What can I say about Jim Henson’s classic 1986 fantasy film Labyrinth that hasn’t already been said? No really, what can I say? Labyrinth is one of those movies that almost everyone has seen. Even if you haven’t seen it, you’ve heard about it, or at least about David Bowie’s outrageous bulge during Dance Magic Dance. It’s the perfect hero’s journey/coming-of-age tale where a few good friends and a brave soul is all you need to defeat the dark. It’s a movie that doesn’t need a sequel, at least, not in movie form – yet thanks to BOOM! Studios imprint Archaia, it seems like there’s more to the story of Labyrinth, particularly to Bowie’s iconic singing bad guy Jareth the Goblin King. Though the first issue is a simple build-up to the twelve issue epic and doesn’t offer too much in puppet weirdness, there is promise of something wicked coming right around the corner, which should leave fans eager to see what’s next.
The story picks up in the middle of the movie, in fact; right after a solid song-and-dance sesh filled with floating orbs and laughing puppets. Jareth, for once in high spirits, overhears one of his underlings mumble about how the lead Sarah was getting closer. Suddenly, Jareth’s mood turns sour as he remembers another time when a girl came looking for a baby and promised to “never give up.” This here is our tale. His story opens up on a dancing couple in 18th century Venice. The woman is a beautiful, clever girl and the man sports some of the most fantastic eyebrows this side of the Renaissance. Quickly, word reaches the man that old enemies have turned up at his door and, dropping all pretences, rushes to flee the country. Of course, it’s not just old human enemies that are coming for him, but some of the more “goblin-ish” variety, stalking his shadow and whispering in his ear, and they want him to be their king. Desperate to escape their presence, he is forced to give up someone in his place: his son, Jareth. But little does he know the lengths his wife will go to rescue him, and the true price of his selfishness.
As stated, there’s not much to the first issue, but what it does give you makes you want to keep reading. Right now, it’s simply building up the background of Jareth’s story and focuses more on his parents and their relationship to each other (which has a few surprises of its own). A lot of talking heads, aghast Europeans, that whole thing. That being said, it’s paced really well and has a couple of twists and turns that kept me reading. Personally, I love that they’re doing a Jareth backstory. It’s a little like the Star Wars prequels; you don’t NEED to know what Darth Vader’s deal is, but you’re happy for the extra depth on the character (and finally seeing what happened to the Jedi). Jareth goes from an interesting but ultimately unknown villain to someone with some depth and, knowing that he stays in the labyrinth in the movie, you already feel bad for him knowing that his mother is going to fail. It really feels like a proper prequel and builds a lot of sympathy for the lead.
The writer Simon Spurrier does a beautiful job with original characters. Jareth’s mother clearly reflects the movie’s protagonist Sarah, which helps shed light on why Jareth is so obsessed with Sarah in the first place. She’s smart and stubborn, and refuses to let go of her son even when all things seem impossible. His father, on the other hand, is a desperate and greedy man, willing to do anything to get his way, which is also reflected in Jareth’s determination to not let Sarah or her brother ever leave his kingdom. He’s basically a walking, talking Freud analysis. On top of the psychoanalytical intrigue, Spurrier also creates a both a physical and emotional world filled with labyrinths, hinting that even as a toddler, Jareth was always trapped in some sort of maze. His parents’ relationship to him and to themselves is filled with lies and false facades which Spurrier cleverly reflects in 18th century Venice by creating a megalopolis of dead ends and winding streets. Spurrier attention to detail is incredibly impressive and makes me eager to see the rest of the series.
Daniel Bayliss’s art is beautifully adapted to the story and somehow manages to make Jareth look even sexier. In fact, everyone looks sexy! It’s pretty great! I also adore how he lays out the panels when the goblins start following Jareth’s father around. Each panel is surrounded by hordes of goblins peeking into the panel as if they were looking into a window while their victim could do nothing but listen to their voices. Perhaps inspired by the playful nature of 1980’s fantasy movies, Bayliss really seems to have fun drawing everything out and manages to capture that unique Henson magic that made its predecessor so popular.
If you’ve ever wished there was more to the story of the Goblin King or just a further expansion of the universe itself, Labyrinth: Coronation is definitely the book for you. Issue one on stands now!