#very folk horror or dark fairytale

[moramaisis]

Le Vourdalak 2023 France

[xnoctua]

🪶🦴🦋

[saintsenara]

do you go with word of god about how tom would have been better off if merope lived and raised him or that it would have been even worse for him and merope would have become infatuated because of his resemblance to tom riddle sr? (Similar to how part of the fandom believes snape would be if harry resembled lily lmao) which of do you think its more interesting route?

thank you very much for the ask, anon!

i go for the first of the two options - that merope living would have been so much better for wee tom riddle jr. - not because it's what jkr says, but because i tend to loathe any interpretation of merope's character which undermines the fact that so much of her life could have been changed at numerous crucial moments by anyone connected to the wizarding state giving a fuck.

merope is a teenage girl who lives in abject poverty, has a treatable medical condition [exotropia - eyes which stare in different directions] for which she clearly hasn't received any medical care, is denied an education, is subjected to physical violence by her father right there on the canon page, and is implied in canon to be subjected to incestuous sexual violence by her father and/or brother. the state has numerous opportunities to remove her from this experience - when marvolo fails to respond to her hogwarts letter, when bob ogden visits the gaunts - and yet doesn't, and while i don't think that just being taken away from morfin and marvolo would have solved everything, it would have given her the safety to start healing...

i get why the idea of merope as this sinister, unhinged, devouring, unchangeable bundle of malevolence, who would destroy her own son by becoming infatuated with him, is compelling when the genre demands it to be - i've written her as a folk-horror villain myself, and she was perfect for the role - but in fics which aren't intentionally going for that sort of supernatural, dark fairytale, horror-story vibe... i don't think it hits.

merope's great tragedy - much like her son's - is that she is someone capable of and longing for a normal life, but who is denied this by the corrosive forces of grief, poverty, abuse, and indifference and who goes on to perpetuate harm in turn.

as i've said elsewhere, her rape [and we should call it what it is] of tom riddle sr. doesn't actually need to have any undercurrent of sadistic, unhinged infatuation to be both morally abhorrent and canon-coherent - her treatment at her father and brother's hands would hardly have given her an understanding of consent or bodily autonomy [and might also have made her believe that drugging a man until you can totally control him is the only way to prevent him hurting you], while the fact that the state just leaves her on her own after marvolo and morfin are arrested [with - presumably - no income to speak of] means that she can be understood as seeing tom sr. as her only escape from sliding ever further down the ladder of destitution.

does that mean that she didn't also - selfishly - desire tom sr.? absolutely not. it just means that i find it much more interesting when the idea of her wanting him for herself is given equal weight with all the other things in her life which shape her character - and that i also find it much more interesting when these forces are recognised as commonplace, human, and having pretty much nothing to do with magic.

[the state would not - after all - have had to raise a wand in order to unravel the abuse to which she is subjected... since it does this all the time in the real world - and i am definitely a sucker for stories which acknowledge that the greatest flaws in the wizarding world don't depend in the slightest on magic, but on human corruption.]

if she'd survived childbirth - while i'm certainly not suggesting that i think she'd have been a flawless mother, nor that the absence of a wizarding welfare state wouldn't have made their lives incredibly difficult - i think it's legitimately implausible to suggest that she'd have done anything other than love her son as her son [so, without any incestuous vibe].

[her comment - "i hope he looks like his papa" - is, i think, meant as mrs cole takes it - that she recognises that she's someone who isn't conventionally attractive by any means, and that she knows that tom riddle sr. is.]

[adarkrainbow]

Is it just me, or Americans and Europeans depict the standard, stereotypical fairy tale setting differently?

In my opinion, Americans depict the fairy tale setting as closer to the middle ages. The Fairy Tale Setting is often just a more colorful standard, almost Tokien-like, Fantasy Setting.

Meanwhile, in actual European adaptations of said tales, the stereotypical fairy tale setting is closer to the 18th, 19th century, with the architecture being the only thing vaguely medieval

Yes, I actually do believe as such. Mind you, I cannot speak for all of Europe - mainly France and a handful of other countries I am vaguely aware of adaptations (like England or Germany).

And I believe it is due to two specific things.

A) The very "American" view of fantasy. I mean, we have been repeating and endlessly talking about it for decades now - but for Americans everytime there is something fantasy or magical it is either "standard European medieval setting" either "modern-day America". And when I say "standard European medieval setting", it is this sort of idea and phantasm American built of a vaguely European setting which mixes various countries of Western Europe (Americans only have taken recent interest in other parts of Europe, such as Northern or Eastern, due to the success of things like "Midsommar" and folk-horror and whatnot), and various eras of the Middle-Ages (the Middle-Ages were divided into three specific period quite different from each other), with a good handful of things that were not from the Middle-Ages (like the witch-hunts, for example, they were Renaissance, not medieval).

Of course it is due to a mix of general ignorance about Europe (or any part of the world that is not the USA), and of not actually caring about the original setting since their point is either to parody/reinvent the fairytales in lighter/darker ways, or prove that theses stories are "timeless" and can invent outside of any specific context (which does greatly benefit Americans since like that they can snatch anything they like). Mind you it isn't something universal - take the Disney movies for example. They might not be quite exact, but at least they made a neat effort to evoke different cultures and different eras of Europe. It is very obvious that Disney's Snow-White, Cinderella and Sleeping Beauty take place in various points of Europe's history and in different countries (Snow-White's visual influence by German furniture and statues versus the nods to French culture in Cinderella ; Sleeping Beauty's medieval illumination visual versus the more modern royal outfits of Cinderella, etc...). But it is an effort that got completely lost through time (and I think it can be shown in how, when Disney made "Enchanted", their fairytale setting was turned into a random fantasy setting outside of time and space - it did reflect quite well how people saw the fairytale world at the time).

And you know what is even worse? This "random medieval setting" you speak of is NOT even Tolkien's! Tolkien setting was not medieval in the slightest, and doesn't look like your usual "medieval setting". Just look at the visuals of the Lord of the Rings movie, compare it with some "random fairytale setting" and you see the huge gap. If anything, Tolkien's world is more of a "Dark Ages" (you know, this unknown gap between Antiquity and Middle-Ages) feeling than anything, due to mixing Ancient Scandinavia with Ancient Greece and Dark Ages Arthurian Britain.

But... when you think about it, that the Americans would create such an unclear and artificial setting for their fairytales make sense, since this is literaly what "their" fairytales were compiled as. I'll explain: when you ask an American to list you fairytales, when you see the fairytales used in the American media, it is a Frankenstein-creature. You've got the brothers Grimm and Charles Perrault and Andersen and Joseph Jacobs and nursery rhymes and some Asbjornsen and Moe fairytales... Their exposition to fairytale was by compilations of stories literary and folkloric, from different centuries and different countries, mixed together as one. As such... it makes sense for them a fairytale world would look like a pile of mashed-potatoes in terms of history-geography. Because they have to build a world that mix all of these stuff as one... (Plus something-something about the Americans being fascinated by the Middle-Ages because they did not have one?)

B) The Europeans are very "conscious" about fairytales. I will almost say "self-conscious".

Europeans are bound to always test and try various time-eras, fashions and context for fairytales due to a set of three reasons.

1) We have centuries of "traditional medieval imagery" that the Americans lack. Since our fairytales were published between the 17th and 19th centuries - some even by the 20th - Europe already underwent the whole "Random medieval setting" phase through popular imagery and children book and whatnot. America just begun it from the 19th/20th century - we have been at it for two, three more centuries. So today we are moving forward (and in general, while there are many aspects Europe is "late" compared to the USA, in many other ways Europe is "in advanced" compared to the USA, just because of how "young" this country's history is).

