Super Sons/Dynomutt Special #1 just retconned two Hanna-Barbera characters into the pantheon of Batman Inc., but that’s not the only Saturday morning cartoon addition the comic book made. A well-hidden Easter egg draws another Hanna-Barbera cartoon into the story, if only in a tangential way. The cartoon in question is Dexter’s Laboratory and the reference comes toward the end of the crossover one-shot.
The Easter egg can be spotted at the mashup’s climax, just after Blue Falcon sacrifices himself to save his loyal companion, Dynomutt. Dynomutt is none too pleased with this turn of events and he directs his ire at the shooter, the villain Red Vulture. Dynomutt transforms into a far deadlier, more menacing version of his usual dog robot form. Of course, there’s more to Dynomutt’s new, deadly shape than meets the eye.
Dynomutt’s new look is a reference to the Dexter’s Laboratory episode “Dyno-Might.” In the episode, Blue Falcon takes a grievously wounded Dynomutt to Dexter’s lab in the hope that the boy genius can save the canine automaton. Instead, Dexter creates an all-new Dynomutt from scratch. The new Dynomutt (called Dynomutt X-90) sports a sharper, more menacing look and an increased disdain for all things crime. The experiment is too much of a success, though, and the sidekick becomes increasingly violent in his righteous crusade. Dexter and Blue Falcon eventually shut down the rampaging Dynomutt doppelganger, but it’s no easy task.
Super Sons/Dynomutt Special #1 does allude to the robot’s eventual return, though. After all, Dynomutt X-90 is not the same robot as the original Dynomutt. If that’s the case, then how could the Dynomutt in the comics take on his doppelganger’s shape? Unless that is Dynomutt X-90 in the comic. Considering Robin’s claim that Blue Falcon and Dynomutt cleaned up Big City in ways he and Batman could only dream of, it’s possible there’s more to the crossover than meets the eye.
In comic shops now, Super Sons/Dynomutt Special #1 is written by Peter J. Tomasi with art by Oclair Albert and Fernando Pasarin. The issue’s variant cover is drawn by Doug Mahnke.