#marvel baba yaga

[holmesandtheroman]

WAIT NO FUCK WAIT FUCK IS KURT JUST DEAD AND GONE FUCK FUCK WHAT MY LITTLE RUSSIAN MAN IS GONE????

[isagrimorie]

Agatha figured something out.

Lilia says ominously to both of them, "Death… comes for us all."

Immediately, you can see the gears in Agatha's head turning. Something is up, and she's figured something out. I think we will find out in a few episodes. Very much a Chekov moment.

[say-hi-intrepid-heroes]

spot the difference

[antvnger]

(( John Wick is called Baba Yaga who is already mentioned in the MCU, I think it could be true… ))

((He is?? He’s referred to as Baba Yaga??

How about that.))

[pawthorn]

So, I’m now seeing takes that the Princesses in Neverafter actually have a good point, and after we just went through this with Asmodeus in Calamity and Ludinus in Critical Role, I gotta say…

There’s a difference between being sympathetic and ethical.

There’s a difference between being sympathetic and ethical.

Asmodeus was sympathetic. He was also a murderous, manipulative, hate-filled liar who wanted to destroy every mortal in Exandria.

Ludinus is sympathetic. He brings up reasonable questions about the worthiness of the gods. But he has also been the benefactor of the suffering of others, of children under the protection of the Assembly under his protection, for years. He stole items of extreme cultural importance to the Kryn, propagated misinformation about them, and was the catalyst of war with them. He is the ultimate force behind almost every murder and act of violence in Campaign 3. He is not right.

The Princesses are sympathetic, but their goal is to destroy everyone and everything. The same as Null in The Unsleeping City, Volume 2, in fact, yet I didn’t see much sympathy for Null, or for Tony Simos for that matter.

And I wonder if people fall into siding with these villains because of the Marvel villain paradox.

Because Marvel saw people’s response to Killmonger in Black Panther and decided to make every villain sympathetic. But a key to Killmonger's appeal was that he was cleverly written, sympathetic while still being incredibly violent, carrying the violent teachings of the CIA and applying them to the entire world. And T’Challa’s response to Killmonger was not to reinforce the status quo at the movie’s end, but to tell those that came before that they were wrong and take steps to make real change.

This is contrasted by the Marvel villains who come after, who are sympathetic, care-giving to their communities, revolutionary, but whoopsy, they do some murders (often completely out of character) so the hero stops them and says something about change while restoring the status quo.

Which is frustrating and lazy writing and not what’s going on in these actual play shows.

Ludinus has been rotten from the start. We know the kind of person he is from his previous actions. And we know that, like most power-hungry people, he’s a huge hypocrite. Because the change he wants to see, where the gods can’t directly influence people at their whims? We’re already there. The gods are behind the Divine Gate. The Calamity is over. They cannot strike cities from the sky any longer. His brighter tomorrow is a lie, and his true goals are known only to him. (Also even if his goal was as he said, it’s a nuclear option, and things like that always affect the powerless and oppressed more than they ever affect the most powerful.)

The Princesses are also hypocrites. They lament their lack of agency, but they steal that agency from others. They always intended to kill the Snow Queen. They lied about their motives to the Baba Yaga, to their allies, until they had Rosamund alone. They stole the Book from Tim before the party did anything to disrupt or harm them. And if you don’t think that choosing non-existence for every being in the multiverse isn’t a breach of agency, I don’t know what to say to you.

And, unlike the Marvel heroes, Destiny’s Children specifically do not want to maintain the status quo. They’ve looked at the Fairies and the Princesses, and chosen not to side with either. It’s not as simple as one faction being right, though I know that would be comforting.

Anyway, I’m excited for what’s to come in both stories. I’m eager to see Ludinus’ real motives, and to see the third path that Destiny’s Children make for themselves.

[blue-eyed-banshee]

So, I've been watching Agatha All Along recently and I have to say, I love how marvel seem to actually be doing their research this time. I'm friends with some people whom practice the craft themselves and they accurately describe each craft and the different sterotypes and such when it comes to witches. To be honest, I was a half expecting a Baba Yaga reference within the show but that could happen sometime in the future.

[foundtherightwords]

The Firebird - Chapter 15

Pairing: Prince Paul (Catherine the Great) x OFC, Fairytale AU

Summary: When Paul, a spoiled young prince, spots a strange bird in the forest near his palace, he impulsively chases after it, hoping to both escape from and prove himself to his disapproving mother. Thus he is plunged into an exhilarating adventure across a magical realm populated by enchanted princesses, dangerous monsters, and powerful wizards, an adventure that may change him more than he can ever imagine.

Chapter warnings: some smut (non-explicit), Paul being an idiot

Chapter word count: 5.5k

Chapter 1 - Chapter 2 - Chapter 3 - Chapter 4 - Chapter 5 - Chapter 6 - Chapter 7 - Chapter 8 - Chapter 9 - Chapter 10 - Chapter 11 - Chapter 12 - Chapter 13 - Chapter 14

Chapter 15 - The Tsarina and the Fool

One of the horses—in the haze of pain and exhaustion, Paul didn't remember which—picked them up from the charred throne room and brought them back to Baba Yaga's hut. A happy surprise was waiting for them there—Ilya had survived, and with his injuries being tended to by Elena, he should make a swift recovery.

Elena tended to Zhara's wound as well, though her recovery was not as swift. Her wound was more grievous, and made by a magical weapon no less, so it was several days before it even stopped bleeding and the healing could begin. When Paul gave the others an account of what had transpired in the throne room, Baba Yaga shook her long, hooked nose and said, "The girl was lucky. Messing about with magic could have very serious consequences."

"Like what happened with Illarion?" Paul asked.

The witch nodded grimly. "My guess is that Koschei's magic was already killing him, but he didn't know it. And when he took on his sister's magic as well, it became too much. Some people aren't meant to take on such power. They can't handle it."

Paul wondered if the last sentence was a warning. He decided not to ask.

He spent most days in Zhara's room, holding her hand while she slept. Though he still wasn't quite used to the sight of her human form in full daylight yet, he couldn't get enough of watching her, marveling at how the sun brought out the gold in her hair, how it played on her freckles and sparkled in her eyes during the brief moments of wakefulness. His only worry was that although she was healing physically, her spirits remained low. Often, he would find her looking out at the sea and the dark shape of Buyan Island beyond, her lips trembling. She no longer smiled, and on the rare occasion she did, it was brief and tired, with none of her usual cheekiness. Paul could still hear Illarion's pitiful cries for help as the magic that he couldn't control coursed through him, taking away his life. He was thankful that Zhara hadn't heard those cries.

In those days, Paul learned something else that the stories never mentioned. They never told what came after the "happily ever after." They never talked about how the peasant boy failed to rule a kingdom, how the princess became bored with her husband, or how the knight longed for more adventures now that the dragon was slain. Or, in this case, how the evil wizard was still mourned after he died, because for all his evil, he was also terribly, terribly misguided, and had had to pay dearly for his mistakes.

Paul knew a part of Zhara would never stop mourning, not for what Illarion had become, but for Lariosha, for the little brother that had grown up with her and played with her and laughed with her. He also knew that nothing he could say or do would ever lift that pain from her heart. When he caught her in one of those moments, he could only offer her a kiss or an embrace, which seemed to soothe her, insufficient though they may be.

***

Once Zhara had recovered, they moved into the castle. Ilya went with them, as Zhara intended to make him the head of the Royal Guards. Elena stayed with Baba Yaga, who agreed to remain close in case they needed help, but she withdrew the hut deep into the forest to avoid being discovered. News of Illarion's defeat and Zhara's return had spread quickly, and the people of Arthania, those who had had their curses lifted or had not fled too far, were slowly making their way back home.

In the days and weeks that followed, Zhara had much to do. There was her kingdom in ruins, with most of its people killed or still scattered to all corners of the world. There was Smorodina in the south, which after Afron's death had divided into so many factions and descended into such a bloody civil war that it threatened the stability of the whole Lukomorye. There was Kostroma, who still blamed Zhara for taking Elena away and refused to lend a helping hand. There were all the boyars who had fled Arthania after Illarion's coup and were now returning, swearing up and down that they had every intention of standing behind Zhara, and she didn't quite know who to trust. Every day she worked late into the night, meeting with a few reliable boyars, or riding out to survey the damage and figuring out how to rebuild the kingdom.

Zhara was so busy that they had no chance to fulfill Paul's desire. When she came to Paul's bed-chamber at night, she was often exhausted and fell asleep in his arms right away, after mumbling, "Remember to wake me up so we can watch the dawn together, won't you?" But in the morning, either she had already left, called away by duties, or was still sleeping so soundly that he didn't have the heart to wake her.

He tried to help her when and where he could, though he became more aware than ever how woefully inadequate he was, how his mother and tutors had failed him when it came to ruling a country. To be fair, Zhara had tried to include him. The moment she presented him to her council, however, the boyars immediately raised a protest.

"Who is he?" they asked. "What does he know about our country? How can we trust his counsel?"

"I trust him," Zhara said. "That should be enough."

"Begging your pardon, Your Majesty," one of the boyars said. "He may have helped you defeat your brother, but when it comes to running the country, it's best to leave it to us."

