I am currently re-reading "The Black Company" by Glen Cook, the first trilogy which I love immensely (I haven't looked at the later trilogies and series).
If you do not know what "The Black Company" is, it is a series of novels started in the 80s that formed, alongside older works like "The Elric Saga", the foundations of the genre we know today as "dark fantasy". And "The Black Company" is one of the specific highlights of the dark fantasy sub-genre that later inspired authors to create what we call the "grimdark fantasy" (though I personally put The Black Company in "dark fantasy" rather than the "grimdark" genre, even though it was a big inspiration for the grimdark).
I love The Black Company. But, I hear you ask, why am I speaking of this onto my fairytale blog? Well... you guessed it: The Black Company is actually a fairytale fantasy. It is not something that is talked about often, nor something that was very much highlighted outside of some trivias, but despite The Black Company seeming like a dark deconstruction of the early Tolkienesque fantasy (which it is), it is also... a deconstruction of fairytales.
Here is a list of points showing the fairytale influence over Glen Cook's work, from the broadest and vaguest to the most specific. WARNING there are BIG SPOILERS ahead for the original trilogy.
From the get-go, names are rare in "The Black Company". As in, personal names. This is one of the most famous features of this series: almost all of the main characters go by nicknames or aliases, and the rest are left anonymous. From the members of the Black Company who abandon their life behind, to the sorcerers who keep their true name secrets, we are following the adventures of "Croaker", "Captain", "Raven", "The Lady", "The Hanged Man", "One-Eye", "Darling", and others. Add to this the sparse and succint physical descriptions, and the fact the past of most of the characters stays mysterious, foggy and untold - the narrative focusing mainly on their actions and their words - and you have a form of archetypal storytelling making the characters seem like they came out straight of a folktale (which is ironic as the story is precisely about introducing gritty realism to an universe of fantasy).
By extensive, the very narrative style of the books (mainly the parts written by Croaker for the Annals) is reminiscent of the way fairytales a la brothers Grimm were told. A very focused, quasi-oral narrative flow filled with ellipses and allusions, mixing direct descriptions with narrator thoughts, spending a lot of time over some trivial things while telling in two sentences huge events, slowly revealing things or explaining elements in a disjointed and broken way...
Still on the same vibe, the magic system (or rather the lack-of) was clearly meant to recreate the effet of magic in fairytales, and legends and myths in general. Unlike other fantasy works where magic is explained or has given rules and conditions, magic here stays a mysterious art only truly understood by its wielders. We are given some rules and elements, we know the power levels of some characters, but magic stays a mysterious force whose effects, while obvious, grandiose and visible, are unclear in their scope, limit and effect, leaving a true "everything is possible" effect that do make the wizards and warlocks of this series "legendary".
The first book opens and hammers down, through Croaker's narrative, the idea that "good versus evil" doesn't exist, that "good" and "evil" are mostly human illusions and excuses, that in the end everybody is just morally gray and the "good side" is decided by the winners of battles and those that write down history. This is of course a subversion of the epic fantasy genre a la Tolkien, but it also serves as a subversion of the very fairytale logic of "good versus evil". And then, a de-subversion as Croaker and the Black Company come to realize, as they get involved deeper and deeper into the wars of the Lady and the return of the Dominator, that while human "goodness" and "evilness" are illusions, there is still an actual "evil" that is too inhuman and dangerous for the world and deserves to be fought by true "heroes". So, the trilogy does end up falling back into the fairytale dichotomy... But to do so, it needs to go beyond the human scope and scale of things, to enter the world of ancient myths and eldritch magic.
Among the Ten who Were Taken, several evoke "classical" fairytale monsters. All of them are evil witches and wicked sorcerers, but some clearly evoke the werewolfs of legends and the Big Bad Wolf (The Howler, Moonbitter) while others clearly take after the giants, trolls and ogres of old (Shapeshifter, Bonegnasher). [Plus Toadkiller Dog has strong "Big Bad Wolf" vibes too] Also, they use extensively flying carpets to fly around, directly as a nod to the One Thousand and One Nights. There are also several sorcerers who evoke the dwarfs of legend, from the evious Limper described as a "small man", to the duo of One-Eye and the aptly name Goblin, who are basically the trickster imps and mischievious dwarfs of old legends.
The story span over the three first books is actually a retelling of Snow-White. Literaly. It is about the fight and struggle by a powerful and beautiful witch-queen (the Lady) with powerful magic to her side (her Eye is the equivalent of the Magic Mirror) to destroy a pure little girl fated to destroy her (Darling, reincarnation of the "White Rose", quite a nod to "Snow White"), only for the little girl to be saved and protected by servants of the Lady who betray their former employer (The Black Company). The little girl events gets, in a Disney fashion, to become "friend" and gain control and protection from animals and plants of nature... with the twist being her "Disney princess" powers make her befriend the alien fauna and insane flora of the Lovecraftian Plain of Fear.
In "The White Rose", the memoirs of Bomanz note how strange it is that everybody was fascinated by the Domination and the Taken, despite them being pure evil, and how little interested is paid to the remains of the White Rose, despite her being the hero that saved them all. This can be taken as a reflection on fictional villains in general, but it does strike a chord with fairytales: fairytale villains are often more iconic, more well-known, more fascinating than the heroes, and the stories often end with the villains - not caring about what happens to the heroes or the "good guys" once the threat is done with. Everybody knows at least half of the names of the Taken, but nobody knows where the White Rose's grave is. (Aka, the "Disney villain phenomenon")
The Taken (plus Lady and Dominator) sleeping forever in their barrows, guarded by a DRAGON, and "woken up" by various intrepid adventurers passing by a deadly barrier has very strong "Sleeping Beauty" vibes - which becomes ironic when later the Lady reveals that her mother was actually the twisted source of the Sleeping Beauty story in this universe.
