Comics Fondle

Finally, one of Werewolf’s longest subplots–the mystery of Jack’s step-father–gets wrapped up. It’s about ten issues too late, especially given Wolfman’s weak close to it (I’m assuming it’s the original conclusion, even if Gerry Conway’s not writing, the editor’s the same). In fact, it’s practically an aside, segueing immediately into the comic’s next issue.

Wolfman also homages, maybe unintentionally, the old Universal monster movies with the brain transfer. Jack’s step-father gets transfered into a monster, but only powers the beast, doesn’t actually think. I’m pretty sure this one’s from House of Dracula, when Larry Talbot gets a new brain. But stays the same person.

The art in issue thirteen features some of Ploog’s nicest work on the series, so it’s unfortunate the next issue features some of his worst. It’s all just way too lazy in issue fourteen, even if the obligatory and absolutely unnecessary Marvel flashback does feature an excellent Eisner homage. These issues introduce Jack’s love interest, Topaz, and comparing the way Ploog draws in the first and then the second, it’s obvious something was affecting his art.

The standard fight scenes are pretty boring and rather drawn out. Wolfman really likes to hammer in his narration over the fight scenes and, after three panels, enough is enough.

There’s even a car chase in this one.

C