The story of Hansel and Gretel admirably illustrates the way in which an evil parent is reflected and distorted in the mirror of the fairy-tale world. The stepmother who fails to nurture the children and who drives them from home reemerges in the woods as a false provider, as a cannibalistic fiend masquerading as a magnanimous mother. In other tales, say “Little Brother and Little Sister,” the equation between the two figures is explicitly stated: the witch in the forest is indeed the stepmother stripped of her parental disguise. The evil forces at home habitually reappear, with all their flaws writ large, in the enchanted realm that constitutes the tale's principal setting.

Maria Tatar, The Hard Facts of the Grimms’ Fairy Tales

Manifesting that Dany’s third pregnancy will be to term and she’ll have a boy and a girl

(Maria Tatar, The Hard Facts of the Grimms’ Fairy Tales / AGOT / ACOK / ASOS / ADWD)

Sunsprite Arc

Full name: Sunsprite Summer Rose Arc

Nicknames: Lady Arc, Lieutenant Arc, Sunny (by her parents)

Hair color: Blonde

Eye color: Silver

Occupation: Leader of the Knights of Arc, Second-in-command pf Vale's military, Member of the Resistance, huntress

Affiliation: Clan Arc, Knights of Arc, The Resistance, Vale's military

Semblance: Aura Amp, Rose Manifest

Weapon: Crocea Mors (upgraded into a scythe)

Family: Ruby Rose (mother), Jaune Arc (father), Yang Xiao Long (maternal aunt), Taiyang Xiao Long (maternal grandfather), Summer Rose (maternal grandmother, deceased), Qrow Branwen (honorary great-uncle), Jaden Arc (Paternal grandfather, deceased), unnamed paternal grandmother, Saphron Arc (Paternal Aunt), Terra Cotta-Arc (Paternal aunt), Adrian Arc (paternal cousin), Unnamed 6 paternal aunts, Unnamed paternal great-grandfather, Unnamed great-great grandfather, Mirak Arc (great-great-great grandfather, deceased)

Biography:

Sunsprite was born to Ruby Rose and Jaune Arc. Named after a yellow rose that represents to feel positive and hope, and the promise of a new beginning. Like her mother, Ruby, Sunsprite is born with silver eyes.

She was born during the time of the 2nd Great War in Vale. As an infant, it was the only time Sunsprite sees her mother, but Ruby feared Salem will come after Sunsprite (due to the fact that she has silver eyes). To lure Salem away from her daughter, Ruby resolves to leave. But not before telling Jaune, and asked him to give Sunsprite a letter when she turns 17.

After Ruby left, Jaune was left to raise his daughter on his own, with the help of his older sister, Saphron, and Ruby's older sister, Yang. This way, Sunsprite will still be surrounded by love and family, even during the hard times in the 2nd Great War.

As Sunsrpite grew up, her aunt Yang would not only spoil her and spend some time with her, but also taught her niece hand-to-hand combat. Then Jaune would teach her swordsmanship, but she prefers to fight without a shield in order to excel in her speed.

Later, she would meet her honorary great-uncle, Qrow Branwen, one of the surviving huntsmen that has been watching over Sunsprite from a distance until now. And the one who taught Sunsprite's mother the ways of the scythe. Qrow then taught her on her to use a scythe.

When Sunsprite is ready, Jaunes passed her his own weapon, Crocea Mors, which has been in the family for generations. With this, Sunsprite would readjust the family sword so that it can also turn into a scythe. Jaune doesn't mind this, since he acknowledged her creativity and strategy.

After she turns 17, Jaune finally gives Sunsprite the letter. On the letter, Ruby explains her reason for leaving for the fear of her safety. But encourages her to fight for what she believes in. It also includes a journal that tells her stories about her friends, her time in Beacon Academy, and her journey for the four relics.

During one of her missions, she is helping evacuating the civilians in the town of Sunset Island, when the Grimm got too closer to the crowd, Sunsprite wasted no time to fend off the protect the citizens. It also unlocks the semblance of Rose Manifest (which turns her into Rose pedals to switch from one to to another).

Personality:

Since then, Sunsprite has become the leader of the Knights of Arc. A group of hunters that serve as protectors of the weak and aiding the Resisatnce. Because of this, Sunsprite unlocked her father's semblance, Aura Amp. Which is surprising, cause never before a huntsman and/or huntress can unlock two semblance, and she is the first to do so.

And because of her dedication for the rebellion, Sunsprite became known as "the Silver-eyed Knight of Remnant."

Sunsprite is similar to her mother, Ruby, intelligent of strategy, and filled with dreams despite being involved in the 2nd Great War. And filled with nostalgia when hearing fairy tales as a child. She tried her best to remain positive throughout her battles. Like Ruby, she also has a sweet-tooth for sweets such as cookies, or other baked goods. And would make them from her grandmother's recipe.

She would refer to her father, Jaune as a "Super Dad," who told her fairy tales in Ruby's absence and spending time with her when not fighting in war. For that, she is close to her father, even if he is absent for busy reasons. Which Sunsprite doesn't mind.

Sunsprite dreams of writing her stories, and would write down her journal previous events, so that if the war is won, she can convert them into a book. Writing down her journal, Sunsprite longed to meet her mother since she left. And was curious about what caused her to leave.

For Valentino, in the Wish trailer, I think the problem with him is that he feels so... marketable. The first time I looked at him, my brain automatically spat out, "This is the tie-in plush for this movie they'll sell at Build-a-Bear, $35 for the goat, $5 for a soundchip with five to six of his phrases from the movie, $15-20 for the little romper suit he's wearing." (Saying this as a former employee of that store.)

Flounder, Cinderella's birds and mice, and Abu are all characters their movies could have done without, but they also act as friends, companions, and confidants to the main characters, give them someone to talk to so they can share their inner thoughts with the audience in a way that doesn't feel forced, and lend aid in times of distress (Flounder helps Ariel make it to shore once she's turned human so she doesn't drown in the middle of the ocean and helps her get to Erik's ship to stop Ursula, the mice and Abu both arrive with keys to help free Aladdin and Cinderella when they're imprisoned).

Valentino gives the vibe that he's both meant to riff on this and sell as many toys as possible.

Yeah I keep getting the same feeling from Wish. “Ugh, another [insert Disney formula element here.]” But I can’t figure out why. I remember when Tangled and Frozen and Princess and the Frog hit theaters. I never felt that way looking at the trailers. I never felt that exasperation. I like the formula. I think the formula is good. I really don’t mind it when a character is cute, appealing to watch, and therefore merchandisable because that’s part of all character design principals. I don’t get exasperated by the formula… But I do for Wish’s trailers.

I don’t know if that’s because my opinion on Disney has changed, or because some subtle lazy thing is present in the trailers that I can’t put into words yet.

