Reception
The first volume debuted at the 40th spot in the list of 100 best-selling graphic novels for August 2006 with an estimated 2,400 copies sold. The second volume appeared at the 58th spot with an estimated 2,204 copies sold in October 2007. In May 2009, the third volume sold an estimated 1,386 copies and reached the 76th spot on the list. It also reached the 19th spot in Bookscan's list of the top twenty best-selling graphic novels for May 2009, and ranked 4th on the New York Times manga bestseller list for the week of May 10 to 16.
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. IGN's A.E Sparrow praised the adaption, 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. 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 adaption since it made the premise of the series common. Katherine Dacey rated the second volume a "C+", stating that while the series showed improvement since the first volume, it felt like a fan fiction and would only appeal to fans of the film.
Read more about this topic: Return To Labyrinth
Famous quotes containing the word reception:
“To aim to convert a man by miracles is a profanation of the soul. A true conversion, a true Christ, is now, as always, to be made by the reception of beautiful sentiments.”
—Ralph Waldo Emerson (1803–1882)
“Aesthetic emotion puts man in a state favorable to the reception of erotic emotion.... Art is the accomplice of love. Take love away and there is no longer art.”
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“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
—Lewis H. Lapham (b. 1935)