Review- WEREWOLF BY NIGHT OMNIBUS

WEREWOLF BY NIGHT OMNIBUS (Marvel, First Printing, 2015; Hardcover)

Collects Marvel Spotlight #2-4, Werewolf By Night #1-43, Marvel Team-Up #12, Tomb Of Dracula #18, Giant-Size Creatures #1, Giant-Size Werewolf #2-5, Marvel Premiere #28, and selections from Monsters Unleashed #6, 7 (cover dates February, 1972- March, 1977)

Writers: Roy Thomas, Jean Thomas, Gerry Conway, Len Wein, Marv Wolfman, Mike Friedrich, Tony Isabella, Doug Moench, Don Perlin, and Bill Mantlo

Artists: Mike Ploog, Werner Roth, Ross Andru, Tom Sutton, Gil Kane, Gene Colan, Don Perlin, Pat Broderick, Virgil Redondo, Yong Montano, and Frank Robbins with Inking by Frank Chiaramonte, Frank Bolle, Jim Mooney, Paul Reinman, Tom Palmer, Mike Royer, Vince Colletta, Klaus Janson, Sal Trapani, Howie Perlin, and Steve Gan

This book has been a dream of mine ever since I reentered this hobby in 2003. I had (and still own) some of the originals of this series from days as a quarter box diver in 1983. I also bought, and subsequently sold when this book was announced, the black and white phonebooks Essential Werewolf By Night Vols. 1 and 2. I've read this stuff before and read this book slowly over the course of eleven months.

The series launched after a trio of Marvel Spotlight issues, which was Marvel aping DC's “try out book” format. If someone picked up issue 1 of this title off of the stands in June of 1972 they would find themselves in the middle of a story. For those of you new to the character, here's the gist. On Jack Russell's 18^th birthday he inherited his father's curse...a father who comes from a long line cursed with Lycanthropy. Jack never does find a cure for his affliction in this book but towards the end becomes able to manage it and even talk(!) in his werewolf form.

One of the nagging questions that I had when I started reading this book was the pronunciation of Jack's sister's name, Lissa. As a kid I always pronounced it Lissa, as in short for Melissa, but as an adult I wondered if that were correct. I Tweeted her creator, Gerry Conway, and he confirmed that the correct pronunciation is indeed Lissa, as in short for Melissa. This is why the Internet rules.

I like how the Werewolf is often overpowered by foes and gets out of predicaments by dumb luck or an ironic twist. Seldom does his animal instinct win the day. This series is probably the first ongoing comic book to use first person narrative. All comic books today use it, but in the early 1970s it was groundbreaking. It gave the book an offbeat flavor. Our “hero” was not even heroic. If he saved the day it was almost always by accident.

Note the Will Eisner homage.

Mike Ploog is the original artist, and he got better with each issue. My favorite issues in the book are non-Ploog ones, believe it or not. I found #8 and 9 in a quarter box in 1983. I didn't have many comics back then, so the ones that I had I read so many times that I would memorize them. I can still recite those two issues word for word for the most part. #8's “The Lurker Behind The Door!” is a Len Wein masterwork. Werner Roth and Paul Reinman handled the artwork, and little did ten year old me in 1983 realize that those cats were turning out some serious artwork in the 1950s. I read this issue so many times as kid, and Wein really nails a foreboding atmosphere. I love the ending, which I won't spoil for you. Suffice it to say that Krogg, The Lurker From Beyond rules. #9 introduced me to the work of the legendary Tom Sutton. I had no idea what a lucky kid I was.

Issue 12 introduced us to Raymond Coker, Jack's neighbor in his new apartment. Coker is caustic, and there is something about him that raises a flag for Jack. By #18 we learn what that is: Coker is also a werewolf! Coker is featured throughout the series, even curing his werewolf affliction at one point using voodoo. #18 was another quarter box find from 1983, also coincidentally with Don Perlin artwork. Issue 13 introduces Topaz, who would go on to become Jack's love interest throughout the series.

