How Have Fairy and Folk Tales Been Used In Video Games?

Extended Essay

Stacey Bone 1100706

Games Art and Design
2014

Abstract
This report explores the development of fairy tales and their influence on video games. The
history of fairy tales, particularly of European origin, is explored and analysed. The
morphological analyses of academics Antti Aarne, Stith Thompson and Vladimir Propp are
applied to three video games: Limbo (Playdead, 2010), The Path (TaleofTales, 2009) and Ico
(Team Ico, 2001). By analysing these games in this way, it is evident that elements of fairy
tales have been used in todays media. Though only three games have been studied, the
classification systems can be applied to different games in other genres. This report then
concludes with an analysis of a successful cross-media collaboration between Disney
Interactive Studios and Square Enix, showing how fairy tales continue to be incorporated
into new forms of entertainment.

Contents

Table of Illustrations .4

Introduction 5

Chapter 1 Fairy Tale History 6

Chapter 2 The Aarne-Thompson Classification System 10

Chapter 3 Propps Morphology of the Folk Tale.16

Chapter 4 Kingdom Hearts: Cross-media Collaboration ..20

Conclusion 21

Bibliography ...22

Table of Illustrations
Figure.1
Richardson, K. 2013. Limbo is Creeping onto the PS Vita. Available at:
http://www.dualshockers.com/2013/03/25/limbo-is-creeping-onto-the-ps-vita/
[Accessed: 15 Jan 2014].

Figure.2
MUBI. n.d. German Expressionism: The World of Light and Shadow. Available at:
http://mubi.com/lists/german-expressionism-the-world-of-light-and-shadow
[Accessed: 15 Jan 2014].

Figure.3
Beach-combingmagpie.blogspot.co.uk. 2012. Beach-Combing Magpie: Lotte Reiniger - Magic
in a silhouette.... Available at:
http://beach-combingmagpie.blogspot.co.uk/2012/10/lotte-reiniger-magic-insilhouette.html
[Accessed: 15 Jan 2014].

Figures.4 & 5
Autofish.net. 2012. ICO and Fumito Ueda. Available at:
http://autofish.net/web_log/archives/152
[Accessed: 20 Jan 2014].

Introduction
This report will explore how the form and function of fairy tales have developed, with a
specific focus on how they have been incorporated into video games. A chapter will be
dedicated to examining the history of fairy tales and how they have been altered to
communicate the opinions of their authors. I will be applying folkloristic morphology to a
selection of video games to analyse whether the structure of fairy tales is used. Though not
many games market themselves as being specifically based on fairy tales, many of their
stories contain elements that are borrowed from or inspired by them.

In this report the term fairy tale will refer to both folk and fairy tales as a whole. This is
because the term fairy tale was a result of mistranslation; this will be explored in the first
chapter.

Chapter 1 Fairy Tale History

In his 1947 essay On Fairy Stories J.R.R. Tolkien (Tolkien and Flieger et al., 2008), states that
fairy tales are not about fairies or elves, but . . . about Fairy, that is Farie, the realm or
state in which fairies have their being (p.32) and that Farie contains many things besides
elves and fays (p.32). His definition argues that the word fairy does not refer to a magical
creature, but to a larger realm where fantastical creatures and events are the norm. The
happenings and beings in fairy tales are universally accepted without needing a rational
explanation. For example, in fairy tales it is not unusual for animals to talk as the ordinary
rules are suspended (Teverson, 2013, p.30).

The origins of fairy tales are practically impossible to trace as they span generations and
change from place to place. It is widely believed that they began as oral tales passed from
person to person (Teverson, 2013, p.5).

In 1630s Paris, educated aristocratic women gathered together in each others homes to
discuss subjects such as art, literature, marriage, manners and morals (Roemer and
Bacchilega, 2001, p.10). Passionate about being self-sufficient and inventive, they turned to
their childhood tales to express themselves. They were inspired to use them as conduits to
articulate their opinions (Roemer and Bacchilega, 2001, p.11). In the 1690s they began to
record these stories, and the Contes de Fes were born (Roemer and Bacchilega, 2001,
p.10). The French term encompassed fairy tales written specifically for adults in the 17 th
Century (Windling, 2000).