2) We are aware of the context of our own fairytales. Due to the language barrier, for example, we know every time a story comes from somewhere else. We have folktales compilations classified by countries and regions. And everytime we bring up a specif set of fairytales, we bring up the life, job and time-era of the fairytale tellers (Perrault, Grimm, Andersen, which are our "national treasures" - unlike Americans for which they're just "yeah little foreign guys we see in the distance"). As such when the French talk about Cinderella or Puss in Boots, the very images of Renaissance are brought up, the same way a German will immediately think of the Napoleonian wars and the post-Napoleon era when thinking of the Grimms - even though the fairytales are supposed to be in the "pseudo-medieval" setting.

3) Europe has been flooded and dominated by the American media when it comes to fairytales. As such we are very aware and accustomed to the "pseudo-medieval" setting popularized by America, and when Europeans try to do their own thing, they usually try to set themselves apart from it, due to knowing how cliche and Americanized this already is. Something very similar happened with French fantasy literature for example - French fantasy books are always trying to stand away from the "cliche American fantasy book" precisely because we are flooded with them and they form the bulk of our fantasy literature, so as such we are very aware of the flaws and stereotypes and expectations coming with the genre... It also doesn't help that most of the castles and "old-fashioned" architecture around Europe is not medieval per se (or that the medieval architecture is for example very impractical when it comes to filming movies), and we have much more Renaissance buildings and the like. In France for example most castles are Renaissance-era. "Real" medieval castles (as in medieval castles not "remade" by Renaissance or modern designers) are much rarer, or not as well preserved as the Renaissance ones.

Anyway this post got way bigger than I intended, but if you ask me some of my thoughts, here they are - mind you they are just my thoughts and I can't speak for every European. I am just one little eye and one little mind in a big big world... But that's the things I am led to believe.

[sprintingowl]

Carved By The Garden

Carved By The Garden is a Wretched And Alone solo TTRPG about an intense but maybe not healthy relationship with the woods.

It's designed and illustrated by Cassi Mothwin, and yes. The illustrations do go that hard throughout the entire booklet.

Carved doesn't really break the Wretched And Alone formula---which is to say that this is a game where you're very likely to lose, and nearly all the endings are bad, and often you'll suffer horribly with nothing you could have done to prevent it. It's play-to-lose solo horror. At its lightest, it's maybe a dark fairytale or a Mike Flanagan movie.

Carved gives solid content warnings up front, and didn't dive into any content that felt excessive to me. It does lean on intense, lush description in a lot of places, and by its own admission sometimes skitters on the perimeter of erotic horror. This is likely a value add for some folks! And it felt easily ignorable for readers who aren't looking for that.

Overall, I think the folks who will enjoy Carved the most are players who like:

-writing

-relatively dark and lingering experiences

-games as a chance to do fiction

Again, this isn't really a game where you win, it's a game where you see what kind of state you're in by the end.

For solo TTRPGers who dig that---and for anyone who likes lovely art---why not try being Carved By The Garden?

[theboarsbride]

Faerie Book Recommendations🧚✨📚

So reading Sarah J Maas and her very, very shitty interpretation and (under)utilization of fae lore is inspiring me to create a personal list of books I've read that I feel like have like... ACTUAL faeries and folklore in them (not the normal-looking-hot-folks-with-pointy-ears-and-MAYBE-wings brand of faerie SJM popularized), and are actually worth your time

And if you've any books, stories, comics, etc. that you'd want to add to this list, feel free to add them in the comments, reblogs, tags, or my DMs!!

House of Hollow by Krystal Sutherland

Very eerie fairytale vibes that center on the aftermath of the disappearance, and even more mysterious return, of three sisters when one of them goes missing again almost 10 years later. And also the writing is legit just B E A U T I F U L!!!

Emily Wilde's Encyclopedia of Faeries by Heather Fawcett

This is chock-full of classical faeries and folklore, and almost reads like a textbook about them since this is about a woman, the titular Emily Wilde, traveling to a Scandinavian country to complete her own encyclopedia about the fair-folk. It also features some lowkey cottagecore vibes and an academic rivals-to-lovers romance!

Gilded (Gilded #1) by Marissa Meyer

A retelling of Rumpelstiltskin that reads like its own dark Grimm's fairytale, and it's as eerie and grim as a YA fantasy novel can get. It also centers on themes of telling stories and folktales since the main character, Serilda, is infamous for spinning wild tales - which is what leads to her encounter with the famed, and feared, Earlking (who, as a villain, is so sinister and creepy - and utterly FAE!). Personally, this book wasn't really my cup of tea and I'm unsure if I'll read the sequel, Cursed, however it still has some classic fae vibes that SJM's work lacks, so it deserves a place on this list!

The Changeling by Victor LaValle

I'm using the term 'faerie' very loosely here, as the idea of changelings (and trolls), for me, is more of a narrative device to help us look into grief in fatherhood. But there is still a very strange, vaguely Pans Labyrinth-esque urban fantasy vibe playing in the background throughout!

Slewfoot: A Tale of Bewitchery by Brom

Not necessarily FAERIES but more of mischievous and distrustful woodland folk - and also forest gods. Very heavily steeped in early colonial America era folk horror vibes... if you love media like Robert Eggers' The VVitch then you will ADORE this book! Also Brom's accompanying artwork is so, so beautiful! This is honestly such a perfect fall-time read once Halloween season rolls around.

Legendborn Cycle series by Tracy Deonn

Ok no faeries but... mixes classic Arthurian legends with southern Black beliefs while also telling an epic urban fantasy story centering on themes of grief, trauma, and prejudice. So no fae, but LOTS of great urban fantasy vibes (which I mean... if you're looking for more series to put on your shelf instead of Harry Potter......) Just... Please... just... this series... it's so GOOD!! IDK what else to add that hasn't been said about this series!

Direwood by Catherine Yu

Once again, not necessarily faeries in this book but instead vampires that have a very fae-like quality about them! (as well as blood-hungry butterflies and caterpillars hee-hee) The story as a whole feels like a whimsical fever dream that is STEEPED in tasty Gothic vibes! It sort of has the feeling of being in a late '90s/early '00s Goth music video.

Like Falling Stars by Avalon Roselin (@roselin-books-official)

A story about a girl who's forgotten her past and comes to develop a sweet friendship with a brooding ice faerie prince, and is brimming with so many cozy fantasy vibes!! Also all the fae characters in this novel are so colorful and lively, and they're all very heavily tied to elements and the seasons. Also ALSO!! The main relationship focuses primarily on platonic love as opposed to romantic, and is just as endearing! A perfect cozy winter/fall-time read.

Netvor: A Retelling of Beauty and the Beast by @rosesnwater

Both a completed novel and an in-progress webcomic available to read on Tapas and Webtoons. Again, another story where major themes center on storytelling and fairytales, but also recovering from trauma and grief! There are so, so many classic faerie vibes, and even featuring pinnacle figures from classic fae lore like the Goblin Market, and it manages to feel equal parts nostalgic and unique in its use of faerie lore!

Dandies in Danger podcast by @dandiesindanger

A table-top RPG podcast instead of a novel! It features four queer men that are dragged into a world of fae and horror, all while set against the backdrop of Regency era London. It starts as a VERY eerie fae mystery (featuring figures like Titania and Oberon), but it slowly becomes a dark, horror historical-fantasy, and it's great! Also art by the podcast's creators is so good!

So these are the recs I have to offer for now!! As always, feel free to add more recommendations!!!💛

[dearophelia]

best of sara's fic, according to her

Because I’m feeling some kind of way about my cancer lately and wanted to put together a Sara’s Greatest Fic Hits while I’m still around to do it (which is a morbid thing to type, but see the intro: been feeling some kind of way lately).

