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Techno? Heck, No!

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Techno? Heck, No!
Description
Part of Scooby-Doo! #38
# of pages 12
Writer Bob Fingerman
Penciler Joe Staton
Inker Bill Wray
Colorer Paul Becton
Letterer John Costanza
Editor Joan Hilty
Chronology
Previous story

The Curse of the Jungle Tomb

Next story

Two Heads Are Better Than None


Techno? Heck, No! is the second and final story in Scooby-Doo! #38, by DC Comics. It was preceded by The Curse of the Jungle Tomb.

Premise

A Luddite ghost seems to strike Velma's superconductors lab.

Synopsis

Insert details here.

Characters

Main characters:

Supporting characters:

Villains:

Other characters:

  • Ned Ludd (single appearance)(no lines)(flashback only)(deceased)
  • Police officers (single appearance)(no lines)
  • Uncle Nat (only time mentioned)

Locations

Objects

Vehicles

Suspects

Suspect Motive/reason
Will Weir To steal Ludwig Van Hammersley's research.

Culprits

Culprit Motive/reason
Ghost hologram projected by Will Weir To trick Fred into breaking the Van Hammerlsey's Super-Superconductor's glass box and steal it for himself.

Notes/trivia

Cultural references

  • Fred plays video games such as Street Fighter and Tomb Raider.

Coloring mistakes

  • None known

Inconsistencies/continuity errors and/or goofs/oddities

  • Presumably, Breckenridge had a hand in Weir's scheme.
  • Since the ghost is a hologram, how did Weir expect to steal Luwig's invention? He must have had Breckenridge or someone else waiting to steal it for him, or he may have intended to take pictures of Ludwig's research.

Reception

Bob Fingerman in the next story creates humorous misfortunes through the stretching out of the Mystery Machine's slow death, and he also injects originality in the story by making Freddie the usually competent, grounded and happy detective the unwitting dupe. The attack on Bill Gates though certainly obvious none the less captures a weasel-like dependence on theft that rings true, and Mr. Fingerman doesn't make the mistake in over-stating the Luddites' effects on the industrial revolution.

Joe Staton once again handles the artistry. Notice how Velma's cousin while bearing a resemblance to Velma does not become Velma. Velma though a plain looking young lady when compared to the delectable Daphne, still bears a feminine poise. It would have been very easy for the artist to simply copy Velma and turn her into a man for the visual characterization of the cousin or disguise less accomplished artwork by changing Velma's visual characterization to make the cousin look different.[1]

Quotes


References

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