With, it seems, the New 52 reclaiming the classic DC properties, many have been wondering what kind of future the Vertigo imprint had to look forward to. Yesterday’s solicitations might have answered that question with the revelation that March 2012 will see the launch of four new ongoing titles, the biggest push the imprint has seen in recent memory. Both Selwyn Seyfu Hinds and Denys Cowan’s Dominique Laveau: Voodoo Child and Paul Cornell and Ryan Kelly’s Saucer Country have had previews in recent anthology oneshots, and Fairest is a known quantity by the fact that it’s a Fables spin-off (That said, a Bill Willingham/Phil Jiminez pairing for the launch story seems like a strong first-foot-forward), but Dan Abnett and INJ Culbard’s The New Deadwardians remains an enticing mystery for now.

Vertigo titles hardly race up the DM charts, but recent ongoing launches like The Unwritten, American Vampire and Sweet Tooth have been both acclaimed and had some buzz about them, seemingly leading a critical renaissance for the line. It’ll be interesting to see how these new books turn out, and whether Vertigo becomes the place for DC’s new ideas, while the DCU is the sales engine where old ideas are kept fresh through relaunches and revamps.

What does Fables creator Bill Willingham think of the similarities between his series and the ABC show Once Upon A Time? Well, he interviewed himself over at CBR to explain:

Is “Once Upon a Time” (which we should now refer to as “Once” for brevity) a rip off of “Fables?”

My best guess, based upon the scanty evidence, is probably not.

Is “Once” influenced and at least in part inspired by “Fables?”

Despite superficial similarities, “Fables” creator Bill Willingham firmly believes any similarities “Once Upon A Time” has to his comic is simply a result of working form the same source material

My best guess, based upon the same scanty evidence is, yes, it probably is, but perhaps not on more than a “this is the type of thing that’s in the air these days” level.

He goes on to elaborate on the crossover between the concepts for the show and the series, and their similarities, before explaining that what he’s trying to do is “a call to arms — or more accurately, a call to disarm”:

As grateful as I am to discover so many loyal “Fables” readers, willing to man the barricades, to help protect a story they love; as much as it moves me to realize I’ve been part in creating something that clearly moves you, affecting your lives in ways only a good story, well-told can, I think it’s time to lay off. Perhaps it’s time to quit rising up in public venues to accuse these folks of Grand Theft “Fables,” even if you still think it’s so.

I’m quite enjoying Once Upon A Time, in part because I just enjoy seeing Jennifer Morrison’s attempt at being a badass private eye/bounty hunter on a weekly basis; I also love Fables, so I’m glad to see Willingham being so calm about similiarities between the two.

So, everyone’s had a chance to read Flashpoint #5, right? If not, click for the rest of this post at your own risk. (more…)

Here’s a treat for process junkies: Todd Klein, uber-letterer, runs through the creation of a page from Fables, including the ways in which Mark Buckingham and Steve Leialoha differ from traditional penciler/inker teams:

Before sending the pencils to Steve Leialoha, Bucky paints gray washes over them, as seen here, sometimes doing a bit of the inking as well. Here he’s inked Bufkin’s eyes in the last panel, and I think a bit of linework on Bungle, the glass cat, as well as the panel borders. He’s also added shrubbery in mostly darker watercolor grays where there was nothing in the pencils. This is what Steve received from Bucky, and I don’t know if I’ve ever seen art done quite this way before: doing gray tones over pencils. Steve told me it’s not a problem for him to ink them, though it takes him longer than the standard way and size, and if anything doesn’t come out quite right he fixes it on the computer after scanning his finished inks. Frankly I don’t think there are many inkers who would be able to handle this as well as Steve, who is a fine artist in his own right.

As a fan of Fables, I may be biased but, with Buckingham’s style taking on a mix of Mignola and Kirby in recent years, it’s become one of the best-looking books around for me. Seeing behind the scenes like this is great.

Whoever thought to fire up the hype machine for the DC relaunch with a group interview with Scott Snyder, Jeff Lemire, Paul Cornell and Joshua Hale Fialkov (Each one writing a book in DC’s new “dark” line) deserves a raise. There’s a lot to reassure in the whole thing, but my favorite part may be this, from Lemire:

I don’t think that up until very recently when things were going to be announced that Paul’s book or Peter Milligan’s book would be linked in terms of this overall banner. There was never any editorial direction for the line, but for me I approached it as if I was writing for Vertigo, basically… [O]ther than not being able to use swear words and stuff, I pretty much just let loose, and like Josh said, they haven’t made me scale back at all. “Frankenstein” has some pretty over the top violence so far, and “Animal Man” I thought some of the stuff in the first issue they’d want us to pull back on, but they loved it. They’re letting us go further than regular DC titles in that respect.

