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Jim Henson's Labyrinth Original Motion Picture Adaptation
A dark dream come true… where nothing is as it seems. The very first comic book adaptation of the cult classic Jim Henson film Labyrinth makes its way to new readers and collectors alike, celebrating an unforgettable story that shaped the whimsy, imagination, and music taste of multiple generations! When Sarah has had just about enough of her baby brother Toby, she makes a selfish wish that not only opens the door to a strange new world, but invites even stranger company… there to take her brother away. Can she make her way through the labyrinth and find Toby before the clock strikes 13? Adapted by Sid Jacobson with enchanting artwork by John Buscema with Romeo Tanghal, this archive-worthy edition is a can’t-miss collectible for fans of the seminal film, available for the first time in over 35 years. This facsimile release is lovingly restored as part of BOOM! Studios’ Archive Edition line! Collects Labyrinth Archive Edition #1-3.
80 pages, Paperback
Published February 11, 2025
About the author
Jim Henson
177 books384 followersJim Henson was an American puppeteer, filmmaker, and creative visionary whose influence on television, film, and puppetry reshaped the world of entertainment. Best known as the creator of the Muppets, Henson blended humor, whimsy, and heart in ways that captivated both children and adults. His work spanned television, feature films, and innovative storytelling formats, and he is remembered as a pioneer whose imagination opened new artistic frontiers.
Born James Maury Henson in 1936 in Mississippi and raised in Maryland, Henson showed an early interest in art, puppetry, and television. While attending the University of Maryland, he created “Sam and Friends,” a five-minute TV show that introduced audiences to a lizard-like puppet named Kermit, a character that would later evolve into the world-famous Kermit the Frog. The show was the beginning of a lifelong partnership between Henson and his future wife, Jane Nebel, who co-performed and co-developed early puppet characters.
In 1958, the couple founded Muppets, Inc., which would grow into The Jim Henson Company. Henson's innovative approach to puppetry transformed the field. He used flexible foam, fabric, and expressive hand movements to create puppets that could convey real emotion—characters that connected with audiences in a way few had seen before. He also redefined the way puppets were filmed, using monitors and unique camera angles to make them more lifelike and engaging.
Henson’s career reached a new height in 1969 when he joined the creative team behind “Sesame Street.” There, he created and performed many of the show’s iconic characters, including Ernie, Cookie Monster, Bert, Grover, and Oscar the Grouch. His work on “Sesame Street” helped the show become a global educational phenomenon, blending entertainment with learning for millions of children worldwide. Henson’s belief that television could be both entertaining and educational guided much of his creative output.
Despite his success with “Sesame Street,” Henson was eager to prove that puppetry could be more than just a children’s medium. After years of rejection, he finally launched “The Muppet Show” in 1976, a comedy-variety series starring a troupe of eccentric puppet performers led by Kermit the Frog. The show became an international hit, attracting celebrity guest stars and earning critical acclaim. It ran for five seasons and led to several successful theatrical films, including “The Muppet Movie” (1979), “The Great Muppet Caper” (1981), and “The Muppets Take Manhattan” (1984).
Henson’s ambition and imagination were not limited to the Muppets. In the 1980s, he began developing darker, more complex fantasy worlds. He co-directed and co-wrote “The Dark Crystal” (1982), a visually groundbreaking film that created an entirely original mythology. In 1986, he directed “Labyrinth,” starring David Bowie and Jennifer Connelly, a film that combined puppetry, music, and elaborate set design. Though not initially successful at the box office, “Labyrinth” became a cult classic and remains beloved today.
Henson also created “Fraggle Rock,” a musical fantasy series that addressed themes like cooperation, identity, and environmental stewardship. With “The StoryTeller,” he brought European folk tales to life using an artful blend of live action and puppetry. Both shows showcased his continued desire to experiment with format and content, always pushing boundaries and exploring new artistic territory.
Jim Henson died unexpectedly in 1990 from a sudden bacterial infection, just as he was in talks to sell his company to The Walt Disney Company. His death shocked the entertainment world, but his legacy endured. Through The Jim Henson Company and The Jim Henson Foundation, his commitment to puppetry, innovation, and creative storytelling continues to thrive.
