“Adults…struggle desperately with fiction, demanding constantly that it conform to the rules of everyday life. Adults foolishly demand to know how Superman can possibly fly, or how Batman can possibly run a multibillion-dollar business empire during the day and fight crime at night, when the answer is obvious even to the smallest child: because it’s not real.”
― Grant Morrison,
“Words and pictures are yin and yang. Married, they produce a progeny more interesting than either parent.”
― Dr. Seuss
“Engage neurotic pain amplifier! Bypass settings one through four and begin at “Disorienting Agony”!” (p.77)
After first appearing in 1963, the Doom Patrol has undergone various interpretations by different writers and artists over the years. The most famous one is probably Grant Morrison’s run on the comic when he took over writing duties in 1989. He was joined by artist Richard Case. Morrison wrote 45 issues of Doom Patrol before leaving for pastures new.
I was a fan at the time and remember thinking this was unlike any comic I had read before. Morrison’s narrative dealt with surrealism, psychotherapy, chaos magick, sexual identity, disability, multiple personalities, and more. One of his storylines was about a painting that ate Paris, instigated by the Brotherhood of Dada – a group of super villains named after the avant-garde art movement. Who says comics are just for kids?… I’m listening… Continue reading