James Gannon - In the fall of 2011, Ape Entertainment announced it had acquired the license for a Sesame Street comic book series. After BOOM!'s spectacular job with The Muppet Show and Muppet Classics, and Archaia's wonderful Fraggle Rock comics, it's great that the last of the major Muppet franchises finally has a series of its very own. Told in an anthology format with different writers and artists, this issue features seven... seven stories! AH AH AHHHHH!
Every issue will feature a different overall theme. This issue features different stories about imagination. As this is a comic geared for the younger crowd, Elmo introduces the issue with "How to Read a Comic Book" (Jason M. Burns/Scott Ball), with the issue's only appearances of Big Bird and Murray. This will be a recurring feature in every issue. The comic's main story, "The Anatomy of a Hero" (Jason M. Burns/Amy Mebberson) stars Elmo as he takes Super Hero lessons from Super Grover. Beautifully rendered by the fan favorite artist, Elmo learns an important lesson about what a hero is.
The one page short, "Little Castle Built by Prairie" (Jay Fosgitt) features Snuffy pretending to be a dragon, trying to knock down Prairie Dawn's castle. Prairie is also features in the next story, "Smog Day Afternoon" (Paul Morrissey/Scott Underwood), where Oscar fantasizes about the delightful possibilities of a weird stench that's wafting in. A miscolored Moishe Oofnik and Bodoque appear in Oscar's daydream, as does Irvine with his grouch family. In a different take on "If Moon Were Cookie," we see "A Dip in the Galaxy" (Patrick Storck/James Silvani). This time, Cookie isn't all that guilty to actually eat the cookie moon, and is quite happy it's not made of cheese. The key is, he doesn't finish it off, because it's a "sometimes food." Yeah, they reference that.
This issue is a great start to the series so far. Mercifully, the writing isn't in the form of Easy Reading, despite the obvious preschool audience. True to show and character writing is once again hand in hand with top quality artwork. It fits perfectly into the Muppet comics collection. Especially since Muppet artist mainstays Amy Mebberson and James Silvani contributed to this issue. Amy even provides artwork for the chase covers that expand to show the whole street and every single popular character currently on the show.
The final issue of Roger Langridge's The Muppet Show Comic Book has been released, and a month shy of two years after it was due. The Winter issue, which was to be the first story in the arc under BOOM!, now completes the collection on a certain holiday the Muppets know all too well: Christmas. You just can't make Muppet anything and not eventually do a Christmas version of it. There have been special edition Muppet Christmas Palisades action figures. You can't punt a football and not hit Muppet Christmas something or other. So, it's about time they did it in comic book form.
Basically, it's a Christmas only the Muppets can have. The Chef tries to make a Figgy Pudding that goes horribly wrong, Gonzo tries to wrestle the Figgy Pudding which goes horribly wrong, Sam the Eagle reads "Twas the Night Before Christmas" that goes horribly wrong, and Pigs in Space is made of horribly wrong. Piggy wants to put up Mistletoe for obvious reasons, Kermit has to get her a gift, Rizzo eats Gonzo's trained yogurt, and a refrigerator gets busted. Yep! Roger Langridge and the Muppets. You know the drill by now. It's wacky, Muppety fun that Roger Langridge is so spectacular at delivering. 
With that, the era of the Muppet Comic book has ended. From the promise of short 1-2 page comics in the completely defunct Disney Adventures magazine, to BOOM! Comics' dual running Muppet comic lines, to the disappointing near loss of the final story arc, to the year of the magazine reprints that were a boon for those who had no access to the original issues and a bane to those who managed to grab every single one. What's next for the Muppets in comic book for are for Disney and Marvel to decide. I would be ecstatic if we saw a Marvel produced Muppet comic series, but I'm fine if we don't. Of course, I could also say how lackluster this release was (not a fan of the stock of paper they used), but that's biting the hand that released it. Marvel could have just left the series unresolved. 
If there's one thing I took away from these comics, it's that I wouldn't have discovered Langridge without them. Snarked just ended last month, his stint on Popeye is ongoing, but he retired from the Muppet Comics with this arc. It makes you wonder if that was one of the key factors in BOOM! ending the license or if it was the other way around. As I said last time, it almost seems he left things open ended in case someone else takes up the Muppet pen.