Future Avenger Tigra makes her first appearance in Giant-Size Creatures #1. Glitternight is the most ridiculous villain in this series, a problem made worse by Doug Moench heaping even more importance on him toward the end of the series. He is fun in an offbeat, only in the Bronze Age of comics sort of way. I used to own Giant-Size Werewolf #4 as a cheapo back issue in the '80s. I bought it for probably .35-.50 because it had Morbius The Living Vampire in it. These old monster comics were worthless back then.

Doug Moench wrote the majority of the series. While Moench is best remembered for Shang-Chi, Master Of Kung Fu and his work on Batman this is where he made me a fan. If I had to pick a favorite issue of his run it may have to be Giant-Size Werewolf #5. It's filled with all of the Hollywood inspired faux occult goodness that you could possibly want. Yong Montano's artwork on that issue is exquisite. He was a Filipino comic artist who did some work in the '70s and one or two things after, but other than that is among the largely forgotten artists from the Filipino comic book scene who did so much good work in the Warren Magazines in the '70s.

Another thing that Moench is remembered for is his co-creation Moon Knight, who first appeared in #32 and would go on to become a fan favorite. He is a mercenary who was hired by The Committee, an ongoing threat to the Werewolf throughout the series, but revolts after he is paid and sets the Werewolf free. Moench ramps things up, but the radical shift in tone at the very end of the series is evidence that he was trying to bring the Werewolf more into the main Marvel Universe by featuring Brother Voodoo and then Iron Man. The second issue of the two-parter with Iron Man, #43, was another quarter box find for me in 1983. Unbeknownst to me and every other reader of that issue at the time, it was the final issue of the series. Moench explains on that issue's letters page, reprinted here. In a pre-Internet world I wondered how many issues there were in this series, and now I knew. I found it in a quarter box as a kid and was bummed with the series ending. The book ended on a whimper, with Iron Man being the final one on stage, so to speak. It bothered me as a 10 year old kid how the series ended, and it bothers me now. Obviously the plug was pulled with little notice, and I always wonder what would have happened next if Marvel would have allowed him to wrap things up.

The only downside to these Bronze Age monster comics is that they are set within a superhero framework. It's always fun to see monsters duke it out, so who's complaining? Werewolf By Night was considered crap by the “serious” comic collectors who scoffed at this scruffy kid poring over quarter boxes at Magina Books back in 1983. I always thought that the joke's on you; you don't get it. All these years later it appears we were both right. It is crap compared to serious comics of the day, but it is fondly remembered fun crap. This title remains a not-so guilty pleasure of mine and I will always scream it's greatness from the top of the rooftops of the Internet.

Junk Food For Thought rating: 4.25 out of 5.

The OCD zone- I have a love/hate relationship with the Omnibus format. On one hand, it's great to get everything available to you in one fell swoop. On the other hand, these books are heavy and unwieldy.

The recoloring is very good but not Masterworks perfect.

Linework and Color restoration: The linework is good. Not Masterworks good, but very good overall. The original color palette is faithfully maintained. I did comparisons with the original comics side by side and was pleased with the accuracy of the recoloring, although the trained eye can spot errors all over the place.

The original comic.

The Omnibus.

Paper stock: Marvel switched the paper stock in their Omniboo a while back, but this is the first book that I have read with it. It is noticeably thinner but it still has a fair weight to it. It's bright white coated stock with a slight sheen. The plus side to the thinner paper is that the book block weighs less. Heavy blocks can pull away from the casing, causing the condition known as “Omnibus sag”.

Binding: Sewn binding. Lays flat like all 2007-on Marvel Omnibus hardcovers.

Front cover sans dustjacket.

Dustjacket and Hardback cover notes: The dustjacket has a glossy lamination. The hardback has a paper wrap with a matte coating which is sufficiently resistant to scuffing. 

Back cover sans dustjacket.

Short for Melissa! https://t.co/Fg2xmdSUnR

— Gerry Conway (@gerryconway) October 22, 2015

Review- LEGION OF MONSTERS

LEGION OF MONSTERS (Marvel, 2012; Softcover)

Collects Legion of Monsters Nos. 1-4 (cover dates December, 2011- March, 2012)

Writer: Dennis Hopeless

Artist: Juan Doe

Woe is me. My beloved Bronze Age monsters, Morbius The Living Vampire, The Living Mummy, Werewolf By Night, the Manphibian, and the Son of Satan, all relegated to a Monster Squad ('70s TV series) level of parody. I guess that I should be glad just to see C-and-D-list characters like this used period. I would love to see a non-ironic take on these characters, that's all. 

