#princess maker faery tales come true

[gamevecanti]

Magazine ad for the PS1 version of "Princess Maker: Faery Tales Come True" with details on a special reservation campaign.

[adarkrainbow]

In the previous ask I got about “folklorist VS literary studies”, right here, I wanted to include a metaphor to better explain - but I couldn’t find anything. 

I think I got a comparison that could work, (I hope it will), and I will take the work of another fairytale blog (which if you haven’t guessed by my many reblogs of it, I encourage you to follow): @princesssarisa

Princesssarisa has been doing a “Sleeping Beauty Spring”, exploring the various movie adaptations of Sleeping Beauty. And by looking at these adaptations chronologically, they realized that despite coming from different eras, different cultures and different nations, the movies seem to have influenced or taken inspiration from one another. You can find this in two of their posts, one tying Faerie Tale Theater’s Sleeping Beauty and the Czech “How to wake a princess” (here) and one comparing the Cannon Movie Theater’s Sleeping Beauty to the 70s German version (here). 

And this is a perfect metaphor what “literary” studies are trying to do now, in the modern field of university teaching and study. 

To explain: we have several movies based on the same fairytale, “Sleeping Beauty”. Imagine that each movie is a fairytale, folkloric or literary in nature, and that the original fairytale is actually the “fairytale type” under which the various folktales and fairy narratives are classified.

The “folklorist” point of view had the idea that each movie exist in its own continuty, context and world, separate and isolated from the others. Each one exists as just an adaptation of the original story, without side-influence of any kind, and are just direct adaptations of the story. Which is a true and right thing to point out.

But what the literary studies bring is what is either an additional info, or a nuance to the discourse, elements that the “folklorist” point of view tended to completely ignore (due to being a blindspot): maybe some movies actually take inspiration from other movies that adapted the fairytale? Maybe there are some side-influence, and one movie will include reference or have similar elements taken from a previous cinematographic adaptation. Maybe it is not just all from just the original fairytale and the movie-maker’s personal ideas, maybe each movie shoudn’t be seen as a sngular piece completely isolated and cut-off from other cinematographic works of the tale. 

Because this is what literary studies are trying to bring, and where they oppose folklorist studies. It isn’t about negating the existence of folklore, denying the utility of folkloric studies or saying that literary fairytales should be the only fairytales existing... But it is about considering that maybe not all versions are like the roots coming out of a same tree, each individual and from a common source. Maybe the “movies” have more in common than just “being inspired by the same tale”. It is about considering the history and evolution of fairytales not as an hydra growing more head, but more as a chain of narratives spawning out of each other, as a game of “Chinese whispers” (we call it “Arabian phone” in France) where previous versions of the tale influence and shape younger ones. And the “literary studies” are called as such because, in this point of view, the typical “point of view” of fairytales as a whole is flipped.

Because in folklorist-sided texts, the folktales version of fairytales, the oral versions, the “collected” tales have always the authority and the primary importance - folklorist-sided experts tend to believe that literary versions of fairytales are just like movie versions of fairytales, sort of unique “aside” to the history of the tale with no actual importance in the greater scope, knock-offs that ultimately cannot change or even touch the “core narrative” of the folktale. It is a whole logic fed on the idea that “lower class culture, oral culture, uneducated culture is always more primitive and more raw than literary, upper-class, educated culture”. This is why this side of the fairytale study tend to search for the “truth” in these folktales - by being folktales, they are deemed “primitive” and thus somehow reveal a primal, primary truth that predates literary fairytales. 

The literary studies reverse this by considering that maybe literary fairytales did have an influence over folktales, that maybe literary works did end up changing or starting oral tales, by the virtue of said literary versions being much more widespread, studied and “popular” than folktales (as in, when a literary fairytale becomes so well-known and so published it becomes part of a country’s literature classics, part of a country’s popular culture and common references known by everybody, maybe it should be given more credit over how it influenced the perception of the tale as a whole). 