The Fall issue of The Muppets: The Four Seasons is here. I need to point out that, while this is the penultimate issue of the Marvel release, it really was the last issue of the comic out of order. There's still Winter, which was supposed to be the first issue left. Brace yourself, though, I'm going to bring it up a few times in the review.
Pops the doorman has reached the mandatory retirement age. As bad as the group wants him to stay, he has no choice in the matter. Pops is grooming his nephew, Nat Crochet, to be the new Muppet Theater doorman. Among his duties are rejecting unwanted talent that constantly harassed Pops. Meanwhile, Gonzo comes up with an idea, that only Gonzo can, which is just convoluted enough to work. Switch birth certificates, and do his usual crazy stuntman Gonzo thing before they realize the name on the certificate is wrong. And the best part? No one in the theater has a birth certificate (Animal ate his) except for Piggy. We have a lot of excellent character development on the part of Pops, a character that was low key on the original Muppet Show. According to this comic, he was in the military--we never saw that in the series. Even his Palisades action figure was based on his appearance in The Great Muppet Caper.
This issue has some pretty interesting sketches, considering how obscure the references are. Notably, Rizzo stars in a parody of a Windsor McCay comic strip, Dream of the Rarebit Fiend (in Rizzo's case, Gorgonzola), which would be the basis of the Little Nemo in Slumberland comics. I don't expect anyone but animation and comic history scholars to get that one; I barely did (college tuition well spent, I suppose). Meanwhile, Pigs in Space takes on a Flash Gordon style of its story telling. And one of the comic's original characters, Topaz the Dwarf from all the way back in Treasure of Peg-Leg Wilson series returns to tell another one of his terrible poems.
This is a very good issue, almost seems like a fifth act for the Family Reunion arc due to the inclusion of the original character of Nat Crochet. But (as I stated earlier) as a grand finale of The Muppet Show Comic Book, it leaves me just a little unsatisfied. This was the last issue penned by Roger before he decided to leave the comic. Other than Pops sort of going to retire in this issue, nothing really says "Goodbye, and thanks for reading." That leads me to think Roger left it open to either pass on the comic to another artist and writer or to fit into the continuity of The Muppet Show. Either way, the bright spot in these being released out of order is that there's no continuity in this arc, making it episodic. Not even a small, continuous gag. So the last issue, which will have a much less satisfying ending to the series anyway, won't read as out of order. As far as I can tell, anyway. I'm really warming up to the cartoony, juvenile, dizzying covers. At least having someone draw them instead of using stock pictures is a big effort. They did manage to pop out of the rest of the comics on the shelves. But the real improvement in Marvel's handling of this comic? Other than one movie poster advertisement for The Avengers, there are no intrusive ads, leaving a smooth read this issue.
James Gannon - Summer hits the Muppet Theater in issue 14... errr... Limited Series Issue 2 of The Muppet Show Comic Book, or rather "The Muppets." Kermit is taking the venue to the beach for the Muppet Show Beach Party Extravaganza, while Fozzie mulls a summer season stint at a different theater. Scooter has built the end routine on a dancing bear number (a reference to the Simon Smith number from the original Muppet Show), and the idea hinges on Fozzie staying with the Muppets. When he decides to leave, Scooter is forced to cast another dancing animal in his place.
Being the Muppets, chaos ensues on the beach show. Wayne and Wanda make a terrible opening act, singing a song that invites a rain storm. Then seasonal rainstorm turns to freak snowstorm, causing Gonzo's "diving into a swimming pool full of custard" into "diving into a swimming pool of FROZEN custard," which is a great lead in for a Vet's Hospital skit. Meanwhile, Fozzie arrives at the Whatnot Theater. Here we meet yet another gang of Muppet Doppelgangers, who thankfully are much friendlier than the Moopets or Kismet the Toad. Fozzie's stint would fill in for their own comedian bear, Ozzie, who's having a summer season stint of his own. Ozzie points out a few things that get to Fozzie, and Fozzie gets a huge moral dilemma. 
