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Return to Labyrinth
Return to Labyrinth
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Return to Labyrinth
Cover of Jim Henson's Return to Labyrinth 1 (Aug, 2006), art by Kouyu Shurei
Genre
AuthorJake T. Forbes
IllustratorChris Lie, Kouyu Shurei (cover art)
PublisherTokyopop
Original run20062010
Volumes4

Return to Labyrinth is an original English-language manga based on the Jim Henson 1986 fantasy film Labyrinth. Jake T. Forbes is credited as the creator, and Chris Lie is the illustrator. The covers for all four volumes were drawn by Kouyu Shurei. It is published by Tokyopop.

Return to Labyrinth is a four-part series starting with Volume 1 that was released in August 2006. Volume 2 was released in October, 2007, and was originally going to be titled Goblin Prince of the Labyrinth, but instead the Return to Labyrinth title is used for all volumes. Originally planned as a three-part series, it was announced at the end of the second volume that the story would be expanded to four volumes. Volume 3 was released on May 12, 2009.[1] The final volume was released on August 3, 2010.[2] The story takes place about thirteen years after the events of Labyrinth and centers around Toby, who by this time has grown up into a teenager. The series received mixed reviews.

Development

[edit]

The Jim Henson Company announced in 2005 that it was collaborating with Tokyopop on two graphic novels based on Jim Henson's feature films The Dark Crystal and Labyrinth.

According to Tim Beedle, a Tokyopop editor who worked on Return to Labyrinth, the manga came about when Forbes suggested to the publisher that Labyrinth and The Dark Crystal had potential to be spun-off as original graphic novels. They contacted the Jim Henson Company, where Michael Polis, the Senior VP of Marketing and Home Entertainment, had been considering spinning both properties into comics. Rob Valois, an editor on the manga, had previously worked for the Jim Henson Company and was able to help organise a deal between the two companies.[3] According to Beedle, Labyrinth and The Dark Crystal were believed to be suitable properties to be spun into manga format due to the length considered necessary to explore their fantasy worlds, which wouldn't suit a shorter comic format. In addition, both films have a large female fan base, "just like manga does".[3]

Beedle stated that The Goblins of Labyrinth, a companion book to the film by its conceptual designer, Brian Froud, was used as a reference for Return to Labyrinth in order to "preserve the authenticity of the world" of the film.[3]

Due to high sales and positive response from readers to the first volume, Return to Labyrinth was expanded from three volumes to four. Beedle stated that in response to fan feedback from the first volume requesting more of the characters Sarah and Jareth, the creators "expanded on a subplot featuring Jareth and Sarah" in the later volumes.[3]

Synopsis

[edit]

Volume I

[edit]

It has been over a decade since the events of Labyrinth, wherein Sarah Williams defeated the Goblin King and rescued her baby half-brother, Toby. Jareth, the Goblin King, has watched as Toby grows up into a teenager, secretly giving him everything he desired regardless of its attainability, propriety or scale. Through the years, Toby noticed the strange way all his wishes came true, but never understood the reason behind it. Despite this, he seems to have grown up into a reasonably well-adjusted teenage boy. He has no memory of the time that he was kidnapped by goblins and no idea of Sarah's rescue of him. Sarah herself has become a teacher.

Jareth has been watching Toby, it seems, because he still intends for Toby to become his heir. A deadline is drawing near and other individuals, including a mysterious queen and the mayor of Goblin City, are eying the throne. Jareth eventually lures Toby back to the Labyrinth, where he meets various creatures, including some that his sister encountered during her own adventure. One, Hana, is a fairy whose wings were stolen from her. Toby promises to help her get them back. Toby also meets Moppet, a servant girl who always wears a mask.

Volume II

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Immediately following Volume 1, Jareth names Toby his heir and then disappears. Mizumi, the Queen of Moraine, and her two daughters decide to stay with Toby in the Goblin Castle "to help him out". After a brief scuffle in the "History of Toby" museum, Toby embraces his destiny as the new leader of the goblins and begins training for the role. Mizumi volunteers to teach Toby magic, giving him a small vial of magical water from Moraine. During their lessons Mizumi reveals her past romantic history with Jareth and his subsequent building of the Labyrinth "to keep everyone, including [Mizumi] out".

A flashback shows Jareth after Sarah's retrieval of Toby. He appears frustrated and unsettled, and the goblins, who believe that he is losing his powers, prepare to revolt. Jareth visits Mizumi in Moraine, where he requests that she prepare an ablation for him. When Mizumi asks what he offers in return, he offers a wager, claiming that if he wins, he keeps the ablation, but if he loses then "the goblin kingdom and its king are [Mizumi's]" to handle as she pleases. Mizumi agrees and gives Jareth thirteen years wherein to complete the wager; exactly what the wager entails is not revealed to the reader.

Toby's studies interfere with his quest to find Hana's wings; therefore Hana begins searching for them alone. With the aid of Moppet, Hana discovers a locked door in a far tower of the Goblin Castle. After breaking through it, they discover a room closely resembling the bedroom that Sarah had as a teenager, though it also features a closet full of elaborate clothes and a dungeon lock on the door. At this point, Moppet begins to feel uncomfortable because of recognizing the music playing from the music box ("As the World Falls Down") and having a vision of Jareth demanding her love. Drumlin, Mizumi's daughter, locks them in the room and starts destroying it.

During this time, Mizumi takes Toby to the Ministry of Prophecies where they select a prophecy for Toby. Toby only hears part of the prophecy, leaving out a dangerous omen of things to come. When Toby and Mizumi return to the castle, Toby sees Moppet falling. Desperate to save her, he magically extends his arms to catch her, but in the process of saving her life knocks her mask off to reveal her true face. Toby instantly recognizes her as a younger version of his sister, Sarah, but having pale hair and different coloring.

Elsewhere, two reptilian creatures in cloaks discuss a plot against someone of importance. The scene then cuts to one of Sarah, who is grading papers when she hears a knock on the door. When she opens it, it reveals Jareth standing before her.

Volume III

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After Moppet's face is revealed, Drumlin is taken to the dungeons, and Mizumi and Spittledrum sit Toby down for an explanation. One of Mizumi's powers, she says, is the ability to create ablations, to remove traits from living beings and give them form and autonomy. Moppet, she reveals, is the ablation that she created as part of her bargain with Jareth. At his request, she stole the part of Sarah Williams that frightened him the most: her dreams. (At about the same time, Toby recalls, the real Sarah gave up on theater and fairy tales and stopped telling him stories about her friends from the Labyrinth.) It is implied but not explicitly stated that the terms of Jareth and Mizumi's wager were that Jareth had to get Moppet to love him. For several years, Jareth kept Moppet a prisoner in the locked tower room. This temporarily restored his power over the goblin kingdom, but when he could not make Moppet love him, his old problems returned. Whether Moppet escaped from Jareth or was discarded is left unclear, but Spittledrum tells Toby of how he found Moppet among the rubbish people and brought her back to the city. One day, he says, Jareth saw Moppet and confronted Spittledrum. He told Spittledrum to keep Moppet out of the palace and gave him a peach. If Moppet ever mentioned anything about a locked room, he said, Spittledrum was to give Moppet the peach. Closing the meeting, Mizumi says that she is fully capable of returning an ablation to its former host, but that this will wipe out the ablation's separate memories and experiences. She also tells Toby that if an ablation dies, the host dies with it, and vice versa. When Toby muses that he wishes to summon Sarah to the labyrinth so that Mizumi can restore her dreams, Moppet objects and runs away.