Anyway. A word on sidekicks (because you brought them up and maybe analyzing them will help us figure out why Valentino feels the way he does:)

Flounder is a great character because he not only gives Ariel someone to talk to and interact with, but because he’s a subtle contrast to her. She is brave and never gives up: he is fearful. He even has a tiny bit of character development from standing in Ariel’s shadow. At the beginning of the movie, she has to coax him to stick with her and enjoy their adventures. At the end, he is towing her along and fighting eels bravely.

Same thing with Abu. He’s what everyone would expect Aladdin the Street Rat to be: a grabby, selfish, greedy little thief who’s only out for himself apart from his friendship with Aladdin. Having Abu to scold and correct and coax brings out the compassion in Aladdin, so that the audience can see: here’s how everyone sees Aladdin, but the monkey proves that he’s the opposite of that.

CINDERELLA is forever my favorite to talk about and one of the best examples of the sidekick formula so excuse me while I geek out for a moment: did you know that in Charles Perrault’s fairy tale story, on which Disney’s Cinderella is based, there are no animal sidekicks? There aren’t any helpful birds or mice in the Perrault version. There are some in the Brothers’ Grimm version, but they’re birds. Not mice.

Walt Disney added mice, not just because they worked for his “animation’s gotta have gags for the kids” philosophy, but because the fact that they’re mice says something about who Cinderella is. The audience gets to see that this girl, who spends all day working for wicked stepsisters, spends her free time doing what? Working some more, on clothes for mice. Even if she weren’t being bossed around, she would still be a hard worker. She would still be kind to the lowest, most pitiable creatures. She would still be helping unfortunate creatures out of traps. She would still be finding the good points in creatures that are usually thought of as vermin, disgusting, nuisances, and thieves.

Maybe that’s it. Maybe Valentino feels annoying because he doesn’t bring anything out of the new princess, Asha…yet. We haven’t seen the movie yet! Hang on to hope. He might still be a character with his own flaws and arc to go through; he might still be one-dimensional, but the opposite of one of Asha’s dimensions.

I do think you can know things about a movie from the trailer, but when you try to analyze Wish’s trailers honestly, you can only get:

Valentino is happy about talking

Valentino apparently has an affinity for wood (or is constantly itchy?)

Valentino is brave (he responds to new things like leaves swirling with wonder-expressions, and he’s chasing the shooting star with interest instead of fear like Asha, and looks confident and sassy on stage when Asha looks a little awkward.)

Valentino has a zest for life. (I think he’s saying “life is to be lived!” to the chickens before Asha opens the door and the chickens do the singing dance number. And then obviously he’s trying to inspire them.)

That’s not much to go on, but then, neither are the things we can learn about Asha, or the King, or anything in those trailers. So I’m trying to stamp down on that sighing thing in my brain that somehow started hating the Disney formula in the trailers, until I watch it.

Headcanons about Cupid getting used to Ever After High + a theory about her drastic change in character:

• First of all, and this had already been said, switching puns. She had a notebook where she would write down the Fairy Tale puns and their meanings so she wouldn't get lost, but to this day she still forgets to use them unless she's actively thinking about using them and will slip back to the monster puns when she's distracted or anxious

• She had to get used to acting like things that are normal to her are scary and evil. She can't talk about her friend Ghoulia who's undead, her podcast partner who's a snow monster that can freeze people with a wave of her hand, the beast like friendly werewolves, etc. That's honestly the reason why she doesn't talk about Monster High, when she tried to share her past she was met with such fear and disgust she just… gave up.

• On a slightly more lighthearted side of the last topic, she also had to get used to the fact that dark humor is not seen like a good thing at all. No, Cupid you can't make comments about corpses and drinking the blood of people. 

• She also never talks about her more monstrous appearance. She just knows that once the royals found out about the bone wings they would fear her.

• She has to accept that many of her beloved monster colleagues would be considered evil. Deuce, joking about turning his friends into stone, the Wolf siblings, meat eating beasts capable of killing a human in seconds, Draculaura, with her fangs and blood sucking nature (even if she tries to hard to deny it), Heath, who can't help but catch things on fire. No space for being yourself in ever after high.

• I also think that there's something or someone behind her not being herself. Cupid can be a bit traditional but I don't think she would be a royal if she had the choice, my guess is that Headmaster Grimm is manipulating her into being one and working toward making the students fulfill their destinies or even worse, enchanted her to think she believes that.

• And here comes my personal headcanon. I think she was love potioned, by Headmaster Grimm, to love Dexter. Falling for a royal, a Charming of all people, makes her easier to manipulate into taking the royal's side, she wants to impress him and be by his side, it would also explain her drastic change in personality which, by the way, the way she acts towards Dexter is similar to the way she acted towards Clawd when she accidentally made herself fall in love with him. 

numbers 1 and 18 for the sherlock holmes ask game 💙💙💙

🩵🩵

1. Favourite canon quote?

So hard to pick one, I was tempted to go with Holmes' "it is only goodness which gives extras" speech or the bit in Three Gables about a writer changing the names but leaving the most essential facts, but in the end, if I don't stan for Sussex Vampire who will?

“Matilda Briggs was not the name of a young woman, Watson,” said Holmes in a reminiscent voice. “It was a ship which is associated with the giant rat of Sumatra, a story for which the world is not yet prepared. But what do we know about vampires? Does it come within our purview either? Anything is better than stagnation, but really we seem to have been switched on to a Grimms' fairy tale... Rubbish, Watson, rubbish! What have we to do with walking corpses who can only be held in their grave by stakes driven through their hearts? It's pure lunacy.”

18. Favourite piece of Sherlock Holmes related trivia?

Big fan of the "Doyle wrote the second Holmes novel as a direct result of a conversation with Oscar Wilde where where Wilde in turn wrote The Picture of Dorian Gray" bit, or Doyle basing Holmes on his teacher, but my recent favorite is Doyle spending a few months as a medical officer on a whaling ship named the Hope. You literally could not make that up.

Sherlock Holmes Ask Game

I keep forgetting I have a lil book of Hans Christian Andersen fairy tales

I on the lowest of keys cannot remember how I got it (I know I bought it from somewhere and it didn't just MANIFEST in my home) but the memory is so foggy compared to like...all my other books I've gotten and I think that is so ominous yet fitting???

It's especially weird because I always remember I have it, think it's just little bits and pieces of fables and not the entire stories themselves (since I know some fairy tale books do that so you can blaze through them when reading them to children), flip through the index and pages and see for a fact "Nope it actually has the WHOLE fable in here", make a note to remember it for later before shelving the book back on my bookcase, and then forgetting literally everything and repeating the cycle again. WHICH IS ALSO SO FUCKIN' WEIRD BECAUSE I HAVE RELATIVELY GREAT MEMORY???

