when that someone seemed so lost.

She took a cautious step forward, her small voice breaking the silence. “Why are you crying?”

The boy stiffened but didn’t look up. “Go away,” he muttered, his voice raw and shaky.

Mausi frowned but didn’t leave. Instead, she plopped herself down beside him, tucking her knees under her chin. She wasn’t the type to be scared off easily, not by a little grumpiness.

“I’m Mausi,” she said cheerfully, though her voice was softer than usual, as if she knew not to push too hard.

Silence.

“My dad calls me that. It means ‘little mouse.’” She paused, glancing at him. “What’s your name?”

“Doesn’t matter,” he grumbled.

“Well, I’ll just call you ‘grumpy boy’ then,” Mausi said, crossing her arms with mock indignation.

At that, he finally looked up, his tear-streaked face partially hidden by unruly blonde hair. His green eyes, red-rimmed from crying, locked onto hers. For a fleeting moment, something unspoken passed between them—a connection neither could fully understand.

“I don’t need friends,” he said, his tone defensive but weak.

“That’s fine. I don’t need another friend either,” Mausi replied, shrugging. “But I’m not going anywhere. You look like you need someone.”

The boy stared at her, as if trying to decide whether she was a nuisance or a lifeline. Eventually, his shoulders relaxed just a fraction, and he let out a sigh.

They sat there in silence, two small figures against the vastness of the woods. The weight in the air began to lift, little by little, as the boy’s sniffles faded into the rustling of leaves.

From that day on, the two became an unlikely pair, their connection forged in the quiet corners of the forest where the rest of the world couldn’t reach them. The boy never told Mausi his name, and though curiosity burned within her, she never pushed him to share it. Somehow, she understood that names held power, and his reluctance was less about hiding and more about protecting something fragile within himself.

Instead, they created a world of their own, one where names didn’t matter, and labels were irrelevant. They met in the same secluded spot beneath the ancient oak tree, the one whose roots snaked into the earth like veins carrying the lifeblood of the forest. It was their sanctuary—a place where laughter, exploration, and quiet companionship thrived, untainted by the weight of expectations.

The boy was guarded, his words often clipped and his demeanour prickly. He had a way of snapping when he felt too exposed, a defence mechanism Mausi came to recognize as fear rather than anger. But she had a gift for disarming him. Her chatter filled the silences he carried like armour, and though he’d roll his eyes or let out exaggerated sighs, Mausi noticed the corners of his mouth twitching upward when he thought she wasn’t looking.

She talked about anything and everything:how her father was always building something; how she didn't have a mother, how she loves adventures and reading, hoping one day she'll get an adventure of her own, how in her village they made fun of her for being different. Her words painted vibrant pictures, filling their little world with light and warmth.

At first, the boy didn’t respond much beyond a grunt or a sarcastic comment, but slowly, the cracks in his shield began to show. In stolen moments of vulnerability, he shared pieces of himself—little glimpses into the life he kept hidden.

As the weeks turned into months, the boy’s edges softened further. He taught Mausi how to skip stones across the surface of the creek, laughing when her first attempts sent the rocks plunging straight to the bottom. In return, she showed him how to whistle using a blade of grass, their giggles echoing through the forest as they competed to see who could make the loudest sound.

Yet, no matter how much they shared, there was always a heaviness in the boy’s eyes, a weight Mausi couldn’t quite name. 

One day, as they sat side by side on the bank of the creek, Mausi noticed a scar running along the inside of his wrist. It was faint, almost hidden by the dirt smudging his skin, but unmistakable. She reached out instinctively, her fingers brushing against it before she realized what she was doing.

The boy jerked his arm away, his expression darkening. “Don’t,” he said sharply, his voice colder than she’d ever heard it.

“I’m sorry,” Mausi stammered, pulling her hand back. “I didn’t mean to—”

“It’s nothing,” he interrupted, his tone firm. But the way he turned away from her, his shoulders tense and his hands clenched into fists, told a different story.

Mausi didn’t say anything else, afraid that if she pushed too hard, he might disappear again. But the scar stayed with her, a silent reminder that the boy she called her friend carried more pain than she could see.