Meanwhile, in the human world, Jareth has gone to see Sarah. She does not immediately recognize him, but accepts his explanation that they know each other from the theater. During this meeting, Jareth seems disappointed that Sarah has made so little of herself but notices that her strong will is still there. It is also shown that Sarah has no memory of ever knowing Jareth, though why this is not revealed. After leaving Sarah, Jareth seeks and finds a specific goblin, Cob, who had been banished to the human world many years earlier. From him, he retrieves a tiny sliver of his own heart, which he had splintered off for safekeeping before his power began to wane; it is as potent as ever. With a good portion of his magic restored, Jareth plots his revenge on Sarah. He creates the Enigma Lain theater in an outdoor park and sends Sarah a ticket.

Mizumi visits Drumlin in the dungeons. Though Drumlin apologizes, Mizumi tells her that it is too late and that she has to go "home." As Moulin watches from a hidden place, Mizumi reabsorbs Drumlin. Drumlin and Moulin, it is revealed, are Mizumi's own ablations. Drumlin had been an ablation of her hope. Moulin decides to help Toby against Mizumi, but is caught and captured by Mizumi's servant Esker.

Before the coronation, one of the strange reptilian creatures meets Toby and offers him a warning in unintelligible anagrams. He also gives Toby a gift, a small medallion. Toby proceeds to his coronation. After a few long rituals, Toby goes through an ordeal in which he locates the Pathfinder, giving him direct control over the Labyrinth's walls. Shortly after this, Mizumi announces her triumph over Jareth and claims the Labyrinth for her own, chaining Toby. The goblin army resists, but Mizumi's own forces rain in from above and defeat them. Candlewic, the captain of the guard, betrays Toby and Spittledrum to Mizumi.

Mizumi confronts Moulin in the dungeons. Moulin and Drumlin, she says, are both ablations of the emotions that had bound Mizumi to Jareth. When Moulin asks why Mizumi bothered to create beings who could only die with her or as part of her, Mizumi answers, "There is another way. I just didn't want them to know that." Despite this, Mizumi is about to reabsorb Moulin as she did Drumlin, but is interrupted by Esker, who reports that Jareth has made contact with Sarah in the human world. This news upsets Mizumi, who orders Esker to go to the human world and stop Jareth, but Esker explains that he cannot leave the Labyrinth; the Pathmaker is stopping him. Mizumi muses that there may be another way, and sends Esker to kill Moppet so that Sarah will die too.

The volume closes with Toby, Skub, Spittledrum and Moulin imprisoned, Moppet climbing the rubbish hills with her peach, and Sarah walking into Jareth's trap.

Volume IV

[edit]

Toby is trapped in the Oubliette and nearly loses his mind when he is finally taken to see Mizumi. She reveals that as Jareth's heir, Toby is bound to carry his title and his heart, which Toby is unable to sustain. To explain, she divulges more of her past with Jareth and how they initially met. Mizumi had instantly fallen in love with him, but Jareth's interest in her had been fickle and she demanded to see his heart. In response, Jareth challenged her to find it within the Labyrinth; if Mizumi found it, his heart would be hers, but in exchange, she gave him her word that she would never allow his Labyrinth to be harmed. When she could not find his heart, Jareth insulted her - though she had given everything she could give him, he still found her shallow. In the present, Toby allows Mizumi make him the vessel of her will in order to save his friends and the crumbling Labyrinth.

Meanwhile, Hana and Stank end up finding Moulin; freeing her, she joins them as they set off to find Moppet and save Toby. In the wastes, Moppet takes a bite of Jareth's peach and becomes trapped in one of Sarah's greatest dreams: her mother remained married to her father and Sarah is able to pursue her dream of becoming a stage actress. While enchanted, she is attacked by Esker, who has been ordered by Mizumi to kill Moppet. Moulin, Hana, and Stank arrive and manage to save Moppet after a difficult fight, but are trapped when the Labyrinth collapses around them. When Toby arrives to save them, Moulin reveals that Moppet, being made of dreams, cannot be freed easily from Jareth's dreamtrap. To protect Sarah and Moppet, Toby traps them in an enchanted prison and returns to Mizumi.

Sarah has walked into Jareth's trap, which features a puppet show before a goblin audience. The show follows Sarah's entire life, including her forgotten adventure in the Labyrinth and ending with how her life has become mediocre. Recognizing Jareth at last, he offers to guide her with the last of his power and let her dreams thrive again before taking her into the world of the Labyrinth. In the dreamtrap, Moppet realizes the flaw within the dream and how Sarah was forced to give up her dream of studying at Juilliard to become an actress. Moppet, now awake, sets off with Moulin, Hana, and Stank to find Sarah and stop Jareth's plans, and they are freed from Toby's prison by Hoggle and Ludo.

Toby, uncertain about how to control the dissenting goblins and feeling alone, wanders the Labyrinth until he finds a fountain and is confronted by Jareth. When Jareth criticizes Toby's inability to know what he really wants to do, Toby wishes Jareth out of his life. Toby is transformed into a being resembling Jareth and when he returns to Mizumi, he declares his intention to tear down the Labyrinth and rebuild it. Frustrated with Toby's transformation, Mizumi is encouraged by an illusion of Drumlin to find the person who will lead her to Jareth.

Under Jareth's spell, Sarah observes Moppet's progress as a new world shaped by Sarah's will is created. Despite Hoggle and Ludo's apprehension, Moppet is determined to find Sarah; she asks that they support Toby and parts ways with them. When her group reaches a door, Hana picks its brain to get the answer to its riddle and open it, though only Moulin and Moppet make it through. They arrive in a hall of mirrors that all show what they really are and an altar that requires a sacrifice before the next door is opened. When Moulin looks into a mirror, Mizumi finds her and passes through the mirror. To save Moppet, Moulin attempts to stab herself, since as Mizumi's ablation of regret, Mizumi will die as well. Failing that, Moulin forces Mizumi to see her regrets in a mirror, thus severing the link between them. Mizumi stabs Moulin to open the door to Jareth, with Moppet following her. When Moppet finds her, Mizumi has reached a dead end. Realizing that she will never know what Jareth desires, Mizumi creates a door for Moppet to find Sarah, deciding that she can wait for Jareth long after Sarah is gone.

