Universal Monsters: Phantom of The Opera is published by Image Comics through Skybound Entertainment with writing by Tyler Boss, art by Martin Simmonds and lettering by Becca Carey.
My Relationship with Phantom of The Opera
To provide context for the review, the reviewer is a large fan of the classic Universal horror films. This includes the adaptation of Phantom of the Opera from Universal as well as the musical from Andrew Lloyd Webber. I jumped at the opportunity to review this book. I have quite enjoyed most of the other comic books published under the Universal Monsters line and had high hopes. Did the creators deliver?
In short, the answer is complicated. A lot of love and passion went into this issue and concept. That becomes evident when you read the notes of the writer from Tony Boss at the back of the book. However, being a fan of something does not always mean an individual is the right fit for the adaptation. Martin Simmonds returns to the Universal Monsters series after previously working on the visually beautiful Dracula series from a couple of years ago.
The Curse of The Phantom: A Review of The Plot
I think one thing I have really appreciated about the Universal Monsters line of comics is that they have given the creators a lot of control over the direction they take with these classic stories and characters. For example, some have been faithful adaptations, some have been sequels, and others have been retellings with different plot beats. The last comic under this line, The Invisible Man, was very fun, as it was mostly a retelling of the book rather than the Universal film.
I will talk about the art more in depth in the next section, but I really appreciate how Tony Boss and Martin Simmonds have gone for a new look and approach for The Phantom. Most, if not all, of the Universal Monsters books have taken heavy inspiration from the classic Universal movies for the look of the monster. This design of the character is more original and draws more influence from other sources, such as musicals and pop culture. Although it still feels very original, it reminds me in some ways of a resident of Rapture from the classic Bioshock video game. This gives a more sinister tragedy to the character than the classic scarred Lon Chaney
I think with this being only issue #1 of a mini series, there is not a whole lot to talk about when comparing it to other versions of the story or the faithfulness to them. However, I think we can still get a good sense of the direction and tone the series will take from what the first issue contains.
With that said, it pains me to say that I found the writing and the dialogue in the first issue quite boring and forgettable. The dialogue did not really capture me at all, and I did not really buy into any of what was conveyed. A big part of why I have loved other versions of The Phantom Of The Opera is due to the nature and tone of the story. It is a beautiful and enchanting dark gothic tale of longing, desire, and obsession. One could even read queer subtext into the work. However, at least from issue one of the adaptation, it just felt hollow. It felt as if the book was not trying to capture any of the themes discussed, or perhaps was incapable of doing so. The characters are there, but they just felt like dolls rather than the real and living people we are supposed to believe they are.
Not a whole lot happens in this issue besides the initial setup of characters and story. I understand that it is only issue one and it has to adapt the entire story of a mini series, but the other Universal Monsters books managed to do it in a much more compelling way. They did not make for boring and lifeless first issues. At least give the reader more than the initial setup. I understand that not everyone coming into this comic book will be familiar with the story of The Phantom, and they need to understand what is going on to enjoy the book. However, I think if issue one was the first introduction to the story for a reader, that individual would probably be put off and not want to read any more.
The Beauty of The Phantom: Reviewing The Art
The art of issue one is very easily the standout of the entire book. Martin Simmonds really captures the Gothic, obsessive love of the tale, even if the writing from Tony Boss does not. I have really liked the work of the artist since I discovered it on Universal Monsters: Dracula, which I also believe he did a really stellar job on.
The visual style actually reminds me a lot of the work of artist Sam Kieth, such as Arkham Asylum: A Serious House on Serious Earth, as well as the classic covers for Sandman from Neil Gaiman. Each of the pages really strikes a heavy mood and expression that feel like legitimate paintings hanging in an art gallery. I really felt a lot of passion in the brush strokes and the way he captured shadow and lighting. It made the book feel like a Renaissance painting in many ways.
The look and design of The Phantom is a standout aspect of the book, too. It really matches the horror and loneliness of the character. I think although The Phantom of the Opera is a moving love story, the character of The Phantom is still quite creepy and toxic in many ways. I feel it is right that the creators do not present him as too much of a suave, mysterious gentleman. I feel in many ways that the art really carried issue one. I am inclined to rate the book much higher than I would otherwise simply because the artwork blew me away so much and fit the tone that the story requires.
The Final Verdict
In conclusion, I feel that Universal Monsters: The Phantom Of The Opera issue #1 is the very definition of a mixed bag. Subpar, uninteresting writing is elevated by incredible artwork that raises the issue higher than it maybe deserves.
Universal Monsters issue #1 strikes hard parallels between uninteresting dialogue and storytelling and breathtaking art. In the opinion of the reviewer, this is some of the best work from Martin Simmonds.