Mark Morales

Exit Stage Left: The Snagglepuss Chronicles #3 (May 2018)

Exit Stage Left: The Snagglepuss Chronicles #3I think this issue the series’s best so far. But it has jack to do with Snagglepuss. There’s a TV interview bookend with he and Huckleberry Hound and Snagglepuss is in most of the issue, he’s just not important to any of it. Not when there’s a Marilyn Monroe cameo, a full-on Joe DiMaggio first person flashback, not to mention the implication Snagglepuss is responsible for Clint Eastwood’s success.

Oh, and he finds Huckleberry Hound a boyfriend finally; because gay bar. Where Snagglepuss pisses off his Cuban lover with some of his comments on the Cuban Revolution.

Russell’s writing is strong and anti-dramatic. It’s a tedious read, even when it’s just a scene. Like the DiMaggio flashback. It’s interesting, historically, but dramatically inert on its own and entirely puzzling in Exit Stage Left.

If Russell wanted to do some creative nonfiction about how McCarthyism hit New York, he should’ve just done it. Throwing the cartoon characters in does nothing for it.

Decent art from Feehan, who’s better at people than anthropomorphized dogs and cats.

And the Sasquatch Detective backup is odd. It’s got to be perplexing to readers not versed in the right pop culture trivia and, even if they are, it’s still unlikable and not funny.

CREDITS

<p style="font-size:11px;">Actors and Stars; writer, Mark Russell; penciller, Mike Feehan; inker, Mark Morales; colorist, Paul Mounts; letterer, Dave Sharpe; editors, Diego Lopez and Marie Javins; publisher, DC Comics.

Exit Stage Left: The Snagglepuss Chronicles #2 (April 2018)

Exit Stage Left: The Snagglepuss Chronicles #2So, Snagglepuss. How many more issues of Snagglepuss.

It’s okay? Feehan and Morales’s art is good. Enough. It’s not exciting art. And Russell’s storytelling is more than competent.

But the book is kind of pointless. Sure, Snagglepuss as a gay playwright finding his way into trouble with McCarthyism is an idea, but there’s still no story. Snagglepuss wanders around, hanging out with humans and manimals. Humanimals. He keeps on giving people jobs. He wants to help.

Sometimes even when people don’t want his luck. Like when Huckleberry Hound has a cruising fail. Funny part about that? There’s something to look at when it’s a manimal getting punched in the face–it’s for a (somewhat sad) laugh. Huck’s physical suffering isn’t considered.

Anyway. Snagglepuss, even though he’s a great playwright, is sort of naive when it comes to threats from the government and warnings from his friends.

This book still feels like an underdeveloped idea put to series.

CREDITS

A Dog’s Life; writer, Mark Russell; penciller, Mike Feehan; inker, Mark Morales; colorist, Paul Mounts; letterer, Dave Sharpe; editors, Diego Lopez and Marie Javins; publisher, DC Comics.

Exit Stage Left: The Snagglepuss Chronicles #1 (March 2018)

Exit Stage Left: The Snagglepuss Chronicles #1Despite being about show business, Snagglepuss doesn’t have a lot of show. Whenever it comes time for drama, writer Mark Russell moves on. He gives penciller Mike Feehan and inker Mark Morales a couple panels to wrap up with visual suggestion, but no drama.

Considering Exit Stage Left reimagines Snagglepuss as a popular playwright in fifties New York City… some drama might be nice.

Russell’s script is intelligent, Feehan’s layouts are great, there’s just not a lot to the book. We meet Snagglepuss, get some of his ground situation, get some of the McCarthy hearings and its effects, but not much else.

When Huckleberry Hound shows up for a bit towards the end, it feels wrong. Russell has shied away from the cartoon origins of the character and having a guest star? It’s not smooth.

Exit Stage Left is off to an okay start. But, so far, there’s nothing special about it.

CREDITS

Writer, Mark Russell; penciller, Mike Feehan; inker, Mark Morales; colorist, Paul Mounts; letterer, Dave Sharpe; editors, Diego Lopez and Marie Javins; publisher, DC Comics.

Suicide Squad/The Banana Splits Special (May 2017)

Suicide Squad/The Banana Splits SpecialGiven “The Banana Splits” were a thing in the late sixties, some dated references in Suicide Squad/The Banana Splits Special might make sense. But writer Tony Bedard doesn’t go for sixties or seventies jokes; instead, it’s mid-nineties racial jokes. The Banana Splits reinventing themselves gangsta rap is far less problematic than when the cops are shooting at them because cops don’t care about “Animal Americans.” The editors of the book, who work on the far better Hanna-Barbera books, clearly don’t bring anything to those better books if they let that kind of crud through. Otherwise, it’s lame with mild amusements. Harley Quinn and the Elephant are cute. Ditto Killer Croc and the monkey (almost). Ben Caldwell and Mark Morales’s art is fine, but it’s not like it needs to do much.

However, Mark Russell and Howard Porter’s Snagglepuss backup is awesome. It starts with him telling the HUAC a thing or two, then moves into an inspiration, if sad, lesson for a young writer. It’s awesome. And Porter’s got fantastic detail on anthropomorphized animals. Who knew.

CREDITS

Suicide Splits (Hey, it beats “Banana Squad”); writer, Tony Bedard; penciller, Ben Caldwell; inker, Mark Morales; colorist, Jeremy Lawson; letterers, Troy Peteri and Dave Lanphear. House Fires; writer, Mark Russell; artist, Howard Porter; colorist, Steve Buccellato; letterer, Dave Sharpe. Editors, Brittany Holzherr and Marie Javins; publisher, DC Comics.

Ultimate Spider-Man 94 (July 2006)

281623So the whole story with the island and the X-Men and Ultimate Deadpool is just to set up a payoff of Aunt May having a boyfriend and spending the night with him?

This issue’s got some good moments. Bendis doesn’t use the TV narrative device too much (of course, when he does, it’s awful). He even writes a really good action sequence for Kitty when she needs to kick some butt.

But, who cares? Four issues and two things get established. Peter and Kitty aren’t breaking up, which she worried about in the first issue, and Aunt May has a gentleman friend. Seems like the perfect kind of thing Bendis could have juxtaposed in a single issue or maybe a good two parter.

Instead, Bendis went for sensationalism, aiming about as high as an episode of “Knight Rider”. I said before he’s running on empty; this issue confirms it.

CREDITS

Deadpool, Part Four; writer, Brian Michael Bendis; penciller, Mark Bagley; inkers, John Dell and Mark Morales; colorist, Justin Ponsor; letterer, Cory Petit; editors, John Barber, Nicole Wiley Boose and Ralph Macchio; publisher, Marvel Comics.

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