DC are launching fix or six Hannah-Barbera comics over the next few weeks, such as an update of Wacky Races which promises to invest the franchise with the post-apocalyptic latex bodysuits it clearly apparently needed. It’s a freakish mix of books, with what looks like a straight-laced version of The Flintstones being the only one of them which seems to be following the original spirit of the cartoons it’s based on. Perhaps.
The big one for me, though, is Scooby-Doo Apocalypse. This is one which retains the color-coding of the characters’ different clothing and not much else, it seems, with the “team of teens tackling a nefarious villain dressed as a monster” concept chucked away in favour of something really, really quite bizarre. Scooby Doo Apocalypse is a series in which the monsters are actually real: the creations of a nanotech virus unleashed on the world by Velma, amongst others.
In the world of the comic, each of the five characters has been updated somewhat. Fred now appears to be clearly coded as gay by the artist but straight by the script; Daphne is a self-invested brand in the Lois Lane fashion; Velma is a cynical scientist who triggers the events of the series as part of a sinister corporation; and Shaggy and Scooby are no longer cowards.
Those two are the characters who hew closest to their original iterations, with Scooby basically the same he always way – with the addition of a heroic streak and a monocle which projects emoticons for Shaggy to read. That monocle is the strangest choice of the book, actually, because artist Howard Porter’s work is a huge step up from his work with Grant Morrison’s JLA (my only other point of reference for him: I’m not much of a DC reader) and he does a really quite impressive job of giving life and expression to the great dane. Scooby is arguably the most articulate of the entire team in this comic, rendering his emoticons largely irrelevant – I stopped reading them after the first two instances, to be honest, because his face told the story by itself.
What’s confusing to me about the book is where it’s meant to be aimed at. I think… me? I think my sort of age is the reference, because this certainly isn’t a book for kids. Not in the sense that it’s particularly violent or crude (although there was actually a suggestion on the last page that we might a get somewhat less moderate level of violence than you’d want on a Scooby Doo comic) but because the concepts are all just so high-level. Fred’s first few pages have him mention “granola-snorting weirdos”, for instance, before talking about, of all things, Esperanto. I’m in my twenties I have barely any memory of Esperanto! And even that was only because it got mentioned on Red Dwarf.
It’s far too overwritten for younger readers, in other words. Not just because the references are ones only old readers are going to get, but because the wording of each concept is so unnecessarily convoluted and impossible. The basic idea of the comic is that a virus infects people and turns them into monsters, and the team have to stop it. But it’s not described in a simple way like that – instead, Velma strings off this hugely complicated spiel about the virus which uses big words and bigger concepts. Eight year old Steve, I can promise you, had absolutely no interest in googling to find out what a “biological template for a more abundant and peaceful world”is, nor looking up the meaning of words like “self-replicating”, “passivity”, “benevolent” and more. Why, each time, does the script use the most difficult and complex version of every word possible?
So yeah, I think I’m probably more the intended audience than the children who actually y’know, watch Scooby Doo cartoons now. On that level – I’m sort of interested in it? I mean, I’ve watched at least two Sharknado movies, and this brings out the same level of wide-eyed fascination for me. I can’t look away from the comic because I just don’t know what the plan is, how the series is looking to execute that plan, or if they even have a plan right now. The arch, knowing camp of the series when I watched it is replaced with a semi-serious tone that is possibly winking at the readers, or possibly just has something stuck in its eye.
I’m not really sure if the book is intentional or not, right now. I mean sure, you have Keith Giffen and Howard Porter as the central creative team for the series, which is a sign that DC want this to stand alongside all their DC Rebirth titles. At the same time, it’s a comic which sort-of posits that Fred is the nicest member of the team. Fred! In comparison to Velma, whose redesign makes her look like an alt-reality Dr Sivana; or Daphne, who spends the whole issue being furious about everything that happens, regardless of if its actually inconveniencing her or not; or Shaggy, who reads as a clueless and strangely earnest dude who over-explains every situation he’s in; Fred is the one who seems like the underdog here. Daphne even punches him for no reason near the end, just to make us really feel sorry for him, stuck with this nasty bunch.
Scooby comes off like a slightly toned-down version of himself. As I said earlier, that’s mainly because Porter gives him the best expressions and body language of any of them – he’s the most fun character to follow, even when not speaking or the focus of a panel. It’s also partly because he isn’t featured anywhere like as much as the others. He seems to be a supporting character at this point rather than the lead, but we’ll see how that changes over time.
I do really like the colouring, provided by somebody at Hi-Fi. Porter gives things a Star Wars-esque sense of age and spectacle, with strange background characters passing by in every other panel. The colours could have followed that and used a muted palette, but instead they’re vibrant and bright -making the backgrounds pop and actually giving the book the grown-up effect it’s going for.
It’s such a weird direction for Scooby Doo, though. I don’t dislike it, but I can’t think of anybody I’d really recommend it to? It’s a fun comic at times, with something like a 40% hit rate for the jokes. I like Fred now, somehow. And over the course of an arc, we’ll be able to grasp what exactly the plan is for the book. How does it react to the original cartoons, what will it keep and what will it jettison? DC have taken the most predictable, formulaic comic they had (not criticisms! everybody likes the Scooby formula) and turned the book into the strangest, least predictable title on the shelf.
Scooby Doo Apocalypse #1
Writers: Keith Giffen and J. M. DeMattis
Artist: Howard Porter
Letterer: Nick J. Nap
Publisher DC Comics