Don’t tell him I said this, but I sometimes think of Bill Willingham as my very own Fairy Godmother. A few years ago, with a dozen novels to my name and not a dime in the bank, facing the prospect of returning to the dreaded DAY JOB, I got a call from Bill one day, offering me the chance to write a miniseries featuring Cinderella, Fabletown’s greatest spy. Of course I said “YES!” right away. Isn’t that what you do when wishes are granted?
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Well, well, well, Mr. Willingham—I didn’t see it coming. As most of you know by now, Bufkin is one of my favorite characters from FABLES. He’s the super cute flying monkey that’s been stuck in the lost Business Office for quite some time with Frankie and the Magic Mirror. In this fantastic 101st issue, penciled by Eric Shanower, we find out what they’re up to and, like I said in the headline, you’re not gonna believe your eyes. Here’s an exclusive first look inside: [gallery link="file"]
From the New York Times best-selling, Hugo Award-nominated, Eisner Award winning comic book series FABLES comes PETER & MAX: A FABLES NOVEL, written by Bill Willingham, with spot illustrations by Steve Leialoha. PETER & MAX tells the dark story of brothers Peter Piper, of Pickled Pepper fame, and Max Piper, the Pied Piper of Hamelin.
Angels, like fairies, are mystical creatures that fascinate people everywhere.
I approached the writing of my story for Fables #100 with considerable trepidation. I had, more by accident than design, written a strip for House of Mystery a year earlier, to which Bill Willingham had added the finishing touches, but this would be my first time writing solo for DC. Add to that the fact that I hadn't written prose professionally before and, as you can imagine, the whole thing felt pretty daunting.
SOME USEFUL CONSTRUCTION TIPS Hello faithfully Fables readers! Mark Buckingham, regular series artist, here with a few helpful hints on how to assemble my Paper Puppet Theatre which comes as an extra in FABLES #100.
As regular readers of FABLES will know, I’m always keen to try out new things to keep the book looking fresh. In past story arcs I’ve used elaborate line techniques, bold styles with strong block blacks, zip tone textures, black crayon, cartoony styles, realism, design motifs, and the introduction of border art panels to frame every page. With FABLES #100 I knew I had a great excuse to experiment once again.