With only nine more books to go — the last eight, #183 to #190, then first book, #86 — we’re in the home stretch. I’ve read four of those books before, so the end feels even closer than it actually is …
Warehouse Rumble is one of those books I’ve read already. I wrote about it a little in my post on the Top 10 Cool Things the Hardy Boys have done, and it occurs to me I was a bit unfair in my dismissal of the book — or maybe my reevaluation is a symptom of my Stockholm Syndrome with the series.
In Rumble, Chet entices Joe and Frank with the promise of “fame … fortune … all the usual stuff” (2) if they audition for Warehouse Rumble, a new TV show in which contestants compete in physical and mental challenges against a post-apocalyptic background. Since Bayport High is closed for a teacher conference, Frank and Joe agree. (Callie and Iola would rather work at a food pantry during the school vacation, which is on-brand for early-canon Callie.) Chet also convinces Daphne Soesbee, a friend who has appeared in a couple of previous stories and who also just happens to be nearby, to be his teammate in the competition. The rest of the book focuses on the on-set goings-on, which is more behind-the-scenes skullduggery than a reality TV competition.
Rumble is another of Stephen D. Sullivan’s contributions to the series, and now that I know what to look for, the signs are clear. He inserts his own name into the narrative via returning BPD Officer Gus Sullivan from Trick-or-Trouble (#175). Daphne mentions her mother and her mother’s bookstore, also from Trick-or-Trouble, and Spy that Never Lies (#163) / Trick-or-Trouble villains / red herrings Jay Stone and Missy Gates make their third appearances. Daphne also mentions her Creature Cards prowess from Trouble in the Cards (#165), which spurred a rivalry with a new villain / red herring, Bo Reid.
Another tipoff? The name of robbery victim Ms. Forbeck is a reference to fellow author Matt Forbeck; a brief perusal of his Wikipedia page turns up the name of Ree Soesbee, and suddenly Daphne’s unusual surname is explained. What’s the connection between Sullivan, Forbeck, and Soesbee? Well, all three have written licensed novels (novels based on IP owned by others); more specifically, all three have written young-adult Dragonlance novels in the years just before Warehouse Rumble came out.
I’m not sure why Warehouse Rumble made me cast my mind toward the cool things Frank and Joe have done over the years, given that a similar conceit — Maximum Challenge (#132), in which the Hardys and their chums compete in a TV show with physical challenges — felt like a run-of-the-mill happening in Frank and Joe's life. Perhaps it’s because I prefer Warehouse Rumble’s post-apocalyptic aesthetic to the generic athletic competition in Maximum Challenge. Perhaps it’s because Rumble still feels au courant, and Challenge is an American Gladiators pastiche that was published just before Gladiators went off the air in 1996. I don’t know.
It certainly isn’t the promise of intellectual challenges. Rumble is scant on the details of the puzzles the contestants have to solve, but it doesn’t skint on describing the physical challenges. In fact, the book is overwhelmingly physical, removing intellectual traces — other than the narrator’s occasional impressive vocabulary word, such as “sardonically” (59) and “decrepitation” (105). The trash talk between the Hardys and their rivals is embarrassing. For instance, Jay Stone call the Hardys, Daphne, and Chet “the Boy Scout Brothers and their twin sidekicks” (7), which is more descriptive than damning. Bo Reid tells Joe, “I got a message for your brother and Morton. … The word is … pain! Too bad it’s your turn to play delivery boy.” Joe responds, “I think I’ll mark this one ‘Return to sender’” (42). This is too wordy and too weak for even a young reader to care about. The little time it would have taken to improve this banter might have improved this book by an order of magnitude, managing to put a little more juice into rivalries with interchangeable / forgettable villains.
More noticeably, though, Frank and Joe show little interest in unraveling the mystery around them, even when the mystery seems likely to crush them under and metal bricks or electrocute them or give them a megadose of sedatives or unleash an army of rats upon them. Huh, Frank and Joe say, maybe filming in a warehouse abandoned for twenty years isn’t a good idea, and TV / high school rivalries sure can get dangerous! They are right, but their lack of curiosity is disturbing.
The book concentrates on the physicalities. Their athletic challenges on the show get a great deal of attention, as you would expect. Chet brags he’s “strong like bull, swift like eagle” (47), like a latter-day Uncle Tonoose. The Hardys and Chet get into fights on set as well; Frank uses his “martial arts training” to land a “karate chop” (34) and a spin kick, and Joe uses a full nelson to subdue a villain. Even the first clue is uncovered by Chet smacking his head into a brick chimney during a fight with Bo Reid.
