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.

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.

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.

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.

(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.)

When Toby muses that he wishes to summon Sarah to the labyrinth so that Mizumi can restore her dreams, Moppet objects and runs away.

After leaving Sarah, Jareth seeks and finds a specific goblin, Cob, who had been banished to the human world many years earlier.

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.

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.

Moulin, Hana, and Stank arrive and manage to save Moppet after a difficult fight, but are trapped when the Labyrinth collapses around them.

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.

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.

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.

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.

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.

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.

[8] 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.

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.

[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".

[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.

[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.