#snow white: mirrors and magic

[briabooknerd]

[artist-ellen]

The finished illustration for Snow White

Can you spot the super subtle Mirror Mirror inspiration? I kind of love that movie and how much it committed to stylized fun costuming. And long time fans of my redesigns will spot a fashion reference to a previous redesign... really sneaky with all these details. ( > w -)

I am the artist! Do not post without permission & credit! Thank you! Come visit me over on: instagram, tiktok or check out my coloring book available now \ („• ֊ •„) /

https://linktr.ee/ellen.artistic

[toppamplemousse]

fairytalestappen part 3: snow white

welcome back to fairytalestappen, but before we get to the lestappen of it all, we have to take a little detour to a land called Sebchal

we're back to the basics: charles is again our beautiful princess. skin as white as snow. hair as brown as mahogany. lips as pink as roses. eyes as green as the mediterranean. race suit as red as rosso corsa.

okay now that max verstappen is done inhabiting my body: this story is a set in a magical version of f1, where racing still exists but so does magic, spells, potions, all of it. here we take inspiration from the most iconic of f1 fics: fool's gold by cazio (this fic changed lives go read it if you haven’t it’s 155 chapters of the greatest story ever told ). basically, each f1 team is its own kingdom. and the f1 drivers are princes of the kingdom. the #1 driver is the crown prince, and the #2 driver is his heir. okay now that that's explained.

picture 2019 charles. a baby deer. fresh off of one of the best rookie seasons in f1 history and the call-up to ferrari. he is so beautiful and so young. and he worships the ground that his older teammate, 4x WDC sebestatian vettel walks on. hero worship to the max. you get the picture.

sebastian is the ferrari crown prince. he is ferrari's best hope for a championship. he is not threatened at all by this little twink who is going to be his teammate. every morning, seb wakes up and he asks his magic mirror (Fernando Alonso) who the next champion for ferrari will be. and every day, the magic mirror (Fernando Alonso) answers, "The next world champion for Ferrari will be Sebastian Vettel." Day in, day out. Even throughout Merc domination, the magic mirror (Fernando Alonso) holds firm: Seb will be the next Ferrari WDC.

Up until the day of Charles' first race with Ferrari. That morning, Seb wakes up, asks the magic mirror (Fernando Alonso) who will be the next Champion for ferrari. And the magic mirror (Fernando Alonso) answers: "Charles Leclerc will be the next champion for Ferrari."

Sebastian is FURIOUS. How dare this little upstart come in and steal his team and his guarantees of a championship?!!! But he's also logical. Fernando is very mischevious and is just trying to get a rise out of him. No way that this baby-faced 21 year old beats a 4x WDC for Red Bull and a race winner for Ferrari.

Except that day, Charles wins his first race ever for Ferrari (AS IT SHOULD HAVE BEEN (almost) IF HE HAD WON BAHRAIN 2019 AND WON HIS SECOND EVER RACE FOR FERRARI IT HAUNTS ME AT NIGHT IT HAUNTS ME IT HAUNTS ME). okay anyways.

And at that moment, Seb resolves that he needs to get rid of Charles by any means necessary. His first thought: get someone to tamper with Charles' car, so that he has mechanical issues every race and cannot hope to challenge Seb.

Seb enlists Kimi Raikkonen (who should be very bitter bc Charles took his seat) to sneak into Garage 16 and mess around with parts of Charles' car. Kimi goes to Charles' garage and tampers with Charles' gearbox, causing Charles to DNS from pole at, you guessed it, Monaco (AAHDJHKDJHKJHGLFGL). Charles is DEVASTATED.

After the race, Kimi overhears Charles being comforted by his mechanics, and Charles is being selfless and taking the blame, even though it was a mechanical issue. Kimi sees how selfless Charles is, plus how sad and ruffled and baby-deer-like he looks, and is angry that Seb convinced him that Charles was this evil presence.

Kimi finds Charles in the paddock and he tells Charles that someone paid him to mess with Charles' car. He doesn't tell Charles who paid him though. Charles is angry and sad and frustrated etc, so he seeks to soothe his woes the only way he knows how: clubbing.