Throughout it all, Paul could only sit like a schoolboy being called up for an examination and failing. So this was how it was for Potemkin and his mother's other lovers. He was now being sneered at, just as he had once sneered at them. But at least Potemkin could prove his worth on the battlefield, and Vasilchikov had his charms and wits. Paul had nothing. It made his blood boil, though the anger was directed at those pompous boyars or himself, he wasn't sure. The only thing keeping him from storming out of the council room was the fear that it would make him look like a petulant child and earn him even more contempt.

"I'm sorry," Zhara said that night while they were in bed together. "I shouldn't have subjected you to such humiliation. We shall find a way to convince them—"

"It doesn't matter," Paul said, hugging her close.

In the end, Zhara gave him the job of translating and cataloging the notes of Illarion's magical experiments, trunkfuls of which had been discovered all over the castle, to find out if there was anything they missed, any hidden trap or danger they might have overlooked. When some of the boyars protested that someone who did not know magic should not be given such an important task, Zhara calmly told them that they could trust Paul not to make mischief precisely because he didn't know magic. That had silenced them at last. Further, the notes were all written in Latin, a language that Zhara told Paul had not been used in Lukomorye for hundreds of years. No doubt Illarion had been counting on that to keep his experiments a secret. For all his precautions, the boy hadn't anticipated that they would be read by a mere mortal from Rus', who had learned Latin growing up.

Paul took to the task with delight. He discovered he had a knack for interpreting and organizing documents, and grew to enjoy those long hours poring over the parchments, making notes of all the different spells and enchantments, becoming in turn fascinated or horrified. Having seen what magic could do, he never once felt curious, never wondering if he could try them for himself. Zhara had been right to trust him on that count. Occasionally, he would bring some of the notes into the forest to ask for Baba Yaga's help to interpret them, though the old witch didn't see much use in writing things down.  

One day, Paul opened a trunk that had been discovered just the day before, and beneath the jumble of parchments, he found something else—a round, polished silver tray, and a crystal ball that fitted into the palm of his hand. Ever cautious, he took them to the house on chicken legs and asked Baba Yaga what they were.

"Scrying tools," she said, after a brief glance at them. "You roll the crystal around the tray and it will show you the person you wish to see."

Paul's eyebrows shot up. This must be how Illarion had been able to track them and send Alyosha and Afron after them. "Can anyone use it?" he asked. "Or does one have to be magic?"

"Why don't you try it and find out?" the old witch said and returned to the cauldron she was stirring over the fire.

Feeling a little foolish, Paul picked up the crystal and rolled it around the tray. Only when the crystal had almost finished its rotation that he realized he hadn't decided what he wanted to see yet. A thought flashed through his mind involuntarily.

The polished surface of the tray rippled, then stilled. It became clear like a mirror, except it didn't show Paul his own reflection. Instead, he saw a woman, and realized why Illarion hadn't used the tray more—it wasn't very useful for spying. It only showed the person being watched, with very little of the surroundings to discern where the person may be. Here, the woman was looking at someone outside the mirror, her face drawn and haggard. It took Paul a second to recognize her. His mother. He had never seen her so subdued.

"Do you expect us to believe this, Your Majesty?" a voice, a man's, said. Paul couldn't see his face, but he recognized the voice. It was Orlov. Not his mother's former lover, Grigory, who had fallen from favor, but his brother, Alexei, who had often tried to curry favor with Paul by apologizing for helping to overthrow Paul's father and promising to support Paul once he ascended the throne.

"The tsarevich was ill with typhoid," his mother said impassively. "I do not expect you to believe anything, only the truth."

"No one has seen him in months!" Orlov shouted.

The Empress didn't blink. "He was highly contagious. Now that the danger has passed, he needs quiet and rest, so I sent him to Gatchina."

An angry murmur went around, like the buzzing of a provoked beehive. Finally, Orlov spoke up. "The council demands that we are allowed to see Tsarevich Paul, alive and well. If he is indeed in Gatchina as you said, I shall go there myself, in three days' time, to speak with him. Or you shall have to answer to us."

"Are you giving me an ultimatum, gentlemen?" Some of the old authority was back in his mother's voice. "Are you threatening me?"

"It is no threat, Your Majesty," Orlov said icily. "But I think the people will have something to say when they learn that a former Emperor and a future Emperor, father and son, have both disappeared under your watch."

His mother's face went white. The tray wobbled, and the crystal ball fell onto the table with a clatter. The image of his mother faded away as the tray became silver once more.

***

Paul didn't remember how he returned to the castle. He walked like a somnambulist, gripping the tray so hard that its edge left a mark on his palm. Rain was falling, but he hardly noticed the drops falling hard and thick on his shoulders, splattering his curls to his head. Once back in his study, he rolled the crystal ball around the tray again and saw his mother, now alone, gazing aimlessly into the distance, the expression on her face strangely similar to his own, looking as lost as he had never seen her, as lost as he felt.

So that was what his mother had been doing since he disappeared into Lukomorye. Claimed that he was ill and tried to fend off the council's suspicion until... until what? What did she hope would happen? That he would miraculously turn up? That she could convince the council that he had died and that she had nothing to do with it?

With a jolt, Paul realized this was what he'd always fantasized about. He was the only one who could help his mother. He may not have to fight for her in a coup or a peasant revolt, but she needed him now.

He could return. Baba Yaga had said she could open a door for him. Since Illarion's defeat, Paul had given the matter no thought, so caught up as he was in Zhara's recovery and then in helping her put her kingdom back together. Now, when he did think about it, he couldn't imagine leaving her, not after everything they had been through.

But he couldn't leave his mother to the wolves either. The time apart had made him tender toward her. He couldn't quite forgive her neglect, but after all, it wasn't her fault that she hadn't been allowed to raise him. And, having seen how Zhara had to fight the boyars on every decision she wanted to make for Arthania, after she had given her own life to save them, he no longer begrudged his mother her tenacious hold on power. He knew now how difficult it was for a woman to rule, regardless of which world she lived in.

And he had his duty to his empire as well. If he didn't return and his mother was deposed, what then? Would Russia descend into civil war and chaos due to the lack of an heir, like Smorodina? Or would some tyrant rise up and lead the empire into ruins, as Illarion had done to Arthania? Could Paul live with that on his conscience?

He didn't know how long he sat like that, his mind churning like the sea outside the window, forever lapping at the shore without going anywhere. He was only roused from the tangled reverie he'd sunk into when the door opened and Zhara walked in, asking, "Why are you sitting in the dark?"

Paul glanced at the window. He hadn't even noticed the sun going down. "Oh, I was thinking, that's all." For some reason, he covered up the silver tray and the crystal ball with a few sheets of parchment. He didn't want to tell Zhara about them yet.

Zhara touched her finger to a candle on the table, and it flared to life. "Thinking about what?" she asked, sitting down on the arm of his chair and playing with his curls, which were getting long.

"Lots of things. What about you?" He turned to her, wishing to change the subject. "You finished your meeting early today."

She snorted. "I ended the meeting early. Those boyars, what a clump of pompous fat crows! There is so much to do, and yet they decided the best way to occupy their time is to meddle in my personal affairs!"

"What happened?"

She looked at him, blushed, and turned away. "They want me to marry," she said quietly.

Paul felt as though he was doused in a bucket of ice water. This was something the tales never mentioned either.

"They say that, as tsarina, my most important duty is to produce an heir for Arthania," Zhara continued, sounding disgusted. "They present me with a list of suitors and tell me to choose. Now I understand perfectly well why you were so angry with your mother. Some even suggest I marry Ilya! Not once did they ask what I want!"

It was then that Paul realized his path was clear. This was where his story ended. The dragon was slain, and the knight would marry the princess. There was no place for him in this fairytale world.

"Then what do you want?" he asked dully.

"I want to marry you," Zhara said.

Paul stared at her, dumbfounded. "What?"

"Marry me," she repeated, lifting his hand to her lips for a kiss.

"The boyars will never stand for it." He wondered what would happen if his mother was to marry one of her lovers. There would be uproar in court, surely.

Zhara tossed her red braid. "Hang the boyars!"

"Zhara, you can't think like that," Paul said patiently. "Without the boyars, you won't have much of a kingdom to rule."

"I don't care. Marry me."

She leaned down to kiss him. He turned away, unable to look into her blazing eyes any longer, and her kiss glanced off his cheek instead. "I—I can't."

Her countenance changed. "Why not?"

"I don't belong here."

"Nonsense! You have held your own better than most of the native Lukomorians I know. You can convince the boyars to accept you, I'm sure of it." She squeezed both of his hands. "Think about it, Paul! We can rule together!"

"I don't want—"

Her smile disappeared, and the light in her eyes went out, like the sun that vanished behind storm clouds. "You don't want to share power with a woman, is that so?"

"No!" But even as he said it, a nagging voice, sounding horribly like his mother's, whispered in the back of his mind, It is true though. You don't want to share your power. And you shan't have to, if you return to your world.

"Then what is it?"

Paul took a deep breath. Then he cleared the parchments away from the silver tray and the crystal ball. "I found these among the papers today."