That clue is a skeleton, later revealed to be Joss Orlando, a Bayport man who went out for groceries fifteen years before but never came home. The man might as well have been named “Harry Tanwick,” given how little Frank and Joe care about learning more about him. They show only a scintilla of curiosity about a gold ring with emeralds that Daphne finds in the warehouse basement, even though it’s obviously valuable. I suppose I get it: When you’re competing on a game show on which you nearly die and no one seems to care, you must concentrate on staying alive rather than protecting the property rights of the bourgeoisie. Besides, as Frank says, “Danger is bread and butter to some people” (33), which doesn’t qualify as a bon mot, but works well enough to explain Frank and Joe — even if Frank was talking about someone else when he says that.
We don’t get to see who wins Warehouse Rumble. We do know it won’t be Frank and Joe; they are eliminated in the semifinals by Bo Reid and Lily Sabatine. Daphne and Chet do make it to the finals, where they will face Reid and a new partner, as Lily is arrested after her victory but before the finals. As a consolation prize, Frank and Joe do receive coupons to local businesses, like the Town Spa (a restaurant) and a $1,000-dollar “scholarship bond” (134), which as far as I can tell isn’t a real thing. Still, it’s nice to see Frank and Joe getting rewarded for what they’ve done, even if they aren’t getting rewarded for solving a mystery. (Fenton says they will get a reward for recovering the stolen goods, which will go straight into their college funds, but we don’t see anyone with money forking over the cash or even making that promise.)
Circling around this disaster of a mystery is a pair of outsiders. Clark Hessmann is a local preservationist who wants to prevent the building Warehouse Rumble is filming in from being demolished after filming is over; the building’s owner, Herman Jackson, has a restraining order against him. More annoying is TV reporter Stacia Allen of WSDS, who is always barging into the Warehouse Rumble set and (even though it doesn’t apply) bleating about freedom of press, allowing her to publicize many of the set disasters. (In actuality, WSDS is a Spanish-language AM radio station in Michigan.) If the show’s producer had invested in better security, closed the set, and demanded at least minimal support from a network publicist, the book’s most annoying character and a quarter of the book’s plot points would have been wiped out. (As in The Test Case [#171], Warehouse Rumble takes a dim view of the press.)
Also: Warehouse Rumble should have done a better job taking care of the contestants. The show acquires an on-set paramedic only only after a few serious accidents: a collapsed light tower that has sparking electric wires over water, a collapsed catwalk, a collapsed floor, rat attacks, water that changes color from blue to green to yellow-green for no reason. (I don’t know what the latter portends, but it can’t be good.) These are people in an athletic competition inside a dilapidated structure! You need medical staff on set regardless of whether someone is trying to kill contestants.
Everyone should also take a dim view of the police, as Con Riley and Officer Sullivan seem more interested in avoiding work than solving a crime. The pair find enforcing restraining orders, court writs, and trespassing laws a headache and wish the people involved would just shut up. They are slack on investigating the stolen ring and notifying Joss Orlando’s next of kin. Only when Ms. Forbeck shows up and claims the ring do the police act, and then they overreact, hauling Daphne down to the police station for a robbery that occurred when she was in diapers. Then the narration says the police “decided to let” Daphne’s mother sit in on Daphne’s interrogation (122). They have to! You can’t interview a minor without an adult present! Worse, Mrs. Soesbee wouldn’t even know her daughter was in custody if Frank and Joe hadn’t snuck away to call her.
The rest of Ms. Forbeck’s stolen property is still on set — farther down the chimney Orlando was found in, in fact — but the police can’t find it because it wasn’t in the exact same place Daphne discovered the ring. The people behind the catastrophes on set are siblings Lily and Todd Sabatine, Orlando’s children. (Lily and Todd’s brilliance is described as their ability to give alibis for each other, which shouldn’t have helped; of course they’d lie for each other! The only way this works is if no one cares enough to investigate.) If the police had tracked them down to notify them of their father’s passing or searched the warehouse more assiduously, the case would have been solved and all sorts of menace prevented. Instead — once again — the Bayport PD let a bunch of teenagers do their jobs for them, which in this case involved only showing up to the scene of the crime (the warehouse) at night and beating up a girl and her brother.
Which Frank and Joe eventually did. I mean, everyone had to wait until the Hardys found the time. No need to hurry, after all.