Maybe typing this all out will break this weird ass curse I got with this book--

BUT ANYWAYS

THIS IS GREAT THAT I HAVE IT since I obviously need it for Beanstalked purposes because I like reading the original or oldest retelling of fables so I can have more fun with how I wanna twist a fable for a character...and I like being able to hold the actual fable in front of me instead of squinting at pixels on a computer screen.

I now got a book that is comprised of a good chunk of the original Grimm Brother's collection, a version of the Alice in Wonderland book but with pictures (still Lewis Carroll's writing it's just that there is artwork now which is SUPER helpful for me when it comes to understanding just wtf is going on because Alice in Wonderland and Through the Looking Glass put my brain into overdrive just trying to COMPUTE what is going on...which is lowkey the point since it's all nonsense BUT STILL), and a collection of Hans Christian Anderson fairy tales.

I HELLA want a copy of Carlo Collodi's Pinocchio (I searched so damn hard last time I went to a bookstore and I couldn't find one book of it save for a sparks note version in the kid's section) BUT I AM GONNA KEEP HUNTIN' FOR IT!

It'd be cool if I could find a version of Joseph Jacob's collection of fairy tales as well as one of Charles Perrault's just to cover most of my bases with Beanstalked.

I'm curious as to your thoughts on fhsy and how that used horror as opposed to neverafter (I'm pretty you mentioned seeing it?, otherwise, disregard). I also came out of neverafter really unsatisfied with the horror, but felt like brennan was able to pull it off much better in fhsy with the nightmare king, obviously baron, and kalina. Those scenes are the ones I keep coming back to because of how unsettling certain aspects of the nightmare king/kalina worked. Do you think that was a better example of Brennan's horror?

throwing in some good tags from @criticalrolo to answer this all in one go:

#prev tags extremely real and I’d love to read your thoughts on brennans DM style#totally totally agreed that there were a lot of parts of neverafter I liked but the Dense Lore was. NOT the best for a horror season#like. horror is based around the concept of Not Seeing or Understanding the Monster#so having a LOT of Dense Lore felt. WAYYY off base and it all got explained WAY too early on in the season I think

I think the takeaway is that Brennan's style - which is all about Dense Lore, that's his whole deal, have you seen the Make Some Noise where he has a prompt to spin dense lore and he just does it immediately? - is not suited to horror, where you can't have dense lore. Horror I think benefits from having one big convergent reveal. Like...the example that's coming to mind is Get Out, which is horror-comedy and also reveals how little true horror I watch (really more a New Weird kind of girl). There's a lot of unsettling details but they all build up to the one big reveal of "this white family does brain transplants into black people so they can live in their bodies" and it all clicks into place. There's plenty of lore but it's very streamlined whereas Brennan's tends to be convoluted - much more suited to, say, high and heroic fantasy and space opera and more sweeping genres like that.

So Fantasy High Sophomore Year (which I have seen but not since its original airing) works because it's not a horror story. It's pretty wacky, and Kalina and the Nightmare King are a part of a much larger story, so you have plenty of other things to do while that's allowed to simmer throughout. I think the problem with Neverafter is that you need the early reveal of the authors to set up the motivations of the princesses and fairies, but at the same time there's kind of not much else going on so the dense lore just feels like wheel spinning and ends up amounting to very little. It's like...there's a very cool story about the concept of narrative and being inside a story, which is very much my shit* and then also we keep cutting to the inside of a spirit halloween in which someone's reading Grimm's Fairy Tales for two hours at a time. I don't actually know how I'd fix it other than "stop making it horror," is the problem. I think dropping any other trappings of horror and just being fairy tales and having to sit with the knowledge that you are an archetype or a pawn or an avatar or a moral lesson would have been the route and maybe focusing on that instead. Lean in really hard to the vibes of episode 4. This will probably make people who are into gore and whatnot mad but the thing is that like, while I'm not into that I understand the appeal, but I also think that it's never going to be given justice in a primarily auditory medium. Which is the other reason why Kalina works. It's not so much horror as a mystery that happens to be pretty scary.

*total tangent and I would need some time to put together a full list but for if this is also your shit, here's a few personal recommendations that are not just Wikipedia's list of metafictional works or works that are of the correct vibe, even though most of them are in fact on there:

Stranger than Fiction (2006 film)

Tlon, Uqbar, Orbis Tertius (Borges short story)

There is an Ursula K. Le Guin short story in which someone is a planetary explorer on a planet that turns out to be the worldbuilding project of a teen boy. I cannot figure out which one it is. I read it in high school, I'll keep looking but anyway just read a lot of Le Guin's short stories. It's good for you.

Black Sails (maybe not metafiction? but also. it's not not metafiction.)

Arcadia by Iain Pears

it's been a hot minute since I read either if on a winters night a traveler or House of Leaves but those definitely did things to my brain in college

Piranesi and Jonathan Strange and Mr Norrell by Susanna Clarke aren't explicitly metafiction but they also are very much about narrative. Also they're extremely good.

Sandman by Neil Gaiman

As I am working on a d’Aulnoy fairytale right now, I want to take some times to explain a very basic thing that one needs to get with her way of writing fairytales.

Which is the reason why d’Aulnoy was so loved and famous throughout the 18th and 19th century, before dropping of the face of the earth for the 20th, and why people often have a hard time entering or appreciating her fairytale work despite it being fundamental to the world of fairytales. Which also explains why Perrault eclipsed her.

People got used and expected to a “folkloric fairytale” format. This comes from the Brothers Grimm, who popularized the idea and concept that fairytales had to be these short, folkloric-feeling, simple but efficient stories. The huge collections of “folk tales” and “folkloric fairytales” that arose between the 19th and 20th century didn’t help the feeling. This led to the concept of fairytales as stories short and concise enough that they can be summarized in a few pages for little children to read while they fall asleep.

Of the two “founders” of the French fairytale, Perrault’s stories are those that are the closest to the “Grimm style”. He wrote short, efficient, simple stories, that can easily be summarized, and try to imitate the style of “folktales told during evenings by the side of the fireplace”. (In fact this is also why so many people oversaw the literary aspect of Perrault’s tales, simplifying them by removing all the additional things he placed in, such as the double-entendres, the little jokes or the various wordplays). But it has to be noted that Perrault was an exception, and his style was not the most common or popular one during the “French fairytale era”. Everybody wrote like madame d’Aulnoy.

And what was madame d’Aulnoy’s style? A novel style. She wrote her fairytales like novel - or rather fantasy novellas.

Madame d’Aulnoy did everything people do not expect from fairytales. She didn’t leave people’s appearance to the readers but gave long, flowery, detailled descriptions. She didn’t leave the characters as flat entities with just one trait or one goal - she explored in all her tales the thoughts, feelings and various vices and flaws of each characters, and took care to always explain why a character did this thing rather than another. And she actually wrote full dialogues, instead of having the characters speak in bare, iconic lines. 

