Princess comics probably aren’t the first place people think of when it comes to princess stories. Even then they probably think of the Disney Princess comics by IDW’s Disney imprint. On this segment of Comic Comparisons however, we’ll be going over the comics that challenge the classics.
What’s the Challenge?
The classic princess story is about a “fair maiden” embodying innocence. Most depictions like that come from Has Christiansen Andersen or any of his contemporaries. Disney popularizes this depiction to the point where princesses are a brand to sell dresses for little girls’ fantasies. Because what child doesn’t relate to an innocent figure? Unfortunately, there comes a time when people get sick of this depiction. Let’s look at how this princess formula goes through Christian Metz’ four stages of genre evolution. And to some degree how they compare to the Woke Disney movies.
Parodying Princess Comics
As soon as the classics become so well known, genre shifts into parody where the tropes make fun of the formula. Princess Ugg by Ted Naifeh demonstrates what happens when the classic princess archetypes meet a princess who doesn’t fit the mold. It turns out retaining innocence isn’t really that great, if anything they look haughty. All of which sums up when one of these princesses (Julifer) tries to enter a riding competition with a unicorn. Unicorns are symbolically linked to purity and grace; they’re practically a classic princess personification. However anyone who has ever trained a real horse knows how dangerous a wild one can be.
While classic princesses are known for befriending woodland critters with song and dance, they don’t really make the effort to train them. In fact Julifer was so confident that she could connect with the unicorn, she spoiled the horned horse. But all this really did was encourage misbehavior. So Julifer has to use the titular Princess Ulga’s physically unappealing but disciplined pony for the competition.
Parody-Deconstruction Phases
While changing the princess narrative isn’t exactly new with Disney’s Jasmine and Mulan; these films focus more on character than the formula. What starts princess comics’ revaluation is Rod Espinosa’s The Courageous Princess. Mabelrose with her freckled visage and somewhat slouched posture gets her made fun of by the other princesses. Even the prince hosting a ball doesn’t see her as a princess. As for the dragon who kidnaps Mabelrose, he’s not into the usual plans of marriage or conquest; he just holds princesses for ransom. Something Mablerose’s parents are more than willing to pay when all else fails. Fortunately Mabelrose doesn’t develop Stockholm Syndrome and manages to escape on her own merits. All while the dragon tries to do the act again and again, with Mabelrose making him look like an idiot.
Following this are series that directly question the role of a princess between parody and deconstruction. One where despite being aware of the classic tropes’ shortcomings, some characters try to preserve them per tradition. Because if success is still present with the classics, why bother changing anything? These princess comics however punishes those viewpoints by putting fantasy next to emotional realism.
Parody to Deconstruction
Ulga’s entire reason of bunking with classical princesses is not purposely trying to disrupt the traditions; she’s actually there to learn diplomacy. Her northern homeland is in constant conflict and trying to make peace would be the best thing, even if it’s not the easiest thing to do. This makes Ulga more of a princess than her classmates who focus more on grace and glamour. Which in turn bites Julifer since her rotten personality often leaves her without friends. Even Julifer’s (hopefully non-sexual) affair with her father’s army captain doesn’t lead to true love, it was an economic arrangement.
Deconstructive Parody
Princeless by Jeremy Whitley is arguably the most famous of the princess comics on this post. Adrienne, the protagonist of Princeless is so fed up with the princess formula she decides to destroy the ideology by using the formula as a way to mock traditions. With a dad like King Ashe who presents his daughters as prizes for princes, it’s hard to blame her. She does this by making friends with the dragon who guards her and learns skills on a journey to save herself and her sisters. But more importantly Adrienne grows to respect the friends she makes along the way and her sisters who show off their own abilities. Not for directly defying the princess tropes like Adrienne but embracing their needs and desires to solve conflicts. Because it’s one thing to poke fun at traditions, but preaching without context is gatekeeping.
Don’t Forget These
Which doesn’t excuse the gatekeeping of traditionalists. Ricky Lima’s Happily Ever Aftr shows how the fairy tale tropes can warp people’s morals. A lesbian princess, Gretchen Grimhold, kidnaps a straight princess because the former follows her father’s example of love at first sight. Even then King Grimhold disproves of Gretchen’s sexuality. The kidnapped princess meanwhile tries to use a dating app to get knights to save her, but they all fail. All of these princess comics might sound funny at first, but they have some very serious messages. Not unlike Disney’s Frozen.
Straight Deconstruction Princess Comics
As for princess comics that don’t play these scenarios for laughs look no further than Another Castle. Despite the title evoking Super Mario memes, this mini-series by Andrew Wheeler and Paulina Ganucheau brings up the serious background threats. Even if the princess escapes or the villain is slain, there are political issues that have to be dealt with. The series (and some of the above princess comics) show how traditional monarchies can resemble dictatorships. Traditions have very fundamental flaws if the only requirements to rule are bloodlines or conquest. This can lead to candidates who can be incompetent or despots. It turns out the throne of Grimoire has another candidate to rule but he refuses to take it for those reasons.
This is essentially everything that Disney tries to put in its live-action remakes of princess movies. The problem however comes from how Disney tries to appeal primarily to activists through spectacle. Almost to the point of ignoring the context of the times that actually take place in them.
Princess Comics Reconstruction Phase
However, does this mean that princess fantasies have run their course? I thought we agreed that gatekeeping is stupid. Kelly Thompson and Briane Drouhard’s Mega Princess is a reconstruction phase of princess comics. However rather than just put traditions back up just because, this series keeps the post-modernism from previous series. The title character Princess Maxine has no desire to act like a princess, she wants to be a detective. Her mother wants Max to take that aspect a little more seriously; not to be patronizing, but because it’s one of the few ways the queen tries to relate to Max. The king meanwhile never pressures Max to be a princess and supports her wish to be a detective.
However tropes like the fairy godmother, animal sidekicks, kidnappings, and odd powers all come into play. But the fairy godmother dresses like a hipster, Max’s pony Justine isn’t automatically her friend, and Max isn’t who was kidnapped. When her baby brother goes missing, Max decides to use her detective skills with Justine and her princess powers. The powers range from talking to animals, turning into a mermaid, growing hair, and feeling stuff under a mattress.
Something to take note of is that unlike the more serious above series, Mega Princess is aimed at children. Max herself is only 10 and there only a few things to take seriously. Sure Max and Justine get themselves into trouble and things would’ve been easier if they talked to Max’s parents; but again Max is only a child. This series is meant to recapture the youthful innocence of princesses without looking immature. In fact it ends with Max making use of her princess powers and duties to become a better detective. Compare this to Disney’s Enchanted in terms of theme and tone.
Princess Comics Are Here To Stay
Princess comics much like superhero comics are a genre all to themselves. There are going to be times when people question whether princesses have a place in modern times. Especially when Disney makes them out to be something to throw money at. Yet it’s that spectrum between childhood innocence and political intrigue that makes this sub-genre interesting. Just imagine the struggle to be a child at heart as things become dire every day. Some people don’t have to.
Thanks for coming to the end and as always, remember to look between the panels.