Even in their happiest moments, the shadow lingered. It was in the way he sometimes stared off into the distance, his brow furrowed, as if he were reliving something he couldn’t escape. It was in the way he flinched at sudden noises, his head snapping around as though expecting danger.

Mausi wished she could take that shadow from him, to make him laugh so hard it disappeared forever. But deep down, she knew it wasn’t that simple. Some hurts ran too deep to be erased by kind words or shared laughter.

Still, she stayed. Because even if she couldn’t heal him, she could be there—to listen, to laugh, to remind him that he wasn’t alone.

And in return, the boy gave her something she didn’t even know she needed. For all his guardedness and sharp edges, he made her feel seen in a way no one else ever had. When he looked at her, it was as though she mattered—not as the village’s ‘little mouse’ but as Mausi, a girl who could climb trees and weave daisy chains and bring light into the darkest corners of the forest.

Together, they carved out a space where the weight of the world didn’t exist. It wasn’t perfect, and it wasn’t without its complications, but it was theirs. And for a while, that was enough.

The rain came suddenly, drenching the forest in a matter of moments. Thunder rumbled in the distance, and the sky hung low and gray, casting the woods in a shadowy gloom.

Mausi clutched a bundle of wildflowers in her hands as she raced toward their spot, her heart pounding with a strange urgency she couldn’t explain. The rain soaked through her clothes, chilling her to the bone, but she didn’t care. Something felt wrong—terribly wrong.

When she reached the clearing, she saw him.

He was curled up at the base of their tree, just as he’d been the first day they met. But this time, his sobs were not muffled. They tore through the air, raw and gut-wrenching, the kind of sound that made the world feel heavier.

Mausi dropped the flowers and ran to him, falling to her knees beside him. “What’s wrong?” she asked, her voice trembling. “Are you hurt?”

He didn’t answer. He just shook his head, his hands clutching at the damp fabric of his shirt as if trying to hold himself together.

Mausi hesitated, unsure of what to do. Finally, she did the only thing that felt right—she wrapped her arms around him, pulling him into a tight hug.

“It’s okay,” she whispered, even though she didn’t know if it was. “You’re not alone.”

For a moment, he stiffened in her embrace, as though the kindness was too much to bear. But then he broke, his sobs growing louder as he buried his face in her shoulder.

“I can’t—” he choked out between gasps. “It’s gone. They’re gone. Everything’s gone.”

Mausi didn’t understand what he meant, but she didn’t need to. She just held him tighter, her own tears mixing with the rain as she tried to absorb some of his pain.

For weeks, he didn’t come back.

Mausi visited their spot every day, her heart sinking a little more each time she found it empty. She left little gifts for him—wildflowers, pebbles, even a tiny carved mouse she’d made from a piece of wood. But they remained untouched.

She began to wonder if he was ever coming back.

When he finally did, he wasn’t alone.

Mausi’s face lit up when she saw him, but the joy was short-lived. The boy she knew was gone, replaced by someone colder, harder. He stood with a group of older boys, their laughter sharp and cruel.

“You’re here!” she said, her voice filled with relief. “I was so worried. Are you okay?”

He smirked, though it didn’t reach his eyes. “What, are you some kind of puppy?” he sneered. “I don’t need you following me around.”

The words stung, but Mausi refused to let him see. “That’s all you have to say?” she asked, her voice trembling. “After disappearing for so long?”

“I don’t owe you anything,” he snapped. “I’m not your friend. We’re not even on the same level.”

The boys around him laughed, their jeers echoing in the clearing.

Mausi blinked back tears, her heartbreaking in a way she didn’t think was possible. “Fine,” she said, her voice barely above a whisper. “Sorry I cared.”

She turned and walked away, leaving the flowers she’d brought for him lying on the ground.

The boy watched her go, his fists clenched at his sides. Every instinct screamed at him to call her back, to apologize, to tell her the truth. But he didn’t. He couldn’t.

“She’s better off without me,” he told himself. “Everything I care about gets taken away. It’s better this way.”

But as her figure disappeared into the shadows of the woods, he felt the weight of his words crushing him. For the first time in his young life, he wondered if pushing someone away hurt more than losing them.