Mind you, the literary vs folklorist debate is still a debate. Not everybody agrees with the recent change in study-method and historical point of view that happened, and many still stick with what was the recognized, respected and adored model of the 20th century. But I want to insist that, while I am on the literary side of the debate, I also strongly respect (and sometimes use myself) “folklorist-sided material”, precisely because the two are complementary and one cannot completely ignore the other. Heck, folklorist studies are what saved fairytales in France from losing their place as a prominent part of the country’s culture (well, this is more the psychoanalytic point of view of fairytale study, but given they are influenced by folklorists points of view, I’ll still credit them for that)

[mysticstarlightduck]

Happy Storyteller Saturday! Why did you choose the POV you did for your story?

Happy Storyteller Saturday! Thank you so much for the Ask, @gummybugg!

Why did you choose the POV you did for your story?

So let's consider my 2 Main WIPs!

The Last Wrath

Is a Multiple-POV story in 3rd person, and while all POV characters have vastly different experiences, their lives and the events in their stories are intrinsically connected. I choose a Multiple POV route for many reasons, chiefly because it allows me to explore different viewpoints and the effects of the story's arc through different lenses, while also moving the conflict forward in a compelling way. For example, we have:

Raelen Ashiren: a young Mageborn girl looking for a way not only to escape the war and discover the true secrets of her family's lost legacy, but also to find a way to save her older brother from a fate worse than death.

Zephyr Tellian: a talented sorcerer looking for an anti-dark magic spell that can counter the attacks of the villains (and prevent the War of Prophecy) while also looking for the cure of the curse that has been slowly but surely consuming him.

Princess Ellinor Dallantes: as the only survivor of the massacre of her family - the royal clan of Arkellya - Ellinor was raised by assassins and grew into a warrior who is currently leading the main rebel efforts against the Morosyn Empire's plans of conquest.

Darian Caelestis: a young potions-maker, son of infamous rebel warriors, Darian has lived in the shadow of a promise he could not keep, until he found the chance to make things right and save his long-lost best friend/boyfriend from the enemy.

So yeah, lol, it's a pretty varied set of viewpoints!

Tales of Wilted Flowers

Is a Single-POV story in 3rd person, with a few occasional bouts of Dual-POV here and there. The POV majorly follows the character of Lorelai Wildwood, a young outcast who wants to be more than what the world sees in her, as she goes on a winding adventure with some newfound allies, to stop an evil lurking beneath their kingdom's perfect surface. (Occasionally, as mentioned before, the POV of this book shifts to that of Xarian Argyris, a faerie outlaw who becomes Lorelai's love interest.)

I chose this specific POV because it lets me focus solely on the MCs experiences, while showcasing a bit of their thoughts and inner conflicts, which really comes in handy for writing a high fantasy adventure!

[princessmakerparents]

Age 17, rebel.

[satoshi-mochida]

Princess Maker: Faery Tales Come True Switch Version Gameplay.

[niche-gamer]

Princess Maker: Faery Tales Come True Launches for Switch This Month https://nichegamer.com/2019/12/06/princess-maker-faery-tales-come-true-launches-for-switch-this-month/

[holy-mountaineering]

This spread is for @faerys-wear-boots

Thanks for the donation!

Tonight you’re getting the full Qabalistic Tree of Life Spread that I do and here you are. What I’m going to do is go through and briefly explain each card, its position on the Tree, and then I’ll give you a summary/synopsis of the spread as a whole.

Think of this spread as a sort of quantum map, or even the land of a regular map, everything is happening at once, in each place. It’s important to think of yourself as moving “through” the map but you are also simultaneously everywhere at once. For the sake of this specific experiment, think of this as a map.

Where we’re starting the journey from is Kether, the monad, the first sign of creation. We’ll call this your hometown, since it is where you’re from originally. Here we have the Prince of Disks, the airy part of Earth or thinking about what’s going on in the material/normal-ass world.

This prince is a map maker, an amateur cartologist. Holding his globe, he is pulled along by the sturdy bull of Taurus who is familiar with the terrain so the prince can gaze down and take note of where he is, where he’s been, and where he might be going. In other words this is learning about how to navigate life.

Pay attention to where you are and what you’ve been doing. Take notes. Have you been here before? Do you know where this leads? If not, mark it out in your globe so you know if you ever get there again.

In Chokmah, which is like your freeway getting you out onto the road out of your hometown is the Princess of Wands, the earthy part of Fire.

