If you like fairy tales and mythology, I highly recommend the Fables comics series.
For more information, see the links below:
Mini-reviews (includes pictures and a character list)
In the Deluxe Volume 13, there's a great intro blurb by Lauren Beukes, and I wanted to type it up as an extended description of the Fables comic series. Most of what she wrote was about Fables comics as a whole, and any spoilers have been redacted.
Extended Fables Introduction/Description:
Breadcrumbs and Glass and Bloody Hearts
As a culture, we believe in the fundamental simplicity of folklore. We think of fairy tales as being almost like atomic units: the most basic of all narratives. This is why they're among the first stories we tell our children, and why folklorists try and break them down into archetypal 'functions,' like physicists identifying subatomic particles. Centuries of use have worn them smooth and stripped away any excess ornamentation. Only pure plot and simple morality remain.
But... It's complicated.
You see, for their whimsy, fairy tales have always been grim (and also Grimm - although the famous brothers were only the most well-known members of a much larger population of traditional folklore collectors). Yes, there are enchanted slippers and fortune-telling mirrors, determined piggies and brave young orphans, but there's also cannibalism and murder and ogres and witches and terrible, terrible parents. Anyone who tells you otherwise is referencing the sanitized, toothless shadows of the real stories - the ones that we feed to children today because we want to protect them from the darkness.
But the truth is, if we don't confront the imaginary monsters in the safe spaces of stories, eventually we will find ourselves defenseless when the real things with teeth and claws come at us from the world's metaphorical woods - or worse, from the wilderness inside our own minds.
Bill Willingham [the main creator of Fables] has always known this. He knows that there's a reason evil queens are intent on eating hearts: because our interiors are where the truth of us lies. In the source material that he draws on (the Grimms, yes, but also Perrault, Scott, Afanasyev, and the thousand of voices speaking through Scheherazade or Anansi), morality is complex and fluid. The ground shifts beneath us. Good wins, except when it doesn't. Evil gets its comeuppance, except when it escapes unscathed to come tapping at the window another night. Determination and integrity are not always enough, because people (and fairies and genies and winds) are fickle and messy and constantly change their minds and motives.
Fables takes the stories that we thought we knew, the ones threaded into our cultural DNA, and turns them into something strange and new and magical precisely because it gets to the bloody, pounding heart of being human. (Never mind that the cast includes toys and talking animals, dragons and dryads, wolves and tigers.) It's about relationships: family, friendship, love, rivalry, enmity, how characters are tested in the dark places, and how they come out on the other side.
Of course, darkness lacks meaning if there's no light to serve as a contrast. You need whimsy and wonder and humor. You need the signature details that catch in the imagination, like the trail of breadcrumbs, the talking harp, the golden goose, and the glass slippers that should have been fur but for a mistranslation from the original French.
That mix of light and dark is something Willingham and his collaborators do extraordinarily well - particularly... [when] the status quo has been swept aside and anything can happen... Seemingly tangential stories are each rich with the elemental features of the most powerful myths and legends: sacrifice, magical tools, kings, blood, death, renewal... True to its classical roots, there isn't an obvious villain in [many stories] - just desperate individuals who do terrible, surprising things in order to accomplish what they hold as their sworn duty... There are plenty of moments that make the blood quicken. The ability to shift between horror and comedy - often within the beats of a single page - is one that Willingham (and Buckingham, and McManus, all of whom can switch genres at the drop of a head) polishes to a mirrored sheen.
As in every volume of the Fables saga, Willingham's coup de theatre is not his transformation of childhood memories into something dark and different. It's not his reimagination of [familiar fairy tale] characters... It's how he reveals the darkness and differences within folklore's archetypes that we were always present, at their cores. Stuffed toys, fairy tales, the book you're holding in your hands: all are monstrous and comforting, worrying and beguiling. They aren't smoothed out at all; they're rough and jagged.
How else could they teach you anything?
-Lauren Beukes, June 2016