More than three decades after his passing, Jim Henson’s characters still inspire wonder and joy. He believed in the power of imagination to chang
Born James Maury Henson in 1936 in Mississippi and raised in Maryland, Henson showed an early interest in art, puppetry, and television. While attending the University of Maryland, he created “Sam and Friends,” a five-minute TV show that introduced audiences to a lizard-like puppet named Kermit, a character that would later evolve into the world-famous Kermit the Frog. The show was the beginning of a lifelong partnership between Henson and his future wife, Jane Nebel, who co-performed and co-developed early puppet characters.
In 1958, the couple founded Muppets, Inc., which would grow into The Jim Henson Company. Henson's innovative approach to puppetry transformed the field. He used flexible foam, fabric, and expressive hand movements to create puppets that could convey real emotion—characters that connected with audiences in a way few had seen before. He also redefined the way puppets were filmed, using monitors and unique camera angles to make them more lifelike and engaging.
Henson’s career reached a new height in 1969 when he joined the creative team behind “Sesame Street.” There, he created and performed many of the show’s iconic characters, including Ernie, Cookie Monster, Bert, Grover, and Oscar the Grouch. His work on “Sesame Street” helped the show become a global educational phenomenon, blending entertainment with learning for millions of children worldwide. Henson’s belief that television could be both entertaining and educational guided much of his creative output.
Despite his success with “Sesame Street,” Henson was eager to prove that puppetry could be more than just a children’s medium. After years of rejection, he finally launched “The Muppet Show” in 1976, a comedy-variety series starring a troupe of eccentric puppet performers led by Kermit the Frog. The show became an international hit, attracting celebrity guest stars and earning critical acclaim. It ran for five seasons and led to several successful theatrical films, including “The Muppet Movie” (1979), “The Great Muppet Caper” (1981), and “The Muppets Take Manhattan” (1984).
Henson’s ambition and imagination were not limited to the Muppets. In the 1980s, he began developing darker, more complex fantasy worlds. He co-directed and co-wrote “The Dark Crystal” (1982), a visually groundbreaking film that created an entirely original mythology. In 1986, he directed “Labyrinth,” starring David Bowie and Jennifer Connelly, a film that combined puppetry, music, and elaborate set design. Though not initially successful at the box office, “Labyrinth” became a cult classic and remains beloved today.
Henson also created “Fraggle Rock,” a musical fantasy series that addressed themes like cooperation, identity, and environmental stewardship. With “The StoryTeller,” he brought European folk tales to life using an artful blend of live action and puppetry. Both shows showcased his continued desire to experiment with format and content, always pushing boundaries and exploring new artistic territory.
Jim Henson died unexpectedly in 1990 from a sudden bacterial infection, just as he was in talks to sell his company to The Walt Disney Company. His death shocked the entertainment world, but his legacy endured. Through The Jim Henson Company and The Jim Henson Foundation, his commitment to puppetry, innovation, and creative storytelling continues to thrive.
More than three decades after his passing, Jim Henson’s characters still inspire wonder and joy. He believed in the power of imagination to chang
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Displaying 1 - 12 of 12 reviews
March 29, 2025
I have made no secret of the fact that I love the film, Labyrinth. As a child of the 80's, I grew up with it, and it captured my imagination almost like no other film did. Nearly 40 years later, it remains one of my all time favourite films. Now, I didn't realise it at the time, but back in the day, there was a comic adaptation of the film, spread over 3 issues. This hardback edition is essentially a reprint of this vintage comic bringing all 3 together in one single volume.
Because I have seen the film so many times, I can recite pretty much all of it by heart. And so, when reading this, the main thing which struck me was when the dialogue didn't match up to what they were saying, or doing in the film. And the main problem that I had was that there were times when they seemed to have changed important dialogue, almost iconic parts of it. There also seemed to be some scenes which were added to - when Sarah comes across the Fireys, for instance - but then there were also some scenes which were shortened, taking something away from the heart of the story. Granted, comics do not always lend themselves to being able to flesh out a story, but this adaptation came across as a bit of a let down for me.