This is the material substance that comes from fuels action. Think of this: you have to make a fire because it is cold. You have a set amount of wood. You can make a big ass, bright ass fire that will leave you cold later that night when you’re out of wood, but jazzed while it’s happening. Or you can make a smaller, less exciting fire that will keep you warm all night. There is also a message about the last step in any action is really to become the actions and to let them become you. When your very Earthly substance is in it, you are no longer doing you just are.

Don’t burn yourself out and exhaust your resources on what you’re tackling in life right now. Do this and you shall live to dance and party another night.

In Binah, which is ruled by Saturn and for the sake of this reading we will call the first stop on your roadtrip. You haven’t really arrived anywhere but you’re stopping and getting a chance to repack your car in a more efficient way. Sitting in Binah is the 3 of Swords, Sorrow.

This is the first shape the suit of Air takes in 2 dimensions and it can be a bit disappointing. Your structure and order (Saturn) needs balancing (Libra) to be blunt. You must let go of your ideas of how things were going to be because now they are the way they are. Just because what you have isn’t what you thought you wanted doesn’t mean it’s not good.

Try to get your mind around what you’ve learned and and how to form it into a useful basis to move on from. Do not continue to focus on how you thought it “should be”, nothing is ever as pure or awesome as we idealize it.

Sorting out your mind means actualizing some of the things you’ve been thinking about instead of not doing it because it isn’t perfect in the way we thought it would be.

In Chesed which is ruled by Jupiter and again for the sake of this experiment we’ll say involves your influence and benevolence in your current trip is the 7 of Cups Debauch.

This is Venus (beauty, personal growth) in Scorpio, the dark water where things growing aren’t seen so clearly. There is a kind of completion of a cycle in the 7s and this Seven is about “letting go” of rotten feelings and connections that have festered. This is a need for what I call “emotional composting” so let things rot out to fertilize future emotional growth. But like a compost pile, you must turn it, give it Sun, and make sure that it doesn’t get rancid.

In order to grow through the darkest of times, we have to stretch out and take in as much light so we can illuminate the darkness. Our emotional problems and trauma shouldn’t sit alone and in shadow collecting molds and stinking up the place. This darkness is a resource and should be utilized for your future growth. It is work and does take energy and labor but I assure your swimming out of this “undertow” (Scorpio) will be worthwhile work you will live to not regret.

Emotionally things might seem rotten, people might appear all shitty, but it’s just trying to become wonderful fertilizer for greater emotional maturity and better future relationships.

Across the Tree in Geburah, which is Mars Town, where you find your drive and what you’re trying to accomplish/conquer is III The Empress, Daleth, Venus.

Daleth is the open door, like you’d leave your bedroom door unlocked if your lover were coming over, you want them inside (pun sort of intended). This is not passivity but waiting for the spring (or Aries her partner IV The Emperor) to energize what you have. Like the symbolic Pelican (phoenix also) spitting its breast open to feed its young, or like a pregnant person, the brunt of the responsibility for your future growth lies in you. Be ready and prepared for new growth like springtime, but remember, this all hinges on you and your openness to growth.

In Tiphareth, the Sun and center of gravity holding all this in place, the heart pumping the blood through this, your heart is the 7 of Swords, Futility.

This is the main thrust of the Will through the mind being thwarted by in helpful organization of ideas. Each sword with a planetary sigil are like the spikes in a parking garage, one way. It isn’t that the ideas or aspects represented by these swords are “bad” just that their placement and yours are not lined up in the best way right now.

Mentally and communication wise pull back from what you’re going at and work on how your organizing the information in your head.

In Netzach, Venus town, where you have the realization about how this is going to change you as a person with a personality is the Knight of Cups, the fiery part of Water or acting on feeling.

Ideally this is the drive to seek higher connections and feelings and being driven by intuition and love. Just don’t fall for illusions and false ideals. This is the love that brings you closer to connecting with everything, recognizing connection and it’s drive. This is the Arthurian tale of chasing the Holy Grail *Insert Monty Python joke here* simply to have a true connection to their god. Seek love like that.

Act on what you feel and truly intuit but only to the ends of unselfish almost worshipful Love. Do things that get you really really feeling.

