The article considers the specificity of the image typology in Vladislav Krapivin’s cycle “Fairy Tales and True Stories of Deserted Spaces’. We highlight the change of cyclisation principles in the late works of the writer; the interrelation of the last two cycles – “In the Depth of the Great Crystal” - is achieved by isolating the unified principles of cyclisation, the leading place among which is occupied by the spatialtopological principle. The chronotopic models - the Great Crystal, the Deserted Spaces - become symbolic embodiments of a certain philosophy of life, oriented towards overcoming the disharmony of existence. As a consequence, the plot of initiation, which is the dominant feature of the writer’s artistic world, undergoes significant changes. The social aspect gives way to the philosophical and psychological aspects. The change of the initiation plot causes the transformation of the image typology. Firstly, it is associated with a change in the figurative system: the binary of “adult – child”, traditional for Krapivinsky’s works (including the cycle “In the Depths of the Great Crystal”), is replaced by the model “child – child”. The latter, unlike in earlier texts, does not trigger the emergence of two plot lines, forming a different plot pattern. Secondly, the figurative type of the cycle “In the Depths of the Great Crystal” gets further development – “koivo”. Thirdly, the traditional type of “Krapivinsky boy” is significantly transformed.