You know when nowadays people take a fairytale and expend it into a full YA novel or fantasy story? That’s what madame d’Aulnoy originally did. And that’s why people started to reject her fairytales. They thought of them as too long, too complex, too convoluted, with too many descriptions and too many dialogues that make it feel like the story is over-stretched. It is the feeling that I had myself when I first discovered her tales - and even today, I still consider that some of the parts of her stories are too stretched, repetitive or could be cut down.

But that’s because she wrote as people wrote in her time - late 17th century France. We were at the era of “river-novels” (roman-fleuve”) where a good novel had to take at least five books worth of main plots and subplots, and where everything had to be said. Once you get in the mindset “I will be reading an old-fashioned novel”, and once you get used to the style of 17th century novels, you suddenly get into the story. The Grimm and Perrault stories kind of conditioned people’s minds to a “short attention span” when it comes to fairytale narratives. But once you get past this, the d’Aulnoy stories suddenly open themselves to you with all the wonders, marvels and horrors you would expect from a typical fairytale: fairies, good and bad, and wizards, good and bad, and dragons, and talking animals, and giants, and weird curses, and metamorphosis, and magical items, and wondrous castles, and creepy underworlds, and brutal murders, and all that. In fact, you tend to get more than what you bargained for since madame d’Aulnoy love to make her stories have various “arcs” inside of them and plot twists, resulting in a lot of magical things and items being thrown in each of them. 

(I do have to add that it is all probably harder for an English-speaker because I have seen some of the English translations of d’Aulnoy and wow, they’re really a handful. Basically what I got from these translations is that they tried to stay faithful to the style and wording of d’Aulnoy... but as a result didn’t realize they were drowning the meaning, joke and essence of wonders and horrors into a lot of antiquated words and complex sentences.)

i love your fae series so much, i love the fantastical world building!! and ghost and konig fit into the theme so well❤️ is there any writings/books or other media that you get your love and inspiration of this horror and faerie tale mix?

Oh I love you, thank you for asking. You will regret this.

I have loved fairy tales since I was little. My grandma gave me several heavy cloth bound books of Grimm fairy tales when I was in elementary/middle school and I just devoured them. I was reading Fairyopolis like it was a fucking BIBLE in elementary school. I was weird as hell(still am) and loved the idea of a world that lives not just between the cracks of our world but on top of it.

I also am the sort of person that lives for a hard magic system in books. The King Killer Chronicles is one of my absolute favorite examples for this, Patrick Rothfus is a genius with world building and making magic feel physical and study-able. The Labyrinth is another inspiration point for me in some of my other fae stories. Unbelievable that I've written a lot of fae stuff, I know. My usual sounding board says I have a knack for writing "insane women" and they're right, but also I love writing deeply disturbed people generally. It makes the "normal" people I write seem more real, I think.

As for the horror, I'm just a big horror fan. And again I was raised on traditional fairy tales, so all the gore and rules stuck to me as hallmarks of the fairy tale genre. I will say that one of my favorite horror-romance fae stories is "Pump your veins with gushing gold" on ao3. Nobody say shit to me about it, I know it's a Homestuck fic, I am so aware of this fact. I am cringe I will continue to be cringe. I take some inspiration from it, namely Ghost's brand and our upcoming body horror, but mostly I think it's a fun exploration of fae rules.

That said Fae!Ghost actually is from a dream I had. I woke up in a sweat and wrote him down because I had to get him out of my head. I didn't think anyone else would love him. I think his popularity would make him very uncomfortable lol

The Hard Facts of the Grimms' Fairy Tales by Maria Tatar and A Game of Thrones, A Clash of Kings, and A Storm of Swords by George R. R. Martin

Jon Snow by Michael Komarck, Lyanna and Rhaegar by Justin Sweet, Lady Stoneheart by Marc Simonetti

Bursting into the room: Please tell me about your idol OCs!! What music do they do? What fashion styles? Who are your favorites? Do they have any fun interactions? Do you have more art of them?

auauauAAUUGHHHH 😭😭😭😭😭 THANK YOU FOR THISSS

AHSJKDHASD idk how to talk about them !! in a normal way !! so ahhhh let me just try giving basic info about each group or smth

edit: this is so fucking LONG LMAOOO.... here is a link to all their TH (andromeda isn't done sorry), if u wish to skip my mad man blabbing altogether B)

Andromeda

my first idol ocs group, naturally was a llsif fan group love them with my entire heart despite the fact that i make content with them like once ten years, they live in my head all the damn time there are 9 of them, canonically they are the only ones who have the privilege of being "very fucking popular and successful" went from being school idols (SparkleS) with pretty typical cute/energetic concept, then debuted fr (Andromeda) and now their concept is more mature/elegant/cool

uhhh they are just wonderful girls who are all best friends and they are very cute and different and silleyyyyy and i am a horrible father bc i didn't make their TH profiles yet (THERE IS 9 OF THEM IT'S SO HARD) so here is their tag instead... ignore very old art tho 😔 also i have spotify playlist with songs i imagine they either would have or would cover - here

(also in my mind their concept/main vibe of their music kind of ever-changing, to me, they can do whatever they want at this point bc they are just so popular lol + they have units and such and i can get away with it) (they are overpowered yes yes)

Ishin-Denshin

5 members here,, they are my girl boy group or boy girl group <3 don't know how to explain it's just they are bg but the music inspo/concept is strictly what my fav girl groups i listen to got going on

total boys next door, just chill sweet guys, good vibes only fun fact all got like trauma/issues (tm) because i am certified sad boys maker, but they are all doing well and go to therapy LMAO

like Andromeda they all met in high school and started idol club together, but unlike the girlies they didn't mean to be proper idols, sorta got scouted later on anyways they are also besties, very tight-knit (trauma bonded?) and i also love them dearly they got their TH profiles, with bits of main lore and some info on their friendships - here their spotify playlist - eek

GRIMM parade

ah my funny crazy little theatre kids and vocaloid stans literally a combo of 3 quirky bitches who really love acting and dark dramatic stories

i think the most basic way to describe their vibes would be like Halloween + fairy tales? They are very extra and have like odd ways of speaking/interacting with people, but it's their charm (as per usual, very much full of brain issues, bc i gotta make my boys even a little sad)

their TH - here their spotify - here (way less songs bc it's stupidly hard to find smth i like for them)

cheer4U

literally fresh out of the oven i have nothing for themm asjkdhakdsda i gotta share tho: they are a co-ed group, and from what i have seen in life most groups give rap parts to men, but here it's boys being vocalists and girls being rappers(+vocalists), and idk how to explain but it is very fun to me, girls got all the swaggg

also a fun fact: one dude (michi) is hisoka's (andromeda) younger brother and one girlie (olly) is elijah's (pothos) younger sister

pothos

now that i mentioned them, even tho this is just about my idols i have to talk about everybody even a little pothos is a dance crew, so they are 4 dudes who make choreographies and despite my pattern of making best friends, these 4 are NOT asdjkhakjdhaskl, more like it’s 3 dudes who are friends with elijah but aren't close amongst each other

their TH - here

anison singers

just these two random soloists, with their own quirks they are dating LOL their TH - here