A/N: Hey guys, sorry it took me so long to publish this chapter. Thank you so much for the love and support this story has gained. We got a flashback, wonder who that boy is. Anyway I hope you enjoy this chapter, thank you so much for the love and support on this story again. Don't forget to comment, like and reblog, so I know if you are enjoying it. I think that's all. Thanks for reading <3

[unreal]

My mother told me,

"Beware --

in case a wolf is lurking there."

Oh...

Into the woods,

to grandmother's house,

to grandmother's house I go!~🎶

[thestuffedalligator]

“Are you the witch who turned eleven princes into swans?”

The old woman stared at the figure on the front step of her cottage and considered her options. It was the kind of question usually backed up by a mob with meaningful torches, and the kind of question she tried to avoid.

Coming from a single dusty, tired housewife, it should’ve held no terrors.

“You a cop?”

The housewife twisted the hem of her apron. “No,” she muttered. “I’m a swan.”

A raven croaked somewhere in the woods. Wind whispered in the autumn leaves.

Then: “I think I can guess,” the old woman said slowly. “Husband stole your swan skin and forced you to marry him?”

A nod.

“And you can’t turn back into a swan until you find your skin again.”

A nod.

“But I reckon he’s hidden it, or burned it, or keeps it locked up so you can’t touch it.”

A tiny, miserable nod.

“And then you hear that old Granny Rothbart who lives out in the woods is really a batty old witch whose father taught her how to turn princes into swans,” the old woman sighed. “And you think, ‘Hey, stuff the old skin, I can just turn into a swan again this way.’

“But even if that was true – which I haven’t said if it is or if it isn’t – I’d say that I can only do it to make people miserable. I’m an awful person. I can’t do it out of the goodness of my heart. I have no goodness. I can’t use magic to make you feel better. I only wish I could.”

Another pause. “If I was a witch,” she added.

The housewife chewed the inside of her cheek. Then she drew herself up and, for the first time, looked the old woman in the eyes.

“Can you do it to make my husband miserable?”

The old woman considered her options. Then she pulled the wand out from the umbrella stand by the door. It was long, and silver, and a tiny glass swan with open wings stood perched on the tip.

“I can work with that,” said the witch.

[julnites]

Red riding hood comic collab with the wonderful @yeehawpim (go check out their blog for loads of great comics!) 🌷 See the layouts he did here!

[thecollectibles]

Art by 冯伟 Feng Wei（c12）

[mysharona1987]

[runawaycarouselhorse]

da-bug: #What people saw is that justification of all the internet memes and jumped#in a way purposefully misleading the message enough to not get the meaning beyond their nose#The internet has become so pervasive within the online communities that these stories had to be cut#the internet has become sexualized in a way to the point where people see a design and pre lament#Those kids that grew up centuries ago aren’t normally exposed to this amounts of gratuitous sexual qualities#Perhaps those whomst villages have been pillaged I suppose.#These stories need a certain level of thought to be kind to the pokemon#these stories wouldn’t be so out of place on like‚ a kids historical myths interactive website#I dunno#I’m still going to use these pokemon despite the bad feelings people are hellbent on making me feel#It’s unfair to ascribe sexual intentions onto any pokemon in my opinion

This is a very nuanced response and helps explain this, because I've also seen bizarre pearl-clutching about... tales as simple as Hansel and Gretel and Brother and Sister, as if they're "too scary" with their themes of parental abandonment (Hansel and Gretel + Brother and Sister) and the plot element of a cannibalistic witch (Hansel and Gretel) or witch step-mother cursing them (Brother and Sister), as if children would not focus, instead, on the virtues of the two siblings protecting each other loyally as their parents failed to do so (Hansel and Gretel + Brother and Sister), even when one is under a curse (Brother and Sister)... the danger of the forest and the witch makes the story exciting, but not too scary for most kids, especially given the good conquers evil ending. Perhaps a rare, particularly sensitive child would find it too scary, but many will find it exciting, esteem courage and bravery, and empathize with the siblings and their love for one another, rather than go "OMG TOO DARK FOR KIDS THE WITCH EATS PEOPLE, THEIR STEP-MOM THREW THEM IN THE WOODS TO DIE, AND THEIR DAD IS A SPINELESS COWARD WHO WON'T STAND UP TO HIS WIFE, HOW IS THIS FOR KIDS?!?!?!"