The Contes de Fes were mature critiques of the society the women lived in. The Contes
consistently featured female characters who were assertive, witty and powerful (Zipes,
1989, pp.2-4). Some of these character types have survived and developed over time, such
as the fairy godmother. In the Contes de Fes this character was a powerful woman who
has control not only of her own life but of others as well (Roemer and Bacchilega, 2001,
p.11). Though the Contes were used to criticise conventions such as forced marriage and
male-dominated society, they were heavily ridiculed by the patriarchal system that they
6

critiqued. Though some of the female authors were intelligent and respected in society,
their stories were branded as deeply disturbed and suspect (Harries, 169, cited in Roemer
and Bacchilega, 2001, p.11).

From 1812 to 1857, two brothers, Jacob and Wilhelm Grimm collected, rewrote, edited,
and published (Roemer and Bacchilega, 2001, p.8) a series of books titled Kinder- und
Hausmrchen, translated as Childrens and Household Tales. Mrchen means fictional
tale, so the books contained hundreds of stories that crossed a variety of genres, including
folk tales. When the Kinder- und Hausmrchen was translated into English, Mrchen
became popular story or fairy tale (Roemer and Bacchilega, 2001, p.8). Interestingly, the
term fairy tale originated from the French Contes de Fes as their stories traditionally
contained fantasy creatures such as fairies (Roemer and Bacchilega, 2001, p.8). Over time
English translations favoured the term fairy tale.

The Grimms sourced their stories from folk tale books and individuals they interviewed.
These people were usually from the working bourgeois and aristocratic classes, but the
brothers chose to promote their tales as coming from the peasant volk, or folk (Teverson,
2013, pp.10-11). The Grimms realised that the term volk has a very particular, and often
highly marketable, set of cultural resonances (Teverson, pp.10-11). It implies that it is of
the people, and therefore close to the roots of culture (Teverson, 2013, pp.10-11). Volk
suggests that there is a vast unchanging history behind it. By labelling the Kinder- und
Hausmrchen as volk, the brothers gave their books a wise and timeless image.

To further this idea the Grimms also included a large engraved portrait of Frau Katharina
Dorothea Viehmann in the front of the 1819 edition of the book. An old widow, Viehmann
was able to recite many old tales from memory, and the brothers obtained many stories
from her. The Grimms valued her greatly because she embodied their idea of the German
volk; she was lower class and had a traditional German surname. They dubbed her Die
Mrchensfrau and introduced her as the storyteller in their Kinder- und Hausmrchen
(Teverson, 2013, pp.65-66). The Grimms deliberately fabricated some of the origins of the
stories they sourced, all for the sake of fuelling their romantic view of the German volk.

This decision triggered positive and negative repercussions. The folklorist Joseph Jacobs
(1983) claimed that there is no such entity as folk. He argued that The Folk is simply a
name for our ignorance: we do not know to whom a proverb, a tale, a custom, a myth owes
its origin, so we say it originated among the Folk. Andrew Teverson (2013, pp.11-12)
elaborates on this point by explaining that:

Folklore is produced by all classes, rich and poor, educated and uneducated, and it is
produced in all regions, urban and rural. It also travels across national borders when
the people that carry it travel over them making it into an international and transitive
form of culture, rather than a testament to a sheltered, ethnically pure, national
tradition. (Teverson, 2013)

The Grimms reworked the original tales they found to suit their romantic perspectives,
ignoring the fact that folk tales change depending on socioeconomic factors. Like the
French Conte de Fes, they adapted old tales to suit their purposes. The Grimms
reinforced the Christian aspects, the homely sayings, and the violence, while deleting sexual
references (Roemer and Bacchilega, 2001, pp.9-10). For example, they changed the wicked
mother figure found in folk tales to that of a wicked stepmother, as the former challenged
dominant beliefs about motherhood (Roemer and Bacchilega, 2001, pp.9-10).