When the goblins initiate their revolt, Toby's attempts to control them with force falls apart when Mizumi cancels the contract she made with Jareth. Realizing that he has never been able to make decisions of his own since becoming the Goblin King, Toby relinquishes his role as king and ends the revolt with the goblins as his friends. Meanwhile, Sarah has completed her new world with Jareth nearly able to control her. However, Moppet arrives and confronts him with his attempts to cage her and risking the entire Labyrinth for his own desire, forcing Jareth to justify rescuing Sarah's abandoned dying dreams. After Sarah orders that Jareth show her the fates of her friends, she offers her will to Jareth to save the Labyrinth and frees Moppet from their connection by realizing her own dreams. Jareth is able to repair the Labyrinth and reluctantly accepts Toby's demand to allow everyone to find their own paths.

Upon returning to their world, Sarah realizes her dreams by writing stories, allowing the existence of everyone in the Labyrinth to continue, while Toby begins to step away from escaping loneliness through fantasies and finds a friend.

Characters

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Jareth, the Goblin King

The King of the Labyrinth, a vast kingdom within a realm known as the Underground. According to the manga, Jareth has ruled the Labyrinth for 1,300 years. Though he appears human, he has several inhuman abilities including the ability to form crystal orbs with which he can create illusions of all types or view things from a distance. He is also a master of disguise capable of physical transformations, such as changing into a barn owl. In the first volume, he poses as Toby's high school guidance counselor. He does not appear to have aged between the film and the manga. It is revealed that Jareth has been watching Toby grow up through the years and granting his wishes, supposedly in order to prepare Toby into becoming his heir.
In Volume II, more of the history of the Labyrinth is revealed. Part of Jareth's personal history is revealed as well: at one time or another Jareth had a relationship with Mizumi, Queen of Moraine. What exactly their relationship was is left open to interpretation, but it appears to have been a romantic one (Mizumi claims to have loved Jareth), though Jareth seems to have broken their bonds. Mizumi claims that the creation of the Labyrinth was an externalization of Jareth's powers and desire to isolate himself; however, in allowing one person, presumably Sarah, to enter the Labyrinth and in being defeated by that person, his power began to wane. Volume II also further explores Jareth's intentions and feelings towards Sarah, long speculated upon by fans of the film. The manga shows Jareth fixated on Sarah, genuinely frustrated by her refusal of his offer to stay in the Labyrinth as his beloved queen: there is some question as to whether Jareth is free to leave the Labyrinth. On one hand, Toby is warned that, as the Goblin King, he may not leave the Labyrinth unless he is summoned. Jareth's appearances to Toby and Sarah might be explained by their wishes for outside help. His only uninvited visit to the ordinary world takes place after his abdication. However, he is shown visiting Mizumi in Moraine while he is still Goblin King.
He was supposed to be without power following his abdication, but Volume III shows the extent of his fore-planning. Once in the human world, Jareth visits a goblin exile who has been keeping a fragment of Jareth's power preserved for him in an artefact, enough for the former Goblin King to carry out whatever plan he has for Sarah.

Toby Williams

The baby whom Jareth kidnapped after he was wished away by his half-sister, Sarah. In the film it was hinted that Jareth became fond of Toby. In the manga, Toby has grown into a high school student who displays characteristics similar to those shown by his half-sister in the film, such as a love of theater and fantasy. He has no memories of his previous time in the Labyrinth nor of Sarah rescuing him. In Volume 1 of the manga, he returns to the Labyrinth after a goblin steals his homework and arrives in a ballroom in the castle beyond the Goblin City, where Jareth declares that he is to become the new king of the Goblin Kingdom. Toby spends most of the second volume coming to terms with his inheritance of the Labyrinth and becoming its king, which he has decided to view as a learning experience.

Moppet

A polite and passive girl who resides in the Goblin City as a servant to the Goblin Mayor. She wears a goblin mask to hide her human face. Moppet is shown to have a crush on Candelwic, a tough goblin guardsman, but she seems to be too shy to say so. She dances with Toby in the ballroom before Jareth's declaration. In Volume II, it is revealed that she had been found by one of the trash ladies and then given to Spittledrum as payment for her taxes. Moppet appears to have no memory of anything that had happened to her before this. When Moppet's goblin mask is removed, Toby instantly recognizes her as looking like Sarah, though her connection to Toby's sister remains unexplained until Volume III - she is an ablation of Sarah. Ablations are independent beings created by Mizumi from aspects of people - in this case, Sarah's dreams. In volume IV she travels with Moulin through the traps laid by Mizumi, only to find Sarah in Jareth's clutches. Jareth reveals that he had asked Mizumi to create the ablation of Sarah's dreams in hopes of rescuing them after Sarah rejected them, attempting to control Moppet in hopes using her to restore his power. When she retorts at this, Sarah asks for Moppet's help in rebuilding the Labyrinth and disappears afterward.

Hana

A faery whose wings were plucked by goblins as punishment for minor theft. She has a fierce temper and is easily agitated. She befriends Toby during his journey into the Labyrinth and he promises to help her find her wings. When Toby's studies prevent him from helping her search for her wings, she becomes agitated with him and goes with Moppet to find them alone.

Stank

Hana's friend and steed. Stank looks like a smaller version of Ludo[broken anchor], having a round body, thick fur, and two short, twisting horns. Like Ludo, he can make rocks and bricks move by calling out to them. Like Ludo, he speaks only in short one- or two-word phrases, namely 'Arooo?'. Although good-natured, Stank has a number of unhygienic habits. In Volume IV Stank eats up Toby's present to Hana and sprouts wings, causing Hana to sigh 'Close enough'.

Spittledrum

The somewhat incompetent mayor of the goblin city. He has served Jareth for a long time, and seems to think highly of himself as each time he comes to believe that Jareth will retire from being Goblin King, Spittledrum prepares a speech to accept becoming Jareth's successor. When Toby is named the heir to the Labyrinth, Spittledrum is initially upset but later looks after Toby. Though acute observation, he is able to determine Moppet's origins before she became his servant and forces Mizumi to reveal that Moppet was an ablation created in a wager with Jareth. One panel in Volume II gives his first name as "Panjan."

Mizumi

The Queen of Moraine, a land known for its beauty and dangerous waters. Known also as the Queen of Cups, Mizumi is a powerful magician and an icy beauty who was once very close to Jareth. Soon after Jareth is defeated by Sarah, he approaches Mizumi to present a wager offering "the Goblin Kingdom and its king" if she wins in exchange for creating an ablation for him. As of Volume III, the terms of the wager itself are unrevealed.
Mizumi helps Toby prepare for his coronation so that she can seize control herself. To do so, she tutors Toby in magic, alternately believing he is inept but has tremendous potential, in hopes of finding the Pathmaker, who controls the Labyrinth's shifts and changes. She has two daughters, Moulin and Drumlin, and a cold bodyguard named Esker. Volume III reveals that Moulin and Drumlin are actually ablations of Mizumi, created to rid herself of the emotions that kept her pining for Jareth. Mizumi had a stormy relationship with Jareth in Volume IV and wanted to see his heart, but the Goblin King storms off after their argument, saying that he would rather rule over the Goblins. She also stabs Moulin for her treachery.