As a lover of the film for so many decades, I was always going to buy this book. However, I fear that someone coming to this perhaps either before they have seen the film, or when they are not so familiar with the film, I fear that it would actually do disservice to the memory of it.
Now, there is a novelisation of the film, which I own but haven't actually read yet (there is a part of me, I think,which is a little scared to, in case that also lets me down), but I am wondering if this would be able to do what the original comic did not. And perhaps this is a little unfair of me, as comics and novels are two completely different genres. I just wished for a little more here, and I am sad to say that I think some of the story was sacrificed to make it fit the length required. It does make me wonder too about the graphic adaptation of the novelisation, and how that will look and feel. You can bet on one thing though - I'll definitely be buying that one, too.
Because I have seen the film so many times, I can recite pretty much all of it by heart. And so, when reading this, the main thing which struck me was when the dialogue didn't match up to what they were saying, or doing in the film. And the main problem that I had was that there were times when they seemed to have changed important dialogue, almost iconic parts of it. There also seemed to be some scenes which were added to - when Sarah comes across the Fireys, for instance - but then there were also some scenes which were shortened, taking something away from the heart of the story. Granted, comics do not always lend themselves to being able to flesh out a story, but this adaptation came across as a bit of a let down for me.
As a lover of the film for so many decades, I was always going to buy this book. However, I fear that someone coming to this perhaps either before they have seen the film, or when they are not so familiar with the film, I fear that it would actually do disservice to the memory of it.
Now, there is a novelisation of the film, which I own but haven't actually read yet (there is a part of me, I think,which is a little scared to, in case that also lets me down), but I am wondering if this would be able to do what the original comic did not. And perhaps this is a little unfair of me, as comics and novels are two completely different genres. I just wished for a little more here, and I am sad to say that I think some of the story was sacrificed to make it fit the length required. It does make me wonder too about the graphic adaptation of the novelisation, and how that will look and feel. You can bet on one thing though - I'll definitely be buying that one, too.
February 10, 2025
Fairly faithful adaptation, but I wish it had included more of Sarah's adventure as some scenes are shortened considerably to fit within the original three-issue comic book run. I would have added one more issue in the initial comic book run which would have allowed breathing room to adapt the film to this medium.
August 26, 2025
The original comics adaptation of one of my favorite movies of all time. As an adaptation, there are some departures that are really obvious to me as a major fan. The fireys scene is totally different, probably to make up for the lack of musical number, and the ending feels rushed. There are certain artistic choices that felt odd to me. The final confrontation between Sarah and Jareth simply takes place in his throne room, and he never changes costume. And Sarah doesn't particularly look like Jennifer Connelly, or any teenage girl for that matter. A little disappointing sometimes, definitely. But also... It's the comic book adaptation of one of my favorite movies of all time. And when the dialog and art are right, it's magical.
March 20, 2025
If you haven't seen the film, then this adaptation does a terrible job of explaining what's going on. It relies on you having that prior knowledge, and even in possession of that knowledge I think it's poorly done. I only ranked it 3* because I LOVE Labyrinth but for me the biggest letdowns were the entire section from the fire gang to the junkyard, and the ending is poorly paced.
- The comic portrays the fire gang as helping Sarah in Hoggle's absence instead of hindering her, and Sarah seems unafraid of them unlike the film. She doesn't call for help which therefore makes NO sense when Hoggle is suddenly prompted into saving her... without hearing her call. The fire gang traumatised me as a kid, so this was a huge disconnect for me.
- Jareth does not threaten Hoggle should Sarah kiss him, but Hoggle still begs Sarah not to kiss him and they fall to the bog after. This part also makes no sense without context.
- Sir Didymus doesn't even introduce himself, they just seem to telepathically know his name. Ambrosius is introduced at least.
- The ballroom scene is devastatingly short. Just a few frames. A crime, that's my absolute favourite scene in the film.
- The final confrontation is so rapid-fire that Sarah isn't even given the panel time to quote her full speech. No sign of Toby in the staircase scape, so it feels like there's no stakes. Jareth has a tantrum like a child when he loses and Sarah pings back home with the narrative telling us that she has now grown up . And yet the whole adaption has failed to really convey the growing up arc for Sarah as it does so naturally in the film.