I can’t be the only one who finds this to be good news, right? It’s not that I’m a massive fan of violence and swearing (Although, in context, it can be quite fun), but I’m very glad that these books aren’t going to be repurposed into some new “They’re superheroes – but with magic instead of superpowers!” direction.

The mention of being allowed to go further than the creators expected makes me wonder whether we’ll see some of DC’s new 52 using that M for Mature rating, come September. Snyder follows Lemire’s comment with an interesting one that may reflect DC’s current thinking about the actual Vertigo line: “I think the thing that makes this different than Vertigo is that Vertigo has more of a creator-owned feel now. There isn’t a shared universe as much as it is a shared sensibility.” I think there’s definitely an argument that that’s been the case for awhile now – Whereas the line started with company owned characters like Sandman, Doom Patrol and Shade The Changing Man, the standout books for the imprint for a long time have been creator-led and not in any shared universe setting: Fables, Y The Last Man, 100 Bullets, and now things like Scalped, American Vampire and iZombie (I think Hellblazer may even be the only company-owned, DCU-related book still at the imprint these days…? ). Will Vertigo switch to an almost all creator-owned/participatory model, leaving the “dark” line to pick up a slightly censored version of the slack with a more mature line of supernatural books set in the DCU?

Dear whoever is in charge of casting over at DC Entertainment,

This:

Make it happen.

Love,

Graeme.

(If you’re wondering what that is: It’s Carlos Pagulayan’s take on Sherlock‘s Benedict Cumberbatch as Morpheus, which I discovered via a tweet from Sandman creator Neil Gaiman, who called it “actually quite spooky.” He’s right, and I’d really, really love to see someone try to make it happen… as long as it didn’t effect any future Sherlocks…)

The Nobody
Written & Illustrated by Jeff Lemire
Lettered by Sean Konot
Published by DC/Vertigo

In Jeff Lemire’s first book from Vertigo The Nobody, he appropriates the protagonist of H.G. Wells’ The Invisible Man to explore a theme obviously dear to Lemire, the interconnectedness and occasional small-mindedness of small towns. John Griffen, bandaged head to toe, arrives in Large Mouth, where everyone knows everyone, checks into the local hotel and stays to himself.

Lemire explores Griffen’s tenuous friendships and the community’s complicated sense of acceptance and respect for privacy against a simultaneous and conflicted urge to question this stranger in their midst. Like his Essex County books and his Vertigo serial Sweet Tooth, Lemire’s The Nobody moves slowly, contemplatively, focusing on the small moments in ordinary lives.

With his rough-hewn artwork, Lemire captures the worn-in quality of Large Mouth and its residents, and his natural dialogue draws readers into their lives quickly. The characters aren’t the deepest you’ll meet, but Lemire provides a range of personalities, and the major players have a few wrinkles to keep them interesting. The haunting plot pulls readers in, and everything builds to a tragic, and effective climax.  The Nobody‘s another worthwhile offering from a cartoonist with a talent for mood and small-town exploring.

Neil Young’s Greendale
Based on the album by Neil Young & Crazy Horse
Written by Joshua Dysart
Illustrated by Cliff Chiang
Colored by Dave Stewart
Lettered by Todd Klein
Published by DC/Vertigo

I already reviewed this one a while back, but that was based on a black and white advance copy. I got a permanent edition, finally took time to read it during my 2011 dig-out, and wanted to give some props to Dave Stewart. Greendale‘s a beautifully colored book, soft (maybe a little too soft at times) and organic, warm and inviting. Lots of cool, natural tones.

DC did a very nice job assembling the book also, something I rarely feel they deserve credit for. It’s an attractive package. The script holds up well – Greendale‘s not exactly nuanced, but it’s engaging and fun to read, and my sympathies lie along its message. And Cliff Chiang, man, that dude makes it look fantastic.

And so the great dig-out of 2011 begins. I’m cutting back on the library for a little while. With all the review comics I get, some library books sprinkled in, and a few comic strip collections, and the prose books I squeeze in as often as possible, I’ve basically not read a single comic that I’ve purchased for myself since last August.

