Muppet Peter Pan (2009) #4

There’s a wonderful moment here, where being a Muppet comic really allows Randolph to do something neat, and she turns a battle scene into a segment for the Muppet sports’ show. It’s just a lovely way to do a comedic battle scene.

As a last issue, it’s really successful. My only problem is the lack of Piggy in the final few pages, which seems awkward. It’s practically like she’s a non-character after the whole issue is this frantically paced conclusion, all set off by her.

So much happens in the comic–Peter Pan growing up, he and Captain Hook befriending each other, Gonzo doing his thing (Randolph alternates between the Peter Pan stuff and the Muppet stuff really well, emphasizing the Muppet stuff for the most part here), the big fight scene. It’s packed. And it all moves really, really fast.

It’s a good comic and a great close.

Muppet Peter Pan (2009) #3

And now things are back on track. Randolph says, in a promotional interview where the letters page should be, Janice is one of her favorites to write and it really shows here. Janice sort of becomes the main character in this issue, opening it (but not closing it), and all of her stuff, whether funny or narratively important, works really well. It’s just a good issue, with a lot more content than the second.

However, there’s one moment–Rizzo hurting Piggy as Tinkerbell–I didn’t really get. He’s able to hurt her with insults, so there’s no action violence, but it’s still torture in a kids comic. Kind of off-putting, especially since the cliffhanger has her appearing to be dead.

Mebberson has this great way of drawing Kermit like he’s still a puppet (the hand motions affecting his expression) and it’s fantastic this issue.

Everything works really well here.

Muppet Peter Pan (2009) #2

While solid, this second issue isn’t as strong as the first. Some of that weakness has to do with the content. Here we get introduced to Gonzo as Captain Hook. There are some very funny lines–especially with Rizzo the Rat as Gonzo’s first mate–but there’s definitely something off. Kermit (as Peter Pan) is barely in the issue. Even when he visually dominates, there’s something behind him going on to reduce his import. The focus is off here. It doesn’t wander so much as it’s misaligned.

I get why it’s difficult–the pacing of a Peter Pan adaptation requires a lot of separate introductions, but it’s a four issue limited series. Hook’s introduction is a first act kind of thing, but the limited series medium doesn’t really allow enough room. So Randolph’s hands are a little tied.

It’s still funny, especially Piggy.

Oh, and I hate the digital backgrounds.

Muppet Peter Pan (2009) #1

Reading Muppet Peter Pan, I’m confused why Boom! didn’t open with this series, at least as far as their themed Muppet comics go. I also want to mention I had a chance to get an Amy Mebberson sketch cover at C2E2 and did not because I hadn’t read Peter Pan yet and now greatly regret it. Mebberson’s art nearly makes the book. It’s outstanding (she seems to spend time making sure Piggy is pretty), nicely straddling making the Muppets cute and kid friendly while still turning in good artwork.

But Randolph’s writing, her use of adult humor–I mean, Sam the Eagle’s jingoistic narration works beautifully, as does Piggy’s bent-out-of-shape Tinkerbell–makes the comic a lot more fun than it probably should be.

It’s a brisk, but involving read. I like how it doesn’t rush us to Neverland yet, instead concentrating on just being a solid narrative.

The Muppet Show: The Treasure of Peg-Leg Wilson (2009) #4

Langridge does a couple really profound things–wait, only one profound thing–the other thing isn’t profound as much as interesting.

I don’t remember a lot of “the Muppet Show,” mostly the movies, so I don’t know if the theater’s history was ever discussed “in canon,” but here Langridge establishes the theater was around before Kermit and the gang, which is something of a crazy idea (just imagine, a prequel series–someone call Hayden Christiansen).

The profound thing is taking Statler and Waldorf out of their balcony seats and sending them home for the night. It’s an incredible moment.

Otherwise, it’s a nice, pleasant issue. There’s lots of funny Muppet Show sketches, there’s the heartwarming conclusion. It’s a fine series.

I think some of the problem just stems from the constraint–it’s about the Muppets doing the show, which cuts into how much dramatic plot points each issue can contain.