The work of the French Contes de Fes and the German Brothers Grimm makes it evident
that fairy tales that have been altered from their oral versions come to reflect, to whatever
degree, the ideological perspectives of their editors and reframers (Roemer and Bacchilega,
2001, p.16). Overall the Grimms were unfaithful to the original tales they sourced, but
their reworked fairy tales helped to create a genre that was, until then, widely rejected by
society. By reshaping the narratives until they became more consistently expressive of a
bourgeois world-view, the Grimms paved the way for fairy tales to enter into the middleclass nursery as officially sanctioned texts (Teverson, 2013, pp.71-72). Both the Contes de
Fes and the Grimms adapted folk tales to suit their own purposes, but the French stories
were ultimately rejected for applauding the strength and independence of femininity whilst
condemning a patriarchal society, something that was taboo at the time (Neemann, 2010,
pp.1-4).
8

Over time, fairy tales have taken many forms. These forms reflect the places they have
travelled to and the time periods they have been recorded in. Though the Grimms brought
fairy tales into everyday homes and popularised them with children, their popularity
significantly increased when Disney created the animated film Snow White and the Seven
Dwarfs (1937), and many fairy tale film adaptions have been created since. However, like
the Grimms, Disney fashioned the tales to reflect his own ideology by reinforcing accepted
stereotypes such as male providers and submissive female figures. Jack Zipes (2002, pp.34), opined that:

. . . the persistence and popularity of the tales, oral and printed, suggested that their
imaginative power might be more useful than previously realized. So it is not by
chance that the culture industry has sought to tame, regulate and instrumentalize
the fantastic projections of these tales. (Zipes, 2002)

Fairy tales had humble beginnings, but they have successfully entered the world of popular
entertainment and grow with each new technological development. The meanings behind
folk tales resonate through generations, so it is unsurprising that video games, one of the
most popular forms of entertainment, have stories that seem similar to fairy tales. But how
much are video games based on fairy tales, intentionally or not? By applying the
morphological analyses of academics such as Vladimir Propp to video games, is it possible to
discover whether they are the latest medium to be influenced by fairy tales, like the
Grimms Mrchen and others before them?

Chapter 2 The Aarne-Thompson Classification System

As fairy tales became increasingly popular over time, they were taken more seriously by
academics. This led to many dedicating their time to studying the structure of fairy tales.
The Finnish folklorist Antti Aarne attempted to organise and classify fairy tales. He
developed a type index which was published as The Types of Folktales in 1910. Whilst he
intended for it to be the first catalogue of international fairy tales, he only referenced three
sources; Grimms tales, Danish tales and Finnish folklore. In 1928 Stith Thompson, an
American folklorist, translated and revised this index. He incorporated other tales from
around the world and added his own motif index. It was then known as the AarneThompson classification system, or AT system.

The AT system catalogues around 2500 basic plots and motifs which repeatedly appear in
fairy tales. Both Aarne and Thompson realised that generations of European and Eastern
storytellers took their tales around the world. This theory explained why fairy and folk
stories across the globe have similar or identical plots (Kiel, 2009). By indexing fairy tales by
type and motif, the AT system allowed others to analyse cross-cultural influences
(Ziolkowski, 2007).

The systems 2500 entries include broad classes, such as animal tales, which are then
refined into subclasses, such as wild animals. Each entry is represented by an AT number.
A type is a traditional tale that has an independent existence which may be told as a
complete narrative (Thompson, 1946, p.415). A motif is a small, unique element of a tale.
They can be grouped together to represent entire tales.

There are recurring themes in fairy tales that feature regularly in modern fiction. Stith
Thompson stated that:
. . . the actual subject matter of folktales shows many striking resemblances . . . and
although the patterns differ somewhat, there is a tendency for the tales to range
themselves into certain well-recognized formal groups. (Thompson, 1946, p.367)

10

Though written over fifty years ago, his opinion still applies today. Themes like good
overcoming evil are common in film and literature. Video games are a relatively new form
of entertainment, yet the AT system can still be applied to them. Presenting stories in an
interactive manner does not mean they are exempt from fairy tale influences. Both The
Path (TaleofTales, 2009) and Limbo (Playdead, 2010) are video games that exhibit themes
that can be found in fairy tales.

Limbo is a 2D sidescroller puzzle-platform game. The player controls an unnamed boy

through a series of bleak, dangerous environments. Playdead describes the playstyle as
trial and death on account of how realising puzzle solutions usually involves the boy dying
repeatedly.

Fig.1

Fig.2

Many have noted Limbos visual references to German expressionism (Fig.1). German
expressionist films were popular in the 1920s. They were characterised by:

. . . strange asymmetrical camera angles, atmospheric lighting and harsh contrasts

between dark and light. Shadows and silhouettes were an important feature . . . Often
sombre of mood . . . the films dramatic effects produced motifs of claustrophobia and
paranoia. (Kolar, n.d.)

