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Doom Patrol (1987)(Collected Editions) #1-2
Doom Patrol: Book One
The groundbreaking series from Grant Morrison that led American comics in a wholly unexpected direction.
Originally conceived in the 1960s by the visionary team of writer Arnold Drake and artist Bruno Premiani, the Doom Patrol was reborn a generation later through Grant Morrison’s singular imagination.
Though they are super-powered beings, and though their foes are bent on world domination, convention ends there. Shunned as freaks and outcasts, and tempered by loss and insanity, this band of misfits faces threats so mystifying in nature and so corrupted in motive that reality itself threatens to fall apart around them - but it’s still all in a day’s work for the Doom Patrol.
Written by Grant Morrison and featuring art by Richard Case, John Nyberg, Doug Braithwaite, Scott Hanna and Carlos Garzón, Doom Patrol: Book One collects issues #19-34 and includes introductions by Morrison and editor Tom Peyer.
Originally conceived in the 1960s by the visionary team of writer Arnold Drake and artist Bruno Premiani, the Doom Patrol was reborn a generation later through Grant Morrison’s singular imagination.
Though they are super-powered beings, and though their foes are bent on world domination, convention ends there. Shunned as freaks and outcasts, and tempered by loss and insanity, this band of misfits faces threats so mystifying in nature and so corrupted in motive that reality itself threatens to fall apart around them - but it’s still all in a day’s work for the Doom Patrol.
Written by Grant Morrison and featuring art by Richard Case, John Nyberg, Doug Braithwaite, Scott Hanna and Carlos Garzón, Doom Patrol: Book One collects issues #19-34 and includes introductions by Morrison and editor Tom Peyer.
420 pages, Kindle Edition
First published July 1, 1990
194 people are currently reading
582 people want to read
About the author
Grant Morrison
1,791 books4,564 followersGrant Morrison has been working with DC Comics for twenty five years, after beginning their American comics career with acclaimed runs on ANIMAL MAN and DOOM PATROL. Since then they have written such best-selling series as JLA, BATMAN and New X-Men, as well as such creator-owned works as THE INVISIBLES, SEAGUY, THE FILTH, WE3 and JOE THE BARBARIAN. In addition to expanding the DC Universe through titles ranging from the Eisner Award-winning SEVEN SOLDIERS and ALL-STAR SUPERMAN to the reality-shattering epic of FINAL CRISIS, they have also reinvented the worlds of the Dark Knight Detective in BATMAN AND ROBIN and BATMAN, INCORPORATED and the Man of Steel in The New 52 ACTION COMICS.
In their secret identity, Morrison is a "counterculture" spokesperson, a musician, an award-winning playwright and a chaos magician. They are also the author of the New York Times bestseller Supergods, a groundbreaking psycho-historic mapping of the superhero as a cultural organism. They divide their time between their homes in Los Angeles and Scotland.
In their secret identity, Morrison is a "counterculture" spokesperson, a musician, an award-winning playwright and a chaos magician. They are also the author of the New York Times bestseller Supergods, a groundbreaking psycho-historic mapping of the superhero as a cultural organism. They divide their time between their homes in Los Angeles and Scotland.
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Displaying 1 - 30 of 174 reviews
February 19, 2024
In the forword, it asks the reader if they enjoy the bizarre, and if so, then this is the superhero comic that they've been waiting for. <--paraphrasing, not quoting
It was in that moment that I knew this wasn't the superhero comic for me. And, honestly, I probably should have just shut it down and called it a day at that point.
I mean, Grant Morrison himself was basically warning me off of his own work. He didn't write this for the vanilla audience. <--I am so vanilla I come in a tiny bottle found in the baking aisle.
Morrison writes for the odd. And I mean that in the most complimentary way possible. I'm not (and probably never will be) in the eclectic group that gets this sort of thing. To me, it's gibberish with pictures. That doesn't mean I think this is stupid, but it does mean that I don't really enjoy it.
