From Themyscira to the Laboratory: The Creative Evolution of Thompson and De Iulis

By Jackson McCoy | July 1, 2026

The creative powerhouse duo of writer Kelly Thompson and artist Mattia De Iulis, currently riding a wave of critical and commercial acclaim for their work on DC’s Absolute Wonder Woman, is pivoting from the high-octane, divine violence of Greek mythology to the macabre, expressionist shadows of classic cinema. The pair has officially announced they are spearheading a new adaptation of The Bride of Frankenstein for the acclaimed Universal Monsters comic anthology series, a collaborative project between Skybound Entertainment and Image Comics.

This transition, while seemingly disparate in genre, represents a thematic continuity for the creators. Having spent their recent months dissecting the "sinful" existence of an Absolute Universe Diana—a warrior forged in the fires of Hell rather than the pristine shores of Themyscira—Thompson and De Iulis are uniquely positioned to tackle the existential horror of a creature brought to life against her will.

The Chronology of a Monster

The Universal Monsters imprint has become a prestige line for Skybound and Image, successfully reimagining cinematic titans for a modern reading audience. Before the arrival of the Bride, the line saw successful runs on Dracula, The Mummy, and the original Frankenstein. The addition of Bride of Frankenstein to this slate, slated for release on October 28, 2026, completes a vital narrative circle for the franchise.

The character of the Bride first debuted in James Whale’s 1935 masterpiece of the same name. Despite appearing on screen for only the film’s final act, the character’s aesthetic—the iconic lightning-streaked hair and the bandaged, trembling posture—has become one of the most recognizable silhouettes in the history of horror.

• 1931: James Whale directs Frankenstein, bringing Mary Shelley’s "Modern Prometheus" to life and cementing Boris Karloff as a horror icon.
• 1935: Bride of Frankenstein is released. It serves as a direct sequel, picking up immediately where the previous film ended, and explores the Monster’s loneliness and his subsequent demand for a mate.
• 1998: The Library of Congress selects Bride of Frankenstein for preservation in the National Film Registry, citing its profound cultural and aesthetic significance.
• 2026: Skybound and Image Comics announce the new comic adaptation, promising to finally provide a narrative voice to the Bride herself.

Supporting Data: Why This Story Still Matters

The cultural footprint of James Whale’s Bride of Frankenstein cannot be overstated. When it was released, it was a rarity: a sequel that was widely considered superior to its predecessor. Whale, an auteur of the early Hollywood era, utilized his background in theater to imbue the film with a distinct "expressionist" style. He rejected the constraints of realism, opting instead for exaggerated sets and performances that mirrored the internal, often tortured states of his characters.

Beyond the visuals, the film has sustained academic interest for nearly a century. Scholars often highlight the film’s "camp" sensibility—a flamboyant, theatrical irony that was ahead of its time. Whale, who was openly gay, left an indelible fingerprint on the production. Critics have long argued that the film is laden with coded subtext, exploring themes of "the other," the fear of reproductive autonomy, and the societal alienation of those who do not fit the heterosexual, patriarchal norms of the 1930s.

The upcoming comic series is not merely a retelling; it is an excavation. Thompson’s script aims to delve into the psyche of the Bride—a character who, in the original film, is given no agency and only a few moments of screentime. By granting her a voice, Thompson and De Iulis are entering a conversation that has been building in film studies circles for decades.

Implications: The "Absolute" Influence

The shift from Absolute Wonder Woman to the Bride is less of a departure and more of a thematic refinement. In the Absolute Universe, Diana is a figure defined by the tension between her innate nature and the corrupted environment in which she was raised. She is a woman who, like the Bride, was "created" or shaped by forces beyond her control.

"The thematic complexity of a character who is born into a world that fears them—or views them as a sin—is the common thread between our Diana and our Bride," says a source close to the creative team. "Kelly and Mattia are interested in the interior life of monsters. In the Absolute Universe, they showed us that a hero can be a product of hell. Now, they are asking what happens when a being is forced into a life they never asked for, in a body that wasn’t meant for them."

The visual language of Mattia De Iulis, characterized by painterly textures and a mastery of light and shadow, is perfectly suited for the gothic horror of the Universal Monsters universe. While Absolute Wonder Woman relied on dynamic, kinetic energy, early previews of the Bride project suggest a shift toward a more claustrophobic, intimate, and eerie aesthetic.

Official Commentary and Industry Reception

The industry reaction to the announcement has been overwhelmingly positive. Retailers are viewing the Universal Monsters series as a "gateway" title that attracts both traditional comic book readers and film buffs who may not typically visit local comic shops.

"When you take a writer like Kelly Thompson—who has a proven track record of writing strong, complex female leads—and put her on a property that has been historically silenced, you have a recipe for a hit," says industry analyst Marcus Thorne. "The 1935 film was a tragedy of silence. This comic looks to be a reclamation of that narrative."

Skybound’s commitment to these adaptations has been rigorous. By keeping the creative teams tight and focused, they have avoided the "reboot fatigue" that often plagues legacy franchises. By hiring creators who are as comfortable with high-concept superheroics as they are with character-driven horror, the publisher is signaling that these books are intended for an adult audience looking for substance, not just nostalgia.

Conclusion: A New Perspective on a Classic

As we approach the October 28 release date, the anticipation centers on one fundamental question: What does the Bride think? In the 1935 film, her only vocalization is a screech of terror and rejection. In the hands of Thompson and De Iulis, the character will finally be treated as a subject rather than an object.

The project is a testament to the enduring power of the Universal Monsters. They are not merely relics of the black-and-white era; they are archetypes that continue to evolve. Whether it is Diana fighting against the dictates of Greek deities or the Bride fighting against the hubris of a creator like Henry Frankenstein, the story remains the same: the struggle for identity in a world that insists on defining you for its own ends.

For fans of the Absolute Universe, this new project is a must-read. It promises to carry over the same narrative depth and visual sophistication that made Absolute Wonder Woman a modern classic, proving that whether the setting is the halls of Mount Olympus or the laboratory of a mad scientist, great storytelling transcends the page.