Tl-dr: this fell flat for me. Only ranked it as high as I did as I'm a big Labyrinth fan so happy for any content.
- The comic portrays the fire gang as helping Sarah in Hoggle's absence instead of hindering her, and Sarah seems unafraid of them unlike the film. She doesn't call for help which therefore makes NO sense when Hoggle is suddenly prompted into saving her... without hearing her call. The fire gang traumatised me as a kid, so this was a huge disconnect for me.
- Jareth does not threaten Hoggle should Sarah kiss him, but Hoggle still begs Sarah not to kiss him and they fall to the bog after. This part also makes no sense without context.
- Sir Didymus doesn't even introduce himself, they just seem to telepathically know his name. Ambrosius is introduced at least.
- The ballroom scene is devastatingly short. Just a few frames. A crime, that's my absolute favourite scene in the film.
- The final confrontation is so rapid-fire that Sarah isn't even given the panel time to quote her full speech. No sign of Toby in the staircase scape, so it feels like there's no stakes. Jareth has a tantrum like a child when he loses and Sarah pings back home with the narrative telling us that she has now grown up . And yet the whole adaption has failed to really convey the growing up arc for Sarah as it does so naturally in the film.
Tl-dr: this fell flat for me. Only ranked it as high as I did as I'm a big Labyrinth fan so happy for any content.
This entire review has been hidden because of spoilers.
Read
May 24, 2025I love the movie and when I saw this I had to read it. It's a simple but charming retelling of the movie - even with bits missing (the fireys & the ball scenes are so short 😔) but it's ideal for someone wanting a quick read, someone who likes to read comics or who have trouble reading longer books (as I do at times). However, if you have trouble reading smaller fonts, you may have trouble reading this. I read it on my phone and I had to use a magnifying glass - so I didn't distort the images 😂.
The only other trouble I have is that now I want to listen to the sound track (which thankfully I have on CD & MP3), watch the film (which I have on DVD) and read the Novelization by Jim Henson. Choices, choices, but what lovely choices.
😊
The only other trouble I have is that now I want to listen to the sound track (which thankfully I have on CD & MP3), watch the film (which I have on DVD) and read the Novelization by Jim Henson. Choices, choices, but what lovely choices.
😊
June 11, 2025
I understand that a comic version of the story was going to speed up the pacing but did all the little quirky characteristics need to be lost to make it work?
This just reads like a generic fantasy story. One I would have enjoyed more if it wasn’t an adaptation of Labyrinth, one of my favourite movies.
Granted I have no idea how movie adaptations for comics are written, as I don’t know much about how Comic scripts are laid out so I don’t know what information they were working with.
This just reads like a generic fantasy story. One I would have enjoyed more if it wasn’t an adaptation of Labyrinth, one of my favourite movies.
Granted I have no idea how movie adaptations for comics are written, as I don’t know much about how Comic scripts are laid out so I don’t know what information they were working with.
June 6, 2025
I absolutely LOVE the movie. this was really good. Most of the movie dialog also was in the book. I know some things translate well, but also knew what movie lines were changed for the book. as I can quite the movie pretty much work for word. I do love they used the original movie poster art for the book cover as well.
March 10, 2025
I've read a few film adaptation comics lately, and I know they are pretty much a fan service cash-in but they all do the same thing and rush plot points - like if i'd not seen the film a billion times I wouldn't have a clue what was going on or care about some of the panels.
February 12, 2025
4.5⭐
Would be five stars if each event wasn't cut short
Would be five stars if each event wasn't cut short
July 2, 2025
I love Labyrinth :’)
November 25, 2025
justice for the magic dance scene 😞✊
July 31, 2026
lazy adaptation;
every time i revisit the labyrinth, one of my all time favorite movies as a kid that i've probably watched upwards of a hundred times, im weirded out by the weird pedo-y subtext
every time i revisit the labyrinth, one of my all time favorite movies as a kid that i've probably watched upwards of a hundred times, im weirded out by the weird pedo-y subtext
Displaying 1 - 12 of 12 reviews