No mistake. One Bullet. The art in the second story by Scott Neeley and Dan Davis in addition to a particularly interesting supporting character are the only good things I can list for this issue of Scooby-Doo.
In the first tale "Family Monster," Greg Thompson comes up with a decent premise then takes it nowhere. Velma may be due for an inheritance, but the creature haunting the hallways of the Germanic castle gutturally objects to that.
The creature resembles the Frankenstein Monster, but he turns out not to be a man in a mask, just an unfortunate homely individual. The trouble is we have no idea how anybody figures this out. Velma finds a sheaf of papers in the laboratory, and she has a eureka moment. I guess because of the ebullition, she forgets to divulge what she learned.
Nobody, not the writer or the artist, shares the crucial information with the reader, and in an eye-blink, the Gang magically solve the mystery. Scooby-Doo is supposed to be a fairplay. Clues are shown to the audience. Suspects are given. The procedure of detection is witnessed. That's part of the fun. The art in this story is just off-model enough to be distracting. Freddie looks especially weird.
While the art in the second story is a major step up in quality, this story also lacks an element of fairplay. There's no way of knowing that the suspect is connected to the piece of evidence that Velma finds, and that entanglement could have easily been teased in the dialogue. No excuse for the usually reliable Robbie Busch. Sorry.
In the last story Darryl Taylor Kravitz pits Mystery Inc. against the Freeloading Ghost. Bleah. While the Scooby-Doo movies brought the Gang face to face with genuine supernatural creatures and magic, the creators behind those works did so with panache. In Kravitz's story, an annoying ghost wastes time with a love of his own voice. The author clearly likes his character but at the expense of the stars.
I give you the worst, most inconsequential issue of Scooby-Doo. Let's hope this doesn't start a trend.
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