Creatures of the Night

• Published: Winter 1988
• Script: Lance Hampton
• Art: Donnie Jupiter
• Letters: Susan Dorne
• Editor: John Stephenson

Adapted from the original screenplay by Frank Lupo.

This 3-D comic is an adaptation of the Pilot movie. While it covers many of the major story points, several moments are condensed or omitted altogether. Rogan’s memorable opening dialogue, for example, is shortened—though his iconic line, “Nothing is worse than a nightmare, except one you can’t wake up from,” remains intact. Ted’s confession to Eric about being a werewolf is also abbreviated. Other sequences are removed entirely, including Eric’s courtroom scenes with his attorney, Rudy Wexler, and the subplot involving bail bondsman Eddie Armando.

Rogan is introduced through a third-person narrator, who describes him as someone “who has never lost a bond jumper in 21 years and is not about to now,” adding that he “makes other bounty hunters look like Betty White.” The most significant change from the Pilot movie is the elimination of Skorzeny’s unique transformation. He never removes his eye patch, and his change is depicted through standard transformation visuals rather than the distinct method featured in the episode.

Despite these alterations, the comic follows the core storyline faithfully—from Eric and Kelly’s scene at the pool to Eric’s encounter with the landlord in the storage room after his first transformation. Additional scenes not present in the Pilot are also included. One features a confrontation between Rogan and Eric after their meeting at the motel; when Eric grabs Rogan to warn him about Skorzeny, Rogan slams him against the truck and growls, “You don’t never touch me, son! You got that?” Another added moment appears at the conclusion, where an Indian shaman blesses the silver bullets Rogan has crafted—a reference to material later woven into the series episode “A World of Difference.” At the same time, Kelly kisses Eric goodbye as he sets out in pursuit of Skorzeny. Though not filmed for the Pilot, both scenes appear in full within the episode’s script.

The 3-D effect enhances several illustrations, particularly the cover artwork, which features the werewolf’s glowing red eyes and blood-streaked muzzle emerging in striking depth. This special issue was released several months after the comic series debuted and shortly after the publication of the series’ second issue.

Nightwatch

• Published: July 1988
• Adapted by:
      - Lance Hampton
      - Chris Rutowksi
      - Adrian Moro
      - John Stephenson

Adapted from the original screenplay by Frank Lupo.

This comic closely follows the basic plotline of the episode, with several lines of dialogue reproduced word for word. The first notable change appears at the opening, where Eric reflects on his pursuit of Skorzeny before experiencing his nightmare encounter with him.

As in the previous adaptation, Skorzeny’s transformation is largely omitted, though this comic comes closest to depicting it in a way that resembles the television version. When confronted by Mueller at the pier, Skorzeny is shown removing his eye patch just before beginning to change—again through standard transformation visuals rather than the distinctive method used in the series. The three panels that follow are among the most violent in the issue (and arguably in the entire comic run), showing the Skorzeny werewolf killing Mueller. Later, when Eric is confronted by Birdie and his friend aboard Skorzeny’s boat, his own transformation leads to another set of violent panels depicting the Eric werewolf attacking them.

The most significant differences between this comic and the televised episode involve two scenes centered on Rogan. The first occurs after Rogan speaks with the gunsmith about Eric and the silver bullets. Upon leaving the shop, he unexpectedly encounters Skorzeny and mutters an apology before hurrying off after Eric. Skorzeny does not take the encounter lightly, warning, “I will teach you sorrow, little man!” He then notices the pentagram glowing on his hand—an element never shown in the TV series—just before crossing paths with Mueller.

The second major difference appears near the end of the story. After Rogan confronts Skorzeny, he discovers Eric’s bag and reads the note Eric left behind, describing Skorzeny and stating his need “to wait and kill a fiend from hell.” Rogan reads the message and then questions Skorzeny’s name aloud, suggesting a moment of dawning suspicion or connection not present in the televised version.