In Mercury Town Hod-ville, where all the Universities are and everyone has real intellectual shit going on is the 5 of Disks, Worry.

Like all of the 5s in Tarot, this is the microcosmic or human number . Don’t believe me? Stand up, stick your arms and legs out and counting your head, congrats, you’re a pentagram. Lord knows people worry like motherfuckers about how they are going to get by in the “normal” world, so there is a stress and strain in this card that everyone late on a bill can understand. This is the worry that you’ll get your intelligence (Mercury) smothered by the laborious strain of Taurus. This is, like all 5s a human limitation issue.

Well it won’t unless you only see your limitations and make it happen. Be smarter about you material situation so you don’t have to work harder.

On the Moon in Yesod, the receptive and reflective place that is alot about the feelings that you’re picking up from all this is the Ace of Swords, the root power of Air or the mind.

This is the sword of the Magus and the magician’s Sword is the physical representation of our mind and it’s ability in its rawest state of being. Thelema is inscribed on the blade of the Sword in Greek because the Magus uses their mind to the end of their True Will. The Crown of light at the tip of the Sword is the illuminated mind, because in its singleness and sharpness it is the foundation of the mind, intellect, and communication powers.

Use your mind for what you need it to do. Remember that a sword is useless at best and dangerous at worst when it isn’t handled correctly. You can cut down an army with a sword, but you can also cut your whole-ass leg or arm off too with one too. Knowledge is dangerous and scary, be prepared.

Down here in Malkuth-istan, the everyday life mundane, waking up pooping, and going to work world is the 9 of Cups, Happiness.

I call this ‘mutually beneficial relationships’ or expanding influence (Jupiter) going or being pulled both ways (Pisces). Each cup has its own source but everything is flowing into each other down to the base of the 3x3 structure. There is a lot of water and all it represents and it hasn’t reached its peak yet and is still driving upward and outward.

Cultivate relationships and connective feelings that aren’t lopsided or just giving/taking. Keep building you’re not done yet.

So, you’ve got to learn and make new paths, while not burning yourself out and getting over these ideas of how you wanted things to be. Things aren’t turning out expectedly at all, but if you just pace yourself and keep track of where you’re heading and how you got there, you’ll be fine.

You need to focus on “airing out” some emotional hurt before you can affect the World how you need to. You start by letting those feelings out, let them die and rot and become useful, they’ll help you open up to the new possibilities that will guide you down your new path. Feeling like the Universe is pushing against you just means you need to find a new way around. This is all about that new path, that’s what is going to help you find the “path of least resistance” which will be a nice reprieve.

Your growth and that path we’ve been talking about is not some mundane-ass life. You need to seek that stuff that “lights you up” and connects you to the higher things that stir inside of you. Don’t be limited by your, uh, limitations or the limitations of those you’re trying to communicate with. When you open up to the new path, you should see yourself, just as you and not what “isn’t” you. Getting your head around this new path will require you to surround yourself with people, places, and things that will help you hone your Will and get you thinking in new ways for your new way! That Sword with Thelema on its blade isn’t just decorative, it’s for sharpening and being around sharp people/places/things will help you stay sharp!

And in your down here, everyday, just work on connecting with people in genuine ways that are reciprocal. Don’t try to give too much or take too much, but let things grow and connect naturally, in mutually beneficial ways.

There it is! Thank you again for donating!

Hit me up with any questions!

[enambris]

Story Night - The Little Princess and the Old Crone

The transcript of Enambris’ uplifting tale to end a crowded story night, a reminder that we will all Triumph against the Faceless. @the-faceless-ffxiv

“For tonight's final tale, I will be telling another old story from long ago. One I grew up with, that can be traced back to Old Coerthas and the hundred clans." As she speaks, the lights in the room once more dim, flickering lights borne from her sternum bursting into falling starstuff and settling around the room, the image flickering to that of a deep forest filled with faerie-lights flickering between distant trees, the lounge transformed into a meadow clearing deep in the dark woods.

As she speaks, a musical humming under-currents her tone, motes of aether used to paint the room as a backdrop to the fantastical tale. In the clearing, like a pop-up storybook, a little cottage blooms covered in thick ivy, little honeycombs clinging to its flora-flush walls, and a waterwheel pulled to rotate by a lovely, crystal brook that weaves through the forest.