"A scrying disc?" Zhara said warily. "Did you use it?"

He nodded.

"What did you see?"

In reply, Paul rolled the crystal around the tray. As before, the silver rippled and cleared. It showed his mother again, leaning on someone—Paul could glimpse a square shoulder and an eye patch. Potemkin. She must have summoned him back. Before, the sight would have filled Paul with disgust, but now he knew it would be hypocritical of him to judge them, when he and Zhara were sitting in almost the exact same position.

"Is that—?" Zhara asked.

"My mother, yes."

"Who's the man?"

"Her—lover."

Zhara raised an eyebrow at that, but made no further comment. They fell silent and watched the scene unfold.

"Oh Grisha, what am I to do?" his mother was saying. "I should have raised the alarm when Paul first disappeared. But I didn't want to cause a panic, and I thought he would be found in time—"

"But some people knew, surely?" Potemkin said. "They could give witness that you had nothing to do with his disappearance."

"Only Panin and my most trusted servants. The council will think they are in league with me, their words mean nothing."

Potemkin was silent for a while. Then he said slowly, "Have you considered the Bobrinsky boy?"

Paul looked on, shocked, while his mother turned toward her lover. "A replacement?" she said. "Would the council be fooled?"

"He is your son as well, is he not?" Potemkin said with a shrug. "He was brought up and educated just as Paul was. You yourself have often remarked upon their resemblance. The council would have to believe it, if they know what's good for them."

To Paul's horror, his mother appeared to be actually considering it. "It's risky, to be sure, but I suppose I could—"

He'd seen enough. He lifted the crystal ball from the tray, ending the scene. Zhara looked at him, eyes full of questions and concern.

"I don't understand," she said.

"My mother has been keeping my disappearance a secret," Paul explained. "But the ministers are getting suspicious, so it seems she's—she's planning to replace me with a double."

"With this Bobrinsky? Who is he?"

"Alexei Grigorievitch Bobrinsky," said Paul. "I've only heard rumors, but I believe he's my half-brother. My mother's illegitimate son." And the rumors turned out to be true.

Zhara continued to look at him, the concern in her eyes slowly replaced by a heartbroken expression as she came to understand what he was going to do.

"You're going to return to your world, aren't you?" she said in a small voice, as though begging him to deny it.

That quiet voice and the beseeching look in her eyes pierced Paul's heart. He could only nod.

"But how?"

"Baba Yaga told me she could open a door."

Her lips trembled. He realized she had been hoping that it was impossible to find a door back into his world, that he would have no choice but to stay with her, and his reveal had shattered that hope. He took her hands and pressed them to his lips in a fervent kiss.

"I have to, Zhara."

"But why?" she whispered, tugging on his hands until they drew close together, their foreheads touching.

How could he explain? How could he tell her that he would not be able to live with himself otherwise, and that to be deserving of her, he would have to leave her?

"You know why," he said. "I have my duties, as do you."

Zhara sat up and pushed him away. "Duties? What duties would these be? To find a wife, to produce an heir?"

Her mocking words were like little red-hot irons scorching his insides. He dropped her hands.

"How are those any different than yours?" he snapped.

Zhara's eyes flashed, and Paul realized he had gone too far. He tried reaching for her hands again, but she kept her distance. "I'm sorry, I didn't mean it," he said. "But the council—they threaten to overthrow my mother—they only gave her three days—"

"Your mother never cares about you."

"She is my mother. I can't let her suffer—"

"She's replacing you!"

"I won't let her!" he shouted. "The throne is mine!"

In the ringing silence following those words, Paul caught a reflection of himself in the candle-lit window—nostrils flared, lips twisted in a grimace—and was horrified at its resemblance to Illarion's face. The boy had had that same look when he was taking Zhara's power from her. He couldn't be as bad as Illarion... could he?

Paul sought Zhara's eyes, hoping to apologize, to explain himself, but the look on her face made his apology evaporate in his throat. There was heartbreak there, and contempt as well, which he hadn't seen in so long.

"So that's it, isn't it?" she said, and the disappointment in her voice was so much worse than her anger. "That's what you really desire. All that talk about seeing the sunrise with me was just drivel. You want power. Like all men." Tears brimmed in her eyes, but she gritted her teeth, refusing to let them fall. "I should have known."

"Zhara, please—" Paul began, but he knew there was nothing he could say that would change this. He had to return, even if it broke her heart. Even if it broke his heart.

"I don't want to hear any more of your lies," Zhara said, and swept out of the room.

***

Paul walked through the rain to the hut on chicken legs and informed Baba Yaga of his intention. As impassive as ever, she simply told him to come back the next morning, as she needed to find a suitable portal. He nodded gratefully—if all went well, it meant he would return with one day to spare. He then took his leave of Elena and Ilya. He was touched by Ilya's shock and the knight's earnest attempt to convince Paul to change his mind, while Elena was saddened but understanding. "One day, I shall have to return to my mother and my duties in Bryansk as well," she said to Paul. "Zharissa may not understand that now, but she would come around."

Paul thanked her, though he wasn't sure if he wanted Zhara to come around. A part of him agonized over leaving things so unpleasant between them, but another part of him would rather have her hate him. It would make their parting less painful.

He returned to the castle and tidied up the study. There were still a lot of Illarion's notes left, but Paul had left extensive notes of his own, so perhaps someone diligent enough could pick it up and complete the task. This done, he went back to his bed-chamber, but he couldn't sleep. There was no packing—he had acquired nothing and would leave with the same clothes he'd worn when he first came here, minus his hat and wig. There was nothing else to do but to lie awake and wait for daybreak and try not to think of Zhara.

He had no chance of succeeding in this undertaking, for at the very moment he resolved not to think of her, the door creaked open and she walked in. Paul sat up, tried to put on an indifferent face, and failed miserably. "What are you doing here?" he asked.

"Ilya told me that you are leaving tomorrow," she said.

"So?"

Zhara hung on to the door handle behind her, twisting it in her palm. In the dimness of the room, he could see sparkling streaks down her face, the tears she hadn't allowed herself to shed earlier that evening now flowing freely. The sight of those tears wrung Paul's heart.

"So I've come to—apologize for what I've said." Her voice cracked. "And to say goodb—"

"No." Paul jumped off the bed, took her into his arms, and covered her mouth with his, cutting her off. "No," he repeated, once he was forced to release her to draw a breath. "No saying goodbye. Let us not make this harder than it already is."

"All right," she whispered. "Consider this your reward for your service to the crown then."

She dropped her sarafan and chemise. Underneath, she was all gold and fire. The freckles scattered across her skin were like gold flakes, flames danced in her amber eyes, and when she shook her head, her braid came loose, tumbling over her shoulders, covering her body in a fiery cape. As she pulled him toward the bed, her hair gleamed and waved like sunset on the water, giving him tantalizing glimpses of her legs, her hips, the coral tips of her breasts. There was fire on her lips as she kissed him.

"Are you trying to seduce me into staying?" he murmured.

"Is it working?" she asked, her lips grazing his mouth in the way he'd never been able to resist.

He didn't want to lie and say no, or break her heart by telling her that his mind was made up, no matter what she did. So, instead of answering, he put a hand on the slender nape of her neck, under that hair that looked like fire and felt like silk, pulled her close, and kissed her back, hard enough to leave them both breathless. Then he hooked her legs around his waist, lifted her into his arms, and carried her to the bed. She kept her legs wrapped around him even as she helped him out of his clothes, their roles now reversed—now she was the one afraid he would take wing and fly away if she let go.

He wiped away the tears glistening down her cheeks. "Don't cry," he whispered. "I'm still here."

"Prove it," she commanded, eyes fixed on him.

Her tone sent a thrill through him. "As you wish, Your Majesty."

He leaned down and kissed her again. He was as unhurried now as he'd been frantic on their first night together, taking his time with each kiss, savoring every bit of her. He kissed every single freckle on her skin, the ones he'd memorized around the corner of her mouth, across the bridge of her nose, along her shoulder, down her arms and back and chest. He kissed her fingertips and her toes. He kissed her so thoroughly that there could be no doubt in her mind of his presence. Then he settled himself between her legs once more, and slowly, slowly, they melted into each other, each measured, dreamy thrust from him was matched by a push from her, bringing them closer and closer until they were one.

"Is this proof enough for you?" he gasped, as she cried out in his arms.

She took a breath, then grinned. "Almost."

He grinned back, and they did it all over again, and again and again, until he'd memorized her taste and her scent and every inch of her, and she his.

When the sky outside turned the color of mother-of-pearl, Paul got up from the tangle of sheets and quilts, and brought Zhara to the window. He was half hoping, half afraid it was still raining and there would be no dawn to see, but the rain had stopped. "Look, Zhar-ptitsa," he said softly.

"No." She turned her face into his neck.

He wrapped his arms around her, rocking her against him, skimming his mouth over her hair, as he watched the sun rise above the mountains, throwing brilliant shards of gold across the sky, sprinkling gold dust over the snow-capped peaks, the green meadow at their feet, the blue stream, and the dark, dark forest. All the while, Zhara kept turning away like a petulant child, clinging to him, pressing her face into her chest, resolutely refusing to look.