But the one major improvement over the first issue? Better overall layout. The credits page is now at the end, and it only takes three pages of comic to get into the first three pages of story, rather than last issue's five. Even the ads are more strategically placed. The color situation is slightly better. Wanda is a blonde now, for some reason, and there's some inconsistency when summer comes back to the beach, as it's still colored wintery. Just not quite as inconsistent as last issue. Also, I'm not really a fan of the magazine paper stock used here, but that's a cost control thing. I'd gladly pay the extra dollar for the sturdy glossy pages we had when BOOM! was in command, but that can't be helped. 
But the one issue I must address is the cover situation. I kind of both like them and dislike them. They are certainly colorful, vibrant, and have a great movement that helps it jump off the store shelves. Though, the cartoony Muppet renderings are more Disney than Muppety, and I'm not a fan of the big-lipped Kermit-gator on the Summer cover. Though, I like the reference to the giant octopus that's only in the opening splash panel. But the new covers mean that they bothered to make new covers. They could just as easily have slapped on some stock photos on instead. I'd rather have dizzying cartoony Muppets to seeing them in sunglasses from those overused 90's photos. You know the ones I'm talking about.
James Gannon - Back in October of 2010, the last issue of The Muppet Show Comic Book's "Muppet Mash" arc was released. During a delay in the production of the last arc, "The Four Seasons," BOOM! lost the license, and the rights disappeared into Disney owned Marvel in February of last year. Months later, they pledged to reprint everything that was already released in magazine form, leaving "The Four Seasons" once again lost in Marvel's hands. Almost two years from the last issue, Marvel has FINALLY given us the last story arc. Without any fanfare, Issue 1, "Spring" was released on July 4. Marvel started with the second issue written, "Spring," for some reason. Hopefully nothing gets hurt (running gags, or some big payoff at the end) by it being out of order.
I really can't think of say anything to say that I haven't said about these comics in the past. They're still phenomenal, and while I think Jason Segel and his movie writing team brought in a new, classic energetic feel with The Muppets, Roger Langridge brought twice that much to The Muppet Show Comic Book. He's moved on to the equally amazing IDW "Popeye" and BOOM! "Snarked," which I still goad you to all check out. He disappears as flawlessly into the spinach eating sailor as he does with frogs, pigs, and weirdos.
Secondly, the new coloring company managed to be inconsistent and make some mistakes. While there was the occasional yellow beak on Sam or something, Colonel Bunch is colored differently in his number than he is the rest of the issue, and a simple internet search would show the Pigs in Space uniforms are not red. Also, we have new covers for these comics by Elisabeth Melaranci and Silvano Scolari, which have a wonderful sense of movement on them, but it makes me miss Amy Mebberson, James Silvani, et al. Those are just mild nitpicks, I assure you. If anything, at least the Marvel name will equal better distribution.
Last year, BOOM! Studios' Muppet license (soon followed by the rest of the Disney licenses) expired, just before the final arc was ready for publication. Roger Langridge, the writer/artist for The Muppet Show Comic Book, was too busy with more important matters to get the comic done on time, but finished it before the license ended. Months later, kid friendly magazine reprints of the first few arcs of the comic were published by Marvel Comics to tie into the movie. These reprints were a great boon to those who weren't lucky enough to follow the line from the beginning, but many of those who caught every single issue were left wondering if we were ever going to get the last of the Langridge Muppet comics. After all, he planned to finish his tenure with the "Four Seasons" arc anyway. 
Good news, everyone! Marvel is finally publishing the Four Seasons arc this July as a four-part miniseries, the way they were originally intended starting in July. That's all I ever hoped for, myself. I'm sure other fans of these wonderful comics agree. If this leads to new Muppet comics, that's great. If it doesn't, I'm fine with that too. What's important is closure. Better late than never, especially since many comic book storylines, even finished ones, go into limbo when licenses expire, titles get canceled, or the direction of the title changes. Meanwhile, Roger Langridge has moved on to new projects. If you love comics and you're not reading Snarked yet, do so.
But more inexplicable than the return of the Muppet series is the announcement by Ape Comics that they will be publishing a line of Sesame Street comics. Unsurprisingly, we're getting some of the same great Muppet comics talent in Amy Mebberson (her artwork graces the preview cover) and James Silviani. This will be the first actual Sesame Street comic book series. It's too early to say what we can expect out of this comic series, but keep in mind that Sesame Street's target demographic is just learning how to read. This means that it will either be an easy reader with less complicated language for the young ones, or it could be written with adults in mind to share with their kids.
