UNIVERSAL MONSTERS: FRANKENSTEIN #3 – New Comic Review

UNIVERSAL MONSTERS: FRANKENSTEIN #3, by Image Comics & Skybound on 10/23/24, finds Elizabeth fighting for her love of Henry and encountering a strange boy with very different feelings about the Doctor.

Credits:

• Writer: Michael Walsh
• Artist: Michael Walsh
• Colorist: Toni-Marie Griffin
• Letterer: Becca Carey
• Cover Artist: Michael Walsh (cover A)
• Publisher: Image Comics
• Release Date: October 23, 2024
• Comic Rating: Teen
• Cover Price: $4.99
• Page Count: 36
• Format: Single Issue

Covers:

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Analysis of UNIVERSAL MONSTERS: FRANKENSTEIN #3:

First Impressions:

Universal Monsters: Frankenstein #3 is an okay issue. One could say it’s decent enough, but in truth, writer/artist Michael Walsh’s penultimate issue in the miniseries is very dialog-heavy, and it doesn’t capitalize on the intriguing developments from the previous issue. With one issue left to go, does the loss in momentum make up for it in other ways? Let’s find out.

Plot Analysis:

When last we left our cast of characters in Universal Monsters: Frankenstein #2, the young boy who intended to take revenge on the Doctor for desecrating his father’s corpse was imprisoned by Fritz. The boy later escaped, sending Fritz into a rage, which he took out on the monster. The monster responded to Fritz’s abuse in kind. Meanwhile, a flashback revealed the source of the monster’s aversion to fire.

In Universal Monsters: Frankenstein #3, Michael Walsh focuses nearly the entire issue on Elizabeth. After leaving Henry with concerns that his experiment is detrimental to his health, she discusses the matter with Rodger. Unfortunately, Rodger takes the opportunity to express his love for Elizabeth, hoping Henry’s distraction is the opening he needs to win her over. Elizabeth rejects Rodger’s advancement as gently as possible. When Rodger heads down an alley to his boarding room, he’s killed by a drunken robber.

Talk about a bad day for Rodger. Walsh concocts the opening scene to generate drama via a romantic rival for Elizabeth’s interest, but the drama doesn’t last long when Rodger is killed out of the blue. It’s not clear if Rodger’s death was a setup (there’s no clue to suggest that it is), which makes the killing feel unbelievably convenient.

Days later, we learn Rodger’s body was donated to science per his will, and Henry used the opportunity to take Rodger’s healthy heart for a monster upgrade. When Elizabeth returns to the Baron’s estate, she crosses paths with the boy, who (finally) introduces himself as Paul. Elizabeth takes pity on the orphan by bringing him into the Baron’s home for rest and food. There, Elizabeth tells Paul her history, upbringing, and how she eventually fell in love with Henry.

Establishing a scene that explains the origin of the romance between Henry and Elizabeth gives readers some context on how two very different people fell in love. That said, the scene is all talk and no visuals, so the pacing takes a serious hit with what will ultimately be superfluous information.

Meanwhile, Henry and Waldman try to subdue the monster after Fritz’s death. After a brief fight, Waldman injects the monster with a knockout drug. Victor arrives to help Waldman and Henry carry the monster into the lab to be humanely destroyed. Unfortunately, the stress and exertion take their toll on Henry, causing him to collapse. Victor gets Henry to the estate for rest and recovery, leaving Waldman to destroy the unconscious monster. Glad to have the experiment over, the Baron arranges to expedite Henry’s marriage to Elizabeth as soon as Henry recovers.

Waldman, however, gives in to his jealous ambitions and decides to work on the monster for his own ends. The monster awakes sooner than Waldman planned, kills Waldman, and escapes into the surrounding woods. Later, Henry, believing the monster is destroyed, prepares to marry Elizabeth. The wedding day is interrupted when Victor delivers news about Waldman’s death and the monster’s disappearance.

We conclude the issue with the monster with a rival’s heart denying Henry his bride.

Overall, Universal Monsters: Frankenstein #3 is a serviceable enough issue, but the narrative suffers from pacing problems. The cool retcon concerning fire in the last issue is repeated here with a loose explanation for the monster’s fixation on Elizabeth, but it doesn’t come off nearly as well.

Artwork and Presentation:

Michael Walsh pulls double duty as the artist, so, if nothing else, the visuals look fantastic. Walsh successfully reproduces the setting and costumes from the original film to add an heir of authenticity, and the gloomy aesthetic works wonders to create a gothic atmosphere.

Art Samples:

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Final Thoughts:

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UNIVERSAL MONSTERS: FRANKENSTEIN #3 presents a serviceable, penultimate issue to provide insight into Elizabeth’s relationship with Henry and create a loose explanation for the monster’s fixation on Elizabeth. Michael Walsh’s art reverently captures the look and feel of the original film, but the script suffers from pacing problems and a mild retcon that’s too clunky to be effective.

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