Since their debut in 1923 with The Hunchback of Notre Dame, the Universal Monsters franchise has significantly influenced pop culture, leading to a series of films, sequels, remakes, and stage attractions. Recently, Skybound Entertainment, a renowned imprint of Image Comics, has expanded this legacy into the realm of comic books. This initiative offers fans a fresh way to engage with these classic characters.
The comics began with Dracula, created by James Tynion IV and Martin Simmonds, and they’ve since added titles featuring iconic figures like Michael Walsh and Toni-Marie Griffin’s Frankenstein and Dan Watters, Ram V, Matthew Roberts, and Dave Stewart’s Creature From The Black Lagoon Lives! Notably, Skybound has plans to introduce more stories, including The Mummy, set to be released on March 26, 2025. This expansion offers a wealth of potential adaptations for Universal Monsters, especially following the underwhelming response to the Dark Universe films.
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Exploring the Need for a Comic Reboot: The Invisible Man
Directed by James Whale (1933) & Leigh Whannell (2020)
Among the Universal Monsters yet to receive the Skybound treatment, The Invisible Man stands out prominently. This character, originally conceived by H.G. Wells, tells the tale of a scientist who discovers a way to become invisible, leading to his maddening descent. Some recent adaptations, including the acclaimed 2020 film, reinterpret this character as an abusive figure, demonstrating the flexibility of the original narrative. A comic adaptation could similarly innovate, utilizing the medium’s visual strengths to explore themes of absence and identity through creative use of negative space and abstract art styles.
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Successful Comic Reboot: Dracula
By James Tynion IV and Martin Simmonds
The inaugural comic in Skybound’s Universal Monsters lineup is Dracula, penned by the talented team of James Tynion IV and Martin Simmonds, known for their work on The Department of Truth. This comic brilliantly blends haunting visuals with a gripping narrative, following a patient whose unusual experiences involving his eerie neighbor lead his doctor to confront the reality of Count Dracula’s influence. This gothic-themed comic sets a high standard for the series.
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Potential Comic Reboot: Dracula’s Daughter
Directed by Lambert Hillyer (1936)
Building on the success of Dracula, a follow-up comic focusing on Dracula’s Daughter, Countess Marya Zaleska, could provide a fresh perspective. As depicted in the film, the Countess grapples with her identity, desiring liberation from her vampiric limitations rather than embracing monsterhood. Essential to the film’s narrative, sources suggest that the character may be influenced by both Bram Stoker’s unpublished works and themes from Sheridan Le Fanu’s Carmilla. This presents a rich canvas for comic artists and writers to explore her complex identity.
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Current Comic Reboot: Creature from the Black Lagoon Lives!
By Dan Watters, Ram V, Matthew Roberts, and Dave Stewart
Skybound’s second entry into the Universal Monsters series, Creature from the Black Lagoon Lives!, shifts away from the original 1954 film’s narrative. This adaptation serves as a crime thriller, where an investigative journalist uncovers a serial killer’s identity, leading her down a path where the true monsters may not be what they seem. This reimagining provokes readers to contemplate moral complexities and the nature of monstrosity in our world.
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Comic Reboot Needed: The Wolf Man
Directed by George Waggner (1941)
The Wolf Man is an iconic figure in horror folklore, stemming from long-standing legends of werewolves. The 1941 film narrates the story of a man stricken by a werewolf’s bite, leading to his tragic transformation. Despite receiving a contemporary remake in 2010, recent adaptations fail to truly resonate. However, the potential for a comic portrayal remains substantial.
Given the enduring fascination with Gothic narratives, a reinterpretation of The Wolf Man in comic form could explore new dimensions, tapping into the rich history of werewolf mythos while offering contemporary reflections on fear and identity.
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Successful Comic Reboot: Frankenstein
By Michael Walsh and Toni-Marie Griffin
Frankenstein’s monster endures as one of the most beloved figures in horror. The anticipation for Guillermo Del Toro’s upcoming Frankenstein serves as a testament to the character’s enduring relevance. Skybound’s interpretation presents the tale of Dr. Frankenstein, embellished by a poignant twist: the presence of a spectator—the son of a man whose hands have become part of the creature. This fresh perspective transforms the narrative, offering readers a newly relatable dimension to the iconic story.
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Potential Comic Reboot: Bride of Frankenstein
Directed by James Whale (1935)
While Frankenstein’s monster holds a cherished position in the pantheon of horror, The Bride of Frankenstein is frequently regarded as the pinnacle of Universal’s horror legacy. Despite her limited onscreen time, she remains a cultural icon, demonstrating substantial influence in various adaptations, including James Gunn’s Creature Commandos. However, her narrative origin in Mary Shelley’s text is less defined, offering remarkable potential for exploration in comic form.
The character’s strong thematic undercurrents regarding identity and acceptance present significant storytelling opportunities. A comic centered on her character could either enhance the narrative set in Skybound’s existing world or pioneer a wholly new saga.
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Current Comic Reboot: The Mummy
By Faith Erin Hicks and Lee Loughridge
Skybound’s latest release in the Universal Monsters comic series, The Mummy, offers a modern twist on classic lore. The storyline centers around Helen Grosvenor, a pivotal character from the original film, who is drawn to an Egyptian excavation by an enigmatic force. Her unexpected involvement in the Mummy’s resurrection adds depth and intrigue to the traditional narrative. This innovative approach provides a refreshing look at a well-known character and highlights the evolving nature of storytelling in contemporary comics.
Source: American Film Institute