The Muppet Show: The Treasure of Peg-Leg Wilson (2009) #3

I just read this issue and I can’t tell you a thing in it except a Pigs in Space episode–not as funny because Piggy’s not in it–something about Piggy being covered in fake jewels–and a really touching scene with Animal.

The series has been full of touching scenes with Animal. It’s more of a character than I’ve ever seen him, but I’m not entirely sure I read Muppet comics for Animal’s character development. Pretty sure I read them to laugh and, here, Langridge does come up with some impressive writing… only not plotting. The rhyming alone is exceptionally impressive.

I can’t figure out what Langridge’s doing with this issue because it’s nothing like either one before it and it doesn’t exactly raise the drama for the last issue. Instead, he has this flop of an issue. It just doesn’t do anything. There are some smiles, no laughs.

The Muppet Show: The Treasure of Peg-Leg Wilson (2009) #2

This issue has almost no Muppet Show stuff, as in sketches. Instead, Langridge is developing the Peg-Leg Wilson story. It’s a different, very successful approach (I just expected him to open the series with it). This issue is more akin to one of the Muppet feature films. There’s lots of plot.

There are a couple sketches and both work, but instead Langridge’s asides are just nicely presented single page emphases on certain characters or events (Scooter’s investigation into Kermit or the search of Animal’s replacement).

The issue ends on a strange note, like something’s been resolved, even though it hasn’t (except the Kermit mystery). I wonder if Langridge is going to solve on mystery an issue, though I suppose the Animal changing isn’t actually a mystery.

The best thing about the comic is the nuance. Langridge suggests, never says, Animal is scared he ate one of the stage rats.

The Muppet Show: The Treasure of Peg-Leg Wilson (2009) #1

Animal’s getting smarter, Rizzo and the rats are digging for treasure in the studio and Kermit’s acting very strange (leather jacket and shades). There’s also a ninja hanging around.

While the series has a subtitle, suggesting a unifying theme (at the least), Langridge is really just doing another Muppet Show comic, with bits from the show interspersed with the behind-the-scenes goings on. It’s all incredibly solid, though the laughs are more in the show bits (for whatever reason, the Pigs in Space sketch is really funny–even though there’s almost no punchline at all).

Langridge gets it, but the idea of a unifying factor–The Treasure of Peg-Leg Wilson–just distracts. It’s clear the book should be run as a loose ongoing, with the comic format allowing for some brief sketches and so on.

It’s not a fast read and it requires attention, which is pleasantly surprising.

Muppet Robin Hood (2009) #4

The series isn’t terrible; it has cute finish. Not a particularly successful one, but a cute one. There’s a lot of goofiness, not just in the narrative but in the handling of it.

For example, when Disney gave Boom! the kids comic license, were they aware Boom! was going to do a page and a half of text with some nonsense about the writer disappearing? It’s supposed to be funny, but it falls flat (a Boom! comic making jokes about bad writing in Hollywood when so many of their projects have been Hollywood-bound properties is just lame).

Speaking of lame, the Crusades are a rock band, led by Pepe the King Prawn (get it, king?). I’m assuming this “creative” decision was made for kids, who aren’t going to learn about the Crusades in school so why should they learn about them in a comic book.

It’s a weak move.

Muppet Robin Hood (2009) #3

Beedle comes closer to–no pun intended–making a bullseye this issue than the previous two suggested he was capable of doing. There’s some of the silly anachronisms, but even they don’t stand in the way of it finally turning into a Robin Hood story.

I can’t remember if the archery contest is a Robin Hood standard (I know the Little John fight on the bridge is one and I sort of remember the contest from Disney’s Robin Hood), but it provides Beedle with some action and a dictated pace. Trying to tell a Muppets story in summary apparently hasn’t been working for Robin Hood and now, with the bad guys being bad, not funny, it’s getting good.

There are still a lot of solid jokes–Fozzie following Sam Eagle around with a little Sam Eagle doll is hilarious, even if it doesn’t technically fit–and the cameos are better.