These details are reflected in Limbo. Everything in the game is presented as silhouettes.
The visuals consist of black and white tones with film grain and vignette effects (Fig. 2). The
background consists of vague shapes and light, giving each scene a sense of space. Arnt
Jensen, the creator of Limbo, stated that he was inspired by some woods he explored as a
child. Limbos visuals were a representation of the freedom and fear (Edge, 2012) he
experienced. The atmosphere of those woods was pervasive, and he felt close not only to
11

life, but also to death (Edge, 2012). Limbo is also influenced by fairy tales written by The
Brothers Grimm, as they dared to write about death in a much heavier way than people do
today (Jensen, 2012).

Limbo is visually similar to the work of film

director Lotte Reiniger, who was heavily
inspired by fairy tales. She crafted paper
silhouettes and used stop-motion animation to
produce films (Fig. 3). Most of these films are
based on fairy tales, which suited her
Fig.3

intricate, imaginative technique (Kemp, n.d.).

Reiniger used orchestrated music to not only create a sense of atmosphere, but also to
represent character speech and emotions. Similar techniques are used in Limbo. The
soundtrack involves minimal ambient sounds; further enhancing the sense of loneliness that
follows the boy on his journey. When combined, these effects, as well as the games
playstyle, create a haunting experience.

The Path also uses music in this manner. The Path is a third-person psychological horror
game. The player chooses one of six sisters who are instructed to walk to their
grandmothers house, and not to stray from the path. Obeying these instructions ends the
game, which subtly implies that it is better to disobey. Whilst exploring the woods the
player can discover interactive items. The girls react to these items differently, which
reveals aspects of their personality. Each girl can also meet her wolf, an entity that
changes for each sister. There is no dialogue in The Path and there are very few
instructions. Instead, the player listens to strange, whimsical sounds as they explore. Odd
snippets of children singing intermingle with the squeaking of a rusty playground swing.
During scripted events, such as meeting a wolf, the soundtrack can become menacing, yet
sensual. Reviewer Elchlepp states that:

. . . its a repetitive composition that works with minimalist ingredients, but these
ingredients are mixed so judiciously that they create a . . . disquieting
atmosphere. (Elchlepp, n.d.)
12

Like Reiniger, both Limbo and The Path use sound to manipulate a players emotions, as well
as elaborate on the events occurring in game.

Both games are inspired by fairy tales. Tale of Tales based The Path on Little Red Riding
Hood, which, according to the AT system, is type AT333. Though it is not immediately
obvious in Limbo, the synopsis uncertain of his sisters fate, a boy enters LIMBO
(Playstation, 2011) implies he is searching for his sibling. This plot resonates with type
AT327a: Hansel and Gretel, where a brother and sister must survive in the woods. This is
similar to the first section of Limbo, which takes place in a wood. However, as the brother
and sister are split apart in Limbo, it could be that they are simply type AT450: little brother
and little sister.

In Folktale Stith Thompson methodically analyses themes that recur throughout many tales
around the world. He states that:

. . . in nearly all complicated fairy tales there is some kind of conflict. The hero must
overcome obstacles in order that he may at least win his reward . . . Frequently
the exact nature of the opponent is not made clear or will vary from one version of
the story to another. (Thompson, 1946, p.23)

In Limbo the boys obstacles are literally the world around him. He has no special skills to
aid him and can only rely on himself. He travels through perilous woods filled with giant
spiders, a desolate city which is falling apart, and an intricate cog-filled machine. All of
these environments are dangerous and nowhere is safe. In The Path there are no obvious
threats. The conflict lies in the players choice to stay on the path or leave it. Leaving the
path means exploring the wonders of the woods, but there the girls can become victim to
their wolves. After meeting with their wolf, the screen fades to black and the girl reawakens
in front of their grandmothers house in the pouring rain. The games mood transitions
from carefree to melancholy, suggesting that the previous meeting did not have a positive
end. After meeting her wolf the sister disappears from the character selection screen at the
beginning of the game, implying that she has died. The wolf could be considered an
13

optional opponent in The Path. The negative atmosphere after meeting it does not give the
impression that the player has received a reward. However, for the player to complete the
game, each sister must meet her wolf. In this way, The Path forces the player to make the
wrong choice if they wish to have their reward.