That's right, Charles goes to Jimmy'z that night and drinks/dances to forget. Throughout the night, he dances with and complains to seven different drivers, who all give him varying degrees of advice. These drivers will henceforth be known as the Seven Drivers of Jimmy'z: George Russell (Doc), Alex Albon (Bashful), Oscar Piastri (Sleepy), Esteban Ocon (Grumpy, but only bc one of the other dwarves is Pierre), Carlos Sainz (Happy), Pierre (Sneezy, idk why), and Lando Norris (Dopey). (note that one of the drivers in Charles' age group is conspicuously absent from this list, and indeed he is the Monaco race winner and is also partying it up at Jimmy'z and Studiously Not Making Eye Contact With Charles And Avoiding Him Very Conspicuously. we'll come back to that later)

Seb's initial strategy has worked, Charles' confidence has been shaken, but now Kimi is refusing to work with him any more, and the Seven Drivers of Jimmy'z are working together to guard Charles' garage at future race weekends, so he can't hire anyone else to sabotage Charles. So seb's next strategy is, you guessed it, to seduce Charles and distract him from racing. Seb has seen the way Charles looks at him, the hero worship in his eyes. It should be pretty easy to get Charles to fall for him, right?

Wrong. While Charles is still very admiring of Seb and there is still the Hero Worship Of It All, and there are many charged moments (bahrain gloved hand cupping charles' face, anyone?), Charles doesn't give in to Seb's advances. Oh, he flirts with him plenty, of course, but when Seb tries to take things to the next level, Charles always demurs. Weird, right? (side note but Charles seems very forlorn and heartbroken during all of seb's advances. almost like he's getting over someone else? but i'm sure that's not going to be important later.)

And through it all, Charles continues to beat him on track. (Bear with me here for taking many liberties with the F1 race calendar). Charles wins two races in a row in Spa and Monza. The first Ferrari driver to win the Italian GP in 10 years. And then, in Hockenheim, Seb DNFs from pole and Charles wins (Nico Rosberg records a video celebrating Charles' win and lamenting Seb's DNF with the biggest smile on his face. If you know the video, you know).

Hockenheim is the last straw. Seb decides to take drastic action. He gets a love potion (how, you ask? From his magic mirror, Fernando Alonso, who has a magician's assistant (Lance Stroll obv) who handles his magic for him because Fernando is, of course, a mirror) and slips it into Charles' drink. Surely THIS will make Charles fall in love with him.

Charles drinks the love potion, and while he is just as hero-worshippy as ever, he isn't acting like he's IN LOVE with Seb. How can this be? Seb goes to Fernando, who gleefully (picture it) informs him that the love potion will only work if the recipient isn't ALREADY IN LOVE WITH SOMEONE ELSE. now we're getting somewhere.

Seb destroys poor mirror Fernando in his rage. RIP mirror fernando. Fine. He'll take matters into his own hands. At the next driver's parade, Seb brings a poisoned KNIFE in his pocket, determined to end this once and for all. When they are in a section of the track without any fans, Seb takes out the knife and prepares to STAB charles (is this too dark? who cares), when suddenly, in a flash of blonde hair, blue eyes, dreamy thighs, and a lip freckle, someone shoves him away and shields Charles with their body.

It's Max (finally)!!!!! It turns out that he and Charles had been together but recently broken up because of, you guessed it, Austria 2019 (which also happened at some point during this messed up race calendar and went exactly as it did in real life) and they were both very heartbroken and dramatic and torn up about it. Charles and Max confess that they each still love each other and they decide to get back together. They kiss etc while the Seven Drivers of Jimmy'z tackle seb to the ground and beat him up. Maybe they sing "Whistle While You Work" while they do it. IDK.

Anyways, Seb gets dropped from Ferrari, Charles goes on to win many world championships for Ferrari, and Charles and Max live happily ever after. The ENd.

next up: the little mermaid!

[bookshelf-in-progress]

Reflection: A Retelling of “Snow White and the Seven Dwarves”

The mirror is a gift from the dwarves. Its frame of hammered gold is wrought with delicately-crafted birds and beasts, fruit and flowers. Its silver-backed surface, unlike those created by human craftsman, shows a true reflection.

