“Into the Woods”
Writer: Bill Willingham
Artists: Mark Buckingham (p), Steve Leialoha (i)
Publisher: DC Comics/Vertigo
Plot:
Snow White and Bigby Wolf wake up from the spell cast over them last issue and find themselves camping in the Cascade Mountains. The duo runs into trouble as they try to get back to civilization in the form of an expert markswoman (someone we’ve seen show her prowess with a rifle earlier in the series). Back in New York, Bluebeard continues to scheme against Snow and Bigby while Prince Charming proves that he not as hapless as previously thought. Sergeant Wilfred, the Lilliputian last seen escaping from Bluebeard, finds it difficult to report to his superiors.
Comments:
There’s certainly a lot going on in this issue, as each of the main characters get their moment in the spotlight. The unfortunate side effect of this is that we don’t spend enough time with any of them to feel completely satisfied because it feels as though Willingham has stretched this issue a bit too thin. That’s a shame, really, because each subplot has the potential to be completely engrossing given enough page time to develop.
Bigby Wolf and Snow White make for an odd couple, and Willingham really plays that up here. We’ve only had glimpses of Bigby’s other nature up to this point, but here we get the Full Wolfie, so to speak. We’re also treated to a bit of insight as to what it’s like to be a Fable. Bigby confesses to not being able to drive (why would he need to?) and Snow White comments on how quickly the centuries seem to fly by. It’s moments like this that remind you that, even though most of the characters look human, in reality they are anything but that. The last page’s promise to reveal how it is Bigby fell in love with the typically cold-hearted Snow White has me really jonesing for the next issue.
The other subplots covered have to do with Bluebeard’s deviousness and Prince Charming’s quasi-redemption. Charming subverting Bluebeard’s will is not something I would have given the character credit for in the past, and it was a nice surprise to find that I was wrong as the character is richer for it. Goldilocks is written so against type that I find myself constantly flabbergasted at her words and actions. It’s ideas like this (i.e. Goldilocks portrayed as a murderous tramp) that keep this title fresh.
Quite simply, the art is fantastic. Anyone who’s seen Mark Buckingham’s work on Peter Parker: Spider-Man knows what to expect going in; high levels of detail and fully realized characters. With is communicative figure work and detailed settings, he reminds of a combination of Scott (The Flash) Kolins and Mark (Ultimate Spider-Man) Bagley. Buckingham’s skill permeates the book; whether it be the inventively designed two-page spread on pages 15 and 16 or the cinematic scene of Bigby getting dressed after swimming. Even the page numbers receive Buckingham’s attention, as the graphic encircling the numerals changes to fit the theme of the page.
I do have one complaint, though, and it gets its own paragraph because I’m not sure if the fault lies with Buckingham or his inker, Steve Leialoha. On pages 4-7 and again on page 11, Bigby has no mouth. There’s a space where the mouth should be that his five o’clock shadow doesn’t intrude upon, but either the penciller failed to draw it in or the inker failed to trace over it.
Final Word:
Simply put, another in a long line of solid issues from Willingham and Co. To be honest, I don’t’ think I’ve read a bad issue yet. It’s good to see the Vertigo line so strong these days, and Fables should be mentioned in the same breath as Y: The Last Man and Hellblazer.
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