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Grant Morrison, a Scotsman, took a fading rerun of a once-classic series and turned it around, reinventing comics in the process. He managed to arrange for the previous writer to kill off the characters he didn't want to have to use, so that he could introduce a whole bunch of new ones. His most inspired creations include Crazy Jane, cursed with a split personality but blessed in that each personality had its own superpower (and Morrison didn't pull a single punch when he traced the appalling history of sexual abuse that had led to Jane's psychosis in the first place). He also brought us Danny the Street, the Doom Patrol's roving HQ, a sentient street that happened to be a transvestite. Then there was the Brotherhood of Dada, an unlikely bunch of supervillains in that they did hardly anything wrong apart from behaving in a very silly manner indeed; their leader was Mr. Nobody, perhaps the only cartoon supervillain who was drawn in a Cubist manner.
This book contains the first six or seven Doom Patrol stories that Morrison wrote, and while they're extremely good, they don't quite catch the series at its peak. Richard Case, artist for most of the run, was still learning his craft here, and his work is effective but not as good as he later became. Later issues took wilder flights of graphic (in every sense of the word) insanity than any other comic has attempted; the stories got sharper and funnier and also more involving, the characters developed much further, and the series as a whole built to a fantastic climax. Then Morrison handed it on to somebody else and the quality plummeted.
His recent work, such as The Invisibles, is a bit too self-consciously counter-cultural for me. (Although he did write a splendid one-off called "Kill Your Boyfriend", setting the Dionysus story amongst suburban English teen delinquents.) Doom Patrol was less thought-out, more improvisatory, and far wilder and more liberating in spirit. It's a scandal that the whole Morrison run isn't available in book form. I still lack a good dozen or so issues of the comic. Get thee indeed to the comic book store and seek them out; Miller may have been harder, Gaiman may have been more literary, Moore may have been more intellectual, but the Morrison "Doom Patrol" was the wildest shooting star that comics have seen for decades. Brilliant.
Als Grant Morrison Ende der Achtziger Jahre die bis dahin relativ durchschnittliche DC-Comic-Serie übernahm, war dies eine Revolution im Bereich der US-amerikanischen Mainstream- und Superhelden-Comics.
Hier wurde uns vor Augen geführt, dass eine Welt, in der Menschen fliegen können, unverwundbar sind, durch den Besitz eines Rings übermenschliche Fähigkeiten haben oder von den Planeten Krypton, Mars und Thanagar stammen, bereits surrealistisch ist, und dass es hier somit auch keine Grenzen im Bereich des Vorstellbaren geben muss.
Morrison überschüttete uns mit Dadaismus, Magie, Mythologie, Religion, Quantenphysik, Drogenwahn, Verschwörungstheorien und Kabbalismus, und konfrontierte uns mit menschlichen Charakteren und Konversationen, die wir seit Alan Moore nicht mehr in einem Comic erlebt hatten.
Einigen Mainstream-Lesern war das alles zu strange, aber wir Fans konnten nicht fassen, was uns da an Comic-Literatur geboten wurde und dass man zu so etwas imstande sein kann!
Auch die etwas gewöhnungsbedürftigen Zeichnungen Richard Cases, die anfänglich etwas zu naiv erschienen, entfalteten im Laufe des regelmäßigen Konsums ihre volle Wirkung.
Ein höchst intellektuelles und fast psychedelisches, bewusstseinserweiterndes Comic-Meisterwerk!
Und es ist einfach großartig, dass diese leider niemals in Deutsch erschienene Comic-Reihe jetzt komplett in 6 Bänden zusammengefasst vorliegt!
Ein kleiner Tipp: Starten Sie die Lektüre auf jeden Fall mit Band 1 und arbeiten Sie sich chronologisch vor, denn Band 1 ist zwar der schwächste von allen, doch eine Story baut auf die andere auf und das Gesamtwerk "wächst".