The sun finally cleared the mountains. The light was now reaching the furthest corners of the room, and there was no point in pretending anymore. Paul gently lifted Zhara's face to his. "I have achieved what I desire the most," he said. "I have seen the dawn with you. Now you must let me go."

"No, this doesn't count," she replied, stubbornly. "I haven't seen it."

"Let me go, Zhara. Please."

"I command you to stay!"

"You're not my tsarina."

She pressed her hands to his temples and gazed at him for a long, long time, her eyes fierce. Then she pulled him down for a kiss, biting his lower lip hard enough to draw blood.

"That's so you'll remember me," she said. She gathered up her clothes and went out, leaving a sting on his mouth and in his heart, as though he had been branded by her fire.

***

Paul went with Baba Yaga into the forest. The old witch plowed through the dense undergrowth, still wet with morning dew, carrying nothing but a little knife. Some part of Paul wondered whether it was wise to follow a witch to an unknown place, whether Baba Yaga was luring him somewhere to perform dark magic on him, but he knew that mistrust was baseless. What would she gain by tricking him? That sort of thing only happened to heroes in fairy tales, and he was no hero. He was not the main character, not the Chosen One. He didn't even get his happily ever after. He was just a boy, lost in a magical land, and it was now time for him to go home.

Baba Yaga stopped at a rock outcrop where the forest met the mountains, and came to stand by two rock pillars leaning against each other, forming a doorway of sorts. She pricked her fingers with the knife and smeared the blood on the rocks. She added a daub of it to Paul's cheek as well, making him recoil.

"You're waiting for an invitation, Russian boy?" she said irritably, when Paul remained where he stood.

"Is that it?" he asked, confused.

"Yes, that's it. Magic is not all thunder and lightning, Russian boy. Sometimes it's just as simple as this."

Paul took a few tentative steps forward. The trees and grass beyond the two rocks looked the same. "Will this work?" he asked.

"Why don't you try it and find out?"

Paul looked back. The white castle rose over the top of the pines behind him, but if someone was watching at one of the windows, she was too far away for him to see. So he took a deep breath and stepped through the doorway.

There was no strange sensation, no altering in the quality of the light or the air, only the briefest cessation of noise. The moment he went through, the birdsongs and the rustling of the leaves started up again. But the trees were different—in place of the dark pines and the thick, thorny bushes, he saw orderly rows of oaks and regimented privet hedges crisscrossing a green lawn. Behind him, the two rocks had vanished; instead, he appeared to have stepped out of a man-made grotto overlooking a pool. A pavilion stood across from it, and in the distance were familiar walls painted in cerulean and gold. Baba Yaga had put him on the grounds of the Summer Palace in Tsarskoye Selo. He was home.

Chapter 16

A/N: I kind of went the "Man with the Iron Mask" route here with Paul and Bobrinsky. In real life, Aleksey Grigorievich Bobrinsky was indeed Catherine II's illegitimate son with Grigory Orlov, but he was about 8 years younger than Paul. Catherine II openly acknowledged Bobrinsky as her son, and when he became tsar, Paul I made Bobrinsky a count.

The final chapter is coming next week! Stay tuned!

Taglist: @ali-r3n

[disneytva]

Baobab Studios Inks Partnership With Disney Television Animation For Young Adult Animated Series For Disney+.

Baobab Studio award winning VR studio has announced that they have inked a creative partnership with Disney Television Animation, under the partnership Baobab Studios will develop with Disney TVA upcoming young adult animated series films and specials for Disney+.

The announcement was part of the promotion of Osnat Shurer (Walt Disney Animation Studios "Moana" Franchise") as Co-Chief Creative Officer.

The upcoming animation slate at Baobab Studios which includes "The Witchverse" created by Eric Darnell (Dreamworks Animation "Madagascar" Franchise) inspired on the Baba Yaga VR short film, and "InterCats" created by Darnell and Pamela Ribon (Walt Disney Animation Studios "Moana",Anaapurna Animation "Nimona") joins Disney Television Animation's Young Adult Animated content for older audiences which includes 20th Television Animation and Disney TVA collaboration with stop-motion musical comedy "Rhona Who Lives By The River" created by Emily Kapnek (Nickelodeon Animation Studios "As Told By Ginger") with Karen Gillian (Marvel Studios "Guardians Of The Galaxy" Franchise) as EP and VA and Danny Elfman (Netflix Wednesday) as EP and songwritter & composer, "Fantasy Sports" inspired by the graphic novel series by Sam Bosma ("The Owl House", Cartoon Network Studios "Steven Universe" Franchise) with NBA LeBron James company SpringHill Media, a upcoming NDA animated musical comedy series created by Molly Knox Ostertag's (Anaapurna Animation's "Nimona", "The Owl House") and forest animated comedy "Duckie".

[monster-character-poll]

Round One Brackets

Welcome to round one! In total, we have 116 characters competing for the title of Best Monster! Voting will start June 26th. Good luck!

(Special shout out to my friends for helping, thanks guys!)

PART ONE

Ken Kaneki (Tokyo Ghoul) VS Power (Chainsaw Man) Denji (Chainsaw Man) VS Tony Tony Chopper (One Piece) Koro-Sensei (Assassination Classroom) VS Garou (One Punch Man) Kumoko (So I'm a Spider So What) VS Byakuroku (Amatsuki) Imperfect Cell (Dragon Ball Z) VS Dio Brando (JoJo's Bizarre Adventure) "Hikaru" (The Summer Hikaru Died) VS Shin-ah (Akatsuki no Yona) Moerumba (Futari wa Precure Splash Star) VS Sparda (Mahoutsukai Precure) Shindoine (Healin' Good Precure) VS John Doe (Yumekui Merry) Envy (Fullmetal Alchemist) VS Migi (Parasyte)

PART TWO

Frankie Stein (Monster High G1) VS Frankie Stein (Monster High G3) Draculaura (Monster High G1) VS Clawdeen Wolf (Monster High G1) Lagoona Blue (Monster High G1) VS Cleo de Nile (Monster High G1) Ghoulia Yelps (Monster High G1) VS Abbey Bominable (Monster High G1) Twyla (Monster High G1) VS Robecca Steam (Monster High G1) Spectra Vondergeist (Monster High G1) VS Operetta (Monster High G1) Deuce Gorgon (Monster High G1) VS Clawd Wolf (Monster High G1) Seth Ptolemy (Monster High G1) VS Jackson Jekyll/Holt Hyde (Monster High G1) Catty Noir (Monster High G1) VS Scarah Screams (Monster High G1)

PART THREE

Frankenstein's Monster (Frankenstein) VS Dracula (Dracula) Godzilla (Godzilla) VS King Kong (King Kong) Grendel (Beowulf) VS Gremlin (Gremlins) Mothra (Mothra) VS Minotaur (Greek Mythology) Baba Yaga (Slavic Folklore) VS El Coco (Folklore) Bigfoot (Folklore) VS Mothman (Folklore) The Wolfman (The Wolfman 1941) VS The Mummy (The Mummy 1959) Nosferatu (Nosferatu) VS Carmilla (Carmilla)

PART FOUR

Kelpie (Scottish Folklore) VS Nuckelavee (Orcadian Folklore) Santa Claus (Christian Mythology) VS Krampus (German Folklore) The Creature from the Black Lagoon (The Creature from the Black Lagoon 1954) VS Audrey II (Little Shop of Horrors) Shrek (Shrek) VS The Grinch (Dr. Seuss' How the Grinch Stole Christmas) Elmo (Sesame Street) VS Venom (Marvel) Mike and Sully (Monsters Inc) VS Bowser (Mario Games) Monster House (Monster House) VS Giggling Green Ghost (Scooby-Doo) Edalyn Clawthorne (The Owl House) VS Vee Noceda (The Owl House)

PART FIVE

Springtrap (Five Nights At Freddy's) VS Sans (Undertale) Oz (Monster Prom) VS Polly Geist (Monster Prom) Faust (Guilty Gear Strive) VS Tenebrae (Tales of Symphonia: Dawn of the New World) Reese Kelly (Scarlet Hollow) VS Zoe (Monster Prom) Chaos (Sonic Adventures) VS Teddie (Persona 4) Alucard (Castlevania) VS Ludwig the Holy Blade (Bloodborne) Asterius (Hades) VS Phonegingi (Dialtown) Lord Raptor (Darkstalkers) VS Firebrand (Ghosts 'n Goblins)

PART SIX

Mimikyu (Pokémon) VS Wormmon (Digimon) Impmon (Digimon) VS Guilmon (Digimon) Pikachu (Pokémon) VS Tyson (Percy Jackson) Lorgar Aurelian (Warhammer 40k) VS Rykard (Elden Ring) Mr. Hyde/Brain (Arthur) VS Twerkey (Miitopia) Micheal (The Magnus Archives) VS Jonathan Sims (The Magnus Archives) Elias Bouchard (The Magnus Archives) VS John Doe (Malevolent) The Hound (RWBY) VS Falin Touden (Dungeon Meshi)

PART SEVEN

Ankh (Kamen Rider OOO) VS Momotaros (Kamen Rider Den O) Graphite (Kamen Rider Ex Aid) VS Hajime Aikawa (Kamen Rider Blade) Urataros (Kamen Rider Den O) VS Kintaros (Kamen Rider Den O) Ryutaros (Kamen Rider Den O) VS Sieg (Kamen Rider Den O) Deneb (Kamen Rider Den O) VS Teddy (Kamen Rider Den O) Gubila (Ultraman) VS Pigmon (Ultraman) Nowhere King (Centaurworld) VS Pega (Ultraman Geed) Reimon (Ultra Galaxy: Mega Monster Battle) VS Kate (Ultra Galaxy: Mega Monster Battle)

[polkadotjohnson]

(I will hold back talking about my Kurt/OC ship…) I have heard of that one! Supposedly the actual Baba Yaga from folklore is a character from the comics.