Drumlin

One of Mizumi's daughters. She is very obese as a result of her ability to drink moisture from anything she touches. In Volume III, it is revealed that Drumlin is an externalization of Mizumi's hope. She is reabsorbed by Mizumi when the Queen of Cups regards her as too much of a liability, though Drumlin briefly rematerializes once Mizumi realizes the value of hope.

Moulin

Mizumi's other daughter. She carries a rain cloud named Nimbus, having the power to control water, and an umbrella to keep herself dry. Moulin is also a skilled fencer, sparring with Sir Didymus in a demonstration during Toby's physical education lesson, and she preferred dancing with Moppet to dancing with Toby at the Goblin Ball. She often reads a book that details the all impossible outcomes that the reader can imagine. Upon learning that she and Drumlin are Mizumi's ablations, Moulin becomes rebellious and is nearly reabsorbed, though Mizumi is distracted and delays the task. She joins Moppet, Hana, and Stank to find Sarah Williams in Volume IV. When she encounters Mizumi again, it is revealed that Moulin is an externalization of Mizumi's regret. By forcing Mizumi to realize her regret without Moulin, the link between them is broken, allowing Mizumi to stab her without repercussion.

Esker

Mizumi's servant. He is tall and imposing, always wearing a skull-like mask (unless that's his face). Unlike Moulin and Drumlin, Esker does not show much interest in anything except his obedience to Mizumi.

Sarah Williams

The protagonist of the film. In the manga, she is a supporting character, living a subdued life as an English teacher and sharing a close relationship with her half-brother, Toby. A stylized, younger version of Sarah appears frequently in flashbacks and in scenes of Jareth's imagination. Mizumi briefly takes this form while mocking Jareth about his apparent loss of power. After leaving the Labyrinth to Toby, Jareth approaches Sarah in the human world and is disappointed to find she does not remember him and has discarded her fantasy-related dreams for a more practical life. Jareth winds up luring Sarah into a trap that magically persuades her to take up her old dreams again before bringing her into the Labyrinth world, where he hopes for Sarah's will and imagination will reawaken and create a new and perfect world.

Skub

The small goblin who stole Toby's homework and led him into the Labyrinth. A failure in the goblin army, he has become Toby's personal chef.

Dingle

The little imp that rings Moppet's alarm clock.

The Brick Layer

A spider-like goblin that builds the outer brick walls of the Labyrinth. His perplexing remarks help Toby learn how to maneuver within the Labyrinth.

Hoggle

A cowardly dwarf-goblin that once worked for Jareth but became loyal to Sarah in the film. At that time, Jareth had threatened Hoggle to turn him Prince of the Bog of Eternal Stench if Sarah ever kissed him. In the manga, it is shown that Jareth has fulfilled this promise, and Hoggle claims to resent Sarah for this development.

Sir Didymus

A small dog-fox goblin first seen in the film. He has a loyal canine steed named Ambrosious. In the manga he is seen sending invitations for Jareth's ball. He becomes Toby's physical education teacher. He is on friendly terms with Moppet.

Professors Maelgrot, Nymblie, Glosspan, Glokensteal, and Jodhspur

Toby's teachers in how to become Goblin King. Maelgrot is an artistic goblin who has made the "Museum of Toby," of which he is the founder as well as the collector of Toby's old junk, including Lancelot. Nymblie is Toby's drama teacher and fashion advisor. Glockensteal is Toby's economics teacher, money grubber. For goblins, "economics" seems to be mostly about the art of hoarding and swindling. Toby's philosophy teacher is a noted philosopher, Glosspan, while Jodhspur is Toby's jousting teacher.

Ludo

An orange yeti who was being tormented by goblins until Sarah rescued him in the film. He makes a cameo in Volume 1 of the manga.

The Blue Worm

A small blue worm who wears a red scarf and lives in the brick wall of the first passage of the Labyrinth. He had encountered Sarah in her journey in Labyrinth, and here he briefly encounters Toby. His wife is the Missus, who was never seen in the film but seen briefly in the manga.

The Flegworts

An elderly goblin couple. They own a shop where they sell shoes to their fellow goblins as food. For a time, Hana lives with them, saving their business by making shoes.

Irene Williams

Toby's mother, who in the manga is shown as very stern with her son. Irene and Toby have a cold relationship, while Sarah and Toby are shown as very close.

Mr. Morrisey

Toby's high school math teacher. He believes Toby is cheating on his test, though this is really the result of Jareth's intervention. He sends Toby to the guidance counselor, who is Jareth in disguise.

Release

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Written by Jake T. Forbes and illustrated by Chris Lie, Return to Labyrinth was published in North America by Tokyopop. Four volumes were released from August 8, 2006 to August 3, 2010.[4][2] It was distributed by HarperCollins in the U.S.[5][6] and by Madman Entertainment in Australia and New Zealand.[7]

Volume list

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No. North American release date North American ISBN
1August 8, 2006[4]978-1-59816-725-2
2October 9, 2007[4]978-1-59816-726-9
3May 1, 2009[4]978-1-59816-727-6
4August 3, 2010[2]978-1-4278-1687-0

Digital release

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Return to Labyrinth was made available as a digital download through digital publishing website Zinio in June 2010.[8]

Reception

[edit]

Commercial reception

[edit]

The first volume debuted at the 40th spot in the list of 100 best-selling graphic novels for August 2006, based on Diamond Comic Distributors' U.S. sales, with an estimated 2,400 copies sold.[9] The second volume appeared at the 58th spot with an estimated 2,204 copies sold in October 2007.[10] In May 2009, the third volume sold an estimated 1,386 copies and reached the 76th spot on the list.[11] It also reached the 19th spot in Bookscan's list of the top twenty best-selling graphic novels for May 2009,[12] and ranked 4th on the New York Times manga bestseller list for the week of May 10 to 16.[13] In August 2010, the fourth volume reached the 74th spot on the Diamond U.S. best-selling graphic novels list, with an estimated 1,100 copies sold,[14] and the 19th spot on Bookscan's top twenty best-selling graphic novels list.[15]

Critical response

[edit]

Return to Labyrinth received mixed reviews from critics. Kristy Valenti, who works for The Comics Journal and Fantagraphics Books, wrote that the series "is the most successful at both whetting the nostalgia of the film's cult audience while mining the film's world-building for further narrative opportunities"; she noted "technical glitches" in the first volume, and the lack of bishōnen and bishōjo designs, which she thought the manga needed.[16] IGN's A.E Sparrow praised the sequel, and liked how it was "mindful of the source material, but unafraid to strike out and cover some new ground as well" by including new characters.[17] Reviewing the first volume for Kliatt, Jennifer Feigelman found the manga "falls somewhat short in its story development" and that the character of Toby was not well constructed.[18] Johanna Draper Carlson, a longtime reviewer for Publishers Weekly and fan of the film, felt that the shift of Sarah to Toby as the protagonist weakened the sequel since it made the premise of the series common.[19]

