The page is blank. The colour and lines have leached away like a printer running out of ink, despite the black frames. Characters wander across it, conversing, whilst aware of the fact. Curiously this is not the end or the beginning but the middle.
The world no longer exists, merged and un-merged. In the beginning the page is full as the writers and artists plotted and created.
Fables 134 is the culmination of the Little Blue Boy arc and the renewal of the Bigby Wolf one. It is a coda that interacts with the Unwritten issue 54, the dark cross over narrative between the universes.
Bigby’s voice narrates the first part of the comics, stating “I’m in Heaven. The forest is vast, endless, and incandescent with life”. Chasing a variety of strange objects, he muses on him regarding the need to be tested and to test himself but cannot face the larger mythical beasts. At the beginning of the Fables run, the Wolf ruled with an iron thumb but has gradually become domesticated and sidelined until Fables: Wolves of the Heartland, where he began to get his mojo and purpose back. Even his moral purpose. Meanwhile, he has been largely absent from the storyline where Dare and his daughter went to the land of the lost and broken toys.
Time for a Reckoning.
Boy Blue comments “I thought I’d find you here” and confirms that he is “very much dead”. Just like Bigby, who was killed in a fight.
The forest, or wood between the worlds if we follow William Morris or CS Lewis’s example, is a place of waiting. We stand in limbo and are made aware of this fact with the conversation moving on between creation and un-creation, life and death, and heaven and hell. It is a rare space of real conversation, where assumptions cannot be applied. Blue’s role is to remind Bigby of what he is as well as where he is. The wolf is able to change the rules as a god and also an agent of change.
Blue’s conversation about the cult of Boy Blue that has started is clearly a comment on the return of the King myth. Rather than seeing the potential return of the king in battle, like Arthur or Charlemagne, who will return in the hour of need, Blue decides that no-one can get, or perhaps even deserves, a problem free life. The refusal of the king is an echo of Arthur’s acknowledgement of Will in Susan Cooper’s The Dark is Rising as he floats past on the barge. The hope for a saviour, or the resurrection to come, is denied time and belief.
This is made more concrete in The Unwritten issue 54, itself the culmination of the coming together of the Fables and Unwritten worlds. Boy Blue appears with the Witching cloak and sword, apparently undefeatable, though only because he is held together by his “master’s will… The ash is only to fill out space between his thoughts” (The Unwritten 54, DC Comics, Vertigo, December 2013). The fake Boy Blue is aware of his nature and is invulnerable to attack until both Tommy Taylor and Bigby appear in the universe. This issue of the Unwritten appears to be the singularity point of both universes: that they are powered by the nature of story. Bill Willingham has perhaps been here with the Literals but this gets to the heart of the current Vertigo universe; that it is about story. Matt Sturges’s run on House of Mystery explored the same world but not in the same depth as Willingham and Mike Carey/Peter Milligan.
Whilst he and Blue talk, he suddenly realises that the world has disappeared around him, apart from the boxes around them. Blue has moved them to a place where he can move on and Bigby will get his second visitor; his son, Dare. Echoing the cat’s comments in Neil Gaiman’s Coraline about the edge of the house being the boundary of the other mother’s imagination or the notion of ghost’s not being trapped in a limited world, Willingham seems to try to use it to go beyond. The whiteness is not a gap but a chance for a rewrite. Perhaps it is a more honest way of rebooting a universe ad imagining its end.
Carey and Milligan do this with the reference to Child Harold blowing his horn. The horn signals the current end of the story with the whiteness and references to the meta-narrative. A voice, whom we assume to be Taylor, comments “I can and will spit out this gospel. This unbearable truth. That we are such things as fables are made of , and live until our tale’s no longer told”. (The Unwritten, issue 54). It echoes Prospero’s speech in the Tempest where he continues musing on the way that artifice of the theatre and this speech muses on the artifice of the universe that Taylor and his crew are in.
Both issues make the reader uncomfortable in that they give themselves agency and awareness. Bigby becomes aware of his roles as father and monster, destroying the dark version of Snow White and his children by admitting his monstrous side on his explosive return to the Unwritten universe and perhaps the Fables one. Tommy Taylor needs to return to his own universe and continue the search for the meta-narrative. This moment appears to have been the realisation of their haeccity, their ‘thisness’. It takes a reckoning on both sides to see this and realise what they are so that they can continue.
The continuation text box in The Unwritten suggests that there is a break in the series whilst Fables 135 will come back to the Camelot storyline. It might be time to return to the Literals crossover story line and reflect on how these talk to each other.
Update: Comic Book Resources has the news about the relaunch of the Unwritten in January.