It’s gotten a bit ridiculous. I’m talking about nearly 70 books (including a few rereads, mostly for reasons that’ll become clear about two paragraphs down) piled up on my end table. They’re going to collapse one night and kill me in my sleep, I’m convinced. So it’s time to whittle that bastard pile down, come hell or high water.

So over the new few months, you’ll see some … not very timely reviews. But I’m going to get it all read, and you’ll see what I’ve been missing out on.

Young Liars v. 1: Daydream Believer
Young Liars v. 2: Maestro
Young Liars v. 3: Rock Life
Written & Illustrated by David Lapham

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Delirium’s Party: A Little Endless Storybook
Written & Illustrated by Jill Thompson
Published by DC/Vertigo

Jill Thompson’s latest visit to the realm of Neil Gaiman’s Endless characters finds the whimsical, whirlical Delirium in the spotlight again, as Delirium decides to throw a party for her surly sister Despair.

Delirium’s Party is the result, a bringing together of all seven Endless in an effort to get a solitary grin, just a tiny little uptick of the mouth’s corner, from Despair. Thompson pretty much nails everything about the story – Delirium’s swirling, track-leaping logic arranges a perfectly wonderful and utterly grandively (her word, not mine) party. Keeping all the Endless on track, with small touches in their dialogue and in their perfectly suited gifts for Despair, Thompson captures the essence of each fundamental being. But most of all, she’s able to give the book an engaging, insistent readability, a pleasant breeziness that makes for a too-quick and entirely pleasurable reading experience.

Thompson’s watercolors and page compositions match the unexpected, yet somehow totally dream-logic reasonable, mania of Delirium’s party organizing talents. A cake with all your favorite things: bicycles, books, cupcakes, paintbrushes and action figures; the warm, psychedelic colors of Delirium’s… hair, clothes, bed… pretty much everything, really; flying pickles and ice cream cones – it’s all here. Jill Thompson’s practically born to draw this character – and yet she’s still born to draw all of her own wonderful characters too. It’s really too much talent for one person to have. How about sharing a little, Jill?

Delirium’s Party: A Little Endless Storybook is a pure blast, superduper fun, with intoxicating prose and colorfully twisted artwork. Fans of Neil Gaiman’s Sandman will want this one; it’s one of the best non-Gaiman Endless stories to date (and better than a couple of Neil’s even). Fans of Jill, of beautiful illustration, of just-plain terrific stories should definitely keep an eye open for it.

It was recently announced that director DJ Caruso would be taking on the task of translating Garth Ennis’ Preacher comic series to the big screen. Now the I Am Number Four director talks a little about what he has in mind.

Speaking to the French website, CloneWeb, Caruso mentioned how controversial the story is as well as who he’d like to cast in the main roles.

“It is a crazy trip and I think what’s amazing and what makes Sony so brave is they can see there’s a real universality in the story when you have good versus evil. And I think when you have these crazy characters that are not necessarily politically correct, there’s something genuinely attractive to those characters and those elements,” said Caruso, “but at the end of the day, it really is a story about good versus evil and the decisions that you make and whether the demons are gonna win or the Genesis, or the good inside of Jesse is gonna be there.” He said that even though he thinks the story can be commercial, it will shock a lot of people at times.

Preacher follows Jesse Custer, a minister who has a crisis of faith when his entire congregation is killed when he’s possessed by a supernatural being called Genesis. He sets out on a journey to find God and have a few words with him along with his ex-girlfriend and a vampire.

Caruso said he read Preacher when it was first released but Sam Mendes was originally set to direct it. “Then when Sam went off to do James Bond, the opportunity came up again so I inquired,” he said. “But you know, I think the possibilities are great and I’m a huge fan of the comic. It is a lot of story to put into one movie and so that’s really the challenge.” Caruso also mentioned John August (Charlie’s Angels, Corpse Bride) is doing a great job with the script.

As far as casting, Caruso said he’s got a couple of ideas but isn’t quite there yet. However, he’s looking to Star Trek star, Chris Pine, for the lead role of Jesse. “I want to get the script in really good shape then start to put it together but I will say that for any movie I’ve ever done I’ve never gotten more phone calls or texts or things from actors,” he said. “An actor that I love very much and I’ve had a conversation with is Chris Pine, for Jesse. Shia LaBeouf loves Arseface. He wants to play Arseface, so we’re kinda working that out too.” LaBeouf previously worked with the director on Disturbia and Eagle Eye.