These range from my most popular fics, to the ones lost to weird posting hours, and everything in between. If I counted correctly, there are 14 fandoms on this list: from Mass Effect and Dragon Age, to Grey’s Anatomy and Stargate SG-1, to The West Wing and Calvin & Hobbes.

I’d appreciate reblogs on this (I am not ashamed to pull the stage iv cancer card here) so it can reach as many people as possible.

I have been writing fic for over 15 years; this is not a short list.

All are rated T or lower unless otherwise indicated. All stories are at or under the 3k mark unless otherwise indicated.

Stargate SG-1:

waves are universal (the heaven in hiding remix) (Sam/Jack; I’m very Normal about this fic; time travel and alternate realities, a host of OCs (and some familiar faces from Norafic if you look closely), oh and the Sam/Jack kid from the alternate reality! Only she’s an adult and working on a way to save the world! This has it all, folks: humor, romance, angst, action! I told you I’m Normal about it; 40k)

strange is the night where black stars rise (Sam; horror! A low creeping sense of doom! The King in Yellow! No, seriously, fuck that planet; 10k)

#sg1wedding (Sam/Jack; their wedding turned into An Event against their will; bets are going down about who would win in a fight: Bra’tac or the Chairman of the Joint Chiefs; also Jack loses his socks; twitterfic from 2012 and technology has definitely Marched On, just read it like an unhinged group chat fic)

phoenix (Sam/Daniel/Teal’c, Sam/Jack, Sam/Jack/Daniel/Teal’c; apocalypse (that I consulted a real live geologist on!); rebuilding in the wake of said apocalypse; team family feelings, kids, and some really shitty neighbors; 38k)

Dragon Age:

joy cometh in the morning (Ariadne; rated M; a host of OCs; mind the warnings; friendship; worldbuilding galore; friendships and mentors and first loves; did I mention friendship and worldbuilding?; 56k)

through the rude wind’s wild lament, and the bitter weather (Ari+Cullen; quiet magic, kind magic, good magic is still new to Cullen)

as the sun kissed the horizon (Ari/Josephine; a relationship in ten moments)

‘til we meet again (Ari+Cullen; platonic sleeping together!)

so hold my hand, consign me not to darkness (Ari; her faith is the core of who she is and, for the first time, Andraste isn’t there; post-Trespasser)

raise your fists up to the sky (Kylie/Krem; it’s Krem’s first day with the Chargers and there’s a naked elf in the middle of camp)

every demon wants his pound of flesh (Krem+Bull; Krem was in the Fade with the Inquisitor and the fear demon had some Things To Say To Him)

black dove (Anaya) & strange little girl (Anaya+Dagna) & dissolving clouds (Anaya+Cullen) (because neurodivergent Inquisitor, friendship, blossoming romance, and three very different takes on blood magic)

skeletons (Zahara+Bull; she is saarebas, he is Ben-Hassrath, and language is important)

children shouldn’t play with dead things (Juliette Amell; she’s always had an easier time with the dead than the living; cw for bugs)

a sorta fairytale (Josephine/Cassandra; flower shop & tattoo parlor AU; 8k)

Mass Effect Trilogy:

gonna set your flag on fire (Nora Vakarian, Liv/Garrus, James/Liara, Liv+Liara, Livfam; action! Humor! Angst! Worldbuilding! OCs!; I am Super Normal about this fic too; I promise everything’s okay in the end, promise, even though it isn’t written yet; Nora is an N3 and has an inactive control chip in her head. She and her team are ordered to investigate a Cerberus facility. It goes, shall we say, awry; 40k)

anthem (Liv/Garrus, Hannah/Zaeed, Liv+Liara; eight months is a long time without each other; angst with a happy ending (I promise); post-Destroy; 13k)

holy ground & dress (Liv/Garrus; ficlets from the night he gets sworn in as Councilor)

brightly shone the moon at night (Liv, Liv+Liara, Liv/Garrus, Livfam; five Christmases in Olivia Shepard’s life; 5k)

the pieces of gold, they light up your eyes & now we’re alone, now we’re alive (Liv/Garrus; the evolution of a relationship)

fighting is said to have reached palaven (Liv/Garrus; please, please let him be alive)

and some things you just can’t speak about (Quentus+Nico; the war)

‘cause i know that it’s delicate (Liv/Garrus; pre-wedding!)

nosce te ipsum (Nico; he likes boys and fanfiction and he didn’t think he’d get his little italicized oh moment)

i will write you love letters if you tell me to (Liv/Garrus; Hannah gives him one of Liv’s notebooks before he goes off to Omega; Garrus does the only thing he can think of with it)

i really need you (Liv/Garrus; James POV during the reunion scene in Priority: Palaven)

you look really tired (Liv/Garrus, Liv+Liara; post-Thessia, Olivia’s not doing well)

hey, so, ground rules (Liv+Zaeed; it’s a lot weird now that he’s dating her mom)

and all the scars you bear are from a previous war (Liv+Quentus; Mom!Liv)

you can hear it in the silence (Liv/Garrus; just a moment, post-war)

this all started because of a bad day (Liv/Garrus; from first meetings to matching rings)

combat, i’m ready for combat & turn on your favorite nightlight (Hannah; she’s a civilian and her daughter isn’t, and she’s bound and determined to know what Liv goes through when her boots hit the ground; Hannah, Zaeed, Liv, and Garrus hit up Armax)

four quarians who never made it back to the fleet (and one who did) (kinda what it says on the tin, honestly. Oh, Tali’s in this!)

everyone’s lost, the battle is won (Evangeline; somewhat predictably, my experiment in getting as many of my team killed as possible resulted in Feelings About It)

across the sky (Susan/Liara; how to make the Control ending feel good)

and yours is in red underlined (Vanessa; The Illusive Man has pissed her off for the last time)

i’m headed straight for the castle (Vanessa; renegade control ending; kneel before your queen)

Mass Effect Andromeda:

for saviours (Tori; ten scenes from a pre-Andromeda life; 10k)

ringing joyful and triumphant (Tori/Liam/Jaal; just some morning fluff)

the thing with the baby angara (Tori/Liam/Jaal; thinking about the future)

the undone and the divine (Tori/Liam/Jaal; the lone single solitary explicit fic on here, give it props for that alone; Liam gets absolutely railed by his partners. That’s it. That’s the fic.)

you’re like the thing that makes the universe explode (Sara Ryder/Suvi, Drack; kid, the only people who don’t know that you like Suvi are people who haven’t met you and Suvi)

this one’s for the torn down, the experts at the fall (Tori+Garrus; one night in the intersection of Victoria Ryder and Archangel; maybe they’re better friends than they both thought)

The West Wing:

a great revelation sigh (CJ; she’s Chief of Staff; ten steps to the apocalypse; the apocalypse source probably didn’t age well, heads up)

it’s in my blood and i won’t give up ‘cause it’s running through my veins (Amy+Andi; it’s Election Day in the future and Amy has nothing to do)

Grey’s Anatomy:

dropsonde (the singers in a lower choir remix) (Addison/Alex, Derek/Meredith, Addison+Derek, Addison+Mark, Mark+Derek; the one that kicked off all the remixes; absolutely off the rails from canon somewhere in S3; budding romances and kidfic and my theory about people being storms and lighthouses; 40k)

scarlet city (Mark/Addison, Burke/Cristina; film noir gangster and detective AU; Addison’s the gangster, Burke’s the detective; literally everyone I could fit into this fic shows up; also Denny is comic relief; 18k)

Misc:

access records (Star Trek Voyager; Naomi Wildman’s holodeck access for the past week; worldbuilding!)