No need to hold back lol I have a thinly-veiled selfship OC with one of my favorite characters too. And yeah, Marvel's Baba Yaga...

No wonder he was scared...

[tomthefanboy]

Double Dreamjournal 7/28/24

Last night I was up late at the hospital with my wife having a very long day, but when I woke up this morning I had a dream with a specific detail so vivid that it was worth writing down, and in the process I remember the two dreams that came before it!

I have journalled the first and third dream and decided that the dream in the middle but it's too hard to explain and involves complicated political topics I don't need people reading into.

Dream 1: The Giant Witch

I am embedded in a modern USA military unit. I think the leader is Giancarlo Esposito (thanks Marvel). We move into position in snowy mountains of some central/West Asia province. A MASH is set up to treat the locals who were injured by our fighting with the enemy forces. The main unit moves forward to recon and prep for the assault on the next mountain to the South where the enemies now are.

As the station fills up with refugees and the sun goes down, the officers get a report that [Rusankya] has been spotted in the area. I say [Rusankya] because I can't actually remember the name from the dream. However, it's well known enough that it has to be kept secret to keep the locals from panicking. The refugees are packed into all the evac vehicles and sent down the mountain to the nearest city for treatment and to remove them from danger.

While this happens some men go missing. As we watch the trucks vanish into the forest below I see a man get plucked off the ground by a giant raven and disappear into the dark cloudy sky. The officer in charge of the MASH (Neal McDonough) gives a briefing/exposition dump about [Rusankya] even though it feels like common knowledge to the viewer. She is an ice giant witch. She travels in a walking pine tree. she is friends with Baba Yaga, this is why sometimes there is a giant pine tree next to her hut wherever it camps. She controls giant ravens and has them pick up men for her to eat or do magic on. But when she finds a village she usually comes herself that same night to kill everyone there.

The military men get paranoid and it becomes a struggle to survive the night. Trying to get gear from outside and fortify the main ramshackle bui8lding without getting picked off, but find a way to last until morning if [Rusankya] does show up. There's a lull in the raven attacks for about an hour and the officer comments about wishing he knew why. was she playing games with them or had she found better targets, they weren't lucky enough to get off the hook that easy.

My dream brain flew through the mountains to see [Rusankya] on a snowy bare mountainside having tea and chatting with Baba Yaga herself. Baba Yaga was on her way to a nearby swamp, just passing through and utterly uninterested in the war zone that had brought [Rusankya] here. In person, [Rusankya] was MUCH LARGER than I expected. the pine tree had a massive curve in the trunk that she could sit on like a throne, the top of the tree just barely reaching the nape of her neck. Making her far taller than the D&D Ice giants. A door in the tree told me she could shrink down to human size if she wanted but this was her natural form. The was wiry, with knobby joints and lean, well defined muscles like a rock climber. She dressed in rags. Her claws and teeth were black and gleamed like obsidian through their filth. But the most interesting part of [Rusankya] was that above her long nose and chin, she had the wall or porch of a wooden house lashed across her eyes like a blindfold. It either blocked her vision or hid her blind eyes, but on it was a massive bloody rune. This allowed her to see through the eyes of ravens. Not just the giant ones roosting in her pine tree (and currently pecking at the remains of the dead soldiers) but ANY raven. Even the ones she did not control.

for some reason this new layer of surveillance made he seem much scarier than I had already (justifiably) felt. Looking at her "in person" made me wonder how the patchwork fortifications of the MASH could possibly survive once she attacked.

Unfortunately that's when my brain moved on to the second dream I am not going to talk about. Suffice to say I was with the refugees.

Next post will have Dream 3.

[adarkrainbow]

The Yaga journal: Baba Yaga in Soviet movies

And we reach the final article I will translate from the “Yaga journal”: Baba Yaga sur l’écran soviétique (Baba Yaga on the Soviet screen), by Masha Shpolberg! 

In 1979, the Soviet studio Soïuzmultfilm produced a three-part cartoon for the Olympic Games that had to happen the following year. The first episode opens with a choir of journalists proclaiming in all the languages of earth: “Micha the bear-cub was just elected Olympic mascot of Moscow”. Baba Yaga listens to this in her cabin, and becomes enraged: “Why him? Why him and not me?”. “Everybody agrees to it!” the journalists say. “And Baba Yaga is against it!” she says, before attacking the television screen with her broom. Throughout these three short episodes, the “Baba Yaga is against it!” cartoon tells the various attempts (and failures) of Baba Yaga and her assistants (Zmeï Gorynytch and Kachtcheï the Immortal) to prevent Micha from reaching the games. The plot relies on the omnipresence of Baba Yaga in the Soviet imagination, and her importance as a symbol of folk-culture. However Baba Yaga did not always have such a status. The witch and her tales were banned by the Soviet Union soon after its creation. Starting in 1918, the year of the creation of the komsomol or “union of Leninist-communist youth”, the Soviet Party reorgaized the educational system: it was decided that fairytales had no place in education. Its rural and pagan roots were problematic for a State which wanted to create an industralized and rationalized world. Galina Kabakova explained that on one side, the fairytale did not carry the values of the new society, and on the other the marvelous and fantastical was considered toxic for the minds of the youth that were to build socialism.

The persecution of the fairytale knew its peak in 1924, when Nadejda Krupskaïa , the companion of Lenine and the president of the Glavpolitprosvet, the Central Comity in charge of Political Education, demanded that all public libraries got rid of the books “with a negative emotional or ideological influence”, as well as the books that “did not conform the new pedagogic approach”. This included the fairytale books of Afanasiev. As the cultural historian Felix J. Oinas explains, in the beginning of the 20s several Soviet critics argued that the folklore was carrying the ideology of the dominant classes, which in turn led the proletarian literary organizations to receive very negatively folktales and fairy tales. A special section of the Proletkult for children even attacked fairy tales based on their “glorification of the tsars and tsarevitchs”, claiming that they were “reinforcing bourgeois ideals” and “causing unhealthy fantasies” in children. When the fairytale re-appeared in the middle of the 30s, it was because the Soviet political culture had decided to re-appropriate the Russian folklore for itself. Just like the Romantic nationalists of the pre-Revolutionnary era, this ideological turn aimed at melting the personal identity in a vaster, collective identity. And what was the best medium to do it? Cinema. Alexander Prokhorov, in his “Brief history of the Soviet cinema for children and teenagers”, explained that the cultural administrators of Staline changed their view on folk-culture, and the fairy tale became a legitimate cinema genre since it helped visualize the spirit of the miraculous reality proclaimed by the Stalinian culture. The end of the NEP, in 1928, also put an end to the importation of foreign movies, freeing the Soviet cinema from all competition - and of all commercial goals. 

In 1934, during the first congress of Soviet writers, Samouil Marchak and Maxime Gorki insisted on the importance of childhood literature for the creation of a new Sovietic man, and in 1936 the Sovnarkom, the highest governemental authority, established two new studios out of the ancient Mejrabpomfilm: Soïuzdetfilm, for children movies, and Soïuzmutfilm, for cartoons. It is in this political and institutional context that the young moviemaker Alexandre Ro’ou (in English his name is spelled “Rou”) decided that, for his first film in 1937, he was to adapt a very famous fable, “Wish upon a Pike”. The success of this movie allowed here to adapt a fairytale, more complex on an ideological level: Vassilissa the Beautiful, in 1939. Through this movie he became the “founding father” of the genre of the cinematographic fairytale. It is in this movie that Baba Yaga made her first appearance in cinema, played by a man - Guéorgui Milliar. Throughout the next thirty years, Milliar would play Baba Yaga in three other movies of Ro’ou: in Morozko (1964), in “Fire, Water and Brass Pipes” (1968) and in “The Golden Horns” (1972).

In this article, the author will analyze the evolution of the character of Baba Yaga throughout these four movies - based on the social and political context. While always created by the same movie-maker, and played by the same actor, Baba Yaga is never the same character in these movies. Throughout the years she is slowly “domesticated”: from a macabre and intimidating force of nature, she becomes a vain hag, more superfical than wicked, from a relic of the past, she becomes a modern mascot. By analyzing the narrative and aesthetic choices causing this transformation, the author wants to analyze the allegories of each movie in their historical context. 