“And this guy right here [speaking to Alex Pettyfer, his I Am Number Four star], he’s thinking, he’s really thinking that the Saint of Killers is a good role even though he hasn’t read it yet. But he will.”

Caruso admitted he’s not a huge comic book fan but likes a lot of DC’s Vertigo line. The director was also attached at one time to adapt Brian K. Vaughan’s Y: The Last Man.

iZombie v. 1: Dead to the World
Written by Chris Roberson
Illustrated by Mike Allred
Colored by Laura Allred
Lettered by Todd Klein
Published by DC/Vertigo

It’s probably not Roberson and Allred’s fault, but I found this particular trade paperback less than satisfying. It just never provided any sense of resolution to the reader – and I understand, this being an ongoing serial, some storylines will remain open for perhaps years. Yet I still prefer that each book in a series gives some closure to some piece of the narrative. I quit monthly comics ten years ago because trades were a more satisfying reading experience. With longer stories becoming the norm, but publishers opting for low-cost collections of only five, maybe six, issues, even trades are often unsatisfying these days. Putting more pages in these collections is strongly encourged, by me anyway. Price resistance kicks in when I know I have to pay many times for what I could have in fewer installments.

Of course, even if Dead to the World provided a clearer resolution, I’m not sure I’d be back for more. iZombie‘s a cute series, about Gwen, a zombie lady who must eat brains once a month or become a mindless, shambling monstrosity, and what occurs when her latest brain comes with memories of its own murder. But it’s still a zombie book, with vampires, monster hunters, ghosts and a were-terrier. It’s building its own particular take on these creature mythologies, but it’s all still monster mythology.  The monster subgenre of horror isn’t really my thing, so I can appreciate a solid twist and some nice art, but there’s no deeper hook here to bring me into it.

Roberson’s stiff dialogue carries the story, but doesn’t get deeper into the characters. The plot swerves effectively in a few key places, such as Amon’s back story, but it’s all plot – there’s no deeper significance to any of it. Mike Allred’s long been a favorite comic artist of mine, with a clean pop-art, cute-girl style that doesn’t seem obviously suited to a monster comic. Yet he acquits himself very well in iZombie, with strong character designs and clear page layouts, bringing a brightness and clarity to Gwen’s sullen lot in life.

In short, iZombie‘s an interesting series, but not necessarily a compelling one. I’m sure many readers will dig it – those with more interest in monster movie riffs than I, for example – but Dead to the World doesn’t set the series up to be anything more than a middling (if pretty-looking) genre exercise.

ABC’s new drama pilot sounds kinda familiar if you ask me.

The pilot, called Once Upon a Time, has just snagged Ginnifer Goodwin from Showtime’s Big Love to play the lead role…Snow White.  From Deadline:

[Once Upon a Time] centers on a woman with a troubled past who is drawn into a small town in Maine where the magic and mystery of Fairy Tales just may be real. Goodwin will play Snow White/Sister Mary Margaret, a beautiful woman with dark hair and very pale skin who has been placed under a wicked spell by the Evil Queen (Lana Parrilla), and is brought back from a living death by Prince Charming.

It’s not exactly the same as Fables of course, but awfully fishy when you consider ABC optioned the highly-successful Vertigo comic series for a pilot just a few years ago. Back then, Stu Zicherman and Raven Metzner were writing the script that would follow the fairy tale characters in their exiled home in modern day New York and feature Bigby and Snow White. Fables creator Bill Willingham did in fact read the script for the pilot but nothing more came of it from the network.

Once Upon a Time comes to us from Lost executive producers Edward Kitsis and Adam Horowitz. And it’s a well known fact most of those Lost guys are big comic fans. In fact, Kitsis and Horowitz produced and wrote for the short-lived Birds of Prey television series. Time will tell if the duo were simply inspired by the comic or are borrowing directly from it.

Noche Roja
Written by Simon Oliver
Illustrated by Jason Latour
Lettered by Clem Robins
Cover art by Lee Bermejo
Published by DC/Vertigo

Simon Oliver and Jason Latour’s Noche Roja introduces Jack Cohen, an ex-cop turned home-security salesman, hired to investigate the murder of young Mexican women along the U.S. border. The oddest aspect of Noche Roja is how Oliver avoids ever pinpointing its location, referring to “North” and “South”, and dancing around geographic and ethnic specifics. It’s distracting, but not to the point of ruining an otherwise engrossing book.