One additional note: this comic includes what is arguably the most accurate artistic likeness of Lance LeGault (who portrayed Rogan), captured in a single panel.

The Boy Who Cried Werewolf

• Published: October 1988
• Script: John Stephenson
• Art: Abel Laxamana
• Letters: Craig Colbert

Adapted from the original screenplay by Mark Jones.

After a sequence of panels showing the Eric werewolf being pursued and ultimately shot by Rogan, the comic shifts to a third-person narrator to introduce Davey and his fascination with monsters. This narrative device is used effectively: it first explains that, for Davey, “monsters are real,” and then repeats the sentiment after Bobby is introduced and his abusive behavior toward Davey and his mother is revealed — reinforcing that Davey truly believes what he sees.

The comic follows the same overall story structure as the episode, but several differences appear toward the end. When Bobby confronts Davey and his mother, Eric hears the struggle from the tree house and calls out for Davey to “hang on” as he rushes to the house — a moment that does not occur in the televised version. Another change appears when Eric arrives to face Bobby: in the episode, the two exchange a few blows, but in the comic they never fight. Instead, Eric begins his transformation in the darkened doorway, warning everyone to get back as the change overtakes him. In the episode, he transforms silently behind the couch.

The comic also expands Davey’s interaction with the werewolf. Unlike the episode, where Davey remains silent, he speaks directly to the transformed Eric. First he urges him, “Get him, monster! Get him!” as the werewolf lunges at Bobby. When his mother freezes in shock, Davey tells her they need to get away. Later, he warns the werewolf that he “better get out of here,” explaining that the police will arrive soon and adding, “There’s lots of open land out there and you can hide easy. Nobody’ll find you.” As the werewolf smiles and runs off, Davey simply says, “Thanks.”

Creatures of the Night - Part 1

• Published: December 1988
• Script: Lance Hampton
• Art: Donnie Jupiter
• Letters: Susan Dorne

Adapted from the original screenplay by Frank Lupo.

This issue presents a straightforward adaptation of the Pilot episode, divided into two parts and without the 3-D effects featured in the earlier comic. Part one concludes with Eric revealing to Kelly that Ted was a werewolf and had attacked him. The final panel ends on Kelly noticing the pentagram appearing on Eric’s hand.

A note about the cover: the image used was taken directly from scenes depicted both in the 3-D comic and within this issue.

Creatures of the Night - Part 2

• Published: January 1989
• Script: Lance Hampton
• Art: Donnie Jupiter
• Letters: Susan Dorne

Adapted from the original screenplay by Frank Lupo.

This issue continues the adaptation of the Pilot episode, presenting part two without the 3-D effects used in the earlier comic. It opens with a brief excerpt from Rogan’s introductory dialogue in the Pilot movie, followed by a four-page recap of part one. The story then resumes where the 3-D comic left off, with no additional scenes added.

A note about the cover: the image was taken directly from scenes featured both in the 3-D comic and within this issue.

Nothing Evil in These Woods

• Published: May 1989
• Writer: John Stephenson
• Pencils: Wayne Reid
• Inks: Jim McDermott
• Letters: Craig Colbert

Adapted from the original screenplay by Sidney Ellis.

This comic follows the same general premise as the episode, but includes several notable differences. Early in the story, scenes that were silent in the episode feature added dialogue. For example, the couple attacked at the beginning speaks to one another in the comic, whereas the televised version presents the moment without any lines. Another instance occurs when Eric wakes up by the lake. In the comic, he debates whether to search for food or clothing and jokes about being struck by a “dangerous bush” that hit him in the butt — a humorous moment entirely absent from the episode, where the scene is played in silence.

Additional changes appear during the confrontation at Deidra’s cottage. In the episode, Eric tells Jake he has called the sheriff, only for Jake and his friends to point out that Deidra has no phone. The comic omits this exchange. Instead, Eric argues that even if Deidra is a witch, she deserves the same rights as anyone else. One of the locals responds that she “had a right to die — and that’s what she got,” marking a darker shift in tone from the televised version.