I) Baba Yaga in the Stalinian era: Vassilissa the Beautiful (1939)

Vassilissa the Beautiful, a movie adaptation of the story “The Princess-Frog”, was conceived as much as an entertainment as a teaching tool. In the version of Ro’ou, Vassilissa is not a princess and Ivanouchka is not an idiot. The two are rather hard-working, intelligent, honest people. The brothers of Ivanouchka oppose the duo by the women their find as wives: an excentric aristocrat, and a gluttonous merchant’s daughter. The entire first part of the movie presents an allegory of the fight of the social classes. The brothers and the wives do nothing while Ivanouchka goes hunting and Vassilissa does the chores, and then they pretend to have done the honest workers job. 

Baba Yaga only appears in the second half of the movie, when the wives burn the frog skin of Vassilissa, and the maiden is ravished by Zmeï Gorynytch. A title-card mentions “In the land of the Zmeï, Vassilissa the very beautiful was guarded by Baba Yaga”. Traditionally, the role of kidnapper in Russian fairytales is played by Kachtcheï the Immortal, who doesn’t appear in the movie - but the Zmeï here fills his role as “the rival of the male hero for the hand of the woman, usually a fiancée or a wife, sometimes his mother” and “the male counterpart of Baba Yaga”. So, as much in their home as in the magical land, Ivanouchka and Vassilissa must fight against oppressors that take away their goods and exploit their work. Jack Zipes noted that, according to the marxist reading of the fairytales, Baba Yaga symbolizes “the entire feodal system, where the greed and brutality of aristocracy are responsible for the hard living conditions. The murder of the witch is the symbol of the hatred felt by the peasants against this aristocracy, that hoards and oppresses.” However, in the Vassilissa movie of Ro’ou, Baba Yaga plays a more ambiguous role. Her skinny and nervous figure, the rags she wears, allows her to hide herself in nature. Her hunched back imitates the rocks, the way she spreads her arms and legs imitated tree branches. By fusing with the landscape, she can attack Ivanouchka without ever being seen by him. Often Ro’ou likes to superposition to allow Baba Yaga to appear and disappear suddenly. As a result she seems half-translucid in many scenes, suggesting that she is a force of nature - or even the personification of the forest. 

The “magical” part of the movie plays on the contrast between the domain of Baba Yaga (the forest) and the domain of the Zmeï (the mountain). The two realms are heavily inspired by the expressionist cinema of Germany (especially the sets of the Cabinet of Doctor Caligari, in 1920), but couldn’t be further from each other. The world of the Yaga is the one of the dark forest, confusing and threatening, but deeply organic and human. The world of the Zmeï, however, is an industrialized, hyper-sanitized, geometrical world. A post-human world, or one devoid of humanity: a fascist world. Indeed, the historical context of the movie invites an allegorical reading: the Germano-Sovietic Pact was signed the 23rd of August 1939, and the movie was released the 13th of May 1940, one year before the Nazi invasion of the Soviet Union in june 1941. At the time, while Germany wasn’t an official enemy (and it is hard to imagine that Ro’ou selected this tale with a political purpose in mind). But the movie is a proof of the tension that existed at the time about the entire situation. Baba Yaga, who keeps turning and roaming around Vassilissa, reminds of the painting of occidental paintings, “Death near the Maiden”. It isn’t just the virginity of Russia (aka, the integrity of its frontiers) that are threatened - it is her very life that is at play. 

Vassilissa, a girl who is obedient and modest when she is free, becomes proud and rebellious in captivity. She is a model of resistance that anounces the true female heroes of the Second World War in Russia, such as Zoïa Kosmodemianskaïa (made famous by the movie of Leo Arnchtam in 1944). Just like Zoïa, Vassilissa is ready to sacrifice herself for the good of others, and to follow her own principles. When Baba Yaga discovers the hat of Ivanouchka in her isba she aks Vassilissa “Where is he? You say nothing? If you say nothing, I will make you talk. Maybe fire will make you more talkative.” Vassilissa is only saved from torture by the arrival of Zmeï Gorynytch. 

The analogy between the monster and the foreign invader is reinforced by the third cinematographic fairytale of Ro’ou, Kachtcheï (Koschei). Filmed in the Altaï and the Tadjikistan in 1944, and released the day of the victory (9th May 1945), the movie tells “how Koschei the Immortal fell onto Russia like a thunder clap in a peaceful sky, burned out houses and our bread, massacred the population and took away thousands of women”. Even if the historical facts cannot allow us to read “Vassilissa” as a simple allegory of the war to come, the images still carry the possibility of an upcoming conflict. We can read it in the presentation of Vassilissa as a resistant-model, as much as in the glorification of the elements of folk-culture (aka, part of Russian culture). The movie is also preceeded by a prologue in which three bards introduce the tale by playing gousli (gusli), a traditional musical instrument. When Ivanouchka goes searching for Vassilissa, the text says “He wandered for a long time throughout his native earth” - even the typography of the title-cards reminds the medieval books. All these elements create throughout this movie a new “nationalist vocabulary”, and so unite a nation threatened by an external force. As Prokhorov explains, “The movies of Ro’ou, just like the kolkhoz musical comedies of Ivan Pyr’ev, were answered an official demand of art inspired by the narodnost (popular spirit/folk spirit)”, an art that “allowed the entire Soviet community to stay in touch with their popular spirit, as the metaphysical source of the communal strength”. The internationalism of the first years of the Soviet Union was slowly breaking down in front of this romantic and deeply essentialist view of the nation. 

II) Baba Yaga throughout the Thaw: Morozko (1964), Fire, Water and Brass Pipes (1968) and The Golden Horns (1972)

The period that followed the war was once again difficult for the fairytales, and all those that studied folk-culture. Félix Oinas explains: “After the war, the Russian folklorists knew another series of trials, perhaps the most difficult of them all. The era of the ideological dictatorship of Jdanov, nicknamed Jdanovchtchina, started in 1946, and quickly became an anti-West witch hunt”. Vladimir Propp had just published “The historical roots of the fairy tale”, which was heavily criticize due to containing numerous quotes of Western folklorists, as well as comparativist ideas, not to say cosmopolite ones. In 1947, Soïzudetfilm was re-organized and became the Gorki studo: the studio however did not have any order or demand for children movie.  In 1952, the situation led Constantin  Simonov and Fedor Parfenov to publish an open letter in the Literaturnaïa gazeta “Let’s resurrect the cinematography for children”. However it was only in 1957, after the death of Staline and the succession of Khrouchtchev, that the minister of culture finally commissioned an augmentation of children movie production. In 1961, the Gork studio was named “Gorki central Studio of cinema for children and the youth”. 

When Ro’ou produced Morozko, in 1964, it was in conditions very different and yet paradoxically very similar to the ones in which Vassilissa the Beautiful was produced. The first novelty was the use of color: the second half of the movie takes place in winter, which forces a restrained color palette, even in the makeup and costumes - it is limited to the red and pale blue of the traditional Russian paintings. The appearance of color makes the Baba Yaga younger, as well as more visible in the landscape - but it doesn’t make her more lively. When Ivan discovers the isba in the middle of the forest, and when said isba obeys his order for it to turn towards him, he is sincerely surprised. Baba Yaga gets out of the house yawning, and she asks grumpily “What do you want? Why, unexpected, uncalled, did you dare turn the cabin and wake up the crone?”. It is almost as if everyone in the story was forced in their part of the story against their will.  If the Yaga of Vassilissa was jumping from tree-top to tree-top, but the Yaga of Morozko keeps complaining about back problems and she asks Ivanouchka to leave her alone. She only does magic because Ivanouchka forces her to, and her speech is filled with affective diminutives ending in -tchik. Ivanouchka, in the end, doesn’t need to vanquish Baba Yaga, he rather has to convince her to help. 

The male equivalent of Baba Yaga, Morozko (Grandfather Forest / General Winter) turns out to be just as harmless as the witch. When he sees Nasten’ka, abandoned by her family to die of cold in the forest, he immediately comes to her help. The role of the two magical characters (Morozko and Baba Yaga) in the life of the young protagonists is limited to the one of a godfather or godmother. The equivalence of these two relationships is highlighted by a sequence which puts in parallel Morozko putting warm clothes on Nasten’ka and Baba Yaga doing the same for Ivanouchka. Another parallel can be found in the way the protagonists call their helpers: Ivanouchka calls Baba Yaga “Yagusia” or “Babulia-yagulia”, while Nastenka calls with affection Morozko “Morozouchka-batiouchka”. From villains, Morozko and Baba Yaga are transformed into helpers, the Donors of the Vladimir Propp’s functions. 

The most important consequence of this transformation is the new nature of the “source of Evil”. Evil doesn’t come anymore from what is supernatural, but it rather comes from what is too natural: the flaws of ordinary humans. It is the jealousy of Nasten’ka stepmother and the boasting of Ivanouchka that cause their initial separation and the unbalance that Baba Yaga and Morozko try to remedy to. The qualities preached by Morozko are very close to the ones glorified by “Vassilissa the Beautiful”: hard-work, modesty, and intelligence. What is different is the goal of these virtues: the seriousness and gravity of “Vassilissa the Beautiful” is gone. In Morozko the characters are funny and light-hearted. Ro’ou was trying in “Vassilissa” to animate the visual popular culture, inherited from the lubok and illustrated movies. But in Morozko it all becomes a great show, a smooth surface without any depth. When Ivanouchka leaves his birth-house to go seek his fortune, he passes by a group of young girls that dance and sing when seeing him - these are traditional dances and songs, but the aesthetic is much closer to the one of a technicolor musical than a medieval fantasy. 