"Once, a very long time ago, there was a dark forest that bordered the edge of a little kingdom. In that forest, there was a cottage, and in that cottage lived an old crone, who all knew to be very wise, and very powerful. The people of the little kingdom knew her to be true, when her words told tale of prophecy, and so those strong and brave enough to venture into the dark woods would seek her wisdom and council."

The forest, around the little cottage, flickers with little red lights, eyes that peer into the clearing through the gloom. Time appears to shift, summer hues giving way to painted autumn leaves, which fall to make way for blankets of pure white snow.

"The little kingdom had enemies, and so they built their walls high. The king and his wife were getting on in years, and he had no heir. The king knew that if no heir came to claim the throne, the witch who made her home in the deadlands to the south would try to ruin the little kingdom."

Walls spring up around the distant kingdom as the scene slowly shifts, the sun high above the tallest tower.

"One day, the king decided to seek out the witch. He beseeched the old crone help he and his wife have a child. The witch agreed - on the condition that once the child saw their first winter, they would be raised instead by the Witch until the child came of age. The king was heart-broken, but seeing no alternative, conceded."

Imagery shifts, the streets and buildings inside the little kingdom coming into view. High walls and spires decorated in beautiful colors, trumpets sounding and criers on every street corner, proclaiming the birth of an heir.

"Within one year, the queen gave birth to a beautiful little girl, as radiant as the sun and as gentle as the moon. 'An heir! An heir has been born!' shouted the criers. The bells rang! The kingdom celebrated! Singing and joy ruled the land. But the joyous occasion would not be joyous long, as two days later, the Queen succumbed to her labor, and for her the kingdom mourned."

The wind shifts, catching the flags and banners, and as they turn over upon themselves their colors fade into black. Angry black clouds cover the sky, and rains wash over the kingdom.

"When the child saw her first nameday, the king once more mourned, as the old crone came to take her away. 'Your word, good king, will save your kingdom,' she told him. With no other choice, the king conceded, and the little princess was taken to live with the old crone in the woods."

The scenery shifts in a prismatic whirl of color, the kingdom shrinking and expanding into the little cottage as though ink had bled from page to page. The seasons play out in vibrant light, spring blooms replaced by warm summer sunshine, which gives way to crisp autumn leaves and snow. The cycle repeats once, twice, thrice, ever changing. When it finally settles, crisp autumn reigns.

"The old crone cared for the little princess as if she was her own, but she was strict, and her lessons to the girl were long and difficult. She taught her much about the world, she taught her to be unafraid of the animals, and how to live in harmony with the land. She guided her to make her body strong as iron, and said to her every day, 'If your heart is always true, you will weather any storm'. And so, in secret, the little princess grew up."

"The years passed, and before long, the king became lonely. He searched long and hard to find a companion to share his time and love with, and finally, he found her. The king remarried, the fairest woman in the land, but she was vain, cruel to his servants, and cold to his people. But the king was blinded by his love, and so was blinded to her wickedness. His people protested, but the king could not hear them, deafened by her sweet voice."The visage of a woman shimmers into view beside a forlorn king, her beauty illuminating the room with lovely silks and gemtones. The clouds leer closer to the little kingdom, and the rain falls ever harder.

"And so, under the council of the new Queen, the little kingdom slowly declined, for she was greedy and unkind, and with it, so too did the poor king's health. He became old, and sickly. His shoulders hunched, and his hands shook. He began to forget, and a mist settled over his eyes. They called the king Mad, for he raved of seeing butterflies where there were none, and sang lyrics to songs that he could not recall how he came to know them."

The king's form slowly shrivels. His hair grays, the colors drain from his eyes and his skin. He hobbles to his throne, as if a puppet on a marionette. "Finally, the new queen, lovely and wicked as she was, declared that the king was too unwell to lead his people."

The Queen slides the poor king from focus, and he becomes but dust and motes of light that flutter to reshape the room. It fills slowly with people, the common folk of the little kingdom, butchers and bakers and candlestick makers. They watch the queen with terrified rapture.