I thought it was a cool concept to have this damaged, weird, disgruntled group of superheroes whose powers were more curse than blessing.
But after a few issues, the nonsensical, sing-songy, lunatic atmosphere of the whole thing started wearing on my nerves. I just... Well, I didn't want to pick it up anymore because I didn't want to have to make my tiny brain translate the Morrisonesque lunacy.
Doom Partol, or at least this version of them, is written for a specific audience. And while I can appreciate it, it's just not my cuppa.
It was in that moment that I knew this wasn't the superhero comic for me. And, honestly, I probably should have just shut it down and called it a day at that point.
I mean, Grant Morrison himself was basically warning me off of his own work. He didn't write this for the vanilla audience. <--I am so vanilla I come in a tiny bottle found in the baking aisle.
Morrison writes for the odd. And I mean that in the most complimentary way possible. I'm not (and probably never will be) in the eclectic group that gets this sort of thing. To me, it's gibberish with pictures. That doesn't mean I think this is stupid, but it does mean that I don't really enjoy it.
I thought it was a cool concept to have this damaged, weird, disgruntled group of superheroes whose powers were more curse than blessing.
But after a few issues, the nonsensical, sing-songy, lunatic atmosphere of the whole thing started wearing on my nerves. I just... Well, I didn't want to pick it up anymore because I didn't want to have to make my tiny brain translate the Morrisonesque lunacy.
Doom Partol, or at least this version of them, is written for a specific audience. And while I can appreciate it, it's just not my cuppa.
February 10, 2022
When I was a freshman in college last century, in Knoxville Tennessee, I attended a class on film appreciation. We watched a Fellini film, I recall a German movie, Bergman, a French film with a very young Gerard Depardieu, and some others. We also went to see a showing of Rocky Horror Picture Show! ;) The instructor explained concepts of cinematography, lighting, style, as well as elements of acting and direction. He told us why certain films are well regarded, what critics look for, and gave us a good fundamental understanding of film. I liked most of the films, appreciated the art and what was accomplished, but I didn’t really love any of them.
Grant Morrison’s Doom Patrol: I can appreciate the art and what was accomplished, but I did not love it. Too weird.
At least in Knoxville at the end of the week we had a good football game to watch.
Yes, it contained artistic and erudite references to biblical themes, classical and contemporary cultural allusions, psychological and philosophical suggestions; there were metaphors and symbols all rolled up in a fun comic book series. This Book One contains issues 19-34, when Morrison first took over the title in 1987.
I think that this was also very influential, and I saw elements of this work in later productions as divergent as The Big Lebowski and China Mieville’s writing.
For Morrison fans, DC fans, folks who like arthouse films and weird writing.
Grant Morrison’s Doom Patrol: I can appreciate the art and what was accomplished, but I did not love it. Too weird.
At least in Knoxville at the end of the week we had a good football game to watch.
Yes, it contained artistic and erudite references to biblical themes, classical and contemporary cultural allusions, psychological and philosophical suggestions; there were metaphors and symbols all rolled up in a fun comic book series. This Book One contains issues 19-34, when Morrison first took over the title in 1987.
I think that this was also very influential, and I saw elements of this work in later productions as divergent as The Big Lebowski and China Mieville’s writing.
For Morrison fans, DC fans, folks who like arthouse films and weird writing.
August 17, 2022
What a surreal, bizarre, but ultimately heartfelt and full of emotion journey. I've never been big into comics, growing up military history was my shtick, but this is some absolutely quality work that I don't think I would have appreciated as much when younger.
I don't mean this in any sort of gatekeeper/condescending way, I think those that will connect with this comic will have done X amount of living prior to reading it, regardless of your age. Morrison's handling of the unknown, the existential, the traumatic is just superb throughout.
Each character is deeply flawed, but no weaker in general for these flaws. Arguably the most “disturbed” Crazy Jane, literally carries the team through a third of it in a way that doesn't feel forced or flawed, and the team believes, trusts, and cares deeply for her and one another to a large degree. Even when they don't, they have each other's back in most cases.