“Fire, Water and Brass Pipes”, filmed by Ro’ou four years later, in 1968, goes even further in the idea of a show or entertainment. Caracterized by saturated colors and random explosions of music and dance, the movie is aiming at the audiovisual variety show at the cost of the stylistic coherence. This excess alos manifests at the narrative level: while Morozko reunited two distinct fairy tales (Morozko and Ivan-with-the-bear-head), “Fire, Water and Brass Pipes” is a sort of remix of elements taken from numerous myths, cultures and legends (not even all Russian!). The skeleton of the plot is roughly the same: as usual, Kachtcheï kidnaps the beloved of Ivanouchka, and he must undergo a series of trials to get her back. These trials, symbolized by the fire, water and brass pipes of the title, are so many occasions to introduce very different elements, ranging from Greek philosophers to the god Neptune. 

In this movie, Ro’ou also modifies the traditional structure of his cinematic fairytales in another way: instead of beginning by the human drama which starts the plot, he begins by the presentation of the magical beings. It is in this “prologue” that we have a full humanization of Baba Yaga: she becomes a mother, and is shown to be able to feel empathy and sorrow. The movie opens with Baba Yaga flying through the sky, rushing to the wedding of her daughter with Koschei the Immortal (also played by Milliar). When she arrives, she is humiliated twice. First, she fails to land properly, implying she can’t move as she used to. Then, nobody recognizes her at the court except for her own daughter and Koschei. This is quite revealing that in this context she introduces herself not as Baba Yaga, but as a relative of the happy couple: she joyfully says (rhyming in Russian), “I am the mother of the bride, Koschei the Immortal is my son-in-law”. This image of Baba Yaga as a mother is not taken out of nowhere: already in the story of Afanassiev called “Baba Yaga and Small-One”, the witch had forty-and-one daughters, that died by her hand. In the movie of Ro’ou, a new importance is given to her maternity as well as to her physical problems (she handles her mortar badly, she falls every time she tries to dance): it all indicates that maybe the life of a witch can be affected by the flow of time. This Baba Yaga is implied to have always been as she is now: she lived a period of youth, and now she is aging. So her life can have a beginning... and an end, like the life of all mortals. 

The prologue that presents the maternity of Baba Yaga also has a role in the narrative of the movie: it explains why the Yaga is so willingly helping Vasia (the new name of Ivanouchka). Indeed, when Zmeï Gorynytch offers Koschei a magical apple that makes him young again, he sends away his bride, deeming her too old for him, causing a public humiliation. By helping Vasia defeating Koschei and freeing his beloved (Alionouchka), Baba Yaga is actually avenging her own daughter. She needs Vasia as much as Vasia needs her. 

The Golden Horns, made in 1972, thirty-tree years after Vassilissa the Beautiful, was the last movie of Ro’ou that uses the character of the Baba Yaga. After being reduced to a second role in Morozko and “Fire, Water and Brass Pipes”, she finally regains a prominent role. Queen of the forest, she has no rival except for the deer with golden horns - as she complains to a group of hunter, the deer keeps undoing all of her traps and ruining her projects. She doesn’t have back problems anymore, and she is healthy enough to dance and sing. Indeed, throughout the movie she keeps insisting that she is still young. In the beginning of the story she is playing cards with a friend, Duraleï. When he accuses her of cheating and calls her “old hag”, she throws him away from the isba and she says to herself “He dares to call me hag, me, who everybody says has a young soul!”. The Baba Yaga of The Golden Horns isn’t wicked, but she is vain - she is a pretentious old woman that spends hours in front of her mirror. The three young lechïï that serve her constantly flirt with her, and calls her by the diminutive “Babou-yagusen’ka”, and the witch herself flirts with a group of hunter-robbers. Baba Yaga even has a musical number, a song throughout which she turns her hand-mirror into a guitar and sings “I can’t see her enough, Yaga the Fair / Oh my love, me, me me!”. 

Beyond the changes brought to the very image of Baba Yaga, Golden Horns is different from the previous movies in two main aspects. The first: the question of the relationship between genders. In Golden Horns, it isn’t a young man who tries to save his beloved from the hands of Baba Yaga or Kachtcheï. It is rather a mother, Evdokia, who tries to save her children. The final conflict is one between two women: one a mother, the other (the Yaga) an old maid. As a result the values of the more are much more conservative in nature. The song of the young girls in the prologue, with the title-cards, compare Russia to a mother. “Always happy, and a bit sad / So is Russia, my mother. / Like the fairytale, intemporal and kind / So is Russia, my mother”. It is this same Russian earth that protects Evdokia in the final battle against Baba Yaga. As the Yaga takes weapons, Evdokia remembers a small bag of soil her neighbor gave her. “Native earth, protect me!” she screams as she throws the soil towards Baba Yaga. These two sequences insist on the sacred nature of the Russian land, “mother” of the people and symbol of maternity itself. The movie implies that it is Evdokia’s maternity that makes her invincible, and that it is the vanity (the “wrong use of her gender”) that dooms Baba Yaga. The absence of a father figure also helps the manifestation of more conservative political messages. It is possible to read Evdokia as a feminist figure: she is independant, and she goes searching for her two daughters without fear. She is intelligent and strong: she isn’t even shocked when she learns she must battle Baba Yaga in a sword-fight. However, she is continuously guided and helped by masculine figure in positions of authority: the Sun, the Wind, and Golden Horns. Golden Horns also offers the perfect example of a theory brought by Evgueni Margolit and summarized by Prokhorov: “Soviet cinema expressed the ideal community of the future as a land of children, where the government filled the role of the strong, order-giving father of the people”. Evdokia, the figure of the mother, is thus treated like a child by the figures of the Father.

In conclusion, this movie offers a new definition of the political action. Like in most fairytales, the movie starts with a transgression: the twin girls of Evdokia, Machen’ka and Dachen’ka, disobey their mother’s instructions and go too far in the forest. What they cannot know is that two wicked spirits trap them, and use them to start a revolution against the Baba Yaga’s tyranny. The movie ends with a tribunal, formed by the small children-wood spirits, alongside the former friend of Baba Yaga, Duraleï. Through a vote, they decide to punish Baba Yaga by banishing her to the swamp. The events of this tale must thus be understood in a wider context, that is seen at the beginning of the movie: this movie represents a shift of powers in the forest, and is the triumph of the humble people, of the simple folks against the monarchy. 

Conclusion

In “Vassilissa the Beautiful” (1939), made before the movie, Ro’ou tries for the first time to give a cinematographic shape to the world of the folktales. Taking inspiration from the iconography of the lubok, of the illustrated book, and of the German expressionism, he creates a ciaroscuro universe filled with heavily connotated characters, all either wholly good or wholly evil. Baba Yaga, in this universe, like in the one of fairytales, according to the interpretation of Propp, is a liminal character, the guardian of the frontier between the known and the unknown. Often camouflaging herself in the forest and the rocks that surround the isba, she embodies the dark side of the nature. In a movie whose goal is to enrich the nationalist vocabulary of a land threatened by an external force, Baba Yaga becomes a problematic figure, at the same meant to be “one of us”, since she is part of the Slavic folklore, but also “one of them” since she is unpredictable and hostile. 

In the three movies realized by Ro’ou one after the other during the period known as the “Thaw”, the Baba Yaga of Vassilissa is domesticated, becomes a satire, her fangs are removed to make people laugh. While these movies keep feeding from the imagery of Russian nationalism, and keep trying to maintain the authority of the State, they are aimed at being more of an entertainment than a mystical communion with the soul of the people. By giving to Baba Yaga a biography - children, love interests, a passion for clothes and other fashions - these movies remove her from the mythological world, and give her a place in the contemporary world. It is how she becomes, at the time of the Olympic games of 1980, a cult figure, a legitimate rival to Micha the bear-cub for the title of Soviet mascot. 

[iobsessoverfictionalmen]

Hunting Roses - Chapter 3

AN: This is a yandere Zemo fic. That means that it will have dark content. I do not endorse these relationships and behaviour in real life. This chapter contains spoilers for past Marvel movies and mentions of a panic attack.

The first thing that you heard when your feet touched the solid ground was a frightened yell of “BABA YAGA!”

“No Kurt,” a soothing, familiar voice replied, sounding more than a little exasperated as you opened your eyes, “that is (Name).  She is a former student.”

You smiled at the Professor and waved at Kurt.

“You should come inside.  We have a lot to discuss,” Professor Xavier stated as he turned his wheelchair around and wheeled himself back inside the school.

Even though the Professor had reassured Kurt that you weren’t Baba Yaga, whoever that was, you still caught the anxious and suspicious glances that Kurt sent in your direction as you walked inside the school.

Growing frustrated with Kurt’s attitude, you spoke, “Who exactly is Baba Yaga?”

