Snagglepuss the star. Image via DC Comics
Ray – 8/10
Exit Stage Left: The Snagglepuss Chronicles is a series with a lot on its mind, and if it doesn’t quite land its allegory as brilliantly as Jetsons does, it’s still a unique and worthy read. The McCarthy plot takes a back seat this issue, as Snagglepuss awaits his next testimony before HUAC and goes about his life in Hollywood. This issue brings him into contact with quite a few famous faces, including Arthur Miller (who calls on Snagglepuss to help him out of an awkward situation), Marilyn Monroe (who is the awkward situation), and Joe DiMaggio (who’s the other half of the awkward situation for Mr. Miller). And while this Hollywood love triangle is famous, this issue actually finds some surprisingly new ground to plumb in these historical domain characters. Who knew that Joe DiMaggio’s father was discriminated against for being Italian?
This is ultimately a comic about faces – the ones we put on in Hollywood, and the ones we put on to be accepted by society. The difference between Snagglepuss and Huckleberry Hound’s current states is mainly based on how comfortable they are with lying about who they are. HH is one of the most underrated characters in this comic, and his pure joy when Snagglepuss introduces him to one of the only gay bars in New York is a great scene. Snagglepuss is a hard character to get across at first because everything he does is under multiple filters, but when you get into the comic more, a fascinating picture emerges, and this comic is great both as a social commentary and a character-driven story. I wish I had similarly kind words for the backup. I’m sure this story about a sasquatch police detective solving cold cases, waxing rhapsodic about Dolly Parton and…killing a woman with the smell of her farts? is for someone, but it’s definitely not for me.
To find reviews of all the DC issues, visit DC This Week.
Disclaimer: GeekDad received this comic for review purposes.
This post was last modified on March 8, 2018 10:32 am
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