Thompson explores the formulistic framework of tales, stating that the effect of a
formulistic story is always essentially playful, and . . . takes on all the aspects of a game
(Thompson, 1946, p.229). He then goes on to explore cumulative tales, otherwise known as
type ATZ20. A cumulative tales essential formal quality is repetition, usually repetition
with continuing additions (Thompson, 1946, p.234). Both The Path and Limbo are
cumulative tales. If the player finds all six wolves in The Path, they are able to play as a girl
in a white dress. The only objective is to go to the grandmothers house, where the player
can finally see the grandmother in her bed. The screen fades to black, returning to the
character selection screen, where the girl stands with her white dress covered in blood. A
door in the background opens and the six sisters return, bringing the game full circle. One
theory suggests that the last girl represents the woodsman from the traditional fairy tale
(Forums.ohtori.nu, 2006). She cuts open the grandmother to save the sisters, which then
restarts the game from the beginning. In Limbo a similar process happens: the boy crashes
through what appears to be a glass wall into the first scene in the game. If the player
replays the game, they are aware that this is also the same point at which the game ends.
Though this design is reminiscent of a cumulative fairy tale, it also creates an endless tale
(motif ATZ11).

Theories concerning the end of Limbo suggest that the boy is actually dead and his soul is
trapped in purgatory (motif ATE755.3). Described as a place or state of restraint or
confinement (Merriam-Webster.com, n.d.), purgatory (also known as limbo) is a space
between Heaven and Hell. Unable to find his sister and come to terms with his death, the
boy is doomed to experience repeated reincarnation (motif ATE670). At the games end the
boy does find his sister, but she faces away from him, playing with the ground. Her lack of
reaction suggests that she is still alive, hence not turning toward him. Her interest in the
ground could imply that she is mourning for him. Interestingly, after the screen fades to
black and returns to the start menu, the previous scene returns in the background. The boy
14

and girl are gone, and two ominous shapes lie on the ground with flies buzzing around
them. Limbo does not reward players with answers, but leaves more questions for them to
ponder over after playing.

Both Limbo and The Path exhibit fairy tale traits and can be classified under the AarneThompson system. Though The Path is based on a fairy tale, there are other elements of the
game that connect it to fairy tales, such as its cumulative formula. It takes its fairy tale roots
and adapts them to a new interactive medium, creating an experience full of symbolism
and allegory (McCafferty, 2009). Limbo proved itself to be a deeply affecting, . . .
absolutely terrifying emotional experience (Houghton, 2012), partly because it is inspired
by the Brothers Grimms dark fairy tales. Its visuals and soundtrack are eerily similar to
other artists who are inspired by fairy tales, like Lotte Reiniger. Though modern storytellers
strive after originality of plot and treatment (Thompson, 1946), these games show that
referencing older tales with the stamp of good authority (Thompson, 1946) can create
unique experiences that attract and mystify audiences.

15

Chapter 3 Propps Morphology of the Folk Tale

Whilst the Aarne-Thompson system was a welcome addition to studying fairy tale
morphology, other scholars have criticised it. Vladimir Propp, a Soviet scholar,
acknowledged that a coding of the tale has been made possible (Propp, 1928, p.10).
However he only saw it as a practical reference (Propp, 1928, p.11), as Aarne identified
patterns but ignored the function(s) of these elements (Tokuhama, n.d.).

Propp then created his own theory based on characters and their actions. His
morphological analysis of fairy tales observes that there are patterns in fairy tale events. He
developed a description of these consistent incidents, which included thirty-one functions
and seven spheres of action.

Functions of characters serve as stable, constant elements in a tale, independent of how

and by whom they are fulfilled (Propp, 1928, p.21). Propp (1928, pp.22-71) observed that
functions do not always follow one another in direct succession and that not all tales give
evidence of all functions. Spheres of action are when many functions logically join
together (Propp, 1928, p.79). These spheres are typical characters that feature in almost all
tales, such as the hero.

In this chapter, Propps method will be applied to the game Ico (Team Ico, 2001). Propps
form of analysis is preferable over the AT system as it can be applied to all tales. The AT
system is relatively Eurocentric, which limits its usage. Ico is a third-person adventure game
about a young boy and girl who must work together to escape a labyrinthine fortress. In
Propps publication Morphology of the Folktale (1928), he demonstrates how his method
can be used by analysing a tale. The same format will be used in this chapter when
analysing Ico. The left column will detail the events of the game, and the right column will
list the functions that are taking place.

