The first two reviews of Universal Monster: Mummy easily used variations of the term “Disneyfiction.” And what you do about mouse business issues, that’s more than anything, a compliment.
Some of the other universal stories leaned heavily towards the essence of their fear, so author artist faith Erin Hicks (along with colorist Lee Lafridge and letter Hassan Ottomane Elhau) chose something more playful, charming and deeply personal. It wasn’t entirely scared, but the mummy-centric mystery surrounding young Helen played it like a coming-of-age story about fate and personal agency. And there is no denying that this more human spin in the mummy works against certain expectations, making this more than a story about a dusty corpse.
Entering the penultimate issue, the mummy Disney vibe appears to be running towards a Cinderella-esque run, otherwise engaging and life-affirming story.
Variant cover by Joel Jones. Courtesy of Image/Skybound.
In Mummy #2, Helen met two men face-to-face and represented the most likely path of life. Handsome young Frank is the person she chose for herself. Meanwhile, the mystical Ardes Bay was clearly connected to the mummy and past/tradition that Helen appears to have been completely cut off. Who will this British/half Egyptian girl choose, or what path, and is she really the one who pilots her own destiny?
Mummy Issue #3 clarifies many mysteries. While you may or may not have gathered by now, Helen’s embodied voice friend is actually Amhu En An Amun (the aforementioned mystical stranger Aldes), the daughter of the Pharaoh and Imhotep’s lover. Ankh’s ghost “wakens” completely after the Helen-Imhotep meeting, and the former princess now wants to take over Helen’s body and resume her life in life. Eash, no new friends, amirite?
I can mainly excuse the pure “overtight” of this development – it had to come someday, so Hicks and the company generally treat it with grace and efficiency, landing the story. (So, despite obviously messing up plans for the reunion, we need to eradicate Ankh-Imhotep.) However, there are other aspects to this issue that have not landed or clicked.
Variant cover by Christian Ward. Courtesy of Image/Skybound.
For one, Frank doesn’t get enough screen time and instead is relegated to a fundamentally supportive role (actually watching over Helen and using her as bait to seduce her with Imhotep). And certainly, these kinds of “crushed” stories often happen when you’re only working on four issues with enough stories like mummies.
At the same time, we go to the fourth final issue where Frank still feels like a stranger. His obligations to Helen seem to perpetuate more misogynistic rather than feel like an option and Helen’s partner when he chooses his destiny. That dynamic is really central to making the mummy Disney scene work. Otherwise, he will not grow up this girl, instead making Frank a safer option compared to the “dead Egyptian princess’ flesh suit.”
Given the condensed storypacing, some of the big moments in this issue don’t land on the intended emotional weight. For example, there is a moment when Ankh reveals her plans, and Helen breaks the mirror out of anger and disgust following this sudden betrayal by a lifelong friend. Certainly, we see the rage unfolding visually – this scene has the work of the line of experts who show that he has overtaken Helen at the moment.
Only, this instance happens too quickly and is pivoted to maximize efficiency. Instead, we are left to feel Helen’s complex emotions only on surface level and generally, but not truly satisfying.
Variant cover by Guillem March. Courtesy of Image/Skybound.
This issue can complicate those concerns. For example, consider a scene towards the intro where Helen essentially “falls”; This is a neat visual trick to accomplish what this problem should be accomplished further. It will highlight its severity, promote movement between time and barriers, and add more mysticism to see how this moment stands out. The disconnect between these moments proves that the story can be streamlined in the right way, but only if the art or story picks up another person’s slackness. In Mummy #3, it felt like a moment was stripped away while it was full, but others lost its mind and magic too much. The end result is a problem that worked well but did not exactly flourish.
This is not to say that this was a bad problem. We got some big moments and they landed with enough importance and charm to feel important. But if the book really tries to achieve high expectations, it means weaving in a much greater and more emotional resonance than the mere narration of the mummy. The first two issues were shaken up very well. I felt that fear, brilliant feelings of marriage and the atmosphere of the 1920s were fresh and lively.
Variant cover by Sweeney Boo. Courtesy of Image/Skybound.
In this issue, we weren’t fascinated by the obvious when everything really needed to pop out, but instead we were able to see them happen in almost an interesting way. It’s as if too many stories and time have been condensed or a turn has come, and there’s a great deal of hope, and only have something that can wipe out something just a foot away from the ground. I needed a massive fire and passion and instead got enough for my fingers to turn the pages steadily.
Even with this seemingly incomplete problem, I still have great hopes for the mummy. Hicks and the company have all the right skills/tools to complete a meaningful dash towards the end. And it really spiked as Helen chooses his destiny or acquiesces to complete control. But no matter where she gets caught up, if the story can really make us feel more and more (and not just in general see it), the mummy’s bold plans and identity are shiny than the Pharaoh’s million bits of gold. Otherwise, I might have a lot to say than a simple Disney movie comparison.
“Universal Monster: Mummy” #3 is stumbling a bit on its unfolding bandage
Universal Monster: Mummy #3
Despite the promises of Questions #1 and #2, “Mummmy” loses a bit of flounder in Question #3, but Helen’s journey of self-discovery is not over yet.
Hicks’ art in this issue disarms us with its movement and strength.
There is a certain amount of momentum in this story, despite the feeling that some bits are particularly condensed.
Frank’s entire story feels incomplete, and in particular somehow he feels rushed.
I’ve seen it, but it didn’t feel very important to the development of the story.