The queen loves to gaze at herself in the mirror. It tells her that she is beautiful—skin like milk, hair like midnight, eyes as blue as a crystalline lake. She is young, healthy, graceful, charming—perfection in human form. Truly a queen worthy of this kingdom.

Then, one day, the mirror’s message changes. It shows that the queen has lines around her eyes, sunspots on her nose, wicked glints of silver in her night-black hair. The queen does all she can to hide the damage, spends hours before the mirror with cosmetics and concealers. To the rest of the world, the queen is as perfect as ever.

Yet every morning, the mirror tells the truth.

Worst of all, her husband has a little daughter—barely fourteen years old—who grows lovelier by the day. Every morning, the mirror says that before long, those who worshiped the queen’s beauty will transfer their devotion to the princess—and will be right to do so.

The queen's beauty would not seem so tarnished if the princess were not there for comparison. The queen tries to send the princess to an isolated estate—tells her husband it is better for the girl to grow up away from the corrupting influences of the court. But the girl is too dear to her father. She wastes away with homesickness, until her father the king orders her to come home for the sake of her health.

The queen tries neglecting the girl in ways the king won't notice—refusing to let her wash with good soap, denying her a maid, forbidding her fashionable clothes and hairstyles. Through it all, the mirror tells her that the girl’s beauty shines out brighter than ever.

Before long, the queen spends hours by the mirror each day, locked in a futile endeavor to restore what is lost forever. One moonlit night, she finds a dagger, and considers plunging it into her heart just to end this ceaseless torment, but the morning shows her a better path.

She will never be perfect, nor make the princess less so—but she can destroy perfection.

It would be easy to take this dagger to where the princess sleeps and shove it through her perfect heart, but the queen doesn't dare to mar her own beauty with blood-stained hands.

She gives the dagger to a loyal huntsman. He takes the girl into the forest—and returns holding a small, bloody heart.

That night before the mirror, the queen's smile makes her glow with a new kind of beauty.

*

People often tell the princess she is beautiful. She believes them, for she has never seen an ugly face. Old Sal’s missing tooth is an open door into her smile. The chambermaid’s freckles make a daytime constellation. The little stable boy’s one good eye glitters green as an emerald. Her stepmother owns a beautiful mirror, but the princess barely gazes at it. Why would she waste time examining her own familiar face in a world with so many other lovely faces to gaze upon?

One day in early spring, she asks to go berrying in the forest beyond the castle, as she once did with her mother. To her surprise, the queen permits it—the queen rarely allows the princess anything that might be a luxury. She even sends one of her huntsmen as protection.

In the eaves of the forest, the princess finds strawberries not far from the path, and she hastens to gather as many as she can. She invites the huntsman to join her, but he stands statue-like at the edge of the clearing, always on guard. Not wanting him to go without, the princess brings the berries to him, and offers him the largest, sweetest one.

As she does, she gazes at his face. Scars make mountain ranges along his cheeks and brow. His hair is edged with silver. The lines of his face are solid as stone. His deep gray eyes hold storm clouds.

“Oh, my,” the princess says in awe. “You are beautiful.”

The huntsman’s face disappears as he hides it in one of his hands. “I can’t,” he says, his voice rough with unshed tears. “I must betray my queen."

His other hands darts to the side, quick as a serpent, and the silver flash of a blade disappears into the undergrowth.

The huntsmen places both of his hands on the princess’ shoulders and crouches to look into her face. “You must run. The queen wants you dead. If you stay at the palace, she will find a way to kill you. You must flee into the forest and never return.”

“The forest?” the princess asks in terror. She has often wandered in the eaves, but she has never dared the strange terrors that are said to lurk in its interior.

“There is nothing there that can harm such innocence,” the huntsman says. “You will find shelter.” He turns her around and pushes her toward the depths of the forest. “Now run! As fast and as far as you can!”

The shadows of the forest embrace her, and the flowers make a path at her feet. She crosses shallow rivers, climbs rocky slopes, winds through twisted groves of trees. She couldn’t return home even if she wanted to.