I dislike all cute-sy artwork, as it is lame. I dislike it even more when it is used in conjunction with monsters. It's the worst mix since ironic mustaches met Rock. I've come to the conclusion that if this is what modern comic book fans actually, really want, then I am an old fogy who has no place in the modern comic book world. I'll take my artwork with photo realism and my writing without snark and self deprecation.

The OCD zone- Typical laminated cardstock cover, coupled with some nice, heavy duty coated stock paper. The printer must have been out of Marvel's typical trade paperback grade, because this is definitely a heavier stock.

Dark Junk Food For Thought

MOON KNIGHT VOL. 5: DOWN SOUTH (Marvel, 2009; Hardcover)

Collects Moon Knight (Vol. 5) Nos. 26-30 (cover dates March- July, 2009)

This was another solid read. I really enjoy this title, but fail to see why Marvel axed it just to get the spike in sales for another Issue 1. Marvel seems to be moving in the right direction, restoring the original numbering to their flagship titles, and this seems like a huge step backwards. On top of that, Issue 30 obviously points to the next arc, so why not just keep the series going? I love the Zapata Brothers, both as villains and allies in this arc. Their Facebook jokes were hilarious as well, and it would be nice to see them as a semi-regular feature in the title.

X-MEN: THE SHATTERING (Marvel, 2009)

Collects Astonishing X-Men Nos. 1-3, Uncanny X-Men Nos. 372-375 X-Men Nos. 92-95 and selections from X-Men 1999 Yearbook (cover dates September, 1999- February, 2000).

I wish that this were released prior to the two X-Men Vs. Apocalypse trades that came out a year or two ago, as these issues precede those and would have made for a more enjoyable read overall. Cable, Bishop, and Gambit all suck ass, and I can't stand the sight of them. This whole thing is largely overwritten and has cheesy dialogue all around, which is a shame considering Alan Davis' solid plotting throughout. This isn't as bad as most '90s X-Men, as there some interesting ideas set forth here which would unfold in X-Treme X-Men.

NEW AVENGERS VOL. 10: POWER (Marvel, 2009; Hardcover)

Collects New Avengers Nos. 48-50 and Secret Invasion: Dark Reign (cover dates February- April, 2009)

Just like fans of the Detroit Lions, I cannot give up on the Avengers, even when they are "losing" because of Brian Michael Bendis' lazy writing. I mean, come on, the whole Secret Invasion: Dark Reign one shot is nothing but a conversation between people with the same lame jokes and wiseass comments that Bendis applies to every single character that he writes. I also despise his condescending attitude towards superheroes. If this jackass is too cool to write superheroes then he should go back to writing "real" comics. I honestly believe that Bendis is a double agent who takes a paycheck from DC and is being paid to destroy the Marvel Universe. He's pretty goddamn close right now, with the uber-retarded Norman Osborn running the show thing.

NEW AVENGERS VOL. 11: SEARCH FOR THE SORCERER SUPREME (Marvel, 2009; Hardcover)

Collects New Avengers Nos. 51-54 (cover dates May- August, 2009)

More lazy Bendis writing, but at least something happens in this arc. I don't understand the whole "Doctor Voodoo" handle, though, because Jericho Drumm is not a doctor. He's still Brother Voodoo whether he is the new Sorcerer Supreme or not.

SWAMP THING VOL. 9: INFERNAL TRIANGLES (DC, 2006)

Collects Swamp Thing Nos. 77-81 and Swamp Thing Annual No. 3 (cover dates 1987- Holiday, 1988)

The Swamp Thing Annual was the most abysmal thing that I have read in quite some time. The core series remains an intriguing read. Unfortunately, this is the last trade that is available for this run of the title, so I will have to resort to online synopses of the issues following the ones reprinted here in this trade.