16

The game begins in a forest1. A group of men are

escorting a young boy; Ico. They are approaching
the coast, where a derelict fortress stands above the
sea2.
Two horns protrude from Icos head. They are a
curse that has tormented his village for years. All
boys born with horns are taken from the village as
they cause misfortune.
The riders reach the beach and climb into a boat.
After arriving at the fortress, they use an enchanted
sword to open sealed gates. They lead Ico into a
vast hall and seal him within a coffin, telling him not
to leave as it is for the good of the village3. They
then leave.
A tremor causes the coffin to fall and smash,
knocking Ico unconscious. He experiences a strange
vision. Within a room in the castle a cage hangs
from the ceiling. As Ico approaches it a black
shadow appears in the cage. Another shadow
appears, which engulfs Ico, causing the vision to
end.
Ico awakens and leaves his coffin to explore the
fortress4. Eventually he finds the room from his
vision. He walks up a spiral staircase to find a young
girl in the cage5. Ico manages to free the girl6,
Yorda, and learns she speaks in another language.
A shadowy creature climbs from a portal in the
floor and seizes Yorda. Ico grabs her and pulls her
free before she is stolen. He is able to fend off the
shadows using a plank of wood7, but soon grabs
Yorda and runs for a gate on the other side of the
room. The pair are surprised when a white light
leaps from Yorda and opens the gate8.
As Ico and Yorda explore the fortress they learn
that they need each other to survive. Yorda is
capable of opening the gates, and Ico is able to fight
off the shadow creatures attacking them.
The pair find the fortress gate which is connected
to the mainland by a bridge. The gate begins to
close9, so Ico grabs Yordas hand and runs. Yorda
trips and falls, stopping them from escaping. A
shadowy woman appears before Yorda and reveals
herself to be the Queen of the fortress. She warns
Ico to leave10, stating that Yorda is her daughter and
cant survive outside the fortress walls. She
vanishes and the pair decide to find another way to
escape.
17

1. the initial situation () (though not a

function, it is nevertheless an
important morphological element
(Propp, 1968)).
2. departure (), the hero leaves
home.

3. interdiction (1)

4. violation (), Ico disobeys previous

interdiction.
5. villainy (A15)
6. the heros reaction (E4)

7. the first function of the donor (D9), a

hostile creature engages the hero in
combat.
8. provision or receipt of a magical
agent (F9), characters place themselves
at the disposal of the hero.

9. villainy (A15)

10. interdiction (1)

They find mechanisms which could open the gate

again. After solving puzzles and fighting creatures,
they open the gate. They start crossing the bridge11
but halfway across a bolt of energy leaps from the
gate and knocks them down. The bridge beings to
retract, separating Ico and Yorda. Ico runs and
jumps the gap, grabbing hold of Yordas
outstretched hands. A shadow approaches Yorda
and begins to envelop her. Ico sees that it is the
Queen, but before he can climb to safety Yorda is
taken12 and he falls.
Ico awakens at night on a platform suspended by
chains. A storm is approaching. He finds his way
back into the fortress. He discovers the dock he
arrived at when he was escorted to the castle, and
finds the magical sword used to open the gates13.
After opening more gates he finds an elevator
leading to the hall where he was imprisoned. Ico
discovers a group of creatures - each one shaped
like himself - dancing around Yorda. The Queen has
turned her to stone14. Ico cuts down the creatures
and opens the gate to the throne room.
The room is dark and empty. As Ico attempts to
leave, the Queen appears. She states she is dying,
and tells Ico she intends to possess Yordas body.
Furious, Ico attacks her15 but is knocked backwards.
He hits the ground and his right horn breaks off. He
attacks again but the Queen summons a barrier to
protect herself.
Ico shatters the barrier, approaches the Queen,
and stabs her with his sword16. With her last breath
she tells him Yorda can never leave. She knocks him
away one last time. Ico hits a wall, loses his left
horn and falls unconscious.
The fortress begins to fall apart. In the vast hall
coffins light up and send bolts of energy at Yorda.
She transforms into a shadowy figure17 and walks
into the throne room. She picks up Icos body and
carries him to the docks, where she places him in a
boat and pushes it away18. The fortress collapses
and sinks beneath the sea. The storm ends.
Ico awakens on the beach. He is alone. However,
he sees a form further up the beach. As he
approaches it he sees it is Yorda, yet she is not
moving. Suddenly her fingers curl and her eyes
open. She whispers to Ico happily as the camera
fades to black.
18

11. violation ()

12. villainy (A1), the villain abducts a

person, or (A2), the villain seizes or
takes away a magical agent.

