“Borrowing” from the past: Casefiles don’t care much about the past, but there are some links to the proud Hardy Boys traditions. Or maybe the Casefiles duplicate earlier books without knowing any better.
In this case, the background details are somewhat similar to The Apeman’s Secret (#62). In that book, Frank, Joe, and Chet are all interested in comics (although Chet more so than the Hardys), and they are called to investigate crimes committed by people dressed up as comic book characters, just as they are in Last Laugh. Chet even gets a story published by publisher Star Comix (Marvel Comics actually started a kids-oriented imprint called Star Comics in 1984). Chet even dresses up as a villain for a comic-book costume party. (The party wasn’t at a convention, though; it was at the Alfresco Disco. Ah, 1980.)
Joe remembers some of Fenton’s advice early in The Last Laugh: no clue is too small for a good detective. Other gems from Fenton include:
- “Listen much and say little.” (Hunting for Hidden Gold, #5)
- “One of the first requirements of a good detective is to keep his ears open and his mouth shut, and to be wary of confiding in strangers.” (What Happened at Midnight, #10)
- “A good detective doesn't let his impulses get the better of him.” (The Disappearing Floor, #19)
- It is an admission of defeat to call the police. (The Flickering Torch Mystery, #22)
- There is “no more dangerous or cruel fighter than a cornered criminal.” (The Secret Panel, #25)
- Note the time of any unusual occurrence. (The Secret Panel)
- “A good detective must be observant of small details.” (The Phantom Freighter, #26)
- “Never discard a single clue.” (The Secret of the Lost Tunnel, #29)
- A little undercover sleuthing in advance is better than barging in head on. (The Crisscross Shadow, #32)
- Do not talk to strangers about cases. (The Ghost at Skeleton Rock, #37)
- Safeguard any valuables you come across during a case. (The Mystery at Devil’s Paw , #38)
- Two of a “detective's best friends are the newspaper and the police.” (Mystery of the Desert Giant, #40)
- “In detective work, sometimes it's the crazy clues that bring results.” (Mystery of the Desert Giant)
- The modus operandi is often the best way to identify who committed a crime. (The Night of the Werewolf , #59)
- Do not take foolish chances. (The Night of the Werewolf , #59)
- A criminal has to have motive and opportunity. (The Swamp Monster, #83)
Frank and Joe silently communicate, with Frank making motions with his head that Joe can instantly translate. Most of the Hardys’ previous silent signals were more specific than various chin jabs and nods, though. The boys squeeze each other’s hands in The Clue of the Broken Blade (#21) as a “danger signal,” and they have a specific, secret hand signal in The Crisscross Shadow (#32). The revised version of What Happened at Midnight mentions a system of hand squeezes. A few other times, such as in The Pentagon Spy (#61), The Disappearing Floor (#19), and The Short-Wave Mystery (#24), switching lights on and off are signals. In most other cases, their “secret” signals aren’t silent: they’re bird calls or whistles or horn honks or wildcat screeches (yes, really) or knocks or obvious phrases (“Here we go again!” in The Hooded Hawk Mystery, #34).
What?: Despite the title, the book has absolutely nothing to do with jokes, laughter, or the phrase, “He who laughs last laughs best.” I think someone saw the “comic” in “comic book,” and immediately thought of old Walt Disney or Little Lulu comics.
Investment advice you can trust: In The Baseball Card Conspiracy, baseball cards are touted as a great investment. In the two decades since, that has been shown to be a horrible idea. Last Laugh takes a slightly different approach; I expected comic books themselves to be lauded as moneymakers, especially since the big investment boom in comics was beginning just as this book was published. But no — this Franklin W. Dixon makes the better argument that comic book art (the original art on Bristol boards and the like) would be a good investment. I don’t know how the market for original art has held up, but it has to be better than the books bought around the time Last Laugh was published (early ‘90s). The author generally restricts the art in question to Golden Age (late ‘30s-mid ‘40s) comic art, which seems like a good bet.
Getting the details right: The boys attend a comic convention in San Diego — it’s never called the San Diego Comic Con (or to give it its formal name, Comic-Con International), but that’s what it is. Since this book is set 20 years ago, the convention was actually focused on comics rather than generic science fiction / geek entertainment, as it is now. SDCC was founded in 1970 by fan Shel Dorf, and it bounced around several San Diego locations befreo ending up in its current location, the San Diego Convention Center, in 1991, the year after this book was published. (The convention has already moved in Last Laugh.) The events Chet tries to interest the Hardys in, like the large costume party, actually occur at SDCC.
At the end of the book, Chet wants to attend a concert at the convention by a band called “Seduction of the Innocent.” It’s a real band that played at conventions, one with a better name than musical pedigree. The members are actor Bill Mumy (Lost in Space, Babylon Five), writer Max Allan Collins (Road to Perdition), actor Miguel Ferrer (Crossing Jordan), and artist Steve Leialoha (many DC and Marvel books). The name has strong comic book roots: the title belonged to a book by anti-comics crusader Frederic Wertham, who claimed comic books and their graphic imagery led to violence and juvenile delinquency.