While writing that the manga "holds its own as teen fiction", Martha Cornog in Library Journal found it lacked the charm of the original story of the film and the interior artwork was of poor quality.[20] Reviewing the first volume for Anime News Network, Carlo Santos liked its characters and humour; he criticised the "stiff character poses and an over-reliance on screentones" in the illustrations and the stalling of the main plot by excessive side stories.[21] Katherine Dacey of PopCultureShock wrote that the interior art by Chris Lie "varied considerably from panel to panel" in the first volume, along with the narrative having a "choppy, hectic rhythm that made it read more like a Choose Your Own Adventure story than a solid fantasy novel." Dacey rated the second volume a "C+", stating that while the series' artwork and storytelling showed improvement since the first volume, the characters remained underdeveloped and the manga felt like a fan fiction that would only appeal to fans of the film.[22] CGMagazine's James Gartler found that the manga's Japanese style of storytelling did not mesh well with the film's original designs by conceptual artist Brian Froud.[23] Conversely, Nadia Oxford of Mania wrote that the film's settings and characters "translate very well into the manga style", noting that David Bowie (the actor who portrayed Jareth) "was a model bishōnen". Oxford rated the first volume an "A−".[24]

According to Entertainment Weekly, the manga's large number of original characters prompted criticism from Labyrinth fans that the series was straying too far from its source material.[25] Comic Book Resources reported that readers did not care for the new "underdeveloped" characters, and many felt mislead by the cover illustrations, which were much more lavish and detailed than the simpler, more Western-styled interior art.[26] Readers also questioned Tokyopop's decision to expand the series from three volumes to four, resulting in a four-year gap between the release of the first and last volumes.[23][25]

Legacy

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Return to Labyrinth was one of the top Tokyopop titles in the imprint's first decade.[27] However, the series did not receive as positive a reception from critics and fans as Legends of the Dark Crystal, Tokyopop's manga prequel to Jim Henson's 1982 film The Dark Crystal.[26][23] In 2014, Total Film included Return to Labyrinth on a list of the "50 Greatest Movie Comic Spin-Offs".[28]

Comic Book Resources reported in 2021 that despite the continued popularity of the original film, Return to Labyrinth has been "largely forgotten", in part due to the fact that Tokyopop ceased its publishing operations less than a year after the publication of the series' last volume and the manga went out of print.[26] The company resumed publishing manga in 2016, and creator Jake Forbes has expressed a desire to restore a number of "deleted scenes" if the series is ever republished.[26] However, Comic Book Resources wrote that Return to Labyrinth has been "rendered solidly non-canon" by later Labyrinth comics[broken anchor] published by Archaia Entertainment and a potential upcoming movie sequel, and that a rerelease of the manga "might confuse readers about which material should be considered "official." "[26]

References

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from Grokipedia
Return to Labyrinth is a four-volume series, written by Jake T. Forbes and illustrated by Chris Lie, that serves as a to the 1986 Labyrinth, directed by and featuring as the Goblin King . Published by between 2006 and 2010, the series follows Toby Williams, the infant from the original film who is now a teenager, as he is drawn back into the Goblin Kingdom after Jareth secretly aids his life in the human world and declares him his heir, sparking intrigue, treachery, and challenges from rival factions vying for power. The story explores themes of destiny, identity, and succession in the magical realm of the , where Toby must navigate , face attempts, and confront his reluctance to embrace his role amid unrest caused by Jareth's decision. Co-promoted with , the expands the film's universe while introducing new characters like the ambitious Mizumi and the loyal Skub, blending elements of fantasy adventure with coming-of-age elements. Covers for the volumes were designed by Kouyu Shurei, and the series was released in digest-sized editions, with Volume 1 appearing in August 2006, Volume 2 in October 2007, Volume 3 in May 2009, and Volume 4 in August 2010.

Background

Relation to Labyrinth

Labyrinth is a 1986 fantasy film directed by , in which teenager Williams embarks on a perilous journey through a vast, ever-shifting known as the to her infant brother Toby, who has been abducted by the King . The story blends elements of and adventure, exploring themes of maturation and the blurred line between dreams and reality as Sarah confronts illusions and challenges within the Goblin City at the maze's heart. Return to Labyrinth, a four-volume original English-language manga published by Tokyopop, serves as an official direct to the film, licensed and co-developed in collaboration with . Set thirteen years after the events of the movie, it features an adult Sarah Williams and a teenage Toby, who is drawn back into the by lingering influences from . The narrative revisits iconic locations such as the itself and the Goblin City, while echoing core themes of personal growth and the interplay between fantastical realms and the real world. This canonical extension builds directly on the film's universe, with continuing to exert subtle control over Toby's life from afar, prompting his return to the magical domain. By reintroducing familiar characters like and in evolved roles, the maintains continuity with the original's whimsical yet introspective tone.

Premise and setting

Return to Labyrinth is a four-volume series published by between 2006 and 2010, functioning as a fairy-tale to Jim Henson's 1986 Labyrinth. Set thirteen years after the film's events, the narrative centers on teenage Toby Williams, Sarah's brother, who becomes re-entangled with the magical realm after Jareth the King declares him his heir, having subtly influenced the boy's life from afar through goblin intermediaries granting his every wish. The manga's setting builds upon the film's iconic fantasy universe, prominently featuring the shifting, puzzle-like and the chaotic Goblin Kingdom, including expanded depictions of the and concealed sub-realms inhabited by goblins and mythical creatures. These fantastical elements intertwine with real-world locations, such as Toby's high school life and family home in , and Sarah's everyday adult routine, creating portals like closet doorways that bridge the two realities. This integration highlights the persistent intrusion of into mundane existence. Thematically, the series delves into concepts of maturity and the transition to adulthood, examining how childhood fantasies evolve or fade amid grown-up responsibilities, including themes of parenthood through familial dynamics between , Toby, and their parents. It portrays the blurring of fantasy and reality as lingering magical influences from —whose manipulative presence echoes his role in the original film—challenge the characters' perceptions of independence and consequence in their adult lives.

Development

Conception

The licensed the property to in July 2005 to develop an , seeking to leverage the 's cult status through transmedia expansion. Writer Jake T. Forbes was selected to helm the project, pitching a that revisited core elements of the original while exploring new dimensions of its world. Development faced challenges in preserving the film's narrative fidelity and ontological ambiguity—such as the debate over whether events were a dream—while introducing innovative suited to , including the decision to age up Toby from infant to teenager to enable more mature themes and character growth. Key conceptual shifts emphasized Toby's perspective as the protagonist, highlighting subtle influences from the Goblin King in the human world, and incorporated new characters and plotlines to evoke nostalgia while posing fresh questions about the Labyrinth's lore. The project was initially announced as an original sequel. It was later planned as a three-volume series, which was expanded to four volumes during production based on the success of the first volume, receiving approval from and resulting in the first volume's publication in August 2006.