Urban Legends

my rock band heheeee they are just cool and awesome girlies, who make music about scary myths and folk stories their TH - here

__

re: fashion styles it either matches their concept, or if we are talking individually - it depends on each ocs LMAO re: my favorites andromeda are the blueprint, so they receive special treatment, but currently i am also crazy about Ishin-Denshin AND dince cheer4U are newborns i am focusing on establishing their personalities lol

re: do they have any fun interactions?

ok so idol groups all know each other for sure, pothos prolly interacted with them as well, but way less and more formal, soloists and urband legends def had only minor interactions IF they had those.

generally speaking, everyone in the company treat Andromeda like seniors/girlbosses (because they are) while cheer4U are now the youngest and newest group they are kinda babies to everyone Andromeda doesn't have very close relations to anyone (being popular doesn't help here), but they are considered like a proper sister group to Ishin-Denshin, due to some matching concept elements and being the 'foundation' of the company Andromeda and Ishin-Denshin def had their little collabs, specifically vocal-based, since both group got mad vocalists also important to point out that Ishin-Denshin are huge fans of Andromeda, like every single one of them loves them, they def have been following Andromeda since their school idol days and they are still not over the fact that they ended up in the same company

Ishin-Denshin and GRIMM parade are a bit closer, i think because they are the same age, and because Ryunosuke insisted they should be rivals LOL it didn't happen tho, because Ishin-Denshin are just sweeties, and were like "no thank you <3", so Ryunosuke settled on Ishin-Denshin being their supporters or smth anyways, they def hang out somewhat regularly, ofc each of GRIMM parade members is close to different Ishin-Denshin members i think main proper friendships i have are: Ryunosuke and Tadao (leaders and basically dads of their group... lowkey considering making them a couple ahaha...) Shouhei and Nobu+Kyo, Shouhei and Nobu are just besties who hang out a bunch, but two of them with Kyo had like a whole event of helping Shouhei deal with a nasty break up he had (Nobu had a shitty relationship too, while Kyo.. well... it's in his TH profile B) the point is Kyo and Nobu just helped Shouhei process things) Rokuro and Kyo - just hype boys who hype together

here is a fun meme you should laugh it's very funny (i have no one to share this with)

i don't think i have any other ~full group~ relations so here's random canon connections i remember tsubaki (urban legends) is a fangirl of andromeda and specifically their triplers unit, def stans hana, mieko and shiori ryunosuke (grimm parade) and kaede (urban legends) totally get along due to their 'dramatic freak' agenda, witnessing them talking to each other has to be an Experience, because they 100% use most extra phrases and words LMAO elijah (pothos) is a huge fanboy of grimm parade and ryunosuke specifically kyo (ishindenshin), rokuro (grimm parade) and elijah (pothos) are also like 3 energetic funky boys who love dancing kyo, tadao (ishindenshin), axe, elijah (pothos), michi (cheer4U), hana (andromeda) and shinobu (urban legends) all love working out so i imagine they end up together in the gym every now and then also totally exlusive info, but im gonna couple up ichigo (cheer4U) and kyo (ishindenshin), as well as michi (cheer4U) and shouhei (grimm parade) B)

FUNNY THING... THIS IS LIKE NO INFORMATION AT ALL AHAHA.. TIP OF THE ICEBERG... I HAVE SO SO SO MUCH ABOUT EVERY SINGLE INDIVIDUAL OC, LIKE THE STUFF THAT I DIDN'T HAVE SPACE/DESIRE TO WRITE ABOUT IN THEIR TH PROFILES... AUGH

so i finally got my hands on a copy of Grimm's fairy tales again and The Frog Prince is still so fun and baffling to me:

just a reminder that it starts with the coolest opening line of all time: "In den alten Zeiten, wo das Wünschen noch geholfen hat..." (In the olden times, where wishes could still aid...)

confusingly, the focal character of this fairy tale is not the frog* but the princess, which is an underrated fact (and another thing that made me feral about Neverafter because Gerard giving up his name for Elody's is actually the ideal reasoning for why this story seemingly just refuses to have the obvious protagonist be the protagonist)

there's a theme going on where the princess AND the person-turned-frog* are both very childlike outside the castle and then framed as much more marriage age and/or sex-aware age inside: the princess is playing with a toy and cries loudly over losing it and the frog expressly asks to be her "Geselle und Spielkamerad" (companion and playmate!) at the well, not her husband or bedmate or anything

(the appendix mentions an earlier version where he demands to be the "Schätzchen" (sweetheart) of whatever princess comes to the well right out the gate)

but then inside the castle the princess is expected to be responsible and true to her word like an adult and also reacts with a lot of disgust specifically to the idea of the frog* being in her bed and soiling her clean sheets (they're really going in on those sheets), and rates this as far worse than having him eat out of the same bowl of soup as her.

and the frog* demands to specifically sleep in her bed with her

There's an interpretation that this fairy tale is a metaphor for the princess's sexual awakening and how she has to come to terms with herself as a sexual entity (i paraphrased this kinda poorly from memory, for more info see here in the German wikipedia entry of the fairy tale), and so far all of this would work for that.

The whole nature/culture split is a big deal in German lit of the time, so that's also an angle to look at it.

But then once they're alone the frog* says he wants to sleep in the bed simply because he wants to sleep "as well as she does"? It's really hard to say if this even is a metaphor for sex on his part or if he genuinely just wants to have her life for a bit?

Completely unrelated to any of this but the frog takes a full day to make it from the well to the door of the dining hall, which is deeply tragic and very funny

The frog* is kind of dick. He's also a fucking snitch: "Take me into your bed or I will tell your father!" (direct quote)

She doesn't just throw him against a wall. She throws him against a wall "aus allen Kräften" (with all her might) and says "Nun wirst du Ruhe haben, du garstiger Frosch" (Now you'll have your rest, you disgusting frog!). She straight up tries to murder this frog*.

Upon which he's immediately transformed not just into any prince, but specifically a prince with "schönen und freundlichen Augen" (beautiful and kind eyes)? i'm pretty sure that was never in the more modern versions and it should be

Also, yes he immediately becomes her husband/betrothed "nach ihres Vaters Willen" (as per her father's wish), which is very funny because it does read very "listen kid I would really prefer if you married the handsome young stranger I made you take into your bed with you. I really think we'd both look bad if you didn't."

i am however surprisingly touched by the insta-marriage part because it is SO soft for a Grimm fairy tale actually? He doesn't just become her husband, he becomes her "lieber Geselle und Gemahl" (dear companion and husband), which is? actually very sweet? Because I really do get friendship-based marriage from that.