in this twilight our choices seal our fate (the song in the house of night remix) (SVU; Olivia/Elliot; rated M; on the rise and fall of partnership; probably a little too much religious imagery but what the hell else am I gonna do with a minor in religious studies?; 4k)

the end of days job (Leverage; Parker+Eliot+Hardison; the apocalypse job, basically; this one ages well!)

let the only sound be the overflow (D&D; Calia/Kelpie/Edal, aka ot3: fathoms below; the ocean is big and they are not)

we are golden stars above silver seas (we hear echoes from another galaxy) (Calvin & Hobbes; Calvin+Susie; throughout all those years, she never gave up on him; this one went viral on tumblr [LINK] and I cleaned it up for the AO3 version)

lift her, pull her, from the orchids (Grace and Frankie; Grace/Frankie; the one where I invoke the spelling bee)

rocket queens (Babylon 5/Pacific Rim; Susan Ivanova/Talia Winters; look, they’re jaeger pilots, I really don’t know what else to tell you)

the great gig in the sky (Battlestar Galactica; Six; rebirth is painful, she forgets this sometimes)

[thewingedbaron]

Owlcatober Day Eleven: Medals

So glad to be back to writing. Its been a WEEK folks! Hope you can forgive me for missing a few days, things have been real weird the last couple days. This fully self-indulgent scene between Allix and Arueshalae should help :)

Seriously, thanks for reading these. Interacting with everyone has been so so fun this month ;-;

Medals and Recognitions (1,446 words)

Fandom: Pathfinder Wrath of the Righteous

Ship: Arueshalae/KC (Allix)

Warnings: Very Cute.

Read here under the cut, or over on Ao3

The doublet itched. Allix turned himself this way and that, studying every inch of his costume in the full length mirror. That’s what it felt like, a costume. He was dressed to the nines in a custom tailored suit, dark satin green with forest brown accents. It fit him like a glove, everything in its proper place except for the gods damned doublet. 

With a sigh, he removed it, buttoning up his shirt to fill some of the gap. He was left with a neckline just short of plunging that exposed the tops of his collarbones. Not a bad look, by any means, but a touch less formal than the tailor had originally intended. He could deal with that. 

As he studied the suit, his eyes could not help but travel to the man behind it, tail swishing anxiously as he looked himself over. Just short of three years ago, he’d been a bounty hunter, down on his luck, drifting through the world wound in search of more dangerous targets for heavier sacks of gold. Almost three years ago, he’d awoken in a square in Kenebres, bleeding from the chest with a dragon leaned over him. In those three years, he’d lead armies against the forces of the abyss, tread through the worst horrors a mortal could imagine. He had almost been an angel, though Heaven would have likely rejected his… contrary nature had he followed through. Instead, he’d given up his power, become a mere mortal again, and then lead one of the most daring military campaigns in Golarion’s history that had ended in the death of two demon lords and the closing of the World Wound, which had plagued the mortal realms for more than a century. And yet… 

When Allix looked in the mirror, he saw the same roughshod mercenary desperate to scrape up some coin before he starved. His eyes had crows feet at their edges. His thick beard was beginning to show a little more gray than he was comfortable with. Scars, new and old littered his body like the words of a fairytale, each telling the story of a different battle, a different danger. His horns were chipped in places from uncountable close calls, but they were still his horns. Without the adrenaline of combat, he found that his hands shook slightly, but they were still his hands. His eyes looked older, wiser, more tired from the great trials he had undertaken in the last three years, but they were still the same blood red color, flecked with bronze. Despite it all, he was still… him. 

Soft arms wrapped around his shoulders, as softer lips pressed a kiss into his hair, gently drawing him from his musings. 

“You’re thinking too hard.” Arueshalae murmured with a soft smile. “I can see it in your eyes.” 

She was dressed in a deep blue dress that complimented her eyes and hair. Gold highlights and jewelry adorned her wrists and neck. Her hair had grown longer over the intervening months. With no reason to fear her own beauty any longer, Arueshalae delighted in trying different styles and fashions recommended to her by their friends. This was one of her, and Allix’s favorites. 

“Only good things.” Allix replied, leaning into her embrace. “We’ve all changed so much from when this all began.” 

“We have.” She said. None had changed more than the once succubus, now redeemed follower of Desna. Allix felt a swell of pride in his chest as he met his soon to be wife’s eyes in the mirror. She, amongst all others, had climbed the steepest cliffs and faced the greatest dangers. To give up his powers was one thing, but the throw off the yolk of the Abyss, itself. To  find compassion, forgiveness, and love in a place that taught only blood and hate? He could think of no greater challenge. 

“Ready to go?” She asked, drawing him from his thoughts once more. The former Knight Commander suppressed a cringe. 

“Not at all.” Even after leading the crusades, fighting gods and monsters alike, he still did not feel comfortable in crowds. Especially ones gathered in his honor. “Are you?” 

“Absolutely not.” Arueshalae laughed. “All those eyes focused on us? Do mortal ceremonies always have to be this large?” 

“Only ones orchestrated by a Queen that wants the world to know exactly who saved their collective ass, I suppose.” Allix returned her smirk. “Think of it, Kings and Queens, nobles from across the world, all gathered to pay us respects.” 

“I think I’d rather just go back to the cabin.” 

“Me too, love.” 

Arueshalae stuck out her tongue at him in the mirror, scrunching her nose in distaste. “At least we won’t be alone up there.” 

“Very true. Did they finally talk Lann into a suit?” 

“I believe they tried, right up until he threatened to turn the next person to come into his room with a coat into a pin cushion. I believe they have settled on a nice robe for him in the Crusade’s colors.” 

“I don’t suppose he took the title either?” 

“Of course not, but the Queen agreed to sponsor his first three ships in his trading fleet. I think he values those more than any empty title.” 

“Good.” Allix smiled. 

“Darling.” 

“Love?” 

“You’re delaying as much as you can. But we do need to leave this room.” Arueshalae smiled, pressing another kiss between his horns. “Come now, the sooner we get this over with, the sooner we can go home.” 

“You have such a way with words.” Allix grinned, turning to kiss his love proper. “Hand me Finnean and we’ll get on our way.” 

She passed him a beautiful sword, the vessel that once contained the lost soul of a Pathfinder named Finnean. Allix’s preferred weapon was the heaviest crossbow he could find, but he had carried the blade through the remainder of the crusade in the memory of their friend, now released to explore the afterlife. It was a beautiful blade, and a comforting weight on his hip as he took Arueshalae’s arm and the pair stepped out into the hall to await the Queen’s escorts. Her guard arrived a short time later, the majority of their party in tow. 

Greybor had remained in the Abyss. The dwarven assassin had little interest in the Queen’s recognition, and had his hands full running his new business. He had, however, sent them a lovely letter. Also missing from the gathering was Regill, who, despite his exile from the Hellknights in the later days of the campaign, believed he needed no recognition for his efforts, and had politely declined the ceremony. The rest, however, eagerly accepted. 

Embraces and words were exchanged as they joined company, walking together down the wide steps toward the Queen’s own courtroom. From there, the party would proceed to the front steps of the palace where they would receive their honors and recognition, alongside many other officers, warriors, and heroes of the crusades. Allix had spent weeks pouring over the long list of martyrs, heroes, and soldiers that had served, hand picking dozens to receive their medals alongside him, and hundreds more that would be awarded honorifics in their own time. Every soldier who had served in the final taking of Iz and the closing of the World Wound would receive their recognition, as well as a large enough pension to keep them fat and happy for the rest of their lives. 