She had not been blind. She had seen something like ugliness in the queen’s face whenever they were alone. But hatred? Murder?

She nearly collapses with grief, but through the trees, she sees a wisp of smoke. A chimney. A roof over a tumbledown cottage. The princess runs through the open door, collapses on the floor, and is glad to find a safe place to weep.

Her father will think her dead, and she will not be there to comfort him. She will never again see any of the beautiful faces that fill the palace. The hundreds of hidden details that made the castle home are forever out of her reach. The huntsman saved her, but to what end? A lifetime of loneliness and misery? Is this truly a better fate than the quick death of a dagger through the heart?

She opens her eyes. She has looked too long at the sorrows in her heart. She must find solace from without.

She gazes upon the cottage.

And sees seven beautiful faces.

*

The dwarves love their princess. She is beautiful, not only because of her face, but because of the way her soul shines out through it. She is endlessly beautiful because she sees the beauty in everyone and everything.

There never was a girl so selfless. Her every waking moment is spent filling their days with a million small comforts. The cottage has never been so clean. The food has never been so lovingly prepared. There is nothing she would not do for them, and in return, they devote their lives to her service.

She needs their protection. One so naturally kind and innocent can’t recognize when strangers might have ill intent. One day, after being out in the woods, the seven dwarves return to the cottage to find the princess nearly strangled by a set of stays. When they revive her, she tells them of a ragged old woman (with such beautiful hands!) who asked for food and water and then repaid her generosity by giving a nearly-fatal gift. The eldest of the dwarves caught a glimpse of the stranger’s retreat, and saw enough of her form to suspect the queen.

The dwarves keep a closer guard on the princess, but six months later, a few minutes go by when all seven of them are away from home. They return to find the princess nearly killed by a poisoned comb in her hair. The story she tells is similar to the last one—an old woman in need of help repaid their kind princess with a gift meant to kill.

After that, the princess is never alone. The dwarf on guard duty always has the envied task, so lovely is it to be in her presence. A year, then two, go by with no signs of danger.

Then one winter morning, after a night of birthday feasting, all seven of the dwarves sleep late. The princess rises at her usual time, hoping to fix them a holiday breakfast. By the time the dwarves stumble out of bed, they find the princess sprawled across the kitchen floor—cold, pale and lifeless, with a poisoned apple in her hand.

They despise themselves for having failed her, but their love for the princess drives them to serve her the only way they can—by laying her body to rest. The cold, hard earth won’t take her, and they can’t bear to hide her away in the realm of death. Knowing that decay will not touch one so innocent, they place her in a coffin of glass and lay her in their garden, where her beauty can brighten the world in death as it did in life.

They keep a constant vigil, lost in loving grief. They ought to have known she would end this way. This is the fate of all innocence in this dark and sinful world—to be destroyed by wickedness. Even as they see this truth, they know that it is wrong. The world should not be this way, but what can they do? They wish and pray for better, but they can’t hope. How can innocence ever overcome such evil?

In the spring, when the last snow melts and the first snowbells bloom, the dwarves see movement in the woods beyond their cottage. A prince approaches on a snow-white horse. He is ruler of this forest and its mysterious ways—a king of kings, even more beautiful than their princess. His face shines with a wisdom that does nothing to defile the innocence of his heart.

He leaps from his horse, approaches the coffin, raises the lid, and takes the cold hand of the princess between his.

“Beloved,” he says, “arise.”

In his words and actions, the dwarves find the answer to the riddle they have pondered in their long vigil of grief. In a world of wickedness, the salvation of Innocence is Love.

The princess opens her eyes. Takes a breath. Sits up and gazes upon the world she loves, upon the one who loved her back to life. Something of the prince’s wisdom is reflected in her, so that her beauty is almost painful to behold.

The dwarves rejoice, and the princess rejoices with them. She kisses each one atop the head, but does not release the hand of her prince.

Eager to serve one who served them so well, the dwarves cook her breakfast, and she eats with even more enthusiasm than she showed in her former life. Yet when the meal ends, she stands with her prince at the threshold of the cottage.

“I must return to my father,” the princess says.