Post wedding a whole 1.5 lines (which is kind of a lot of real estate for a fairy tale, and just as long as the info we get on them getting married!) is devoted to them just falling asleep together and being woken by the sun the next morning?

Iron Henry remains both so touching and so confusing to me. Touching because a) this dude just loves his young master so much. He probably raised this kid! He was devastated to see him gone! He's so fucking happy for him! b) Heinrich's inclusion is actually, in tandem with the "kind eyes" part, really interesting in regards to the princess. Because both of that screams, this man is a great choice for you. He is kind. Even his subordinates love him so much that his misery nearly killed them.

Confusing because yes, I know why**, but it is still a hilarious unending mystery to me why the guy who was this upset about his master getting cursed wouldn't just, you know. Hang out with him by the well?? And give that kid some fucking company???

* I had a little ramble in the tags at some point about how weird it was that the English translation makes him a frog prince instead of the Froschkönig, frog king - because if he's a king, he's probably an orphan. If he's a prince, his father (and possibly living mother) are just the worst parents? Iron Henry knows that his master was turned into a frog (which is wild, see above), but then he would have told the king! They must have known what happened to him! Don't they have a well at their castle?** This spawned a top-five throwaway line of parental abandonment on D20 (and that is saying something!): "Yeah, they haven't looked for me that hard. I've been missing." Like yeah! In a world where a prince can make his whole kingdom look for a woman whose shoe he found, you'd think the world would be on the lookout for a missing prince???

Anyway the confusing reveal from the og Grimm's version is... it's... both? The title says Froschkönig, but then after the frog collides with a castle wall there appears a "Königssohn" (literally king's son, a prince) with kind eyes? But then when Henry comes with the carriage to take The Man Formerly Known As Frog and his new wife to his realm, he is referred to only as the young king? Listen, this is not new. These stories do not give a flying fuck about internal cohesion, but in this specific case there are so many implications to it and it will never stop making the wheels in my brain go brrrr.

** I knooow this is a fairy tale, and they don't work like that and I'm looking too hard at a thing I should accept as given. He was cursed to live as a frog in a well until x event breaks his curse. Chances are this curse included "you must be an anonymous frog in a well, basically dead to all your subordinates and loved ones and removed from all your luxuries". I still think this is fascinating and i rotate this in my head at all times.

good luck trying to figure out what the trigger for breaking the curse was btw! "until you have enraged a young woman by being too forward"? "until a woman is so disgusted by you she attempts manslaughter/frogslaughter"? Just "until a princess throws you against a wall"? He does even say "sie allein" (she alone) could have broken his curse, which opens up more questions. She alone as in, a woman who now (inexplicably) loves him? That doesn't work because she definitely did not love him when she threw him against the wall. She alone because she was the closest princess? Or she alone as in, this specific princess and nobody else? Because she is so beautiful it surprises the sun every time it shines on her face (verbatim quote)? Because no other woman could have thrown him that hard??? We'll never know and I think that's hilarious, actually.

Good day to you. I hope you have a great day.

I just came across your Snow White gif set. And I believe if we share media online we should be open for constructive criticism. I do hope it is alright with you to share a few thoughts with you. Snow White has been a creation of the brothers Grimm. Have you ever read the German original books? In them she is meant to be the prettiest of them all. This can naturally be interpreted in different ways but the whole "fair" thing you pointed out, might just be a big confusion since the translation isn't quite right. In general we analysed that the translation of Snow White never seems to encompass the context quite like the original work of the brothers Grimm does.

But the matter-of-fact context of what the queen is doing and how Snow White is being seen in "Snow White" is: The queen wants to be as pretty as Snow White. She is jealous. The queen knows her beauty and judges herself only by her outward appearance. She doesn't believe in the power of inner values, but defines herself exclusively through her looks. This is how she defines Snow White as well. The story itself revolves solely around looks. Only the queen's beauty counts. This makes her bitter. She clings desperately to the straw of “beauty” and lets the mirror confirm to her every day that she really is the most beautiful woman around. "Spieglein Spieglein an der Wand, wer ist die Schönste im ganzen Land?" (mirror mirror on the wall, who is the prettiest of them all?) "Frau Königin, Ihr seid die Schönste." (miss queen, you are the prettiest).

After this understanding has been established, one can start philosophizing. Does the queen have anxiety? Is Snow White naive? Too innocent? Too trusting? Is the queen sociophobic? Crazy?

I know today's younger generation tries to find more meaning in the writing's of old authors and poets, especially in regards to men treating women mysoginistic. Female empowerment is as big as never before these days. However, I doubt that your point of view regarding Snow White is accurate since you can't apply a story written in the early 1800s to how we see women today. And it would be absurd to try. That's what historians like myself would never dare. And I know it's hard to accept but people should simply just accept it. It is a part of history. I get why people wanna put today's values on how we regard Snow White or how we should regard her, but there is really nothing wrong with just taking the fairy tale the way it's meant to be and like it as such either. I think that's my main point why I try reaching out to you. No one is being "evil" if they treat Snow White the way it was written without adding modern ideologies to it. At the end of the day it is a ficticious story and not based on reality, which is something else a lot of people seem to forget. In the early 1800s, fairy tales like of the Brother's Grimm were mostly meant to educate children and help the young working class escape their own reality. Do not take candy from strangers, do not walk too far into the woods (Hänsel und Gretel), do not play with fire (Struwwelpeter), cut your hair and nails or you will look dirty and nobody will want to be near you (Struwwelpeter). The early to mid 1800s were about looks, about listening to your parents, about obeying the rules of authority, of being respectful to those that tell you not to do something.

Today's Disney tires to make out Snow White someone she originally was not meant to be. Just one glance at your gif set and I can tell she is a lot more outgoing, self-confident, knows her value. Snow White from 1812 wasn't like that at all. She was shy, had little understanding of what outward beauty even meant. She was the typical personification of how women and young girls were supposed to act like back then. Of course you and everyone else are totally allowed to interpret any story however you want and I'm really not trying to force my opinion on you I swear. I just wanted to share my bit of how historians intrepreted your gif set (guilty as charged). I'm studying history in Mainz, Germany (and I'm no longer in my 40s, which I think should be mentioned here) and the subject seems to be one of the most sensitive ones I've ever studied and analysed but in all honesty, not because a debate about it can't happen in a mature and understanding manner, but because people have become so overly sensitive they simply don't accept historic facts, if said facts don't suit their social media, modern 2k22 word view. It's sad to learn about history in a way that if you mention certain old-fashioned (modern in their respective period) things to people, they immediately victimize themselves because how dare you say those things, I feel attacked. They haven't even lived in those times to be able to judge because generally speaking they are not the victims. If anything, women who were living just like Snow White back in 1812 were. But again, trying to compare the 1800s and the 2000s is quite impossible. Doing it will always result in a change of originality of history.