In the courtroom, they were joined by two more familiar faces, Irabeth and Anevia. The Knight Commander’s most trusted advisors easily fell into step with the rest, chatting and hugging their way to the great doors of the palace. There, they stopped for one final time, listening to the distant remarks of Queen Galfrey as she addressed a mixed crowd of hundreds of crusaders, emissaries from a hundred nations, and a dozen Kings and Queens from the various kingdoms and empires that had contributed to the fight. 

When it was finally time for the Knight Commander’s party to be recognized, the little group was quickly organized by the guard and set to wait just by the doors. Two by two they would be called up to the dais to stand with the Queen, until all had joined. At the front of the line, Allix exchanged a glance with Arueshalae. 

“Nervous?” He asked. 

Arueshalae looked him up and down, then back at the line of their friends, closer than family, behind them, and shrugged. 

“How could I be?” She asked. 

Allix grinned and planted a kiss on her lips as the grand doors were thrown open. Together they faced the world, fingers and tails intertwined.

[girlfromthecrypt]

My first Writeblr tag game!!

Thanks so much for the tag @mthollowell-writes! This is one of my first ever tag-games, so I'm pumped. Also, this made me realize I rly need to do a WIP intro for my main project. It's a dark fantasy/horror with some romance, too. The working title is Fucked Up Fairytale. That aside, let's goooooo

1) What motivates you to write?

Anything and everything! Writing is my coping mechanism, for good times and bad. It helps me keep hold of happy feelings and release negative ones. 

2) A line/short snippet of your writing that you are most proud/happy of. If not maybe share a line of someone else's work you love (just please credit them)

I have multiple WIPs, but I'm going to refer to the one I plan on actually turning into a book. The working title is Fucked Up Fairytale. That may undergo revisions. Anyhow, I'll share two lines/snippets, if I may! Mainly because the first one is very short indeed. Here it is:

I braced myself for stupidity, and he didn’t let me down. —This is in the main character's (Margot's) narrative inner voice during a conversation with her little brother. 

And here's the other one, same chapter, same conversation! I feel like I may have gone a little overboard with Margot's world-weariness, but I kinda like it:

“The world I dream of has me making six figures at a job where my boss doesn’t need me to show him my tits,” I said, a chill creeping into my tone. “It has me going home at a reasonable hour so I can watch TV and fall asleep with a bag of spicy chips, preferably next to a spouse who doesn’t mind that they make me gassy.”

Neither of us spoke for a couple beats. Then, softly, my brother asked, "And where's the magic in that?"

"Nowhere, Callie. That's kind of the point."

3) Which OC makes you smile every time you think/talk about them and what are they like?

That would apply to Margot's love interest from Fucked Up Fairytale. He's, um… special. To me, and in general. Seeing as he's one of the Folk, it would be unwise to share his name, especially since not even Margot knows it as of right now. He calls himself the Huntsman, so that'll work for now.

He's this rather delicate-looking youngish man; slender, short and long-haired—he's quite pretty, really. And he's the smuggest, most self-satisfied dork you've ever met, but in a sweet, non-threatening way. I just love his and Margot's more wholesome exchanges. They clash a lot; she's a recent university graduate, has been a skeptic all her life and didn't mean to get roped up into any supernatural stuff, and he's this forest-dwelling fairy-like entity. But they end up being really good for each other, despite (or perhaps because of) their differences. Even though their dynamic starts off based purely on physical attraction, it grows into something more and their interactions really feel cathartic at times.

4) What process of writing do you enjoy the most?

I love what happens shortly after getting the idea for something. It's like a little twitch in the brain that grows and grows and it's just… awesome. And I'm not actually doing anything at that stage, so it's also the easiest step. Also, I just love writing dialogue.

5) What part of writing do you think you are the best at? (Yes stroke your own ego it's okay)

I think that's also writing dialogue! Not much else to say there. Oh, and nature descriptions sometimes. I've been told my nature descriptions are beautiful.

6) What is something in the writeblr community is most enjoyable?

How passionate everyone is! We all do the same thing, we write, and we all love doing it. And there's such an undertone of positivity to it all, of openness. That's really nice.

7) A writing tool/device you use that helps you with writing? (It could be speech to text, a writing program etc)

Oof. This one's too hard for me. I'm honestly struggling with a lot of writing software so… I don't have a good answer to that. 

8) A piece of worldbuilding that you like in your own story? (It could be the magic system, a particular place in the story, a law etc)

The majority of Fucked Up Fairytale takes place in a single location. It's a magical forest that is its own entity, almost deity-adjacent. Certain characters worship it to gain its protection and power, but it can also be dangerous, trapping humans and turning them into so something they're… not. 

I just really like that forest! I enjoy describing it, I enjoy creating new creatures it may be harboring, I enjoy lending this seemingly inanimate idyllic environment a personality that kind of shines through in a lot of scenes. I almost wish it were real. Almost.

9) What piece of advice would you say to encourage others to write if they are having a rough patch?

I'm with you.

That's all I, or anyone, can really offer, I believe. I've dealt with month-long dry spells, really horrible ones. I know it's shitty, I know it sucks. My advice, if I had any, would be to force yourself to write anyways. It's the only way to get back into it, and you should never ever give up writing. Writing is worth it.

10) Tag some people whose works you love/have been your biggest supporters

Well, obviously I'm gonna have to mention @prismatic-bell who once wrote a wonderful thirty-part fanfic to one of my stories and is, in fact, amazing. Xe has contributed greatly to a lot of my stories and I will be forever grateful for that. Also @rehnwriter who helped me set up my blog because I'm bad at internet stuff and need constant surveillance.

I'm tagging… uh… anyone who sees this and wants to participate! I'm really eager to get to know more folks from this community.

[theheartpyre]

Happy Audiodrama Sunday everyone (we are ignoring the fact that it isn't Sunday here anymore even though I posted this on twitter hours ago ☠️)!

Spent my weekend selling at a book fair & had some flyers for THP with me and I got to explain to a bunch of people what audio dramas are 👀 maybe there'll be some new fans out there now

Big congrats to The Love Talker for their launch! Listened to the first 2 episodes and I'm truly intrigued. Great characters, strong premise, just make sure to check out the CWs before listening since it can get pretty heavy. If you love TSV's Carpenter as much as I do, I think you'll also appreciate Rin. Very similar no-bullshit vibes.

Bit late, but also a big congrats to @thewyrdsidepodcast for their season finale! I can't wait to know how it all unfolds in the next season! If you're into folk horror and podcast-in-a-podcast formats and spooky folklore investigations absolutely give them a listen!

Also, there's a new Shadows at the Door episode out 👀 this one started out genuinely cute (with a great rap performance by David hehe) and then turned into the squelchiest nightmare you can imagine. Great episode once again 👌

And I finally finished Peadar O'Guilín's Creepycast where he narrates his short stories! (6 months after I started it. I'm so sorry, Peadar) If you like spooky or strange short stories, definitely give it a try! There's some episodes that tend towards dark fairytales and a lot of stuff set in Ireland and I really enjoyed all of them!

I'll take a tiny little break from audio dramas next week to listen to Publisher Rodeo and get really depressed about the publishing industry 🫠 (jokes aside, it's really informative for anyone who wants to be a writer. A bunch of interviews with published writers explaining their journey before and after publication with a focus on the industry itself.)

[sensitively-taken]

“Because sometimes you need to have nightmares to appreciate the dreams.”