"She proclaimed that, should no heir come within three days, the throne would then fall to her. On the first day, no one came forward. Nor the second day. Finally, on the third day, as the queen sat within her throne room, the old crone came, and with her, the king's daughter who had been whisked away so long ago. Appalled, the Queen denied the old crone. 'This cannot be the king's daughter', she said. 'What proof have you that she may rule this land?'"

"The old crone smiled. 'She will prove herself to the people,' she said. 'Assign her three labors, and if they are completed, the crown is hers.' The queen knew of the old crone, and knew to refuse her would be unwise, for the old crone was powerful, and so the queen agreed. 'She must dwell seven days within the dark forest without food nor water,' she commanded."

Before the audience, the little princess stands, her visage as radiant as the sun, and gentle as the moon. She stands tall, proud, undaunted.

"At that, the old crone smiled. 'It will be done,' she said, and so the little princess turned and left. She was escorted deep into the forest, and blindfolded so she could not remember which way was home, for the Queen did not want her to return. The queen's men traveled to the deepest and darkest place they could find, and left the little princess alone in the dark woods, among the monsters and beasts."

Images of the forest overtake the room in a whirl of shadow, thick, pale mist blanketing the floor.

"Each day passed, and the people of the small kingdom lost a little more hope each day, but the old crone only smiled, telling any who asked, 'Wait and see'. Then, on the seventh day, the little princess returned amidst a flock of songbirds, alive and unharmed. The queen was outraged, but she could say naught, and so instead she issued the next labor. 'She must face the Great Wolf, and end its bloody campaign in the farmlands within seven days,' she commanded."

"Again, the old crone smiled. 'It will be done,' she said, and so the little princess turned and left. She was escorted to the mouth of the Great Wolf's cave, and left there with only a knife to defend herself, for the Queen wished the Wolf to devour her."

"Each day passed, and again the people of the small kingdom lost a little more hope each day, but the old crone only smiled, telling any who asked, 'Wait and see'. Then, on the seventh day, the little princess returned astride the tamed Wolf's back, alive and unharmed. The queen was incensed, but still she could say naught, and so instead she issued the final labor. 'She must pull forth the blessed sword from the tomb of the Fell Drake within seven days,' she commanded."

"For the third and final time, the old crone smiled. 'It will be done,' she said, and so the little princess turned and left. This time, the Queen was sure she had won. The Fell Drake was a wicked creature, corrupted by the hate of men and the shadows between the bones of the earth. She was escorted to the Fell Drake's lair without a weapon, and left her alone to face the Drake."

"Each day passed, and once more the people of the small kingdom lost a little more hope each day, but the old crone only smiled, telling any who asked, 'Wait and see'. This time, the Queen knew she had won, for on the dawn of the seventh day, the little princess had not returned. She stood from her throne, and pointed in glee at the old crone. 'Your princess has failed!' she declared, and before all she revealed her true self."

Before their eyes, the queen transforms. She grows taller, her muscles expand, her eyes gleam. Gnashing teeth form a pale white crescent cheshire smile through clouds of thick black smoke.

"Her hair become snowy, and her eyes great and yellow. Her skin like the night sky, her feet cloven and her crown horned: the witch of the deadlands, with black veils and fingers of writhing snakes. 'This kingdom is mine!' she declared. As the people began to wail in protest and in fear, the doors of the throne room threw open and a voice rose above the chorus. 'Hold! For no errand was failed!' said the old crone, and all turned to see the little princess, standing in the doorway."

The door flies open, and in spills brilliant sunlight, and from it the witch shies away. "In her left hand, a blade, as fierce and hot as the sun, as luminous and swift as the moon. In her right, the Fell Drake's head, and she threw it at the witch's feet. 'Leave my kingdom,' the little princess said, her voice carrying the power of the sun, the grace of the moon. 'Or it shall be your head upon the floor.' The witch laughed."

"Without another word, the little princess charged at the witch, her blessed sword in-hand. The people cried out in fear as they watched on, unable to move for the power of every blow. 'Help her!' they cried out. But still, the old crone only smiled, telling them only, 'Wait and see.'"

Bursts of brilliant light flash and crackle, reds and blues and golds flickering and fading, the throne room filling with black smoke and white light.