The dwarves protest. What of the queen? What of the danger?

The princess looks at her prince with eyes full of love. “I have nothing to fear.”

*

The king rejoices at his daughter’s return—he has thought her dead for so many years. Grief has aged and weakened him, but there is beauty in his face that grows brighter with every minute he spends in the presence of the princess.

The princess tells him of her troubles since she went away, and the king is horrified by her words. “I knew my wife had lost her reason,” he says, “but not her heart! She must pay for her crimes!”

He moves toward the door as though he will administer justice this moment.

The prince stops him with a gentle hand upon his chest. “There is no need.”

*

The queen gazes at herself in the mirror. She never looks anywhere else. If there is a world beyond the edges of its frame, she has forgotten it. She sees only her own face, searches for the remaining scraps of beauty, tries desperately to erase the blemishes that grow ever more hateful with the passing of years.

Another face appears in the reflection—a face the queen thought she had destroyed long ago. It is lovelier than ever. The queen hides her face in her hands so she can not see the painful beauty of the princess.

“Come away from there,” the princess says. “Gaze with me upon the other beauties of the world.”

“And lose myself?” the queen shrieks. “That is what you have always wanted—to destroy my very self! To take all the honor and beauty that should be mine!”

“I wish to save you,” the princess says. “Come away.”

“Never!” the queen screams, clutching the mirror in two white-knuckled hands. “I have everything I need right here! You can’t take it from me!”

The princess touches the queen’s shoulder. The queen screams and shrinks away, hiding her face once more in her hands.

A man’s voice—painful in its beauty—says, “Beloved, she has made her choice.”

At long last, they leave. The queen looks in the mirror and sees no face but her own. No greater beauty remains nearby to shame her.

In the confines of her world’s silver surface, she is fairest of all.

*

The queen is locked away in the prison of her choosing.

The king stays to do what good he can for his kingdom, and the princess promises to return for him after he has fulfilled his purpose.

The prince places the princess on his snow-white horse, and they travel once more past the cottage of the dwarves, who are glad to see her so beautiful and beloved.

At last, the prince brings the princess to his kingdom at the heart of the forest.

The beauty she finds there is beyond words.

[hyunpic]

[radrattradish]

Step-jiu sucks lemons as he watches Snow-he

[spikedru]

hi. consider this

[pufftheninja]

Did some pottery glazing for the first time at a local pottery store earlier this week, and decided to do a Snow White themed mug and saucer/salad plate set. I’m not a potter, glazer, or painter, so the mirror’s kinda eh, but I like how the mug turned out. It was a fun experience, and I’m looking forward to going there again. ☺️💜

[pulpsandcomics2]

The Evil Queen

[tomoleary]

Gustaf Tenggren "The Queen and the Magic Mirror" (c. 1938) concept art for Walt Disney’s Snow White and the Seven Dwarfs

Source

[ladyazurith]

Lorcana/Twisted Wonderland Part 3

Part One

Part Two

I've enjoyed this some I thought I'd share some more cards from Lorcana as related to Twist.

First off is the reminder of the fact that Rook should have a beard lol. But otherwise I'm glad to see he has some representation in Lorcana.

And while on Pomefiore, Dark Mirror anyone?

I figured I'd include this because of the up coming EN event. Stitch just out there living his best life. I'm really looking forward to it, especially cuz the SSRs are Lilia and Floyd.

Another Jafar, that I think I'd s very good reflection on Jamil.

And this is almost like an Overblot version for the Tweels. That's part of why it's easy for me to draw the parallels between Twist and Lorcana because some of the themes are close enough. Especially when it comes to Ink/Blot which is pretty much the same thing. Some of the characters become twisted in Lorcana, corrupted far beyond their Canon self.

While she doesn't have a Twist counterpart here would be Anna, as she is corrupted by the ink. (OC fuel maybe?)

And last I'm just adding this card because I find it hilarious.

Anyway there are a lot of fun parallels, like I said in my original post, it's easy to see Twisted as a world within Lorcana. Whether I ever write about it in a fanfic one day I don't know. But I still find it a fun HC

[m00nb04rd5]

Can I have a moodboard for Vil Schoenheit from Twisted Wonderland?

https://twisted-wonderland.fandom.com/wiki/Vil_Schoenheit

Vil Schoenheit (Twisted Wonderland)

[artist-ellen]

Snow White process video!

