The Flintstones

The Flintstones 12 (August 2017)

The Flintstones #12Russell puts The Flintstones to bed with a summary of the human race (from the Great Gazoo). Turns out prehistoric Bedrock is a lot more like the 21st century than one might think. There’s a lot of story threads–Fred needs to win an important bowling game, his bowling ball is preparing to rebel against human oppression, Pebbles thinks maybe mystery god Gerald is bunk and science is real–plus some nods back to previous issues. Wilma doesn’t get anything, Betty gets less. It’s sort of manipulative, Russell knows all the right buttons to push, including the nostalgia ones (including mocking nostalgia ones), and Pugh’s art is wonderful as always. The Flintstones has been an interesting, not entirely successful, but often inordinately ambitious series. It’s been a fine time; a yabba dabba doo time, as it were.

CREDITS

Farewell to Bedrock; writer, Mark Russell; artist, Steve Pugh; colorist, Chris Chuckry; letterer, Dave Sharpe; editors, Brittany Holzherr and Marie Javins; publisher, DC Comics.

The Flintstones 11 (July 2017)

The Flintstones #11Not the best issue of The Flintstones. Not the worst. Not the best though. Russell’s pretty wide with his jokes–hipsters, unpaid interns, vegan restaurants, neighborhood associations–all the stuff he’s referencing feels dated and he’s just doing it for filler anyway. The issue turns out to be all about Gazoo. Everything else is fluff. So clearly something went wrong somewhere with this one. But Pugh’s art is great; even though the style with the Gazoo sci-fi stuff is the same, it’s still sort of different. Pugh’s style changes just a little and it’s a neat perspective thing. Otherwise… it’s a bit of a yawner overall. More than half Russell’s jokes flop and he’s got a bunch of them.

CREDITS

The Neighborhood Association; writer, Mark Russell; artist, Steve Pugh; colorist, Chris Chuckry; letterer, Dave Sharpe; editors, Brittany Holzherr and Marie Javins; publisher, DC Comics.

The Flintstones 10 (June 2017)

The Flintstones #10Wilma gets a job, the mayor’s war-spending goes overboard, and Fred and Barney discover the cinema. It’s a meandering issue, but Russell touches on a lot. Pugh gets some great stuff to draw, there’s tragedy, there’s irony, there’s political commentary. It’s all kind of heavy too. Flintstones is always kind of heavy.

CREDITS

Buyer’s Remorse; writer, Mark Russell; artist, Steve Pugh; colorist, Chris Chuckry; letterer, Dave Sharpe; editors, Brittany Holzherr and Marie Javins; publisher, DC Comics.

The Flintstones 9 (May 2017)

The Flintstones #9It’s a great issue. The Flintstones’ housewares are in crisis because there’s a new bowling ball, there’s a new bowling ball because Fred got fired, Fred got fired because Mr. Slate found a new, pro-capitalism god. Russell finds the right balance between humor, social commentary, and Stone Age sitcom revisionism; Pugh’s art is, as always, pure delight.

CREDITS

A Basket of Disposables; writer, Mark Russell; artist, Steve Pugh; colorist, Chris Chuckry; letterer, Dave Sharpe; editors, Brittany Holzherr and Marie Javins; publisher, DC Comics.

The Flintstones 8 (April 2017)

The Flintstones #8It’s like Russell wanted to bite off more than he should be able to chew–Trump, the patriarchy, capitalism–and prove he could do it. And he does. He handles three big plot threads, with the patriachial thread tying into everything else–including Fred’s self-discovery and Wilma’s reunion with her mother. Great Pugh art, some rather funny moments. It’s a fantastic comic.

CREDITS

The Leisure Class; writer, Mark Russell; artist, Steve Pugh; colorist, Chris Chuckry; letterer, Dave Sharpe; editors, Brittany Holzherr and Marie Javins; publisher, DC Comics.

The Flintstones 7 (March 2017)

The Flintstones #7Until the last few pages, this issue of The Flinstones is just fine. I mean, Pugh’s not on this month and Rick Leonardi and Scott Hanna do an all right enough job but there’s something missing. Russell tries a lot–including Gazoo narrating the whole thing in a report–and some of it connects, some doesn’t. The end’s just way too sappy though.

