Then of course there’s the issue of costuming-it’s a lot more expensive to build full-body werewolf suits than it is to slap a few wounds on an extra, call him a zombie, and call it a day. For whatever reason, the werewolves themselves are rarely seen as vital enough to continue carrying a franchise solo. Even a foundation of the genre, such as George Waggner’s classic 1941 The Wolf Man starring Lon Chaney Jr., never received a direct sequel of its own-rather, the Wolf Man was lumped in alongside other monsters in the future, in films such as Frankenstein Meets the Wolf Man and Abbott and Costello Meet Frankenstein. They’re not nearly as sexualized (and capitalized upon) as vampires. They don’t represent the pop culture zeitgeist so appropriately as zombies. They’re not nearly so ubiquitous as ghosts. Of the classic cinematic monsters, which were essentially canonized in the public consciousness by the Universal monster films of the ’30s and ’40s, werewolves are never quite given the luster or romanticization of the others. There’s a saying (or at least a sentiment) among horror geeks: Werewolves always get short shrift.
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