I like this illustration... but I feel like I could push it further... so I might revisit it on a file that can take more layers. It's procreate's one flaw, the larger the canvas the fewer the layers.

I am the artist! Do not post without permission & credit! Thank you! Come visit me over on: instagram, tiktok or check out my coloring book available now \ („• ֊ •„) /

https://linktr.ee/ellen.artistic

[flowerynameslover]

Snow White and the Seven Dwarfs (1937)

[princesssarisa]

Character ask: The magic mirror (Snow White)

Favorite thing about them: I like its mystical truth-telling power. I also enjoy the fact that it's open to so many different interpretations in different adaptations of the tale. What it looks like, what it sounds like, how it speaks (from a face carved into the frame, a spirit that appears in the glass, the Queen's own reflection, etc.) just how sapient it is, whether it likes the Queen, dislikes her, or is neutral, and whether it's an entity itself or has an entity trapped inside it varies from version to version. This way, it never becomes boring.

In the Disney film specifically, I like its eerie, otherworldly appearance and voice, and the sense of emotionless moral neutrality it conveys.

Least favorite thing about them: Well, it serves the evil Queen and tells her where Snow White is.

Three things I have in common with them:

*I usually tell the truth.

*I think Snow White is beautiful.

*I've been inside a castle before. (In my case, a few crumbling old ones in Ireland.)

Three things I don't have in common with them:

*I'm not a mirror.

*I'm not omniscient.

*I don't speak in rhyme.

Favorite line: From the Grimms' tale:

You, my queen, are fair; it is true.

But Snow White, beyond the mountains

With the seven dwarfs

Is still a thousand times fairer than you.

From the Disney film:

Famed is thy beauty, Majesty.

But hold! A lovely maid I see.

Rags cannot hide her gentle grace.

Alas, she is more fair than thee!

and

Over the seven jeweled hills,

Beyond the seventh fall,

In the cottage of the seven dwarfs

Dwells Snow White, fairest one of all

brOTP: I suppose the Queen, in a way.

OTP: None. Except in the anime The Legend of Snow White, where the spirit imprisoned in the mirror, Speck, does have a love interest, a female spirit named Mylarka who's imprisoned elsewhere, but who reunites with him in the end.

nOTP: Any human.

Random headcanon: It was a gift to the Queen from whoever taught her the art of magic. Its creator meant her to use its omniscient power for good, to ask it questions about the needs of her people and use it to become a better ruler. But instead, of course, she only uses it to satisfy her vanity about her beauty, and to learn who her rivals are so she can eliminate them.

Unpopular opinion: I don't think it represents the king. Not inherently, anyway. This seems to be a popular reading of the tale among scholars: that the mirror is a stand-in for the absent figure of the Queen's husband and Snow White's father, and that the Queen's jealousy of Snow White's beauty merely represents the true source of conflict between stepmothers and stepdaughters, competition for the husband/father's love. That's a valid reading, of course, but I don't think it's inherent. I'd sooner argue that the mirror represents the male gaze in general than that it specifically represents the king. And I don't think it inherently represents the male gaze either, unless you think the only reason why women ever envy other women's beauty is because beauty equals male approval. Some adaptations have it speak with a woman's voice instead of a man's, after all. Or even with the Queen's own voice (since it is a mirror), making it seem less like a symbol of other people's feelings about the Queen and Snow White, and more of the Queen's own inner knowledge of Snow White's superior beauty.

Song I associate with them: Its instrumental theme from the Disney film's soundtrack.

Favorite picture of them:

From the Disney film:

Assorted fairy tale illustrations:

Hans Conried (a.k.a. the voice of Disney's Captain Hook) in the 1977 special Disney's Greatest Villains, which was later incorporated into A Disney Halloween.

The spectacular mirror puppet (voiced by Patrick Stewart) in Disneyland's 2004 stage show Snow White: An Enchanting Musical.

[no-context-kh]