If Exit Stage Left were any better, it might be full on problematic. Some of Russell’s juxtapositions and analogues should cause more intellectual consternation. They don’t, however, because the comic isn’t better. It’s perplexingly mundane.
This issue opens with the government woman who wants to force Snagglepuss’s cooperation in the witch hunt out visiting the nuclear test grounds in Nevada. There she discovers the U.S. government is lying to the American people about their chances of survival in a nuclear attack. So, she’s already a bit of a tool, long before Russell demonizes her in a juxtaposition later.
Then the Snagglepuss stuff is basically his fake wife and his boyfriend getting pissed at him and so he does something about it. It’s like the C plot though. The comic really belongs to Huckleberry Hound, who gets a really depressing storyline this issue.
It’s become clear, four issues in, some of Exit Stage Left’s problem is the art. Feehan and Parsons are competent but uninspired. Russell’s already doing drab history with the inclusion of anthropomorphized cartoon animals supposedly going to make it special, the art should at least be enthusiastic. It’s not.
What’s worse is the art on the backup, Sasquatch Detective, is a lot more enthusiastic. Gus Vasquez is on the art this time. Brandee Stilwell is still writing. Still not a funny strip. And the cameo isn’t funny either.
Exit Stage Left has two more issues. Expectations keep plummeting. It’s not a bad comic, it’s just utterly pointless.
Doom Town; writer, Mark Russell; penciller, Mike Feehan; inker, Sean Parsons; colorist, Paul Mounts; letterer, Dave Sharpe; editors, Diego Lopez and Marie Javins; publisher, DC Comics.