It reminds me of Miyazaki's pitch for Princess Mononoke.

"... however, even in the middle of hatred and killings, there are things worth living for. A wonderful meeting, or a beautiful thing can exist. We depict hatred, but it is to depict that there are more important things. We depict a curse, to depict the joy of liberation..."

I don't want to act like a snob, but, y'all... really don't read old fairy tales or mythology, do you...? You only know the sanitized, bloodless Disney versions? People get cut to pieces (Cinderella/Ashputtel, The Red Shoes), women are abducted to be wives (an upsetting practice that continued until very recently, still practiced in some countries today—horrible, but part of life that found its way into stories, like The Seal's Skin), and magical talking animal husbands / wives (The Crane's Return of a Favour; East of the Sun, West of the Moon, etc.) abound in old mythology. Kids have been raised hearing these stories and not thinking about sex for centuries...

Humans marrying Pokemon in the ancient past was frankly stated in the Japanese version of DPPt. The English version rightly assumed English-speaking fans won't take it and reworded it from used to marry to used to eat at the same table (some euphemism!)

The Typhlosion story is no different from western stories like East of the Sun, West of the Moon (the way she was advised not to look at him reminded me of that) or The Seal's Skin (selkies cannot transform and return to the sea without their pelts—the abducted wife leaves her half-human child on land, escaping with her pelt when she finds it... the half-human, half-Pokemon children are bullied by their pelts being thrown on them to transform them against their will for cruel human amusement..)

The bloody myth about the boy with the sword is Veilstone's myth, but told in detail, right down to the Pokemon exacting a toll from him for how he maimed and slew them for amusement.

A man unknowingly marries a transformed-into-human form Froslass he met once before in Pokemon Legends: Arceus and she flees when he finds out what she was... it's based on a tale about the yuki-onna, the folkloric snow woman Froslass is based on.

[music]

[elleskinner-justart]

Microcomic Summer 2024: The Search for Cindermeowla

Happy Microcomic Summer day!

This year's comic is the Search for Cindermeowla, aka the tale of a prince who isn't very bright.

I had a completely different concept scripted, and then the image of Cindermeowla running down the stairs muscled its way into my brain and demanded context. Inspiration can be fickle that way!

-

patreon

[star-ocean-peahen]

After watching Cinderella (the original animated movie, which was my favorite as a child), it strikes me how it solves many common problems people have with this fairy tale. Like:

Why did they try to identify the mystery girl using her shoe size? Because the bullheaded king's only clue to her identity was the shoe the Grand Duke picked up off the steps.

Why didn't the prince recognize her by her face? Because his father wouldn't involve him in the process at all, and wasn't the one going around trying to find her.

Why did the prince want to marry a lady he only met that night? Because his father was going to force him to marry someone, and he genuinely liked this woman.

Why did Cinderella want to marry a man she only met that night? Because marriage was her best and most secure way to freedom. Fucked up, but you can't say it's unrealistic for the setting of a fairy tale. She also genuinely liked him.

If they're using the slipper to find her, wouldn't it be more sensible to search for the person with the other slipper? Yes. The King is purposefully nonsensical and the Duke is purposefully terrified enough of him to carry out his orders to the letter. Furthermore, they end up doing that in the end anyway, because the Duke's glass slipper is shattered, and Cinderella brings out the one she has to prove her identity.

Why didn't the stepmother and stepsisters recognize Cinderella at the ball? Because they were dancing too far away, and then left the party to dance in private, which was possible because the King wanted very badly for his son to hit it off with someone and tried to arrange the best conditions for that to happen.

Why didn't Cinderella save herself? Because in real life, abuse victims should not have to shoulder that responsibility, and usually can't. In real life, you need and deserve an external support system. Asking for help, in this kind of situation, is very important. She is saved by others because she is loved. Because she is not alone. Because she has friends who love her, and want her to be happy and safe and free. Because in real life, people who want to help someone who is suffering are like the mice. We can't pull out miracle solutions, but we can provide companionship and if we're in the right place at the right time, we can help the person find a better life.

