Are you reading this? Perhaps you can suggest an answer:
My question is, “Why Snagglepuss?” The world of Puss’s New York is the world of Joe McCarthy’s 1950s, in a slightly-Twilight-Zone dimension where actors in one of Puss’s highly successful theatrical productions wear ‘animal-snout masks’, and anthropomorphic characters mingle with ‘human’ ones on the sidewalks. No explanation given: this is simply the world of the story, catch up with it.
I like comics tackling politics and this clearly is going to be one: Snagglepuss is about to be set up for a career-crushing fall, pawn in a political ploy by those whose hopes lie with McCarthy. Here’s a comic with a character stating, “Every nation is a monster in the making,” and a story about to lead us through that truth.
I like intellectual comics; this one quotes Dorothy Parker, Lillian Hellman, and takes us through moments before the Rosenbergs are electrocuted, with bitter wit. With hope, the parallels between the 50s and the 2010s are clearly, but not bombastically drawn, and so far that hope seems a viable one. Artwork by Feehan, Morales, & Mounts is professional and clean, if not especially individual or striking.
But why Snagglepuss--? Is that DC, or writer Mark Russell, felt a straight-forward drama with an all-normal-human cast would sell only a dozen copies (as if Snagglepuss will draw in dozens more?) or that a political drama would only succeed as “parable,” Aesop-style fable? Whatever the reason, I hope this series lives up to its first issue promise and garners a lot of attention.