little red hood


she wakes up and things feel – different.

she doesn’t know why. doesn’t know how, either, only that they
do. in the haze, she tries to piece together the last place she was,
the last thing she remembers.

the warehouse with shilah. the last lead. the man and a gun and
how a bullet had ripped into her. falling and shilah there and his
hands tight around her and slick with her blood. his eyes wet with
tears and her telling him not to cry and she must’ve – she must’ve
been okay. he must’ve gotten her home.

– except this isn’t home, and she doesn’t know where she is. the
room is clean, the bed soft but impersonal. it’s not in their house,
where everything holds some sort of reminder of her or shilah or
noah, some piece of them. this isn’t home.

there’s still a dull ache in her ribs and she doesn’t – maybe she’d
been all right. she must’ve been all right.

(still, shilah isn’t here, and it makes her panic. she tries to sit up
and can’t, the pain sparking into something more intense. she
tries again and can’t again and frustrated, frightened, she feels
her eyes well up.)

          “– shilah?”

he has to be here. he wouldn’t leave her; he’d never leave her.



shilah tells her they’re going to end this together, and that is what
they decide to do. 

she shouldn’t go with him. she knows she shouldn’t, knows that
she belongs home with noah, who still needs them both. but she
goes because someone’s hurt her son and tried to rip him from
her and there’s a rage bubbling up in her chest that won’t go away
no matter what she does. 

it has to be this, she thinks. it has to be blood for blood and those
who tried to hurt her family wiped away. it has to end in ruin.

so, with only a few leads left (the others gone, ripped apart), they
go. together. 

– it happens quickly, after that.

she and shilah are separated. she doesn’t mean for it to happen
and neither does he but the split is even, clean as a bone snapping
in two. he goes one way and she goes the other and at the end of
it, they’ll come together again. he makes her promise and she does
and she watches as he slinks away, man to beast, before she turns
to go, too.

she fights like she never has before, but in the end, she’s not bullet-

the crack of the gun is loud, louder than anything, and the bullet hits
low in her chest. she stumbles back, surprised, the pain immediate
and blinding. a hand pressed against her shirt comes back ugly and
red and she watches the man lift the gun again but he never has a 
chance to fire. she lashes out, and she never even touches him. he’s
simply gone.

left alone, with ash fluttering into her hand and sticking in the red of
her shirt, she stumbles back again, hits the wall.

          “shilah –”

her voice is desperate, tiny, but she knows he’ll hear her. 



A Ghetto Rendition Of: Little Red Riding Hood - This is the story they don’t want you to know about!

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South Korean Illustrator Wooh Nayoung, aka Obsidian, created a beautiful series of reinterpretations of Western fairy tales in the in the style of traditional Korean animation. Despite all the wonderfully different cultural and stylistic details, each story is immediately recognizable. Pictured here are scenes from Alice’s Adventures in Wonderland, “The Little Mermaid”, Beauty and the Beast, “Little Red Riding Hood”, “Snow White”, and “The Frog Prince”:

Click here to view the entire Fairytales series. Visit Wooh Nayoung’s website to check out more of her amazing digital illustrations. You can also follow her here on Tumblr at woohnayoung.

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