Out of all the Universal Monsters series that Skybound and Image Comics have launched, Universal Monsters: The Phantom of the Opera #1 was at the top of the list (eclipsed only by The Creature from the Black Lagoon). The story of love, loss, and obsession at the center of Phantom is compelling, not to mention how it’s been reworked in novels, theatre, and film. The question is: how does this tale translate to comics? Pretty well, it turns out.
Like most incarnations of the Phantom story, Universal Monsters: The Phantom of the Opera #1 begins with a mysterious figure haunting the Paris Opera House, the only clues to his presence being a broken chandelier and a dark cackle. When the opera’s prima donna Carlotta is found hanged before her next performance, an investigation is launched – but what does it have to do with the Phantom, and Carlotta’s understudy, Christine Daae?
To make their take on Phantom of the Opera stand out, Tyler Boss and Martin Simmonds restructure the narrative into a murder mystery. Raoul, Christine’s childhood friend in most adaptations, is reimagined from being a wealthy gentleman to a detective; it’s a change that strangely works, as it gives him a stronger role in the story and readers a central figure to follow. More importantly, Boss’s script starts sewing clues throughout the narrative, meaning that they’ll eventually fit together by the end of the story – and that no one is what they might seem.
Image/Skybound
I also have to applaud Boss for keeping the period-specific spellings and language intact. Most people, if given the chance to make a Phantom of the Opera movie, would probably try to modernize it. Boss not only keeps the period setting, but leans into it – people are referred to as “Monsieur” and “Mademoiselle”, the women wear flowing ball gowns, and the men are dressed from head to toe in jet black finery. It makes the appearance of the Phantom all that more special.
The other half of Universal Monsters: The Phantom of the Opera #1’s unique draw is Simmonds’ artwork. Similar to his work on Universal Monsters: Dracula, Simmonds brings a hand-painted style that is utterly beautiful. There are times when I forgot I was reading a comic, and instead felt like I was looking at a series of well-crafted paintings. Every brush of Martin’s pencils adds detail to the people within, and to the opera house itself. From the crimson curtains to the gilded golden stairs, it looks both like a palace and a prison, which is appropriate given the story at hand.
Simmonds saves his best work for the Phantom and Christine. The latter is a vision in white, with Simmonds casting her figure in a heavenly glow and adding a youthful blush to her cheeks. In contrast, the Phantom is a living shadow, with the only light coming from his ghostly white mask. If that wasn’t disturbing enough, whenever he laughs, his cackling is a series of spiraling notes that surround him before starting to fill the entire page.
Universal Monsters: The Phantom of the Opera #1 keeps the romantic and gothic vibes of the original story while delivering glorious visuals. Boss and Simmonds will hook horror fans from the very first page, and looks like it’ll keep them there until the metaphorical curtain call.
You must be logged in to post a comment.