I 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.