WEREWOLF BY NIGHT: IN THE BLOOD (Marvel, 2009)

Collects Dead of Night Featuring Werewolf By Night Nos. 1-4 (cover dates March- June, 2009), Tomb of Dracula No. 18 and Werewolf By Night No. 15 (cover date for both March, 1974).

This was the MAX (Marvel's adult imprint) mini-series and, as such, is set outside of main continuity. I am always thrilled to see my beloved Werewolf By Night in any capacity, and this was not a letdown. Super violent and fun, Mico Suayan's artwork is amazing. I also have to give props to Ian Hannin's coloring, as it really complemented the artwork. As I have stated repeatedly, computer color separations generally detract from the artwork, with many colorists going apesh*t with all of the bells and whistles and forgetting that they are there to add to, not replace, the linework. I would like to see more new WBN.

RAY BRADBURY'S FAHRENHEIT 451 (Hill and Wang, 2009)

The term graphic novel is bandied about with reckless abandon. A graphic novel is a book length comic book that has been previously unpublished in a periodical format, like this title. Most 'graphic novels' in fine book stores like Borders are, in reality, trade paperbacks, because they compile issues previously released in a periodical format. Watchmen and Sin City? Trade paperbacks, people! OK, that aside, I was glad to see this solicited simultaneously in hardcover and softcover. Given my hardcover fetish, that's obviously what I went with. I wish that I hadn't. What we have here is a glued, mousetrap binding style hardcover, dubbed as such by me because as soon as you let the book go, *SNAP* shut it goes. A softcover would have been preferable to that. I first encountered this story via the 1960's movie 20 years ago. We had a student teacher in some high school English class while whatever teacher it was had surgery or something. Anyways, he was a very engaging teacher, Mr. Johnson I believe his name was, and he found ways to make books seem cool. This being 1990, the Judas Priest court case over some kid's suicide was in full bloom, and the Parental Music Resource Center (PMRC) was in full swing, slapping those Explicit content stickers on albums and threatening to end life as a 17 year old Metalhead knows it. Censorship seemed like a very real threat to my adolescent way of life. He showed us the movie of this book, which I eventually read the book of, and it left a very real impact on me. Fast forward almost 20 years later, and I saw this solicited and had to order it. This is a wonderful graphic novel adaptation done with Ray Bradbury's blessing and will hopefully find yet another generation of open minded people. This story is the reason that I will never subscribe to the notion of the electronic book. It would take but a few keystrokes to eliminate something controversial, but it is much more difficult to destroy the physical book.

SPIDER- GIRL VOL. 11: MARKED FOR DEATH (Marvel, 2009)

Collects Spider-Girl Nos. 60-66 (cover dates July, 2003- January, 2004)

Another solid, enjoyable read. Spider-Girl and the whole MC2 universe rocks.

Alice Cooper: Love It To Death, Killer, and School's Out 24K Gold disc reissues
I finally got around to picking these up, and they sound amazing. The original CD versions of Love It To Death and Killer were abysmal, sounding muddy with the 1% lag problem that was common on so many CDs mastered in the '80s. These sound crisp and clean without being compressed and punchy sounding. The bass drum doesn't sound like a cannon, it sounds like a bass drum, etc. I would like to see Billion Dollar Babies get this treatment, as they messed up the fade on Hello Hooray into Raped and Freezin' on the remaster earlier this decade, ditto Welcome To My Nightmare, as that remaster actually sounds remixed to me. It's nice to have all of the original packaging elements present as well.
Avatar
One of the most amazing and visually beautiful movies ever made. The CGI and 3-D are flawless and help to draw you in to the storyline. The plot is a bit predictable and it hits you over the head with its message, but it is a good message so I'll let it slide. I absolutely love the fact that this has nice clean edits that didn't rely on nanosecond camera angle changes or rock concert loud explosions, etc. (although there are great battle and action sequences throughout) to keep your attention. This is just an extremely well made and enjoyable popcorn flick that is almost Lord of the Rings good. Almost. It's nice that one of the best movies of the decade came during the final few weeks. No product placement and it hits all of the sweet spots, so it gets a 10/10.