Creative team and production

Jake T. Forbes, a former senior editor at with experience on major titles such as and , served as the writer for Return to Labyrinth. His background in curating and creating fantasy narratives made him a key collaborator with executives, who approved all scripts to ensure alignment with the original film's lore. The primary illustrator for Volumes I and II was Chris Lie, whose work extended to subsequent volumes in collaboration with Caravan Studio. Lie's style drew from Japanese conventions, incorporating dramatic shading and expressive character poses, while adapting the whimsical, puppet-inspired designs from Brian Froud's original Labyrinth to evoke the film's fantastical creatures. This blend aimed to merge manga's with Henson's surreal aesthetics, referencing sources like Goblins of for visual fidelity. Production began with scripting in 2005 under the partnership between and , with Forbes initiating the project alongside Tokyopop executive Michael Polis. Artwork was completed by 2006, allowing for the first volume's release that year, while Tokyopop managed editing, formatting, and final approvals from Henson representatives. The series, originally planned as a trilogy, expanded to four volumes during production due to strong sales of the first volume.

Synopsis

Volume I

In Return to Labyrinth Volume I, the story shifts focus to Toby Williams, now a teenager over a decade after the events of the original , where his half-sister had rescued him from the King . Toby has grown up noticing that his life unfolds unusually smoothly, with desires often manifesting in unexpected ways, unbeknownst to him influenced by Jareth's subtle interventions through minions who protect and guide him from the shadows. This volume introduces Jareth's overarching plan: facing his own mortality and the need for a successor to rule the , he has groomed Toby as his heir, ensuring the boy's safety and fulfillment to prepare him for eventual return to the . The plot ignites when a goblin steals Toby's homework, luring him into the ever-shifting , which has evolved since Sarah's traversal with new perils and inhabitants reflecting fairy-tale whimsy twisted by goblin logic. Toby, abducted into this realm against his will, navigates the maze's altered paths, encountering a cast of eccentric s and creatures, including the wingless Hana, whom he vows to aid in recovering her stolen wings in exchange for her guidance; the creature Stank; the bumbling Skub; and the enigmatic masked figure Moppet, who harbors secrets tied to the kingdom's lore. As they progress, Toby faces trials like battling a water demon and evading giants, and is captured by the advisor Candlewic and sentenced to execution by Mayor Spittledrum, only to be saved by . These events test his resourcefulness while revelations unfold about his upbringing—how 's has woven goblin influences into his human life, granting wishes that blend reality with subtle enchantment. The volume explores themes of nostalgia versus maturity, as Toby reflects on his childhood innocence and the "easy" life that now feels suspiciously orchestrated, contrasting his human world comforts with the chaotic, dreamlike pull of the that echoes his forgotten infant abduction. These elements highlight Toby's growth from a pampered to someone confronting destiny, without delving into resolutions. The narrative builds to a at the grand Ball, where unveils his intentions for Toby's future amid the revelry, abdicating and naming him heir, leaving the kingdom's fate—and Toby's role—hanging in precarious balance.

Volume II

In Return to Labyrinth Volume II, Toby Williams deepens his immersion in the Kingdom following Jareth's announcement that he will serve as the King's heir, sparking widespread unrest among the goblins who view the human teenager as an unfit successor. Toby begins rigorous training sequences to master the and customs of the , guided by figures such as the ambitious Panjan Spittledrum and the calculating Queen Mizumi of the Kingdom, both of whom harbor their own designs on power; Mizumi reveals her past romantic involvement with . This period of preparation highlights Toby's growing confidence in wielding rudimentary spells, yet it also isolates him from his human friends, testing his ability to balance loyalties between his origins and his emerging role. Meanwhile, , having vanished after the announcement but continuing to influence events from afar, visits Sarah Williams in the human world, reigniting his obsession with her. Key events include Hana and Moppet discovering a locked room resembling Sarah's from the original film, containing a that triggers Moppet's vision of her origins; they are trapped by , one of Mizumi's twin daughters, but Toby intervenes to save Moppet, leading to the revelation that she is an —a being created from aspects of Sarah's dreams—fashioned by Mizumi as part of a bargain with . The volume emphasizes themes of identity and loyalty, as Toby grapples with his dual worlds—torn between the allure of sovereignty and the pull of his human life—while the discovery of Moppet's connection to hints at broader implications. Building on the initial setup from Volume I where Toby was first drawn back to the , these developments culminate in unresolved power struggles, with Jareth's disappearance and Mizumi's covert machinations setting the stage for further betrayals in Volume III.

Volume III

Volume III of Return to Labyrinth escalates the narrative's tension through Toby's as the heir to the Goblin King, intertwining his internal struggles with external betrayals that fracture the Labyrinth's fragile power structure. As the ceremony unfolds in the opulent Crystal Ballroom, Toby undergoes a ritualistic ordeal that confirms his status as the "Pathfinder," granting him nominal control over the Labyrinth's shifting architecture and inhabitants. However, this empowerment is immediately undermined by Mizumi, the vengeful witch and Jareth's former lover, who invokes a longstanding bargain with the Goblin King to seize that authority for herself, revealing her long-buried ambition to overthrow him and claim the throne. Parallel to Toby's trials, the volume delves into Sarah's involvement as Jareth, seeking to regain his power, retrieves a heart fragment and lures her into a trap with illusions and manipulations, oscillating between obsessive affection and destructive intent toward her. These sequences expose Jareth's vulnerabilities, including his past inability to fully ensnare Sarah's will during their original encounter and his emotional entanglement with Mizumi, which led to the theft of Sarah's dreams and the erosion of her memories of Toby in the human world. Sarah's journey highlights her lingering regrets over her brother and forces her to confront psychological challenges testing her resolve and familial loyalty. Meanwhile, Toby begins to rebel against the grooming imposed by 's minions, rejecting the seductive promises of power in favor of protecting his sister, though his partial acceptance of his heritage emerges during the coronation's high-stakes rituals. Jareth contacts Sarah to draw her back, setting up further conflict. Betrayals ripple through the Goblin Court, amplifying the volume's rising action and high-stakes challenges. Mizumi ruthlessly reabsorbs her own , —one of her twin daughters—for nearly derailing her schemes, demonstrating the corrupting influence of unchecked power within the court's fractured alliances; she subjugates the goblin populace, sparking open among Toby's would-be subjects. Further treachery occurs when Candlewic, a key advisor, aligns with Mizumi and stabs the loyal Mayor Spittledrum, shattering the tentative coalitions Toby had begun to form. In a pivotal moment, Moppet—revealed as an of , artificially created by Mizumi at Jareth's behest to serve as a surrogate—rejects Toby's desperate plan to restore the real Sarah and flees the court, clutching an enchanted peach that echoes the original film's forgetting ; Mizumi orders Moppet's death to sever her bond with Sarah, symbolizing a profound personal sacrifice. These events culminate in Toby's imprisonment within the Labyrinth's inescapable Oubliette, a forgotten chamber that isolates him as Mizumi consolidates her rule over the Goblin Kingdom. The volume's exploration of power's corrosive effects is evident in Mizumi's transformation from scorned consort to tyrannical usurper, while familial bonds are strained yet reaffirmed through Toby and Sarah's parallel ordeals. This setup propels the story toward its finale, with goblin resistance simmering and the promise of Jareth's return hanging over the encroaching darkness.