CREDITS

Another Day on Earth; writer, Mark Russell; penciller, Rick Leonardi; inker, Scott Hanna; colorist, Chris Chuckry; letterer, Dave Sharpe; editors, Brittany Holzherr and Marie Javins; publisher, DC Comics.

The Flintstones 6 (February 2017)

The Flintstones #6There’s a considerable darkness lurking in this issue but Russell keeps it at bay. He goes for the humor instead of exhausting potential metaphors. It’s the end of the world–the asteroid is on its way–and Bedrock loses it. As always, some great art from Pugh.

CREDITS

The End of the World as We Know It; writer, Mark Russell; artist, Steve Pugh; colorist, Chris Chuckry; letterer, Dave Sharpe; editors, Brittany Holzherr and Marie Javins; publisher, DC Comics.

The Flintstones 5 (January 2017)

The Flintstones #5Russell tries a little too hard; he splits between 2016 U.S. political metaphor–sort of–for Pebbles and Bamm-Bamm and some really heavy stuff for Fred and Barney. Like, old war stories heavy. It’s well-written enough, beautifully illustrated, but it’s too thin for Russell’s ambitions.

CREDITS

Election Day; writer, Mark Russell; artist, Steve Pugh; colorist, Chris Chuckry; letterer, Dave Sharpe; editors, Brittany Holzherr and Marie Javins; publisher, DC Comics.

The Flintstones 4 (December 2016)

The Flintstones #4Once again, The Flintstones amazes. I didn’t want to be obvious and say it rocks, which it also does, but it’s more impressive in the way it amazes. What Russell comes up with is really cool. He does a riff on marriage. The not marrying people of Bedrock revolt against the marrieds. It’s a fairly obvious metaphor for marriage equality, but it’s a good one. Russell seems to be treating each issue of The Flintstones as something special. Almost a one-shot (or he’s just really scared of it getting cancelled and he’s doing the best work he can).

The other thing is the characters. His Fred and Wilma are their best possible selves taking into account the adaptation and the brand. They’re ideals, something I don’t remember them being in the cartoon. It’s Russell engaging the brand in a very positive way, while still allowing himself some bite in the rest of the comic.

Great art from Pugh because of course it’s going to be great, it’s Steve Pugh doing comedic cave-people, dinosaurs and talking prehistoric animals.

It’s a really good book.

CREDITS

Domestications; writer, Mark Russell; artist, Steve Pugh; colorist, Chris Chuckry; letterer, Dave Sharpe; editors, Brittany Holzherr and Marie Javins; publisher, DC Comics.

The Flintstones 3 (November 2016)

The Flintstones #3Wow. It’s beautiful and all, but, wow, what a downer. I mean, the whole thing is just depressing from page three, especially since Pebbles understands The Flintstones exists in a world without any value whatsoever on human life. It’s not hard to see what kind of commentary Russell is making about our modern world, gorgeous Steve Pugh art or not.

Space aliens visit Bedrock and basically destroy the place with their technology. It’s strange for a third issue because the main cast–even though they have important things to do–don’t have much to do as the main cast. Russell’s not building character relationships, he’s not developing anything. If Betty even shows up, she doesn’t have much in the way of lines. Certainly none memorable. Even Fred’s part in the story is only memorable because of how tragic it gets.

It’s kind of a heavy book. Gorgeous, but heavy. It might be too cynical, in fact. Russell’s writing is fine–I suppose the story’s a little light (it’s basically snippets of disaster)–but it’s fine. It’s just so fatalistic I don’t know why I want to read it. There’s better social commentary out there–the Fox News joke is the most obvious and the weakest–and I’m always onboard for Pugh….

But, come on, give the reader a single smile, right? PTSD group sessions don’t lead to smiles, neither does mass murder.

CREDITS

A Space Oddity; writer, Mark Russell; artist, Steve Pugh; colorist, Chris Chuckry; letterer, Dave Sharpe; editors, Brittany Holzherr and Marie Javins; publisher, DC Comics.

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