The Real McCoy or an Impostinator?: The question that preyed on my mind throughout Last Laugh is whether Barry Johns, his staff, and the comic book companies involved were based on real people, composites, or made up out of whole cloth. Even by the end, I still hadn’t decided.
Barry Johns was a fan who worked his way into the business through persistence and hard work. That could describe any number of comic professionals; most likely, this Dixon had someone like Roy Thomas in mind. Thomas, like Johns, used his experience with fanzines and his enthusiasm to become one of the first fans to become a professional comics writer. Thomas was a bit earlier, but the idea is the same. Thomas was editor in chief at Marvel Comics from 1972 to 1974.
The description could, in a loose way, apply to Jim Shooter … although it’s other parts of Johns’s character that fit Shooter more aptly. Shooter wrote his first story for DC at the age of 14 in 1966, then, after graduating high school, worked his way through the ranks at Marvel in the ‘70s. (There was a lot of turnover at the top at Marvel in the ‘70s — seven different editors had the top job at some point during the decade.) There were many successful runs at Marvel during his tenure, a welcome departure from the creative doldrums the company suffered through in the ‘70s. During Shooter’s reign at Marvel, however, the company alienated some talent through strict deadlines and editorial control, as Johns does through late payments to freelancers and not giving proper credit (and strict editorial control). Many Marvel writers and artists left to go to work for DC. Shooter was forced out after nine years in 1987.
Johns left Terrific Comics (most likely a stand in for Marvel) and founded Zenith Publishing, where he had a bit hit in Metaman. Shooter launched Valiant Comics in 1989, and the company grew spectacularly for a few years — until the comic book industry’s next bust in the mid-‘90s, when the whole thing went pear shaped. Shooter had been forced out before then, however.
Zenith was headquartered in San Diego, most likely for plot convenience. (The largest comic publisher located in San Diego today, IDW, was founded in 1999.) However, when Frank and Joe visit the company’s offices, Joe notices the “bullpen” — an open area for many artists to work at the same time. Marvel was famous for its bullpen; however, there was no actual bullpen area in its offices. It was just a convenient and colorful way for early editor Stan Lee to refer to the writers and artists working for Marvel at the time, and the name has stuck.
Too much TV, not enough comics: At one point, Joe says he will be able to “play [the suspect] like a violin,” which Frank finds overdramatic. Obviously, Joe’s picked this up from some generic crime TV show or movie — probably too many of them. Despite his disdain, Frank’s watched too much TV as well; he thinks he’s lucky the car he’s in didn’t explode when it rolled. Cars rarely explode in real life; in TV and movies, the special effects people put bombs on the cars to make them go boom.
Chet, the comic book fan, seems to have not read enough comics, however. When people dressed up as comic book villains attack them, Chet seems unconvinced as to whether they have superpowers. Anyone who has read comics (or watched TV, or movies) knows that when fictional characters come to life, it’s always a scam.
Good cop, bad Hardys: As usual, the Hardys horn in on an active investigation, but this time, Det. Sgt. Drew Hanlon isn’t having it. He tells the boys that since it’s a kidnapping case, the FBI has jurisdiction, and they should butt the hell out. (I’m paraphrasing.) When they are caught at the scene of a firebombing, Hanlon hauls them in and questions them for a whole hour. Frank and Joe are aghast at this sort of treatment, little imagining what would have happened if a) they were normal people, instead of the most special teenagers in the history of forever, or b) the FBI took an interest in their own investigation instead of fobbing off most of the hard work to a detective for the San Diego PD.
I think the books need characters like this: authority figures who give the boys a hard time and seem at least mildly competent. Since adults rarely seem to believe children and adolescents, it seems more real and a better way to identify with the ostensible target audience to have adults working against the Hardys rather than Frank and Joe invoking St. Fenton to become the police’s masters. Any adolescent (or child) who has that sort of power is going to be the sort of person the intended audience would automatically hate — the undeclared lords of the playground set who get what they want because their parents are rich, powerful, or both. Screw those kids.
On the other hand, it’s hard not to sympathize with Frank and Joe’s meddling when they have a better understanding of San Diego, armed with a street map and a day’s experience, than the San Diego police or the local FBI.
Opinions: Since I have a familiarity with comics and the comics industry — see my new book Comic Book Collections for Libraries for an example — I was distracted throughout the book, trying to figure out who this or that character was supposed to be. Someone specific? An amalgam? Something new? Only Barry Johns seemed to have enough details to identify with any sort of depth or confidence. The others … they were generic figures. Which was a problem when I was trying to figure out if they had any wider significance and a problem in relation to the plot. And I’m still trying to figure out if Chet’s fan friend Tom Gatlin was a reference to Tom Galloway, a comics fan and Usenet dinosaur also known as “tyg.”
It seems to me a better story could have been made by making Last Laugh echo the real battle for Golden and Silver Age creators’ rights, such as Jerry Siegel and Joe Shuster’s battle for Superman money or Jack Kirby’s battle for recognition at Marvel. Given that Golden Age cover art was at the center of the mystery, a fictionalized version of the legal struggle would have fit quite well into the story. But no — it’s a generic money / rights issue at the heart of Last Laugh.
Grade: B-. Although this isn’t a bad mystery, I found I wasn’t engaged with it either.
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