Why didn't the fairy godmother save Cinderella from her abusive household, or try to help her sooner? Because she's magic, and magic can't solve your problems. Quote: "Like all dreams, well, I'm afraid it can't last forever." This (and Cinderella's dream of going to the ball) is a metaphor for pleasurable things in bad circumstances. An ice cream won't get rid of your depression, but it will provide you with momentary happiness to bolster you, as well as the reminder that happiness in general is still possible for you. Cinderella doesn't want to go to the ball so she can get away from her stepmother and stepsisters, or so she can meet someone to marry and leave with. She wants to go to the ball to remind herself that she can still have things she wants. That her desires matter. This is important because the movie does a very good job of illustrating Lady Tremaine's subtle abuse tactics, all of which invisibly press the message that Cinderella doesn't matter. While going to the ball and fulfilling her dreams may not be a victory in the material sense, it is still a victory against Lady Tremaine's efforts.

Why is Cinderella's choice to be kind and obedient framed as a good thing, when you are not obligated to be kind to your abuser? This one walks a very fine line, but I think the movie still makes it make sense. Lady Tremaine never acknowledges her cruelty. She always frames her punishments of Cinderella as Cinderella's fault. Cinderella is interrupting, Cinderella is shirking her duties, Cinderella is playing vicious practical jokes. Cinderella is still a member of the family, of course she can go to the ball, provided she meet these impossible conditions. Lady Tremaine's tactics are designed to make Cinderella feel like she must always be in the wrong and her stepmother must always be in the right. If Cinderella calls her stepmother out on her cruelty, or attempts to fight back, Lady Tremaine can frame that as Cinderella being ungrateful, cruel, broken, evil, etc. If Cinderella responds to her stepmother's cruelty defiantly (in the way she's justified to), she's not taking control out of Lady Tremaine's hands. Disobedience can be spun back into her stepmother's control. She wants Cinderella to be angry and sad and show how much she's hurting. So since Cinderella is adapting to her situation, she chooses to be kind. Not only because she naturally wants to be and it's part of her personality, but because it is a form of defiance in its own way, and it allows her to keep a reminder of her agency and value. Her choice to be kind is her chance to keep her own narrative alive: she is not obeying because her stepmother wants her to and she has to do what her stepmother does, but because she wants to. It's a small distinction, but one that makes all the difference in terms of keeping her hope and identity. (Fuck, I wrote a whole paragraph about how this doesn't mean you can't be angry at people who hurt you or that you need to be kind to deserve help, and then deleted it by accident. Uh. Try again.) Expressing anger and pain is an important part of regaining autonomy and healing. Although it is commendable to be kind while you are suffering, it is NOT required for you to get help or be worthy of help. If Cinderella's recovery was explored beyond "happily ever after" she would need to let herself be angry and sad to heal. Cinderella is not only kind because it comes naturally to her, but because it's her defense against the abuse she's suffering. Everyone's story and experiences are different, and one does not invalidate the other.

Bonus round for answers that aren't part of the movie:

Why didn't Cinderella run away? Where would she go? Genuinely, in hundreds-of-years-ago France, where would she go if she snuck out of the window with a change of clothes? With her step-family, she's miserable and abused, but she's fed, clothed, and in no danger of dying or being taken advantage of by anyone other than her stepmother and stepsisters. Even if she escapes and manages to find financial security, her stepmother might be able to find her and get her back.

Why didn't Cinderella burn the house down with them inside it/slit their throats in the night/poison their food/etc.? Because that's a revenge fantasy, and this story is a fantasy about being saved. There's nothing wrong with making Cinderella into a revenge fantasy. That's perfectly fine, as long as you acknowledge that the other type of fantasy is also a valid interpretation. (I mean, the original fairy tale features the stepsisters getting their feet mutilated and all three of them getting their eyes pecked out, so go for it.)

Why isn't Cinderella more proactive in general? Because she's a child who has been abused for the back half of her life, who has had to be focused on survival because. you know. she's an abused kid.

How did she dance in glass slippers? Gotta agree with you there man, that's weird.

[morning-star222]

[the-most-sublime-fool]

beauty and the beast (1946) is kinda lit

jean cocteau was so real for this

women have always wanted to fuck the beast

[the-evil-clergyman]

Illustrations from Stories from Hans Christian Andersen by Edmund Dulac (1911)