It's insane. Studying history has become so hard, even sharing my thoughts with you now, I wasn't sure if I should do it off anon or not, simply for the fact that I wouldn't know who's gonna tear me apart for trying to respectfully educate someone on something I believe has been misinterpreted. Anyway, maybe this will never be answered either, I leave that up to you. I respect the work you do on your account. Your gifs are flawless. Have a nice day.

Hey! Thank you for taking the time to write this. I believe you're referring to this gif of mine from my Ralph Breaks the Internet series:

I appreciate you trying to educate me, but I want to clarify that I wasn't touting to be an expert on the 1812 version of Snow White. This was a humorous, spoof like post that was made of a meta-textual film that was released in 2018 (Ralph Breaks the Internet) commenting on a film property from 1937 (Snow White and the Seven Dwarfs). So, already, I'm removed from the Snow White you're speaking of. The Disney film, while an adaption of the Snow White you're referencing, is a loose adaption and is its own thing. You cannot apply 1812 to Disney's Snow White for a myriad of reasons. There's the obvious differences in plot (Snow White and the Prince meet prior to him kissing him, Snow White only gets poisoned once instead of three times, etc) but also Disney's Snow White is clearly echoing Old Hollywood in a way that isn't time period accurate to the tale you're referencing (from Snow White's hairstyle to her bare arms, etc).

When it comes to the morals and ideologies you suggest, I have a different take than yours. For starters- and I'd like to reiterate this- I was posting about the values in 1937's Snow White, not the 1812 version. For example, if I ever do a defense post for Cinderella, I am purely commenting on Disney's 1950 version. I am never ever defending Lily James' Cinderella. But, back to the topic at hand, as you mentioned the story published originally is in German and the Disney creative team that interpreted and wrote the 1937 screenplay and designed the film was based in America, so they were working from a translation. This already sets up a difference between the two. To illustrate an example, the English dubbing of Cinderella from 1950 that's original and canonical states clearly that Cinderella's dreams are of happiness. However, the French dubbing that came later on rewrote this to be Cinderella dreaming of love. See how it already differs from the source material, just by virtue of being a translation? However, since I'm discussing the 1937 film, that's the subject I have to interpret. In that movie, Snow White being more beautiful than the queen or being more "fair" (ie pale) doesn't make any sense. For one thing, the Queen's skintone is literally the same as Snow White's, and Walt opted not to make Snow White as pale as possible because he felt it wouldn't look natural on the cels. So we can already count the "Snow White is the whitest, therefore the most beautiful" out since she and the Queen have the same complexion. Especially since "fair" is traditionally used to describe blonde people, and Snow White's hair is specified as the darkest shade of black (I elaborate on this in the original post we're discussing). Also, while working on the film, the animators repeatedly begged Walt to allow them to make Snow White more beautiful and particularly more "sexy", claiming she hadn't been attractive to draw but Walt refused. He didn't care whether or not Snow White looked the most beautiful, he wanted her character to shine- particularly her innocence and goodwill and kind heart- through her design as opposed to being hypersexualized. This is another reason I don't believe the 1937 film only valued her looks. And honestly, Snow White's looks only really matter to the Queen. The Prince falls in love with her voice because he hears her singing in the well, the Huntsman spares her life because he sees how kind she is with the baby bird, and the dwarfs almost kick her out when she first comes to the cottage because, even though she's a Princess, they don't want to be in target of the Queen's wrath. This is completely different than a character like Belle, who's sung about being valued by her beauty by everyone in her town, is repeatedly proposed to by the most eligible bachelor in town because of that beauty, is literally named "Beauty" and gets the royal treatment in the castle compared to her father when she arrives due to her beauty. Where the Beast saves Belle from almost being killed in the forest, Snow White has to pick herself up and find the cottage and then convince the dwarfs to let her stay. That's very different than "Snow White is the most beautiful and that's the most important part of the story."

There's something else I think you're overlooking: the Queen, the villain of the story, is the only one that cares about Snow White's beauty. The Magic Mirror literally says that, while the Queen tries to hide Snow White's beauty by forcing her to do menial work and dressing her in tatters, "rags cannot hide her gentle grace".

As you can see, none of the definitions of grace have anything to do with beauty. The Queen is the one who interprets this, thinks the Mirror is speaking of Snow White's beauty- because she, the villain who we're not supposed to root for or see as a moral compass much less someone who teaches us the story's values, is exceedingly vain and values looks above all else. This compulsion and obsession with physical appearance ironically destroys her own beauty (conventionally speaking) when she transforms herself into the hag. So the only person who cares about beauty is the Queen, not the Mirror, and as I've mentioned the Queen is the villain of the story and someone we, the audience, are actively supposed to refute. This is like when bad faith criticisms of The Little Mermaid claim it's antifeminist because Ursula sings "a girl who holds her tongue gets her man" when she as the VILLAIN is supposed to be displaying the messages we shouldn't be taking from the film and Eric struggles to accept Ariel because she doesn't have a voice and only fully falls in love when her when she regains it!

So, now we've established the fact that the only person who really cares about looks is the film's villain. But, I also want to challenge you stating the story revolves around looks. I actively disagree with this and think Disney's 1937 adaption of Snow White offers so much more. We see the value of a chosen family, like Snow White has with the dwarfs. We see about kindness and resilience and optimism, of hope and of love and of the power of dreaming. Snow White is a character who's been orphaned, abused, and forced into a life of menial labor and forced servitude. She's been threatened, almost murdered, and left to be homeless and dead in a forest. But she never lets this abuse or her misfortunes permeate to her thinking. She's so kind and gentle and compassionate to everyone and always offers her value to any situations she comes into. If the story was about looks, the dwarfs would've thrown her out. Her beauty wasn't enough to save her. It was when she suggested she could cook for them and clean, since these were skills they didn't have in their environment and she had mastered from her years as a servant, that they let her stay. We, as the audience, understand her philosophy to life through the songs she sings. In I'm Wishing, she sings of wanting love and dreaming of the nice things someone will say to her, after years of being abused, and it perfectly sets up the loving romance she had with her Prince. With a Song and a Smile shows us her shining optimism, this same optimism that allows her to continue going through life with cheer and never letting any hardship deter her. Whistle While You Work- pivotal to Americans working through the Great Depression at the time- showed us how, even though she doesn't find work to be enjoyable, singing always puts her in a better mood and using her imagination helps her make the best of any circumstance. None of these songs are about her beauty. Even the Prince's song and its subsequent reprise to her "One Song" is about his love for her. And, as I mentioned, Whistle While You Work, especially, was a rhythm meant to help Americans that were working themselves to death and standing in food lines and not having any money and facing incredible poverty in the 1930s- because that's when that movie came out, not 1812.

