Read this: Doom Patrol

Grant Morrison Doom Patrol

Grant Morrison’s Doom Patrol is, perhaps, the most gloriously self-aware piece of literature. Ever. While not quite at the level of his best outing, Seven Soldiers of Victory, a veritable epic that packages Morrison’s trademark metafictional posturings beneath a vibrant and clever super hero veneer, it does brazenly set itself apart from just about anything else through sheer lunacy and innovative stories. A remarkable arc from the second volume, “The Painting that Ate Paris,” positions Doom Patrol as a sort of comic within a comic, hammering at inescapably broad, confounding ideas (you know, fluffy stuff like the nature of fiction and reality); you begin to wonder if the book might fall apart in your hands if its title heroes picked at the binding any harder. Postmodern mumbo jumbo or not, Doom Patrol is simply fun to read, and while it’s not always the handsomest book on the block, nor the most polished or elegant, it’s hard not to marvel at this, a comic tenacious enough to study itself in the mirror while the reader looks on.

In sum, you won’t need drugs after Doom Patrol. Through it, the absurd seems profound, the profound absurd, and as far as Grant Morrison’s brain-melting stories are concerned, this is probably the most accessible; Seven Soldiers of Victory is fun but somewhat overwhelming, The Invisibles daunting, The Filth exhausting, etcetera. Doom Patrol consists of shorter story arcs tied together with an overarching, but slight, narrative that keeps things flowing. The series is a must for open-minded readers that wouldn’t mind a Synecdoche, New York-style shifting of their paradigms. (It’s also probably good reading for people that enjoy taking acid, I’d imagine.)

Check it out before Hollywood wolfs it down and poops it out a soggy property. (It could happen once the dicks go limp when everyone finishes jacking off about the Watchmen movie.)

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One Response to “Read this: Doom Patrol”

  1. Anonymous Says:

    You’ve convinced me–send it over.

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