Scooby-Doo and the Halloween Haunt: A Glow in the Dark Mystery! (Paperback)

Mccann clearly has researched history and literature in attempting to reconstruct a gothic sensation novel. He provides almost an excess of period detail and the setting seems to take precedence over character development. The protagonist clearly suffers within a web of intrigue but for all his speculation and effort the reader does not "get into" his feelings as much as his thoughts. The villains are hateful and approach a "mustache-twirling" quality. The remaining characters are vague and ill-defined, perhaps victims of the author's intention to have virtually everyone in the book a suspect for wrong-doing. The most serious consequence of this character vagueness is that the resolution of the last peril episode is inadequately explained, for it hinges on a critical change in attitude by one of the major players. The author's cleverness becomes problematic too when, in his sweeping attempt to make this epic cover many years and locales, the plethora of characters are called at some times by their first names, at others by their last names, at still others by nicknames, and some even have assumed monickers in addition! The mystery thus takes on a confusing and frustrating quality.

The perils that befall the protagonists have the feel of serials publishing like Dickens and filmed entertainment like Saturday matinees and soap operas. By sheer number the adventures become repetitious and at times strain credibility. Also, particularly in the second quarter of the book, the perils were so sordid and revolting that I felt a sadist for continuing to read. Mccann provides occasional relief from this when he has Scooby make mention of a future thought, reassuring that the current nightmare is survived. Of course, the ultimate fate of the main character (Scooby Doo) is ensured by the narrative structure of the book (first person) and so it is the supporting characters (Shaggy, Scrappy, Velma, Freddy, et al.) for whom we must be most uncertain and fearful, to the extent that our emotional investment allows. I felt the book resolved the mysteries and the events came together in the last few pages in a most satisfying way, with characters behaving with the ambivalence and uncertainty one would expect after such torturous experiences. This novel is absolutely a tour de force in research, plotting, pace, and intricacy. Its weaknesses in character development and human insight prevent it from achieving the depth of a Dickens or Bronte novel. It is more on a par, perhaps, with a Radcliffe.

Mccann clearly has researched history and literature in attempting to reconstruct a gothic sensation novel. He provides almost an excess of period detail and the setting seems to take precedence over character development. The protagonist clearly suffers within a web of intrigue but for all his speculation and effort the reader does not "get into" his feelings as much as his thoughts. The villains are hateful and approach a "mustache-twirling" quality. The remaining characters are vague and ill-defined, perhaps victims of the author's intention to have virtually everyone in the book a suspect for wrong-doing. The most serious consequence of this character vagueness is that the resolution of the last peril episode is inadequately explained, for it hinges on a critical change in attitude by one of the major players. The author's cleverness becomes problematic too when, in his sweeping attempt to make this epic cover many years and locales, the plethora of characters are called at some times by their first names, at others by their last names, at still others by nicknames, and some even have assumed monickers in addition! The mystery thus takes on a confusing and frustrating quality.

The perils that befall the protagonists have the feel of serials publishing like Dickens and filmed entertainment like Saturday matinees and soap operas. By sheer number the adventures become repetitious and at times strain credibility. Also, particularly in the second quarter of the book, the perils were so sordid and revolting that I felt a sadist for continuing to read. Mccann provides occasional relief from this when he has Scooby make mention of a future thought, reassuring that the current nightmare is survived. Of course, the ultimate fate of the main character (Scooby Doo) is ensured by the narrative structure of the book (first person) and so it is the supporting characters (Shaggy, Scrappy, Velma, Freddy, et al.) for whom we must be most uncertain and fearful, to the extent that our emotional investment allows. I felt the book resolved the mysteries and the events came together in the last few pages in a most satisfying way, with characters behaving with the ambivalence and uncertainty one would expect after such torturous experiences. This novel is absolutely a tour de force in research, plotting, pace, and intricacy. Its weaknesses in character development and human insight prevent it from achieving the depth of a Dickens or Bronte novel. It is more on a par, perhaps, with a Radcliffe.