– Jay McLean

HAPPILY NEVER AFTER — MASTERLIST

 welcome ! this is the masterlist for a halloween & fantasy collab co-hosted by athena, @soobisms and rin, (formerly @karsohn, now @svhnflwr)!! :)

| theme :: fractured fairytales and horror. endings do not always end with “always and forever” and most definitely not without at least any kind of dark truth. our writers took your favourite fairytales, tall stories, and fables and twisted them into tales you’d never want to listen to as a bedtime story! ✧

— NCT DREAM

LET DOWN YOUR HAIR by @fae-renjun

pairing. flynn rider!jisung x fem!rapunzel!reader genre. rapunzel!au, dark-ish!au warnings. swords, dark magic, princesses kidnapped and kept in towers, reader and jisung kill lots of ppl together word count. 2.4k+

— TXT

ASHEN by @writingmochi

pairing. beomgyu x fem!reader synopsis. a girl, a folktale, a boy, and a shifting reality genre. psychological horror, folktale retelling (based on folk tale cinderella with inspirations from video game omori (2020) and movie everything everywhere all at once (2022)), thriller, slow burn, drama, historical au, nobility au, regency au, medieval au, rich kid au, fantasy au, angst, fluff, a bit comedic in some parts warnings. unreality! (be very careful!!),child negligence, anxiety-inducing, mental breakdown, discrimination, suffocation (warning for claustrophobics !) implicit violence (no detail), a bit of suicidal tendency, a tiny bit suggestive, will be very meta in some parts, fast pace flow that might give you whiplash, unique stylistic choices (ever-changing typeface fonts and colors), slow first act word count. 18.7k

PRETTY LITTLE MONSTER by @dat-town

pairing. hunter!taehyun x fem!oc synopsis. what makes a monster? what if you're one, too? genre. supernatural au, bits of horror, based on the Korean folk tale 'the fox sister' warnings. lots of mentions of blood, murder, cannibalism (as in eating human liver), character death, emotional manipulation, ambiguous ending word count. 5.2k

copyright 2022-2023 soobisms & karsohn, all rights reserved.

[slashingdisneypasta]

Ok so we all know that The Black Coldron is the closest thing to a horror movie we have from Disney (aside from the movie Something Wicked This Way Comes, assuming I'm remembering correctly that it was done by Disney), but what if Disney made all their movies more creepy like? I'm not talking about like if they just dropped the fairy tales and made slashers, I'm talking about the films they've done getting a scary spin similar to the Black Coldron. Like Sleeping Beauty, Cinderella, Beauty and the Beast, etc. How do you think your favorite Disney films/villains would turn out if Disney let themselves go into the dark side?

And for the other side of the coin, imagine horror films getting a more... Well, family friendly feel/look. The plots are still the same, but they get Disneyfied. How do you think they'd turn out? I'm personally willing to bet all my money that Jason would be a classic Disney prince(ss); lives in the forest, one with nature, seen as one of the more kinder/sympathetic of the slashers, etc (and Chucky would definitely have some Dr. Facilier thing going on with all the voodoo)

Oh I love this concept!! First of all- Disney movies getting a darker twist.

Considering most fairytales and mythologies are dark in the first place- it wouldnt be very difficult. Unfortunately though I can't think of anything original 😅 Most everything has been done before with dark disney. Sorry I can't be more creative!! Haha 😅

As for Disney-Horror though!! I actually do have some things in the works for that- silly crossover things XD Like:

Hercules with Y/N as Meg, Jason as Hercules and Freddy as Hades. (Just fits so well?? 😅 )

The Princess and the Frog with Y/N as Tiana, Michael as Naveen and (Yes!!) Chucky as Facilier. (This is for sure the most crack, but I love Michael and Chucky together as a concept so 🤷‍♀️)

The Lion King, with Y/N as Nala, Thomas as Simba and Hoyt as Scar (a la the creepy Madness of King Scar scene where Scar Hoyt will try to convince Y/N, Simba's Thomas' betrothed, to help create a 'Host of little Scar's' with him)

Apart from silly x reader nonesence- I can truly see some of these Slashers as Disney movies though!! Haha XD Maybe I'm crazy- but- Jafar's and Jasmine's whole slave girl scene is farr creepier then anything Freddy did in the first ANOES. He was still invasive in that movie of course, thats the scary thing about Freddy, but with less then 10 mins of actual screentime he was not the full-on, backwards ✌️ sign in front of his mouth kind of sexual predator character that he builds up to. They could definetly keep the 'I'm your boyfriend now, Nancy' line considering the way Hades talks to Meg in Hercules and mayyybe the phone thing too (After all... Greasy did full on stick his hand down Jessica's cleavage in WFRR and that is a Disney movie folks XDD)- it's just the actual slashing that's posing a real issue!! XD😅XD😅 But Freddy's method of killing can be cushioned, I guess- make it more ambiguous and fantastical? With the dream powers and all. ANOES definetly has the magical element+larger then life, handsy villain+memorable setting+memorable heroine, which seems to be a tride and true Disney movie sum XD I dunno, take this or leave this- I'm just talking! XD 😅

Also Freddy has the greeeeen element, you know?? The limeeee green?~~

... plus if ANOES is animated you can have the original cast back *cough*

AND I LOVE YOUR DISNEY PRINCESS JASON IDEA!! He is absolutely majestic enough. Imagine that's how he knows where all his victims are, though?? Squirrels and little birdies tell him XDD

Imagine that movie though!!! A backwards Slasher with Disney animation and a KILLER ZOMBIE PRINCESS. He can talk to forest creatures so you can't hide, he's hard-working so you'll never get away, and his mother is dead. Because, obviously. They're all dead.

^^^^ this fucks me up (negatively) WAY WORSE THEN FREDDY'S SLIMEY TONGUE

[thepringlesofblood]

Casting My Opinions Into The Void: d20′s Neverafter ep 1+2

this is the first d20 campaign im going to be following live and i am excited enough to do a lil post each week or so about it. mostly bc recycling and adapting and retelling and retranslating old stories that “everyone knows” is my whole shit. like i got a degree in the study of ancient greek and roman civilization (classics). my whole thing is reading old myths and plays that “everyone knows” how they go and seeing what each author/translator brings to the table.

anyway i watched episodes 1 n 2 and i am excited and my observations are below

(like if you were really into the Sisters Grimm series as a kid and are similarly excited for this lol the modernized fairytale characters in that series are literally called “Everafters” and its because it’s really good shorthand for the audience. i see you brennan i see you)

normally ppl who do the whole ‘dark/horror/thriller fairytale’ thing fuck it up bc they think it’s about the shock value, or about seeing how nasty you can get with it, so I usually avoid them, but after bingewatching a kadrillion d20 campaigns, I trust brennan to do it right. you have to find the core value/crux of what is horrifying about the story and tease it out, and play with the symbolism and icons of the original story to reflect that. and brennan fuckin delivered.

ep 1

folks, give a hand to the people who put detailed yet non-spoilery content warnings in the description. tbh dropout shows are setting the standard for sensitivity and inclusion in media. it’s so lovely to see a show w content warnings or pronouns put up onscreen and it just not be addressed. i am forever spoiled for any other kind of media tbh

at some point in the past, brennan found out he could make a really good realistic choking/gagging noise, and he has used it in every campaign since.

i appreciate the ‘scare off the meek early’ approach of it all.

th. the briars. the concept. the dead princes - UGH good backstory yall

i very much like the idea of becoming a ranger out of necessity, and because plants obey you on account of that whole feeding-on-your-blood thing

puss in boots using ‘pib’ as a nickname instead. of ‘puss’ or ‘boots’ - inspired

also zac is using his ‘smart little shit’ voice like he did w lapin and i am v excited.

look ill say it - the little red hen did nothing wrong and thats on that. i read that one when i was very little, it was on electric company or sesame st or between the lions, and i’ve always liked it.

so......anyone see how mother goose’s husband has the last name hubbard? like old mother hubbard lol

also there really is a Jack in so many stories, i’m glad we’re addressing this. little shit gets up to so much trouble

it feels like I have seen so many tired rewritings of little red riding hood, even though I can’t think of any off the top of my head. it’s usually a sort of surface-deep ‘girl power!’ situation. i’ve never seen one like this. i LOVE it. it was terrifying. the fact that we all just sort of accept ‘barbarian’ as a normal dnd class is kind of wild tbh, i like exploring that rage and its source.