Volume IV

Volume IV serves as the climactic conclusion to the series, resolving the central conflicts surrounding Toby Williams's reluctant ascension and the usurpation by Mizumi following his imprisonment. Toby struggles against Mizumi's rule, refusing her offer to share power and using his abilities to save his friends, including Hana and Moulin, amid ongoing rebellion. Moppet escapes a dream-trap set by Mizumi and, with Hana and Moulin, seeks out to aid the resistance. The narrative builds to an intense confrontation involving Toby, —who regains her memories and returns to the aided by , , and Hoggle—and , where the stakes of the succession and usurpation reach their peak. 's alliances with familiar creatures like Hoggle, now aligned with her cause, and help in the battle against Mizumi's forces. Toby harnesses elements of magic—such as its illusory tricks and loyalties—to counter the threats, turning the kingdom's chaotic essence into a defensive weapon. Moppet reunites with , restoring her fully and weakening Mizumi. Amid the chaos, Toby faces a pivotal decision about his future, weighing the allure of power against his ties to the human world. In a moment of agency, Toby rejects the throne, relinquishing his claim and allowing to regain his full powers and resume his role as Goblin King, defeating Mizumi and stabilizing the realm. The volume's depicts the characters' post- lives: Toby emerges more mature and self-assured in the human realm, pursuing his own path; reflects on her growth, pursuing her dreams as a while her memories of the Labyrinth remain intact; and rules once more, with the fantasy world continuing to influence their lives subtly. The concluding themes emphasize personal redemption, the maturation from fantasy dependence to real-world responsibility, and the bittersweet pull of enchantment that persists even after escape. Toby's journey highlights growth through , while Sarah's involvement reinforces themes of familial evolving into mutual . These resolutions tie together the series' exploration of choice and consequence in a realm where wishes come at a cost.

Characters

Protagonists

Sarah Williams serves as a key protagonist in Return to Labyrinth, evolving from the imaginative teenager of her youth into a dedicated leading a more grounded adult life. Her core motivations revolve around safeguarding her half-brother Toby, reflecting her enduring resourcefulness and profound emotional depth as she navigates challenges with quiet determination. Across the four volumes, Sarah's arc culminates in rediscovering her creative passions through storytelling, which allows her to reconnect with her inner dreamer while maintaining her protective instincts. Toby Williams emerges as the central , offering a teenage viewpoint marked by and growth amid subtle external influences from the Goblin Kingdom. Initially portrayed as somewhat insecure and prone to self-doubt despite his affinity for theater and fantasy worlds, Toby grapples with internal conflicts that test his sense of belonging and purpose. His development spans the series as he shifts from a passive observer of his circumstances to an active decision-maker, embracing responsibility for his desires and choices with increasing decisiveness and maturity. Supporting protagonists enrich the narrative through their alliances with Sarah and Toby, including the returning Hoggle, the loyal and gruff dwarf-goblin whose steadfast friendship provides practical aid and in their endeavors. New allies from the Fair Folk, such as the resourceful and wingless fairy Hana, join as fierce companions driven by personal quests for restoration, contributing to the protagonists' efforts with their unique skills and perspectives. The loyal Skub, Toby's personal chef, also aids him from the outset by intervening in his human life and guiding him within the . These characters highlight themes of camaraderie and redemption, bolstering the main heroes' journeys without overshadowing their arcs.

Antagonists and supporting characters

Jareth the King is the central antagonist in Return to Labyrinth, depicted as a charismatic yet cruel fae immortal who has ruled the Kingdom for over 1,300 years. His manipulative tactics involve secretly influencing Toby Williams' life from the human world by granting him undue successes through interventions, all to groom him as heir and secure Jareth's enduring legacy over the . Jareth's backstory reveals a past romantic entanglement with Mizumi, Queen of the neighboring Kingdom, whom he toyed with emotionally before rejecting her upon developing an obsessive affection for Sarah Williams; in response, he constructed the as an impenetrable barrier to exclude Mizumi and other threats. These traits—blending seductive charm with ruthless control—drive his conflicts, as he deploys and to undermine Toby's and reclaim influence, treating as disposable tools in his schemes. Mizumi, the coldly ambitious Queen of Moraine, emerges as a key antagonistic force alongside her twin daughters, Moulin and , challenging Toby's claim to the throne through treachery and territorial expansion. Once Jareth's lover, Mizumi harbors resentment from his , motivating her to infiltrate the and subjugate its goblins with her icy magical powers, aiming to seize control during Toby's coronation. Her daughters support these efforts with their own inherited abilities in and combat, loyally advancing Mizumi's agenda of domination while exploiting the power left by Jareth's absence. This family's conflicts heighten plot tension, as their invasions and manipulations force Toby to confront external threats to his reluctant rule. The goblins function as chaotic antagonistic minions, embodying disorderly loyalty to while resenting Toby's ascension, often sabotaging his efforts through pranks, rebellions, and obstructive antics. Led by figures like the scheming Panjan Spittledrum, who vies for the himself, the goblins' individual traits—ranging from bumbling to outright —amplify the Labyrinth's perils, serving as both and genuine obstacles in Toby's trials. Their collective role underscores the kingdom's instability, with powers limited to minor illusions and horde tactics that test the protagonist's resolve. Supporting characters include ambiguous entities within the , such as the enigmatic Moppet, whose deceptive motives and hidden loyalties add layers of intrigue and to the narrative. These figures, often neutral or self-serving, contribute to plot tension by allying temporarily with antagonists like Mizumi or the goblins, using cunning riddles and shape-shifting to manipulate events and challenge Toby's understanding of the realm's politics.

Release

Return to Labyrinth was published in print by as a four-volume series, with releases spanning from 2006 to 2010. Volume 1 appeared in August 2006, featuring 208 pages with a full-color cover and black-and-white interiors. Volume 2 followed in October 2007 with 192 pages in the same format. Volume 3 was released in May 2009, also comprising 192 pages, while the final Volume 4 came out in August 2010 with 208 pages. All volumes were produced in standard digest-sized format, typical of Tokyopop's line, measuring approximately 5 x 7.5 inches. The series originated as an English-language work and had no native Japanese publisher, with physical copies primarily available as imports through Tokyopop's distribution channels rather than a localized Japanese edition. Distribution focused on the North American market, with volumes stocked in major bookstores such as Borders and , as well as specialty comic shops. Tokyopop handled initial print runs and placements, emphasizing accessibility in retail outlets beyond direct online sales. No official reprints, collector's sets, or bundled physical editions have been issued since the original 2010 release, as of 2025, following 's operational changes in 2011. Used copies and complete sets remain available through secondary markets like online retailers and comic dealers.

Digital and international releases

In 2010, partnered with Zinio to offer digital downloads of select titles, including volumes of Return to Labyrinth, priced at $5.99 each. The series also became available as e-books through OverDrive, a digital lending platform for libraries, starting August 4, 2010, in formats such as OverDrive Read and PDF. As of 2025, the e-books remain accessible via OverDrive for borrowing through participating libraries, supporting and PDF formats across devices. The manga received international distribution through licensed translations. A Spanish edition, titled Regreso al Laberinto, was published by , with Volume 2 released on , , maintaining the original artwork and story while adapting the text for Spanish-speaking audiences. No region-specific cover variations or content edits were reported for this edition. , which holds the intellectual property rights to the Labyrinth franchise, licensed the manga adaptation to for global publication, facilitating these overseas releases under its official branding as Jim Henson's Return to Labyrinth. Accessibility features include library-based digital borrowing on OverDrive, where users can access the full volumes with compatible apps on mobile devices and e-readers, though no official free previews or dedicated hosting apps were launched for the series.