You mentioned you were a historian and you also mentioned how my take has more "girl power" than the original and is, thus, inaccurate. You would then be familiar with the fact that Disney's Snow White was released after the flapper era which was one of the most radical periods of the feminist movement. That event and period and movement is of insurmountable importance when analyzing a film and its messages that came out a decade after said movement. Therefore, you can't compare the politics and the values to a story that came out in 1812, over a hundred years prior in a different country, to its 1937 companion. Finally, as a historian, you must be aware of the fact that the Snow White tale far predates the Brothers Grimm and that they themselves didn't come up with it. They went throughout different villages and recorded the different versions of all the different stories (mostly from older women) and presented a volume of tales where they published the versions of the stories they liked best in the ways they preferred. Their version should be, by no means, the "be all, end all" of interpreting this story when there are thousands of variations that predate it and when the brothers themselves were far from the originators. Also, I just wanted to remind you one last time that I was clearly discussing the 1937 property as you can see in other gifs from that same set, namely this one where I clearly state it:

Lastly, fairytales are for everyone and if someone takes an empowering message away from it as opposed to a dated one like "beauty is all that matters", I don't think that's the worst thing in the world? People have different interpretations for different reasons and while I do enjoy the 1812 one, this is why the 1937 Snow White will forever be my favorite amongst all the remakes and different iterations of the character and story. I find many people misinterpret it and slam it as problematic or antifeminist, something that's inherently negative and wrong, and I actively defy that. That being said, I am glad you chose this gif out of all of the others to discuss because while the set itself was more parody, the gif you selected was one of the ones out of that set that I really stand behind and believe in.

I feel cautiously optimistic about Blake’s role in the volume. She was the one who suggested they were in a fairy tale which was kind of a dumb line imo but maybe the fact that she loves reading fiction will actually be relevant and give her insight the others might not have. Like yaaaaas please utilize established character traits im begging

I had the same thought, anon! I mean hard agree, I think the line is pretty dumb from an in-world context considering that (thus far anyway) the Ever After doesn't look anything like Remnant's fairy tales. I would be 100% on board with it if they'd modeled the world after the RWBY: Fairy Tales spin-off rather than Alice in Wonderland. Plus, that would have gone a long way towards making RWBY's many side-stories feel relevant again. Imagine an Ever After with a beach like the one we saw in the faunus origin story, woods with familiar touches from "The Hunter's Children," the opening shows a young girl with blank eyes like those of the Chill's, there's a castle in the distance that they all immediately recognize as Salem's from Jinn's vision... This would just work so much better if there were things for Blake and the others to recognize, rather than 99% of what we've seen being pulled from a real world story.

However, I do really like that Blake's exhibiting more agency? With Ruby having fainted, Yang exhausted from the whatever she's been through, and Weiss grappling with being the last to fall, it make perfect sense that Blake would be the one to stand up, take charge, and go, "Okay, so this is what we know..." After the Atlas disaster of cringing from a single grimm and mostly waiting around for Yang, that was a really welcome change. And yeah, as the bookworm of the group she'd theoretically recognize a fairy tale (the lack of similarities aside), except... so would Ruby? Arguably more easily? Other than reading about a "man with two souls" (which was presumably Ozpin), Blake has been characterized as sorta anti-fairy tale in the past. During their first conversation Ruby waxes poetic about the tales she grew up on - the same ones that left her with the simplistic, but powerful desire to help people - and Blake is the realistic one who goes, "Unfortunately, the real world isn't the same as a fairy tale." She's the one who has a more nuanced understanding of the world thanks to the discrimination she's faced and her time in the White Fang and, based on some canon gags + Chibi episodes, she seems to prefer "trashy," escapist romances to counteract that hard reality, not the (presumed) lie of a fairy tale.

All of which isn't to say that the well-read character couldn't/shouldn't recognize the fairy tale elements even if it's not their preferred genre, just that if I were to choose someone to give that line to it would be protagonist Ruby "I grew up on my big sister reading me fairy tales every night and my love for them shaped the entirety of who I am from my moral compass down to my career choice" Rose.

im sorry i was stalking your ask tag bc i was scouring for any tidbits of info for ur rewrite. and now i have to say i am SHAKING IN EXCITEMENT for the wonderland arc. holy shit. i know thats probably a long way away but the little descriptions about Blood and Knives and Dinner Parties and the overall Fuckedupness of wonderland is so !!!!!! and thats of course on top of the fact my fav is lizzie and i adore the rest of the wonderlandians, AND your characterisation of the wonderlandians thus far is soo *chefs kiss*. i reread the food fight scene almost daily bc im obsessed with lizzie fully throwing a steak knife at daring and then screaming ILL SHOW YOU FUCKING WONDERLAND and kitty's usual chaos causing self and maddie being the usual bubbly but also Mysterious gal..... anyways . i love your wonderlandians. and also the way people perceive and talk about them.. is it racism . im calling it racism. actually now that i mention that i remember raven's comment in the beginning with her mother on how it seems like theres no news on how theyre fixing wonderland.... very interesting.... *stares hard at milton grimm and his clear disdain/bias against the wonderlandians*

this ask was longer than i thought and somehow dissolved into me talking about ur depiction of wonderlandians in general My Bad!!!

I SAVED THIS ASK IN MY INBOX LIKE A PRECIOUS JEWEL JUST READING IT MAKES ME SMILE SO MUCH........... OHHHHHHHHHHHHHHHHH YOU HAVE NO IDEA! OR MAYBE YOU DO! IT CERTAINLY SEEMS LIKE IT ACTUALLY

the wonderland arc is (because biased gummy is biased) my very favourite arc that i have planned so far and i truly think i am going to have SO MUCH FUN writing it because there is not a single moment of peace throughout the entire thing. just wall to wall insanity. just like wonderland would have wanted!!!!!!!! I HOPE SO VERY MUCH THAT YOU ENJOY AND I AM SO ELATED THAT YOU'RE ENJOYING LIZZIE AND KITTY AND MADDIE I WORK VERY HARD ON THEM THEY ARE MY PRIDE AND JOY

and wonderland racism! yes! good old fashioned xenophobia 👍 it strikes again.... the fairy tale world is rebuilding itself from the ruins of the queen war slowly but surely, while wonderland... well. the most grimm can do for now is seal the realm and figure out the best way to address the situation, which seems in itself to be. keeping the realm sealed. hm. the ineffable workings of the fairy tale world's great leader! i'm sure he knows what he's doing and there is absolutely no discrimination involved [This message was funded by the Milton Grimm Normal Person PR Team]