It's safe to say that after four installments, "Dog Man" is easily the most successful "Captain Underpants" spin-off to date. But what about a creature with a dog's head and a man's body is so attractive to literature? It could be that it's a satirical take on police procedural and superhero tropes alike, but it could just be that Dav Pilkey lucked out in creating one of his strongest universes, even if it exists within the mind of his beloved George and Harold. Sure, the animation is crude and sometimes the jokes are more blunt than thought out, but it's a world of childlike wonder the likes of which Pilkey hasn't obtained since the days of Professor Poopypants. Here, he finds a story that not only satirizes the moral struggle of heroes, but Hollywood in general. The boys have gotten older, and now their love of movies is beginning to impact their work.
One of the series' best characters, Lil Petey, remains at the center of this issue. It could be that Pilkey is in love with the cats versus dogs narrative, but he's found a way to challenge the idea of why they hate each other. Sure, Lil Petey's father Petey is the nefarious foe, but that hasn't stopped the young tyke from trying to see the good in the world. It infuriates Petey, and the struggle remains at the center of a tale that sees Dog Man get his own blockbuster movie, as played by a roided-out Dog Man person who barely resembles him. It's comical and captures the essence of what a child's view of Hollywood would be. Dog Man is, of course, a dog and thus gets removed from the set for being obnoxious. Beyond that, the logical reality is a little sketchy.
In some ways, it's tough to follow "A Tale of Two Kitties" and its rich emotional text. It's a story that expanded the universe in significant ways and made Lil Petey one of the series' best characters (not to mention his pal 80-HD). Here he's as adorable as ever, but the premise is back to a broader sense of humor and a lot more slapstick. That isn't an issue, as Dog Man is all about the ridiculous. However, the arc is a bit familiar and finds Lil Petey making the definitive decision to follow either good or evil, which would upset one of the people who have come to meet the world to him. There is one choice that's actually pretty good if for one perk: Dog Man's home (a Snoopy-esque dog house) has an elevator that can fit objects five times the size of its opening.
The story's third act plays into the superhero tropes of the moment, including a great recurring gag with Purse Lady. There's no denying that Pilkey is in his element with this material, including some of his funner Flip-O-Rama entries. The only issue is that this is an issue dedicated to the chaotic and sometimes nonsensical. It's by no means a sign that the Dog Man stories are losing their muster, but more reflecting the two sides to the output. On one hand, it is the "mature" George and Harold who write empathetic characters surrounded by pop culture references. On the other, it's still the team that likes juvenile humor. It's all here, and it contributes to the embrace of wacky storytelling that lacks pretension. If nothing else, its recurring gags are a basic blueprint for kids on how to tell that kind of joke.
"Dog Man and Cat Kid" is a bit of a misleading title (or a spoiler depending on how you read it), as the turning point that this alludes to doesn't come for over half of the story. In fact, the general superhero-ness of it all isn't even the best part. The characters continue to be the compelling drive behind the plot, even as Dog Man flips around just how much of a dog he actually is. Still, it's an encouraging sign that these books still manage to maintain their appeal and create a world that is often as exciting as Captain Underpants in his heyday. As the movie suggests, one could hope that Dog Man gets his own movie, if just because Pilkey's world of characters is far more compelling than the comic book panels he's written in. They pop off the page and into your heart, and they'll also lick your face just for good measure.
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