Oliver’s crafted a tense moral thriller, where everybody has an agenda, and none of those agendas are looking in the general direction of altruism. Early on, Cohen realizes he’s been hired for a specific reason, and Oliver creates a workable scenario from bringing an ex-cop and ex-detective into the case. The interwoven histories of the players in this drama provide a complex tapestry that requires nearly all of the book’s 180 pages to unfurl.

The artwork, by Jason Latour, is effective, dark , moody. The layouts carry the story forward clearly, and the character designs are effective. The book’s reproduction, however, muddies many sequences, with too much ink on the page, swallowing up some of the layouts’ clarity.

Noche Roja works as a good crime comic, surprising and twisted, weaving corruption through worse depravations, with one man, a world-weary failed idealist, pulling at the strings, waiting to see what unravels.

Rat Catcher
Written by Andy Diggle
Illustrated by Victor Ibañez
Lettered by Jared K. Fletcher
Cover art by Lee Bermejo
Published by DC/Vertigo

Rat Catcher stands out among the Vertigo Crime line, certainly one of its better offerings. The plot revolves around an aging FBI agent whose partner has gone missing while investigating the rat catcher, a rumored hitman known for erasing state’s witnesses while in protective custody.

Andy Diggle (this is the first comic of his I can recall reading; mental note to look for more) handles the script with white-knuckle tension. He’s able to give each character shape with just a few snippets of dialogue (abetted, of course, by Victor Ibañez’s strong grasp of facial expressions and body language), so readers connect with the cast without spending much time on actual characterization. The plot’s the driving force here, with the missing agent Lynch on the run, uncovering secrets of the rat catcher, and his partner Burdon in pursuit, figuring out why Lynch remains on the lam.

At the exact moment enough information is put forward to make the rat catcher’s identity inescapable, Diggle goes for the reveal, upending the entire book and setting loose a breakneck chase for the finale. It’s fast and thrilling, with plenty of danger, some double-crosses and a respectable body count among the supporting players.

As strong as Diggle’s script is, Ibañez’s illustrations match the standard every step of the way. Burdon’s weary countenance captures the character’s exhaustion and emotional distress. The southwest vistas feel open and sun-scorched; the character acting is solid if slightly exaggerated (ah, comic book characters and their snarling faces); and the violence hits hard without being overly cartoonish.

A fast-moving, surprising and effective thriller, Rat Catcher stands tall as one of Vertigo Crime’s best titles to date.

Sweet Tooth v. 2: In Captivity
Written & Illustrated by Jeff Lemire
Colored by Jose Villarrubia
Lettered by Pat Brosseau
Published by DC/Vertigo

Two stories unfold in the second book of Jeff Lemire’s Sweet Tooth. Gus, the antlered nine-year-old boy who is ostensibly the series’ lead, finds himself in captivity, with a scientist who begins uncovering the origins of the plague that has killed much of humanity and mutated the survivors into peaceful crossbreeds. The second piece follows Gus’s betrayer, Jepperd, as his history prior to the plague unfolds via flashback sequences.

Despite the volume’s title, this book is much more about life before the plague than Gus’s status. Jepperd feels lost in the past, with no direction left for his life, and Gus remains a passive protagonist, dumbfounded (but sincere) as the mysteries of the recent past unfold around him. Lemire’s script and art both emphasize the mood, with contemplative sequences, open panels and heavy shadows – yet In Captivity also manages to be more plot-driven then Sweet Tooth’s first volume. Lemire doesn’t hold back (much) the origins of the plague, though he offers several more surprises to keep readers intrigued.

Ultimately, however, Sweet Tooth meanders along somewhat slower than I’d like, with no clear direction for its protagonist. Gus is earnest and likable, but inactive, a victim of fate rather than a willing protagonist. Lemire provides several strong character moments, and the art is laid out to maximize each emotional beat. I can easily see this series as a favorite for many readers, yet I’m not sure I’ll continue with it unless Lemire can pick up the pace and inject some impetus into the proceedings. Considering the cost (and time, which I never seem to have enough of) required for comics these days, I’m very picky about my long-running serials. As a graphic novel or shorter run of books, I’d recommend Sweet Tooth completely. As an open-ended commitment, I’m not quite as confident.

Sweet Tooth #18
Written & Illustrated by Jeff Lemire
Colored by Jose Villarrubia
Lettered by Pat Brosseau
Published by DC/Vertigo

First, an admission: I hate landscape-format comics. Abhor ‘em. They’re particularly galling for readers, like me, who trade-wait, because the book’s flow is interrupted by the sideways format of one chapter. It’s also a somewhat awkward way to hold a comic.