Kurt looked embarrassed at being caught but answered you nonetheless, “Baba Yaga is a witch that eats children.” You were pretty sure that he was from Russia, judging by his accent.  Kurt wasn’t finished with his explanation, “She come at night and she steal them.  If she is hunting you, no lock or door will stop her.”

You raised your eyebrows even as a feeling of nostalgia bubbled up inside of you while you walked through the mansion, “You thought I was Baba Yaga because I appeared from nowhere in front of you right?”

“Da.” Kurt confirmed with a nod.  You reached the Professor’s office at the same time and Kurt gestured for you to walk through the doorway first.  You murmured a thank you and Kurt followed you.

As soon as you stepped into the office, Storm engulfed you in a hug.  “We saw what you did in Sokovia.”

“Magneto and Mystique even dropped by to see if you’d come back,” Logan grunted, “got the feeling they were impressed with you.”

You shifted uneasily at the mention of Magneto once Storm released you.  You had a nagging feeling that his visit was more to do with your guess about Wanda’s parentage than him dropping by because he was impressed with how you acted in Sokovia.

“Good to have you back (Name),” Jean greeted as she moved a chair over towards you.

“May I look inside your mind?” Professor Xavier inquired.

You had a feeling this was coming and you nodded as Jean moved to stand behind the Professor.  Despite your own nerves, you sent her a reassuring smile once you realised that she would be temporarily projecting your memories into the minds of everybody in the office.

As you exhaled, you felt the Professor’s presence in your mind and you focused on the memory of Ross introducing the Accords and the discussion afterwards.

“Whoa, that was definitely not what I expected,” Scott breathed after the Professor withdrew from your mind.

“Took the words right outta my mouth, One Eye,” Logan agreed.

Jean was visibly trembling and the room was starting to shudder as well.  You jumped out of the seat and got Scott’s attention with a quick gesture.  Thankfully, his mind was thinking alongside the same path that yours was and he guided Jean across the room and sat her down in the chair.

“Those that do not learn from the past are condemned to repeat it,” the Professor quoted mournfully as Jean’s panic attack subsided.

“I couldn’t stay there and watch that kind of thing happen again,” you revealed, “and there’s also the slight problem of me being offered immunity when no other Avenger was offered that perk.”

“That worries me too,” Scott commented, “don’t take this the wrong way, (Name) but if I was the one handing out immunity for something like this, you wouldn’t be in my top three.  Maybe in the top ten but I would only offer you immunity if I had no other choice.”

“I get what you’re saying” you stated before turning to the Professor, “what do you think?  Do you agree with what Scott said?”

The Professor frowned thoughtfully, “I’m not sure that the Accords is the only thing going on here.  Years ago when Doctor Bruce Banner was working alongside General Ross, a monster called Abomination was created on the General’s watch which forced the General and Doctor Banner to temporarily team up.  As the Hulk, Doctor Banner fled after the battle but the General would have been subject to intense scrutiny as a result.”

“You think that someone with more power intervened in that situation and because of that Ross owed them a favour,” Logan suggested.

“I do.” Professor Xavier replied, “I think there are several layers to General Ross’ actions and reactions.  I also think that the offer of immunity to (Name) only is a smaller part of a bigger plan.  I don’t think that it was a coincidence that this offer of immunity was made at the same time that the Accords were introduced to them.  Whichever way I look at this issue, I come to the same conclusion.  The intent behind the Accords and the offer of immunity were meant to divide the Avengers.  When I think about it, the reasons behind offering (Name) immunity range from benevolent to vengeful.  Somehow, I don’t think the intent behind the offer was to harm (Name) but to harm the Avengers and ensure (Name)’s safety at the same time.”

[chazz-anova]

OC(s) as misunderstood women from mythology/folklore

tagged by my dears @cassietrn and @inafieldofdaisies for this awesome uquiz! thank yall! 💙🪻

Baba Yaga In Slavic folklore, Baba Yaga is a supernatural forest witch who usually appears as a decrepit old woman. She varies between acting as a benefactor and a villain, either helping the hero of the Slavic myth or hindering them. Baba Yaga is also cast as a Mother Earth figure, having an influence on the natural world. You are multifaceted and adaptable. You show many faces to the world depending on what is needed. You are very driven and have an incomparable presence in the lives of those closest to you. You may have difficulties with the way people see you, but those who love you can attest to how good a person you are.

Morgan Le Fay Morgan Le Fay, also known as Morgana, was a sorceress in Arthurian legend. In many legends, she is portrayed as a witch who can fly and change into shapes. Geoffrey of Monmouth’s Vita Merlini (c. 1150) named her as the ruler of Avalon, a marvelous island where King Arthur was to be healed of his wounds, and it described her as skilled in the arts of healing and of changing shape. You are extremely versatile and adaptable. Like Morgan, you may change parts of yourself to suit the current situation. You are multifaceted, but you don't always let people see your complexity because you fear judgment. You believe yourself to be a bad person, but those nearest to you find you warm, loving, and kind.

Lilith Lilith, from Jewish folklore, was the first wife of Adam. One story tells that Lilith refused to lay beneath Adam during sex. She believed they were created equal, both from the dust of the earth, thus she should not have to lay beneath him. After Adam disagreed, Lilith fled the Garden of Eden to gain her independence. In most manifestations of her myth, Lilith represents chaos, seduction and ungodliness. You are independent and courageous. You may be seen as bold and brash, but in reality your solitude is important to you. You don't like being tied down. You pride yourself on being honest, but this may cause hurt feelings in others. You prefer confrontation to letting things fester. Those closest to you admire your drive and your ability to speak your mind.

tagging @afarcryfrommymain @socially-awkward-skeleton @simonxriley @dumbassdep @nightwingshero and anyone else who'd like to do it!

[izzysarchivedblogs]

Which "evil" woman from mythology/folklore are you?

* BABA YAGA

In Slavic folklore, Baba Yaga is a supernatural forest witch who usually appears as a decrepit old woman. She varies between acting as a benefactor and a villain, either helping the hero of the Slavic myth or hindering them. Baba Yaga is also cast as a Mother Earth figure, having an influence on the natural world. You are multifaceted and adaptable. You show many faces to the world depending on what is needed. You are very driven and have an incomparable presence in the lives of those closest to you. You may have difficulties with the way people see you, but those who love you can attest to how good a person you are.

tagged by: beloved @amethystarrows <3

tagging: @erthlyheavn (liv or lyla or both), @torntruth (any of your marvel girls), @soulgiven, @gctbusydying (kitty), @hexsreality, @lvebug, @zimnyayavdova, @cosmicrayed, @galatiicangel, @biitchcakes (and yes i just addded you too aurora <3)

[simonxriley]

OCs As 'Evil' Women In Mythology/Folklore.

I was tagged by the wonderful @corvosattano to take this uquiz for some of the kiddos. Thank you! 💜

Tagging @playstationmademe @nightwingshero @chazz-anova @detectivelokis @nightbloodbix @jinfromyarikawa @shegetsburned @voidika @leviiackrman @chuckhansen and anyone else that wants to do it!!

Antigone

In Greek mythology, Antigone is the daughter of Oedipus. After the quarrel between her brothers ending in them both being killed, Antigone is determined to bury Polynices despite King Creon's wishes, and is punished. For defying Creon's wishes, she is sentenced to be buried alive in a tomb. You are, above all, resilient. You have known grief in your life, but you face your trauma with your head held high. You are immensely strong, intelligent, and passionate. You don't believe in irony or indifference. You are brave and inspire awe in those who closest to you.

Baba Yaga In Slavic folklore, Baba Yaga is a supernatural forest witch who usually appears as a decrepit old woman. She varies between acting as a benefactor and a villain, either helping the hero of the Slavic myth or hindering them. Baba Yaga is also cast as a Mother Earth figure, having an influence on the natural world. You are multifaceted and adaptable. You show many faces to the world depending on what is needed. You are very driven and have an incomparable presence in the lives of those closest to you. You may have difficulties with the way people see you, but those who love you can attest to how good a person you are.

Medusa

Medusa is a gorgon in Greek mythology who has the ability to turn men to stone and is beheaded by Perseus. Different versions of her story involve her being impregnated in the temple of Athena by Poseidon, then turned into the legendary monster by a vengeful Athena. Her name comes from the ancient Greek word for "guardian". Like Medusa, your legend precedes you. You are well known and beloved by those in your circle. You have known pain in your life but you're resilient and have come through the other side all the more loving and kind. Love is important to you, whether the presence or the absence of it. Those closest to you know you as warm and strong.

Morgan Le Fay

Morgan Le Fay, also known as Morgana, was a sorceress in Arthurian legend. In many legends, she is portrayed as a witch who can fly and change into shapes. Geoffrey of Monmouth’s Vita Merlini (c. 1150) named her as the ruler of Avalon, a marvelous island where King Arthur was to be healed of his wounds, and it described her as skilled in the arts of healing and of changing shape. You are extremely versatile and adaptable. Like Morgan, you may change parts of yourself to suit the current situation. You are multifaceted, but you don't always let people see your complexity because you fear judgment. You believe yourself to be a bad person, but those nearest to you find you warm, loving, and kind.