If it’s too good to be true … it probably is not what it appears to be.
Creative Staff:
Writers: Keith Giffen & J.M. DeMatteis
Artist: Dale Eaglesham
Colorist: Hi-Fi
Letterer: Travis Lanham
What They Say:
Tensions begin to rise when the Scooby gang takes refuge in a seemingly safe town. As the gang tries to hold together, a looming new threat completely unlike the monsters they’ve faced before reveals itself. The gang now faces being torn apart by two enemies: the monsters … and themselves.
Content (please note that portions of a review may contain spoilers):
It hasn’t been long since the Gang rolled into the small town of Halcyon, Montana, and they were not met with a warm reception – or to be more precise, they were confronted at gunpoint. The sheriff and his posse brought them to jail and after extensive questioning, they were allowed to stay at a local hotel. However, even if this appeared to be strange, the most bizarre point was this place seemed too idyllic, with amicable people welcoming strangers into their midst, even with all the chaos happening outside. And now that the enforced incarceration period is over, Daphne and the rest are allowed to roam the streets, with a party being thrown in their honor later on tonight. When questioned as to why the change in attitude, the once harsh officer states that a little trust goes a long way. But of course, our fiery redhead does not believe this change is without suspicion, with her friends, especially Velma thinking she has become paranoid.
But as Cliffy tries to interject his observations in amongst the supposed grown-ups’ conversations, he suddenly sees a cute girl in a pale blue dress waving at him. Confused as to why someone like her would be so congenial, she freely approaches and introduces herself as Carrie. With no other kids her age around, she is all to happy in making a new friend, but like the rest of his dysfunctional family, this boy is leery as to her motives. While they continue their talk, with the boy confessing he isn’t scared of anything except maybe Daphne, she eventually asks how he lost his arm; it is only then does he begin remembering how the monsters killed his mother and little sister, and then took his limb. Unaffected by the horrifying tale, Carrie cheerfully brushes off the trauma and happily states that she can fix him – much to his confusion. As she reaches out and touches the missing area, something strange and wonderful happens, but all Cliffy can do is scream out in pain and fear. Who is this girl and how can she do the seemingly impossible … or does he even want to know?
In Summary:
Ever since we were introduced to the small town of Halcyon in the last issue, I knew writers Keith Giffen and J.M. DeMatteis had something in mind, especially with such name obvious derived from Halcyon Days, meaning times idyllically blissful and peaceful. Of course, it also reminded me of the classic Twilight Zone, with episodes revolving around such overly happy events and memories like A Nice Place to Visit and The Mind and the Matter. While this plot premise is not overly original, the need or want to return to a time and place in which everything was ideal does help to motivate us to do better in life, even if we know such a dream might not be entirely possible. Then again, the other hint that this story has something sinister underlying is the young girl’s name – Carrie; who cannot think when hearing that moniker about the iconic Stephen King story of a senior prom gone horribly wrong? The results have become ingrained and as a result the two components synergize into a narrative which incorporates original material about the Nanite Plague and turns it all into something heartwarming, but in the end, devolves and thus traumatizes Cliffy all the more. Ever since he lost Scrappy, the only one who has shown him any type of compassion is Daisy, she knowing first hand how a little kindness can help cope with masking the cruelty she felt from Rufus. While I appreciate the side story of a utopian society, we all knew it was never meant to be, but the tenderness which Carrie showed to a downtrodden boy did help to lift up his spirts, even if it was only for a short time.
However the effect of the story could not have been so profound without the moving and strikingly detailed artwork of Dale Eaglesham – his illustrations immediately bringing back nostalgic dreams via memories of The Andy Griffith Show and the town of Mayberry; that happy and laid back show fit so well into the depiction of this issue, at times it also seemed reminiscent of Norman Rockwell, portraits of America when there wasn’t much to worry about and days which were filled with bliss. And yet it would also not have been as impressive if not for the skill of colorist Hi-Fi striking the right chord with his varied palette for every occasion. You can see their well-orchestrated mastery of this narrative come to life within the first page, a scene ripped from a picture of the 1960’s: a street lined with family-owned stores closing up for the night, the brilliance and warmth of the setting sun bathing everything in a fading glow and in the foreground, a pipe-smoking grandfather is towing his grandkids along in a wooden wagon, everything fitting into the iconic bliss of that time period. But at the same time, you cannot but feel sad once you reflect this page upon the present day environment, all of those things would probably never happen within these days of crisis, and that is what makes it so heartwarming and welcomed.
And yet, even within all of this idealism, we know in the back of our minds something is not right – how can such a utopia exist within the chaos of the Scooby Apocalypse? You cannot but help to giggle seeing the Gang trying to overanalyze the situation, with everyone looking to Daphne and Velma for leadership, but with the two of them bickering, we know it will not end well. It is only then are we introduced to Carrie, her gentle face and that vintage pastel blue dress seemingly out of place, almost as if she herself is a mirage. I am amazed how Eaglesham and Hi-Fi are then able to focus the story around this new budding couple, her innocent face and smile framed in curly brunette hair against the callousness of a child shown the worse of the world with jet black hair similarly in defiance. But they do not stop with this contrast of personalities reflected by these stark portraitures, it is the haunting aura which Hi-Fi gives Carrie, almost as mysterious as her past which then passes onto Cliffy once she influences him. The darkness of half shown terrified faces is the turning point of the tale, only then amplified by long shadows as the poor girl is chased away. You know by then that something is brewing within this ideal town and it is not as simple as the so-called grown ups believe, all then shown by the growing dimness as the sun fades and reality begins to seep in. The classic drama how Cliffy wants to help someone then takes over, and you cannot but weep once he sees how not everything can stop with a happy ending … but it is so fun when this talented pair tries their hardest to give us one.
This issue of Scooby Apocalypse was a refreshing if not heart-rending end for the Scrappy Doo saga, and I wish it never stopped. With the disarming introduction of an untouched oasis within the chaos of the Nanite Plague, it would have been entertaining if they could have stretched it out to see the pains Carrie suffered, but then it might have regretfully watered down the tragedy. To see how even children are not immune to the suffering of mankind within a slice of Americana may have been the premise, but the addition of perhaps giving Cliffy some closure helps to bring everything full circle and welcome him fully into the dysfunctional fold.
Grade: A+
Rating: T (Teen)
Released By: DC Comics
Release Date: November 08, 2017
MSRP: $3.99