With that said, however, sideways, upside-down or any other way, Sweet Tooth #18 remains a fun and sweet (with a dash of scary!) comic. The latest installment matches the earliest chapters by being heavy on mood, particularly melancholy, sweetness and chipped-edge innocence, but a light on plot. Following recent events, the series’ cast prepares for a long journey (involving one particularly serious moment defused by Gus), and gets a surprising moment of relaxation and, dare it exist, yes, fun!

Lemire provides an interesting stylistic exercise, mixing traditional comic book storytelling with something closer to a children’s book style, text with accompanying images. The effect suits the issue’s tone nicely, and Lemire’s simple prose captures the innocence of the kids as they prepare for the next phase of their lives.  A year and a half into Gus’s journey, Sweet Tooth remains an interesting comic.

Fables #100
Written by Bill Willingham & Mark Buckingham
Illustrated by Mark Buckingham, Bill Willingham, Steve Leialoha, Andrew Pepoy, Dan Green, Chrissie Zullo, Dave Johnson, Adam Hughes, Kate McElroy, J.H. Williams III, Joao Ruas, with Lee Loughridge, Dave Stewart & Todd Klein
Published by DC/Vertigo

I’ve read Fables three previous times – v. 1, because I’d heard many good things about it; v. 5, as a gift to me; v. 7 as a comped copy – and I’ve always enjoyed the book very much.  If you’re coming in late, Fables tells of fairy tale characters after their happily ever after, when a war drove them from their homelands and they all (and I mean all) settled in the mundy world, often in (or near to) New York City. It’s a dark fantasy, with strong character work, excellent artwork, and creative twists.

I haven’t read the series regularly out of little more than resistance to indefinite series commitments. I can’t count how many comic book series I’ve walked away from in mid-run due to … wanderlust, mostly, wanting something different after a time. So I mostly stick to self-contained books or constrained runs of titles; but I’ve dabbled in Fables, always enjoyed it, just never kept up with it. The series 100^th issue continues that trend, and reminds me again – maybe it’s okay to leave a series in mid-run as long as I enjoy my time with it.  Maybe Fables deserves a longer look.

For a 100^th issue focused on a long-standing conflict, Fables #100 manages to be welcoming to new(ish) readers. Certainly, some plot specifics flew by me, but it’s a big fight, a birth, and a flight – all fairly timeless dramas, all delivered with professional aplomb. A variety of back-up features in the extra-length issue provide frivolity and levity, mixed with just enough danger to remind readers of the continually unfolding drama.  The writing captures the variety of voices and unfolds the story in a striking fashion, juggling its ensemble cast comfortably; the art’s dynamic and laid out very well. The result’s a blast of an adventure comic.  As I’m continually reminded.

A Sickness in the Family
Written by Denise Mina
Illustrated by Antonio Fuso
Lettered by Clem Robins
Published by DC/Vertigo

Vertigo’s crime line has, by and large, left me cold.  So it’s a welcome surprise to find that Denise Mina and Antonio Fuso’s A Sickness in the Family achieves a twisted and creepy level of satisfaction.  Mina wisely forgoes the predictably washed-up, pseudo-alcoholic private dick protagonist that burdens many of the Vertigo crime titles, introducing readers instead to the Usher family (Yes, Edgar Poe readers have reason to do a double take).  Mom and Dad, Gramma, and three young adult children, all living together under one roof – where family tensions have them at each others’ throats.

Mina spends enough time on the entire cast to let readers connect to them and understand them.  Excepting Amy, always angry and blaming, and perhaps Gramma, whose on the tableau is limited early, each Usher is given room to show their shallow side and their reasons for being disgusted with their kin.  Yet Mina also takes time to present a softer, more human side of each person, rounding them out into something close to fully realized persons.

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Based on upcoming covers showcased today by DC Comics on Vertigo imprint blog Graphic Content, it looks like there’s some interesting things coming up in Bill Willingham’s long-running Fables and its tie-in series, including, er, superheroes? Here’s the cover of #102, the start of a five-part story called “Super Group”:

Well, at this point superheroes fit the whole fairy tale paradigm as well as anyone, right?

Covers for Cinderella: Fables Are Forever #1 (isn’t she cold?) and a “preliminary cover” for Jack of Fables #50, the last issue of that series (read more about all that here), follow after the jump. A recent interview with Bill Willingham on all things Fables, by our very own Vaneta Rogers, is right here.

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