Share on Facebook Share on Twitter Share on Google+ Share on Reddit Share on Pinterest Share on Linkedin Share on Tumblr LABYRINTH: CORONATION #4 by Simon Spurrier, Daniel Bayliss, Irene Flores, and Dan Jackson Art Characterization Plot Summary LABYRINTH: CORONATION #4 is a strong addition to the series. The dialogue tells readers about the characters as well as furthers the plot. The detail in the art reflects the detail of the labyrinth itself, and the coloring sets the mood for the comic. 98 %Stunning!The chase continues in JIM HENSON’S LABYRINTH: CORONATION #4. Writer Simon Spurrier and artists Daniel Bayliss and Irene Flores create an enticing issue, full of even more magical creatures. These creatures may just be the key to success for this issue.The Backstory and MoreIn the previous issue of JIM HENSON’S LABYRINTH: CORONATION, Maria was still searching for the goblin castle. In her mission to find the castle and save her baby, she becomes trapped on a burning bridge, with all other bridges to safety burning as well. She claims to be someone else in a desperate attempt to save herself. It turns out that person is wanted by the goblins. So, she gets arrested and trapped aboard a flying boat. Image courtesy of BOOM! StudiosJIM HENSON’S LABYRINTH: CORONATION #4 picks up from there, with Maria almost finding an escape route off the boat. When Skubbin — a noble-hearted goblin — is imprisoned with her, his skeleton key seems to be the thing that might save them. The only problem is that on the other side of the door, a troll waits to kill Maria. In a desperate attempt to save herself and Skubbin, Maria releases the other creatures imprisoned with them. While this does gain her an ally, it also signaled to the Goblin King that more drastic measures needed to be taken.Unique Dialogue to Do it AllThe dialogue of JIM HENSON’S LABYRINTH: CORONATION #4 has a unique aspect to it. It seems highly original while still keeping consistency with past characters. It also furthers the plot and tells us about characters within the comic, too. The best example of this is the talking rosebush.Folklore and Perspective from VENERATION ZWe learn a lot about the talking rosebush in LABYRINTH: CORONATION #4 through its dialogue. It speaks in a very uncertain way. It interrupts itself and corrects itself constantly. In addition, we see these interruptions in a smaller font than the rest of words. That implies that it is speaking in a quieter voice. The use of a quiet voice shows how the rosebush is uncertain. Even when trying to fix something it has said, it quiets down. Also, these interruptions sometimes aren’t completely relevant to the dialogue of the rosebush. In that we see confusion as well. Often, it also asks strange questions, like, “What’s a swim?” It doesn’t always know what it wants to say, and it isn’t always sure how to say it.The talking rosebush serves a great purpose as a plot device, aside from how it serves as a character. For example, just one thing it said made Maria rethink everything she thought she knew about the labyrinth. This specifically sets up for suspense and for possible revelations in future issues. As Maria comes to her great realization, it becomes clear that this is only the beginning of the real battle against the Goblin King. Additionally, we learn that all is not as it seems. Just when she thinks she knows the labyrinth, this new idea throws a wrench in the machine. Image courtesy of BOOM! StudiosFlirting with Danger in JIM HENSON’S LABYRINTH: CORONATION #4The detailing from Daniel Bayliss and Irene Flores shows in every part of the comic, especially in this issue. JIM HENSON’S LABYRINTH: CORONATION #4 features a heavily detailed ship that flies, because a horde of fairies pulls it through the sky. We see several images of the ship, all from different angles, but the view of the ship from above presents the most detail. This aspect of the comic shows the extravagant nature of the labyrinth. The labyrinth has details everywhere in the form of its extensive puzzles and mysteries. This ship presents this idea by taking aspects of the labyrinth, fairies, goblins, and other assorted creatures, and putting them in a spotlight. Every characteristic seen in the ship, represents the detail of the labyrinth itself.The coloring of LABYRINTH: CORONATION #4, done by Dan Jackson, sets the tone for the issue. The color palette is made up of mostly dark colors. This casts a mood of doom and gloom. Light colors do appear. However, when they do, they are always cool colors rather than warm ones. This combination of colors gives the reader a feeling of unease. It tells the reader of the danger and potential sadness waiting for our main characters. Overall the coloring sets up for a disastrous situation.Taking on the Mean Girl in MS. MARVEL #30Not Finding a Way OutJIM HENSON’S LABYRINTH: CORONATION #4 is a great issue with a lot of wonderful artistic and story-based qualities. The dialogue propels the plot while fleshing out characters. The detail in the illustration tells readers about the detail of the labyrinth itself. The coloring creates unease for the reader. This issue was very fun to read. This is largely because it now has me worried about how future issues might deal with Maria’s problem. Basically, this has me invested in the characters a little too much. Here’s to hoping things turn out alright for Maria after this issue.LABYRINTH: CORONATION #4 can be purchased through BOOM! Studios.