13. provision or receipt of a magical

agent (F5), the agent falls into the
hands of the hero by chance (is found
by him).

14. villainy (A11), the villain casts a spell

upon someone.

15. struggle (H1), they fight in an open

field.

16. victory (I1), the villain is beaten in

open combat.

17. liquidation (K8), the spell on a

person is broken.
18. liquidation (K10), a captive is freed.

Ico contains five spheres of action, with some characters claiming more than one. The
graph below identifies them.
Sphere of Action

Character

Hero

Ico

Villain

The Queen, shadow creatures, the fortress

Princess

Yorda

Helper

Yorda, the magical sword

Dispatcher

The villagers

The fortress serves as a villain as it is an obstacle preventing Ico and Yorda from achieving
freedom. Propps method effortlessly categorises Ico. A range of his functions apply to the
storyline, and the games characters fit into his spheres of action.

When asked about inspirations for Ico, Fumeto Ueda (2006), the games creator, stated that
I tried hard . . . to ensure that the game would not resemble anything else available.
However many elements of the game are reminiscent of fairy tales. Fans have noticed that
the Japanese box art (painted by Ueda, Fig.4) is incredibly similar to paintings by Italian
painter Giorgio de Chirico (Fig.5).

Raynal (1927), cited in Pellizzi (2010, p.189), opines that De Chirico was inspired by
characters out of fairy-tales. It is possible that Ueda subconsciously created a game that
feels like a fairy tale, as his own references were in turn inspired by fairy tales. In turn,
Uedas creation continues to influence recent games, such as Brothers: A Tale of Two Sons
(Starbreeze Studios, 2013), whose director stated the world was very much inspired by . . .
fairy tales (Jong, 2014).

Fig.4

Fig.5
19

Chapter 4 Kingdom Hearts: Cross-media Collaboration

Kingdom Hearts (Square Enix, 2002) is a collaboration between publisher and developer
Square Enix and Disney Interactive Studios. The video game takes place in a fictional
universe which is filled with worlds based on Disney movies and Square Enix games. The
player controls Sora, a boy who is accompanied by Disney characters Donald and Goofy.
They must travel to the different worlds to help a mixture of familiar Disney and Square Enix
characters.

Many of the Disney characters used in the game are from their films based on fairy tales.
For example, Cinderella has an important role in Kingdom Hearts. Disneys interpretation of
her was based on Perraults The Tale of the Little Glass Slipper, written in 1697
(Theweeweb.co.uk, n.d.). Cinderella has been adapted to serve a purpose in Kingdom
Hearts, much in the same way that the Grimms adapted fairy tales to suit their own
purposes.

The series has been incredibly successful, mainly because players are drawn to the novelty
of two completely different franchises working together. Including fairy tale characters in
games allows players to interact with them in a new way. The first game has expanded into
a series of seven games across multiple platforms, most of which are critically acclaimed.
The franchise has sold over twenty million units worldwide, with the third game in the
main trilogy scheduled to release soon (Kishimoto, 2013). Fairy tales and their characters
have successfully entered popular culture by being incorporated into high-end games. The
popularity of both Square Enix and Disney, as well as their individual franchises, guaranteed
that fans would be interested in the series.

20

Conclusion
Though fairy tales have developed a great deal over the years, it is the way they are told
that has changed the most. They have progressed from oral folk tales to literary critiques.
They have been accepted into society and studied by critics. Fairy tales have slowly filtered
into popular entertainment; intentionally or not. Though video games are a medium that
would not normally be associated with fairy tales, they borrow many elements from the old
tales, as shown through analysis by the methods of Propp and Antti Aarne. Humans have a
natural desire to tell and share stories, which is why fairy tales have survived and been used
in a variety of ways. It is likely that their popularity will continue in years to come, as shown
by the continued success of the Kingdom Hearts series.

Word count: 5495

21

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