Reception

Commercial performance

Return to Labyrinth achieved modest commercial success within the original English-language (OEL) manga market, leveraging the enduring popularity of the 1986 Jim Henson film Labyrinth. The first volume, released in August 2006 by Tokyopop, sold 8,761 copies in 2006 according to BookScan data. It ranked #10 on Diamond Comic Distributors' Top 50 manga sales chart for August 2006 and #40 for September 2006, reflecting strong initial interest from fantasy fans. Subsequent volumes sustained visibility but with declining unit sales. The second volume sold an estimated 2,204 copies in October 2007 per Diamond Comic Distributors data. Volume 3 reached #4 on The New York Times manga bestseller list for the week of May 10–16, 2009, while Volume 4 ranked on the paperback graphic books list in August 2010 with an estimated 1,100 copies sold to comics shops per Diamond data. Overall, the series benefited from Tokyopop's collaboration with The Jim Henson Company, which promoted tie-in sales through Henson archives and conventions, contributing to steady performance in bookstores and comic shops despite OEL titles generally selling fewer units than top licensed Japanese manga. By 2010, cumulative print sales across the four volumes were in the low tens of thousands, establishing the series as a mid-tier performer in Tokyopop's lineup amid broader market challenges for OEL titles. Digital editions became available through platforms like OverDrive for library lending, though no significant download metrics have been reported as of 2025. Following Tokyopop's suspension of North American manga publishing in 2011, the series went , with volumes now primarily circulating in the via resale sites, where collector demand from enthusiasts sustains availability.

Critical reviews

Return to Labyrinth received mixed critical reception upon its release, with reviewers appreciating its extension of the original film's lore while noting challenges in artistic execution and narrative pacing. IGN's A.E. Sparrow awarded the first volume an 8 out of 10, praising it as "mindful of the source material, but unafraid to strike out and cover some new ground," particularly for its exploration of Toby's growth into adolescence and the introduction of new elements to the Goblin Kingdom. The series was lauded for faithfully building on Jim Henson's fantasy universe, including strong character development such as Sarah's portrayal as a mature young woman supporting her brother, and the fusion of aesthetics with the film's whimsical designs. Critics highlighted inconsistencies in the artwork across volumes, with Chris Lie's illustrations described as competent yet generic, struggling to capture the original film's imaginative charm and resulting in caricatured depictions of iconic characters like the goblins. Pacing issues emerged in later arcs, where the story felt slow and setup-heavy, often halting abruptly without resolution, as noted in reviews of the initial volume. Debates arose over Jareth's portrayal, with some outlets criticizing his depiction as overly manipulative and disconnected from David Bowie's charismatic performance, portraying him instead as a flippant in disguise. Aggregate scores from manga review sites averaged around 3.5 out of 5 as of 2025, reflecting the divide between its conceptual strengths and execution flaws. Retrospective analyses post-2020 have emphasized the 's role in expanding the Henson Company's transmedia adaptations, viewing it as a pioneering that bridged film and for fantasy audiences.

Legacy

Cultural impact

Return to Labyrinth played a significant role in the Jim Henson Company's efforts to expand its fantasy franchises beyond the 1986 film, serving as an official sequel that revisited the Labyrinth world fifteen years later through the perspective of grown-up Toby. Produced in collaboration with , the series marked one of the first major manga adaptations of a Henson property, setting a precedent for similar ventures like Legends of the Dark Crystal, a prequel to the 1982 The Dark Crystal that was previewed in the first volume of Return to Labyrinth. The contributed to the 2000s trend of original English-language (OEL) fantasy works by fusing Japanese shōjo aesthetics—such as elaborate costumes and whimsical creatures—with Western storytelling, thereby influencing North American and aimed at female readers. As part of Tokyopop's Global Manga initiative, it helped popularize the adaptation of established fantasy IPs into formats, encouraging broader cultural cross-pollination between Eastern and Western styles. Return to Labyrinth has been acknowledged in Labyrinth franchise retrospectives, including coverage of the film's 30th anniversary in 2016, where it was noted as a notable extension of the story's universe amid ongoing celebrations of the original's enduring appeal. Promotional merchandise, such as official posters featuring the manga's artwork by Kouyu Shurei, supported its release and tied into broader Henson fantasy collectibles.

Fan interpretations and continuations

Fans have extensively debated the fate of Toby Williams in Return to Labyrinth, particularly his transformation from the innocent baby of the original film into a troubled teenager pulled back into the Goblin City as a potential heir, with some interpreting his ultimate rejection of the throne as a triumphant escape from Jareth's influence. These discussions often highlight Toby's portrayal as a "loser" archetype—lazy, procrastinating, and burdened by a dysfunctional family life—which fans argue undermines the hopeful resolution of the 1986 film where Sarah rescues him. Regarding Jareth's redemption, interpretations vary widely, with some viewing his manipulative guidance of Toby and flirtatious demeanor as evidence of lingering villainy, while others see his defeat and the manga's open-ended close as a subtle arc toward vulnerability and loss of control. Fan continuations have proliferated through fanfiction, particularly on (AO3), where 12 works tagged with the explore themes like the ongoing relationship between Sarah Williams and , post- explorations of the restored , and new challengers emerging after Jareth's downfall. All documented AO3 entries postdate , often extending the 's volume endings by imagining Toby's return alongside Sarah or delving into Jareth's dream-influenced interactions with the human world. Visual fan works include artwork inspired by the series' climactic scenes, such as the ballroom confrontations, and of unique characters like Moppet, the ambitious rival, featured at conventions with elaborate Victorian-inspired gowns. Additional examples encompass Jareth's redesign in emerald attire, using specialty fabrics to recreate his flamboyant style. Community events have sustained engagement, including Tokyopop panels at San Diego Comic-Con from 2007 to 2010, where creators discussed the manga's plot and goblin lore, drawing crowds interested in Henson-inspired extensions. Similar panels at New York Comic Con in 2008 highlighted the sequel's ties to the original film's cult status, fostering debates on character arcs. Online discussions on the manga's canonicity intensified amid Jim Henson Company reboots, with fans questioning its alignment with the film's whimsical tone post-Henson's 1990 death, especially as interest revived in the 2020s. These conversations peaked alongside announcements of a live-action Labyrinth sequel in 2025, directed by Robert Eggers, prompting renewed scrutiny of Return to Labyrinth as a non-cinematic bridge. Mainstream coverage has often underemphasized these fan-driven extensions, focusing instead on Henson projects, despite a surge in fan works tied to the 2020s revival of interest through merchandise and sequel hype.

References

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