How Have Japanese Fairy Tales Changed? — The Shifts in Society Reflected in "Stories" and "Endings" from the Meiji to Reiwa Eras

Table of Contents

1. Introduction —— Fairy Tales as "Mirrors of Culture"

2. Meiji: Nation Building and "Unified Momotaro"

3. Taisho: Individualism and the Import of Western Fairy Tales

4. Early Showa: Heroic Narratives as National Policy

5. Late Showa: Re-editing to Depict Peace and Cooperation

6. Heisei: Diversification, Environment, and Shifts in Family Views

7. Reiwa: Digital Fairy Tales and a Global Perspective

8. How the Endings Changed —— From Punishment and Reward to "Empathy"

9. International Comparison: Translation and Reinterpretation of Japanese Fairy Tales

10. The Future of Fairy Tales —— The Era of AI and Participatory Storytelling

11. Conclusion
    
    

1. Introduction —— Fairy Tales as "Mirrors of Culture"

Fairy tales are not only "stories for children" but also mirrors reflecting the values that adult society wishes to pass on to the next generation. Therefore, their stories and endings are not fixed but have been rewritten by the influences of the times, politics, economy, and technology. Here, we will divide the period from Meiji to Reiwa into five phases and trace the changes from a perspective that is easy for foreign readers to understand.

2. Meiji: Nation Building and "Unified Momotaro"

Background: Wealthy nation and strong military, and national education.
Points of Change

• Standardization of Stories: Momotaro was included in the Ministry of Education's textbooks (1887). The rich variations of folk tales were unified through textbook editing, becoming a heroic narrative symbolizing "defeating demons = suppressing foreign enemies" and "treasures = national wealth."note.com
  
  

• Emphasis on the Ending: The scene where Momotaro brings back treasures to "enrich the nation" is clarified. His achievements are presented to the Emperor (lord) to demonstrate loyalty.
  
  

• Publishing Conditions: Multi-color printing in the style of nishiki-e was adopted for illustrations, and inexpensive children's books were widely distributed.
  
  
  
  

3. Taisho: Individualism and the Import of Western Fairy Tales

Background: Taisho Democracy and the development of urban culture.

• Wave of Translations: Grimms' and Andersen's tales were introduced in children's magazines such as 'Akai Tori' (founded in 1918).glim-re.repo.nii.ac.jp
  
  

• Story Themes: Self-realization, romance, and friendship take center stage.The ending of "Little Red Riding Hood" has been revised to a collaborative lesson of "overcoming the dangers of the forest with parents."
  
  

• Illustration Style: The soft pastel tones influenced by Art Deco and Western paintings became popular.
  
  
  
  

4. Early Showa: Heroic Tales as National Policy

Background: From the Manchurian Incident to the Pacific War.

• Content Alteration: In "Momotaro, Sacred Sailors" (1945 animated film), Onigashima is replaced with "southern islands," suggesting the demons are the Allied Forces.
  
  

• Ending: Victory in battle leads to national prestige. Violent depictions are positively amplified.
  
  

• Censorship: Anti-war and escapist fairy tales were banned from publication through circulation control.
  
  
  
  

5. Late Showa: Re-editing to Depict Peace and Cooperation

Background: Defeat, occupation, and economic growth.

• Reorganization of Stories: Under GHQ's educational reforms, the violence of "demon-slaying" was questioned, and by the 1960s, children's books commonly adopted narratives of "reforming demons to coexist."
  
  

• Example of Works: "Taro the Dragon Boy" (1960) by Miyoko Matsutani replaces the ending with "cooperation to enrich the village and mountains," focusing on mother-child love and environmental protection.
  
  

• Media Development: NHK's "Manga Nihon Mukashi Banashi" (1975–94) achieved visual sharing through TV animation, introducing multiple local traditions in parallel.kodomo.go.jp

6. Heisei: Diversification, Environment, and Shifts in Family Views

Social Background: Bubble burst, declining birthrate, globalization.

• Environmental Fairy Tales: "Mottainai Grandma" (2004) advocates for resource circulation, with the "scolding" grandma gently comforting at the end.
  
  

• Redefining Family: "And Tango Makes Three" (2007 Japanese translation) depicts the family image of a same-sex couple.ehonnavi.net
  
  

• Ambiguity of Endings: There is an increase in storytelling that asks "What do you think?" after reading, respecting the reader's interpretation.

7. Reiwa: Digital Fairy Tales and Global Perspectives

Technological Advancements

• AR Picture Books: Characters pop out in 3D when you point your smartphone, and the story branches out with choices. "Endings without a correct answer" become the standard.terihat.com
  
  

• VR Theater: Commercialization of the experience of "entering the world of picture books" through an app for Meta Quest. Children move their perspectives and decide the ending themselves.terihat.com
  
  

• Internationalization of Publishing: The rate of overseas translations has doubled compared to 30 years ago, and script development considers cultural differences from the original stage.

8. How Endings Have Changed — From Punishment/Reward to "Empathy"

9. International Comparison: Translation and Reinterpretation of Japanese Fairy Tales

• Momotaro vs Jack and the Beanstalk: Contrasting treatment of work ethics.

• The Tale of the Bamboo Cutter vs Cinderella: Reversal in emphasis on self-sacrifice and "individual over family."

• Translation Process: Recently, "bilingual picture books" with simple Japanese and English translations with furigana have become popular in Europe and America.

10. The Future of Fairy Tales —— The Era of AI and Participatory Storytelling

Generative AI can present different images and words to each reader. While debates over copyright and ethics continue, "participatory fairy tales," where children themselves generate plots and collaboratively edit, have entered the experimental stage. The future endings will likely be co-created in real-time by readers and the story world.

11. Conclusion

Fairy tales are not "old and unchanging" but are living cultural assets that continue to breathe along with society. By comparing stories, what Japanese society has valued and what it feels needs to change become highlighted. For foreign readers as well, fairy tales can serve as an effective guide to understanding Japan.

Reference Article List

• National Diet Library International Library of Children's Literature "Chronology of Japanese Children's Literature"kodomo.go.jp

• Rei Yokoyama "Momotaro Removed from Textbooks" note, 2023note.com

• Ehon Navi Editorial Department "Picture Books and Children's Books Depicting LGBTQ+ and Gender-Free"ehonnavi.net

• "Current Status and Challenges of Digitalization of Children's Services in Public Libraries" International Library of Children's Literature, 2025kodomo.go.jp

• ResearchGate “Japanese Fairy Tales and Another World Writing” (2023)researchgate.net

• "Reception of Grimm's Fairy Tales in Japan" German Studies, 2024glim-re.repo.nii.ac.jp

• IT Economy News "Digital Content and Digital Picture Books" 2022-04-18itkeizai.com

• Meta Quest "Theater Elsewhere" Introduction Article, 2025-04terihat.com