"Then, with a final mighty swing, the little princess struck down the witch, sundering her in the middle of the throne room. The witch wailed, her screams pierced the skies, and she was gone. The little princess turned to face her people, and for her they cheered." Bursts of color flare into the air, fireworks and sparklers and streamers.

The image fades to pale silver, the little princess standing before the people and taking her throne. "The next day she was crowned Queen, and she became the wisest, and the noblest queen ever to bless the kingdom."

"The end."

[yourgamecheats]

Princess Maker: Faery Tales Come True Launches for Switch Later This Month

Princess Maker: Faery Tales Come True Launches for Switch Later This Month

Publisher CFK announced Princess Maker: Faery Tales Come True will launch for the Nintendo Switch via the eShop on December 19 in Japan and December 23 in North America and Europe for $29.99 / 3,000 yen.

View the Nintendo Switch launch trailer below:

Here is an overview of the game:

Princess Maker: Faery Tales Come True is the third entry of the masterpiece simulation game Princess Maker series.…

[oneangrygamer]

Princess Maker 3: Faery Tales Come True HD Editon Now Available On Switch, Steam

Princess Maker 3: Faery Tales Come True HD Editon Now Available On Switch, Steam #PM3 #PrincessMaker #PrincessMaker3HD #JRPG #SliceOfLice #Switch #Steam

If you missed out on the original Princess Maker 3: Faery Tales Come True way back in 1997 when it first came out for Sony’s PSX, don’t sweat it… there’s an opportunity to catch up on the long lost nostalgia-themed JRPG courtesy of CFK. (more…)

[gamevecanti]

Official art from Princess Maker 3: Faery Tales Come True (Various) illustrated by Takami Akai.

[operationrainfall]

Nintendo Download for 12/19/19

Nintendo Download for 12/19/19

It’s that time of the week again, which means time for another Nintendo Download! I’m not positive if this segment will be happening this time next week, what with the holidays and all, but stay tuned. Meanwhile, this week’s installment has lots and lots of retro games. It also has no featured titles, so I’m gonna do my best to adjust accordingly. On the plus side, this Nintendo Download does…

[blog-retrogradewear]

Princess Maker 3: Faery Tales Come True Releases On Switch With Text, UI, And Even Aging Bugs https://t.co/l57vX9juyI

Princess Maker 3: Faery Tales Come True Releases On Switch With Text, UI, And Even Aging Bugs https://t.co/l57vX9juyI

— Retrograde Wear Gaming (@RetroGradeWear) December 25, 2019

from Twitter https://twitter.com/RetroGradeWear

[princessmakerparents]

Idk what to call this mood??

Age 17, in love?? crushing?? ???

[satoshi-mochida]

CFK will release Princess Maker: Faery Tales Come True for Switch via the Nintendo eShop, the publisher announced. A release date was not announced

The simulation game first launched for PlayStation in January 1997, followed by PC, Sega Saturn, and Dreamcast at later dates. An updated PC version was released via Steam in June 2017.

Here is an overview of the game, via its Steam page:

About

Princess Maker: Faery Tales Come True was released on January 24, 1997 for the PlayStation, and was eventually released on Windows, Sega Saturn, and Dreamcast systems.

When it was first released, it did not include a numbering on the title, but it is widely known as Princess Maker 3. A young fairy girl who wishes to become a human princess gets a blessing from the Fairy Queen to receive a miracle to become a human.

You, as the player, must take care of the little girl and raise her as own daughter. A fairy named Uzu appears as an advisor, and the new feature of selecting the player’s ‘Occupation’ is added into the game system. Schedule system allows players to select 15 days of scheduling. From each class, unique rivals and events make an appearance to add drama elements to the game. The interface has been made simpler than previous Princess Maker series, and album mode allows you to view images from vacation or ending within the game.

The voice actress for the daughter in-game is Yukana Nogami, a famous Japanese voice actress who took on many popular roles in anime such as Meiling Li from Cardcaptor Sakura, Kanna from Inuyasha, and many more.

Key Features

Simplified UI.

Improved class / part-time job animation.

Animated pixel characters.

Event screen with large character illustrations.