Ep 2

saying the actual nursery rhyme in the context of being the nursery rhyme is so powerful. i fully didn’t understand what was happening to nat king cole (v powerful) until he was gone.

also, herr drosselmeyer - fantastic get. you have to talk about the sugar plum fairy at some point and they already went in hard on her in acoc so i love that they were like you know what, it’s weird uncle time.

(context: herr drosselmeyer is clara’s eccentric uncle with a bunch of automatons and he gives her the nutcracker)

also every production ive seen has his drip immaculate. 

my gender is this man’s cloak

Murph is the fucking ball again

“Please tell me how you’re a monster too so I don’t feel so alone” - Jesus Christ Emily Axford

Almost getting distracted by a bird instead of picking up v obvious plot hooks: pt 2

cinderella.......dude

Brennan really looked at K’s finale scene from mismag and went “how DID the mice get lithium?”

The POV of the mice - simplifying it makes it sound ridiculous, but if you really dig into the idea of the mice as sentient beings it’s horrifying.

Dude the symbolism…stepmother eating her kids bc they were always either a tool or an obstacle to her, of course they would be a sacrifice to her hunger for power.

i’ve always liked endings that have the stepsisters reconciling w cinderella bc in the end they were also victims of abuse and it wasn’t the same or the same degree of abuse as cinderella but they were still constantly on thin ice

can you tell that i rewatched d20 live recently and sobbed at adaine and aelwyn’s ending?

Cinderella stabbing the fairy godmother with the broken heel of the shoe that symbolizes both the ending she was meant for and the life that she was forced into. Turning that into glass armor. dude.

The pumpkin carriage rotting bc the fairy godmother is trying to make the happily ever after stay exactly how it is forever but nature decays and time passes and she can’t acknowledge that without realizing both that her role is in the story is over and not only does cinderella not need her anymore, cinderella doesn’t want her anymore, and maybe never wanted her in the first place. 

When puss in boots was asked what he wanted in life and he just said ‘to be comfortable’ #relatable like I know all this is gonna end with him realizing the value of love and friendship over material goods and I 100% agree with that but i feel like this goal or some variation of it are v common today and not often addressed in stories like this

Pinocchio swearing - 10/10. Also how the fuck is Lou doing a Pinocchio voice that perfectly straddles the line between hilarious and annoying. It’s ridiculous enough to always be funny, but sustainable and varied enough that it doesn’t grate on you.

i think we’re getting into “all the princesses in all the stories are all sisters” territory and i for one am THRILLED

"mirror, mirror.......leaned up against the wall”

we learn in this adventuring party that the OG concept for lou’s pinocchio is that he snapped off his nose so he would be able to lie, which is AMAZING. i fully did not put that together.

i am v excited for this battle, and v terrified.

[adarkrainbow]

As I have been reblogging and looking back at Sleeping Beauty stuff around the Internet, I realized the thing that is bothering me a bit... When it comes to the you know "original" format of Sleeping Beauty.

Everywhere on the Internet you have these posts and videos and whatnot about "The dark truth behind Sleeping Beauty" or "The Horrifying Origins of Sleeping Beauty!", and they all refer to the fact that in the "original" version of the tale, she got raped in her sleep. This is the "dark fact" everybody LOVES to spread around and talk about. Except... Except the version they refer to is Basile's "Sun, Moon and Thalia".

Why does that matter? I'll explain.

Everybody depicts "Sun, Moon and Thalia" as this sort of dark, horrifying tale of a grim and gruesome crime. They will have in their video a dark background, and creepy illustrations, and they will take an ominous horror movie voice and whatnot.

But there's a big problem with that. Basile's stories were all except serious. They were humoristic tales. Or more precisely, they were farcical stories. Farces. There's a reason its "twin compilation", Straparola's fairytale collection, is called "Facetious Nights". So the very idea of presenting these stories as if they were meant to be taken seriously is completely misreading the story's tone. Yes there was a rape - but if you extract this from the entire context and storytelling, you make this tale sound like something it is absolutely not.

"Sun, Moon and Thalia" is not meant to be a horror story. It was not meant to be read as "serious" story. It has nothing to do with either the Grimm or Perrault fairytales. The entirety of the "Pentamerone" is basically a folk-sex comedy. If such a thing can exist.

Every fairytale of the Pentamerone is opened by a small recap of the story announcing what it will be about - and already from the get-go the very two lines opening this recap give the humoristic nature of the tale away. "Thalia dies because of a splinter". I mean come on - the joke is obvious. A girl gets a splinter, she dies. And if this wasn't enough the rest of the sentence can be translated as following: "she is left in a room where the son of the king penetrates and makes her two children". The choice of the word "penetrate" is to highlight the pun in the original line where the prince entering Thalia's bedroom and the prince entering Thalia's body is resumed in one same verb.

For more breakdown of the jokes of the story, see below the cut:

As I said before from the get-go the "curse" is treated as a joke. You have this king that summons scholars to make his daughter's horoscope, right? And what does it say. "She is in great danger... BECAUSE OF A SPLINTER!". This is literaly the killer rabbit of the Monty Pythons.

In this story, what does the little old woman that offered the princess the spindle does, once the princess falls dead? (Because she is dead in this version, a magical death, but dead still). Does she warns everybody and cries for help as in Perrault's version? No! "She was quick to find back the stairs [from which she came in]" and she runs as fast away as she can without warning everybody, because she's not going to get into trouble because of some random girl that wanted to see how to spin.

The whole arrival of the prince is very, VERY unprincely and part of the joke. (Well it is a king here but I'm going to call him "prince" so as to not lose people). So he is hunting, right, and his hunting falcon enters the countryside building in which the king locked up his daughter's corpse. The prince wants to get back his bird, so he knocks - because he believes the house is inhabited. And since nobody answers and he REALLY wants his bird back, he fetches a ladder and is forced to climb up a window like a vulgar thief. And he is royalty, remember.

What is the prince's first interaction with the dead Thalia? Believing she is asleep, he starts talking to her. And since she doesn't answer he kind of shakes her around in trying to wake her up. And then suddenly, realizing she kind of looks good (an that she is visibly not alive anymore), he "does his little business" and promptly puts her back where he found her and leaves. Because he is, like most men in the Pentamerone a stupid horny dog without much morals that has the most sudden and bizarre bursts of sexual desire. Cause again the Pentamerone is a sex comedy.

In fact, in the story of "Sun, Moon and Thalia", the prince is MEANT to come off as quite stupid. He is stupid. First off he didn't get that Thalia was dead when he saw her. Then, as soon as he leaves the funeral-house, it is said he "forgot all about this adventure". Like literaly, he forgets all about it - and only suddenly remembers it randomly when Thalia wakes up. (The narration itself highlights the randomness of the events - the fact the prince remembers Thalia is random and for no reason, and in the same way there are two fairies that randomly appear out of nowhere to take care of the two babies and we are never explained anything about them - they even frighten poor awakened Thalia because she doesn't know who brings her magically food every day). When he sees back Thalia, he is all joyful and happy and he is like "Let's start a family! I'm a dad, woohoo!" ; and then the narration drops the bomb that nothing had foreshadowed: "Now, his wife was waiting for him back at the palace." The randomness of dropping the fact he has a wife is meant to be the joke, since we were led to believe he was a bachelor. But given the prince's tendency to forgetfulness it is very likely that he simply forgot he had a wife.