Grant Morrison wurde übrigens Anfang dieses Jahres zum zweitbesten Comic-Autoren der Welt gewählt (nach Alan Moore, vor Neil Gaiman), und wer außer "Doom Patrol" auch das preisgekrönte "All Star Superman" kennt, stimmt zu und freut sich darüber!
Grant Morrison, a Scotsman, took a fading rerun of a once-classic series and turned it around, reinventing comics in the process. He managed to arrange for the previous writer to kill off the characters he didn't want to have to use, so that he could introduce a whole bunch of new ones. His most inspired creations include Crazy Jane, cursed with a split personality but blessed in that each personality had its own superpower (and Morrison didn't pull a single punch when he traced the appalling history of sexual abuse that had led to Jane's psychosis in the first place). He also brought us Danny the Street, the Doom Patrol's roving HQ, a sentient street that happened to be a transvestite. Then there was the Brotherhood of Dada, an unlikely bunch of supervillains in that they did hardly anything wrong apart from behaving in a very silly manner indeed; their leader was Mr. Nobody, perhaps the only cartoon supervillain who was drawn in a Cubist manner.
This book contains the first six or seven Doom Patrol stories that Morrison wrote, and while they're extremely good, they don't quite catch the series at its peak. Richard Case, artist for most of the run, was still learning his craft here, and his work is effective but not as good as he later became. Later issues took wilder flights of graphic (in every sense of the word) insanity than any other comic has attempted; the stories got sharper and funnier and also more involving, the characters developed much further, and the series as a whole built to a fantastic climax. Then Morrison handed it on to somebody else and the quality plummeted.
His recent work, such as The Invisibles, is a bit too self-consciously counter-cultural for me. (Although he did write a splendid one-off called "Kill Your Boyfriend", setting the Dionysus story amongst suburban English teen delinquents.) Doom Patrol was less thought-out, more improvisatory, and far wilder and more liberating in spirit. It's a scandal that the whole Morrison run isn't available in book form. I still lack a good dozen or so issues of the comic. Get thee indeed to the comic book store and seek them out; Miller may have been harder, Gaiman may have been more literary, Moore may have been more intellectual, but the Morrison "Doom Patrol" was the wildest shooting star that comics have seen for decades. Brilliant.
EDIT: DC has, wonder of wonders, realized how many people loved this series and has released the second trade paperback in what will hopefully be a long series: "The Painting That Ate Paris." It's even better than the first one, which has been released with a better cover and missing pages re-included.
However, in his early work, that tendency isn't quite present. These stories have a full beginning, middle, and end, and so are completely comprehensible. Such is the case with this "Doom Patrol", collecting his first issues on this series, in which he deconstructed a basic super-hero team, attempting to take it back to its quirky 1960s roots, but at the same time looking forward to the then-distant 21st century.
The great strength of the series is that Morrison knew which characters to keep, which to change, and which to jettison. Thus, team mainstay Cliff Steele, Robotman, a human brain in a robot body, and team founder Nile Cauler, the Chief, are here. So is Larry Trainor, Negative Man, a pilot possessed by a parasite composed of negative energy. But in Morrison's first signal that things are changing, that energy being forces the combination of Trainor and a woman, creating Rebis. And new characters include the ingenious Crazy Jane, a woman with multiple personality disorder, whose every personality has some super-power, and the sympathetic Dorothy Spinner, your average teenage girl, who has an ape-like physique and the ability to create creatures out of whole cloth with her mind.
Further, the plots are strange, unusual, but make perfect sense, like a fictional city intruding on reality, inhabited by Scissormen, or Red Jack, a nearly omnipotent being who believes himself to be God, but was also Jack the Ripper.
The tragedy of this series is that, thanks to a questionable editorial decision earlier this year, these stories are no longer part of continuity, as the Doom Patrol has been started from scratch. A shame, since this series really changed a lot abut the medium. Comics were never the same, for no other reason that Grant Morrison still writes.
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