James Gannon - Last year, Archaia announced the first of two volumes reprinting Marvel's 1986 Fraggle Rock comic book. After a couple delays, it's finally available in the form of Fraggle Rock Classics, Volume 1. The first four issues are collected in this soft cover graphic novel, digitally remastered, and recolored, plus with a wonderful new cover by Jake Myler. In this volume are the two original stories ("The Magic Time Machine" and "#1") as well as the first of six comic adaptions of actual television stories ( "The Monster that Could be Anything" and "The Doozer Who Wanted to Be a Fraggle"–adaptions of "Believe it or Not" and "All Work and No Play' respectively). This will be an overall review, with specific looks into the first two issues to come later.
Like I've said with my Muppet Babies back issue reviews, time wasn't too kind to the original 1980's printing technology. This sullies the artwork with blotchy colors, bleed through of red ink, and dusty black outlines. Not to mention the size of the colored ink dots and limitations of how many colors you can recreate with them. With a digital cleaning and recoloring, Marie Severin's art shines through. And what art it is. Other than a few awkward angles and small eye issues, the Fraggles, Doozers, Gorgs and Sprocket all look well drawn, allowing for puppet-like expressions from time to time. Much better than the animated series designs, anyway. Not to mention the skillfully rendered Rock itself. Beautiful backgrounds are present in each panel. And the new coloring gives it all the clarity that it didn’t even have back when it was first published. There's even a field of depth with gradations that were impossible with 1980's technology.
There are a couple little ticks, though. The color seems to have been lifted from the original comic source, leading to miscolorings (Pa Gorg's white mustache, a purple Skenfrith for example). Some of the colors are a little muted and there are a few nagging fuzzy shading and coloring dots still present, despite the thorough job cleaning the source material up. The only alterations to the comics were erasing Marvel logos on the covers (Spider-man's face on the UPC signs were replaced by The Jim Henson Company logo), and the price panel was replaced with chapter numbers. While the original comics will crumble from their thin, waxy yellow paper, these issues have been printed on a sturdy, clean white paper stock. Though the faux dust jacket cover does make it a little clumsy to read the beginning and end of the book (but then again, I'm VERY careful with the spine on these things). The book also includes profiles, though the same ones written and made for the Archaia comics. Strangely enough they include Marjorie the Trash Heap who doesn't appear in any of the comics present.
As for the comics themselves, Stan Kay did a good job with the original stories. He has the basic understanding of the Fraggle characters down. Marie Severin does a great job with the all around Fraggle look, though it seems that so far Stan and Marie aren't aware of Fraggles outside of the main five and Uncle Matt. There are some generic background Fraggles (that seem smaller than the rest of the Fraggles), but no recognizable faces like Large Marvin, Storyteller, or World's Oldest. Also, they've taken an approach that would later be adopted by the animated version, and portray Doc in Nanny-style (from the shoulders down). I wonder if that was a licensing issue or just trying to give it a more uniform look with Muppet Babies in mind. I know that Doc's face was shown in one of Archaia's own series. As for the adapted stories, I have yet to see the episodes adapted here, so I can't give a partial comic by episode comparison of what's been changed and what's been added (though it's safe to say the musical numbers aren't present). And it is a shame that Archaia didn't add any credit to the writers of those episodes as Marvel surely forgot. 
Overall, while I really did enjoy reading these old comics, can't wait for the second volume, and highly recommend tracking these graphic novel reprints down, it does make me all the more appreciate Archaia's own Fraggle Rock line. While 1980's pen and ink and modern era digital paint techniques are an unfair comparison, the writing of these newer comics shows a sign of daring and fan level understanding of characters and themes. And while having the same artist and writer for a series gives a level of consistency, Archaia's motley crew of different artists and writers give a sense of exciting difference to each issue. But that doesn't mean these old Marvel treasures aren't a fun read either. And at $9.99 for a sturdy reprint as well as the luxury of not having to go mad looking for the issues at different comic stores it's just as easy for those who never seen these comics in the first place to first experience them.
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