More of the prince's obvious stupidity and air-headedness. On one side how he betrays Thalia and her children's names to his wife - because he just can't stop repeating and singing their names out loud, day and night, even when eating or sleeping, due to how silly-happy he is. On the other, the reason why he is absent while his wife tortures Thalia: he got angry at a comment of hers, and because he was furious, he literaly had to go to ANOTHER LAND just to vent his anger. Literaly, he leaves his palace and moves to another of his domain just because he got pissy. And why did he get pissy? Because his wife kept ironically singing to him "Eat, because what you eat belongs to you" when she served him his "children" - and the stupid prince, unable to understand what she meant, literaly answers "Of course it belongs to me: I'm the bread-winner of the family, while you're doing nothing and bringing nothing to the house". [Which by the way, highlights the fact that in this couple, the wife is depicted as profiting off the king's wealth and power].

Speaking of the dinner around the fake "children": this meal is another sex joke. Because the two of them, the wife and husband, are "panting with desire" around the dishes, and keep singing stuff like "Oh that's good, oh that's good!" and "Come on, eat, come on eat!" making it all an erotic scene. A ridiculous, grotesque, perverse erotic scene around what one character believes to be a cannibalistic meal, while the other just very loudly appreciates good meat.

When the queen tries to have Thalia killed, Thalia tries to defend herself by the fact she didn't know of the queen's existence, and that any sexual thing that happened between her and the prince was in her sleep - which the queen of course does not believe because of how ridiculous it all seems. I mean you catch who you believe is your husband's lasting extra-marital mistress and what is her excuse? "Oh no you see, he made me my kids when I was asleep. Well kind of dead. I didn't know. No he did not wake me up. I didn't wake up either when the kids were born. I'm a really deep sleeper. And it was because of a splinter you see..." Literaly, imagine yourself in the place of the jealous queen hearing all that.

Thalia gains time on her execution by asking the permission to remove her clothes, and the queen accepts, but as a joke she accepts out of greed because she literaly wants to take back Thalia's dress and jewels for herself. And each time Thalia removes a piece of her clothes, she screams. She screams in hope of alerting the prince. But since the prince is far away, he doesn't hear until the very last scream. Meaning that Thalia literaly strips herself in front of the queen, while screaming every time she takes off a piece of clothing, to visibly no effect (which must leave the poor queen quite confused), and it is only when Thalia gets naked and pushes the final scream that the prince suddenly arrive. You can imagine Thalia going: "FINALLY! I've been screaming for hours now!" (especially when you consider how much pieces of clothing princesses wore at the time).

Literaly one of the threats the prince gives to his wife is "Get ready to go fatten up the broccolli". As a metaphor for being dead and buried underground. Tip-top manly threat. In fact the prince is here quite proficient in ridiculous poetic metaphors: when the cook reveals he saved his children, the prince says "Get ready to move out of the small kitchen of my castle to the vast kitchen of my heart."

And of course the final "moral" of the story is also part of the entire farcical joke that is this story. "People who are lucky receive good fortune, even in their sleep". You literaly have a girl who is randomly raped in her sleep and gives birth to children in her dead-sleep, and then is almost murdered by the rapist' wife... And THAT'S the moral of the story? If you take it all literaly, then you are a fool. Or at least Basile would have called you a fool.

Again, people tend to forget that when it comes to literary fairytales (but also a lot of folk-fairytales) there is a TONE that is important. It is the brothers Grimm and other collectors after them that imposed the idea that fairytales were meant to be read "seriously". A lot, LOT of fairytales were originally humoristic - even going into dark humor or sex comedy. And whenever you go by Straparola or Basile, you HAVE to look at them under the angle of a joke or humor, and search for the puns and caricatures and ridiculousness within these tales. Because these books were meant to be read as such. They are like Rabelais' Gargantua or Shakespeare's comedies. You can of course reinterpret them as "serious" tales... But it won't remove the fact the original was humoristic.

[shortroundandeasytotrick]

The bbeg of the Never After is Homogenization.

~beware my ramble~

The erasure and sanitization of stories that then get commodidified and distributed on mass to be the "right version" of the story that then become almost the "only version" of the story. Erasing centuries of culture and influence, beliefs and experiences, real world problems that these stories portray, and replacing them with the most marketable version.

And in a way, the stories themselves end up cannibalizing their different versions to fit in as the "right version" or just the nature of time combining and losing stories over time.

Like all of the worlds and groups are from folklore. Stories that have been told over and over again, that change to fit the world and the message that needs to be conveyed. Folklore isn't supposed to have a "right version". Much like weaving, the basics of cloth weaving are very similar all over the world but what is made with those techniques, the styles and additional learned cultural practices, can be so very different or so weirdly similar you wouldn't believe they came from different places across the globe from one another.

But in our more modern era where all of our stories feel factory made, we know where they come from, they aren't "folk" in so so many ways. The closest we get to folk media these days are MEMES. They are passed around and shared, often the original poster gets lost or is not common knowledge, have real world effect and meaning, and exist mainly in a specific group culture (internet culture, tumblr culture, etc) To quote my old professor "All folklore are memes, but not all memes are folklore" Think Creepy pasta vs horror movie. Internet legends, "send to 10 friends or blank will happen to you". BLORBO is a folk term. Slang in general I believe is counted as folk based. FANFICTION IN MANY CASES IS CONSIDERED FOLKORE BTW and I find that sooo delightful.

And whats kills memes faster than anything? The commodification of it! When companies go "ooo that'll make us some money" and take it and sell it back to us for profit. Often these days it feels choc full of advertisements and versions of propaganda.

In this era of Disney overlords defining the genre of fairytales to the point that they have set the standard for what is cannon for certain stories they tell. Like the first time I found REAL fairytales I was like 9 and cried myself to sleep because they got so dark, and how were we (me and my mom) to know with how we expected the disneyfied version of the story. Ironically it could be said that the Grimm's Brothers are guilty of the exact same thing in their era, commodifying and centralizing their versions of the stories.

I could also get into the demonization of tropes (lookin at you cinema sins) because tropes are the building blocks of story telling. Common themes and elements that we recognize because they MEAN something to us.

But, and I know what site I'm on, fanfiction is a great example of taking those stories and in some ways turning them into folklore. Its not because we believe we can tell the stories better, in most cases at least, but rather that we take the elements, characters, ideas that we connect to that we love and mean something to us, and make play with it because we have our own stories to tell.

The Homogenization and restricting of what counts and what doesn't ignores the importance of the differences in the stories.

Ylfa's "right" version is a lot like how the animals describe being part of Aesop's fables. There's no nuance. There's no room for change and adaptation. And in a world ever changing, even in bad ways, you have to change to make it work. Even Gerard's "Sometimes you have to be scary in a scary world" touches on this. The barebones basic Little Red Ridinghood is unrealistic in its simplicity. And also kinda blocks out how that whole experience would still be heavily traumatic for anyone (being attacked by a wolf and seeing your granny crawl out of the wolf's destroyed body ain't pretty) , even if it is better than the experience in this life. Meanwhile the more they die, the more versions of their stories get cannibalized and lost to time. Much like how folklore and stories die when culture dies.

Also Stepmom literally consumes story elements into non existence.

Nom Nom

[abbydesignsstuff]

For the visual text project I am choosing literature from 3 different Grimm fairytale stories. The overall theme for the project is horror and unsettling children folk stories since the grimm fairytales tend to teach lessons but in a very dark matter. By following the two text rule the two fonts I have chosen are Mason Serif and Bradley DJR.