Then it shifted to political thriller, to comedy, to romance, to caper, to horror, to metafictional gallimaufry, to tragedy, to farce, to elegy, to slapstick. The first few issues were a gumshoe detective mystery, with Bigby Wolf, who used to be both big and bad, trying to solve the mystery of Rose Red’s death. The genius of Fables was to be as expansive as the fairytales themselves. Made glamorous by their magic, they create a safe haven for themselves in New York and an upstate hideaway for the Three Little Pigs, Chicken Little, Reynard the Fox and Tom Thumb (who’s dating Thumbelina, OMG) and all the other Fables who wouldn’t quite manage to pass themselves off as “mundanes” if you met them in Central Park. The huddled masses of familiar faces – Cinderella and Snow White, Little Boy Blue and Prince Charming, the Wicked Witch and Bluebeard – find sanctuary in our world. In Fables, there has been a coup d’état across the realms of the imagination, orchestrated by The Adversary. The idea was so brilliantly simple it was immediately complex.
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