Really glad I decided to give this a shot.
I don't mean this in any sort of gatekeeper/condescending way, I think those that will connect with this comic will have done X amount of living prior to reading it, regardless of your age. Morrison's handling of the unknown, the existential, the traumatic is just superb throughout.
Each character is deeply flawed, but no weaker in general for these flaws. Arguably the most “disturbed” Crazy Jane, literally carries the team through a third of it in a way that doesn't feel forced or flawed, and the team believes, trusts, and cares deeply for her and one another to a large degree. Even when they don't, they have each other's back in most cases.
Really glad I decided to give this a shot.
December 14, 2021
Doom Patrol: Book One collects issues 19-34 of Doom Patrol, written by Grant Morrison with art by Richard Case, John Nyberg, Doug Braithwaite Scott Hanna, and Carlos Garzon.
The Doom Patrol has been one of my favorite super teams for ages, when I discovered they were an even more dysfunctional Fantastic Four. Goodreads tells me the last time I read these stories was in 2009 so this omnibus was almost like an all new book.
The Chief puts together a new team to kick off the volume: Crazy Jane, a woman with 64 super powered personalities, Rebis, a combination of Larry Trainor, doctor Eleanor Poole, and the Negative Spirit, and good old Robotman, Cliff Steele. The new Doom Patrol take on The Brotherhood of Dada, the Cult of the Unwritten Word, the Scissormen, the Painting That Ate Paris, old enemies Brain and Mallah, and their biggest enemy: themselves.
The art was serviceable, not anything too spectacular. I guess that helps to keep things coherent at times. I don't know how readable this stuff would be with a different art style. The stories are very odd but still have a comic book goofiness to them. They're creepier than Silver Age Doom Patrol stories but I don't think the original Doom Patrol would be terribly out of place.
Sure, there are some logical leaps by the characters and Morrison is in "throw as many ideas at the reader at once but don't explore many of them" mode but the love for the DC universe still comes through. There's a reference to an early issue of Neil Gaiman's Sandman that I missed last time though, plus relatively obscure characters like Sunburst. Mallah pushing The Brain in a baby carriage was one of my favorite visuals in this volume.
Four out of five stars. On to the next serving of weirdness!
The Doom Patrol has been one of my favorite super teams for ages, when I discovered they were an even more dysfunctional Fantastic Four. Goodreads tells me the last time I read these stories was in 2009 so this omnibus was almost like an all new book.
The Chief puts together a new team to kick off the volume: Crazy Jane, a woman with 64 super powered personalities, Rebis, a combination of Larry Trainor, doctor Eleanor Poole, and the Negative Spirit, and good old Robotman, Cliff Steele. The new Doom Patrol take on The Brotherhood of Dada, the Cult of the Unwritten Word, the Scissormen, the Painting That Ate Paris, old enemies Brain and Mallah, and their biggest enemy: themselves.
The art was serviceable, not anything too spectacular. I guess that helps to keep things coherent at times. I don't know how readable this stuff would be with a different art style. The stories are very odd but still have a comic book goofiness to them. They're creepier than Silver Age Doom Patrol stories but I don't think the original Doom Patrol would be terribly out of place.
Sure, there are some logical leaps by the characters and Morrison is in "throw as many ideas at the reader at once but don't explore many of them" mode but the love for the DC universe still comes through. There's a reference to an early issue of Neil Gaiman's Sandman that I missed last time though, plus relatively obscure characters like Sunburst. Mallah pushing The Brain in a baby carriage was one of my favorite visuals in this volume.
Four out of five stars. On to the next serving of weirdness!
February 20, 2019
As the parent of a 3 year old I feel uniquely qualified to review this book in this way at this moment in time.
🎵 DOOM PATROL! DOOM PATROL!
We’ll be there on the double
Whenever there’s a problem
‘Round the DCEU
Caulder and his team of freaks
Will come and bewilder you
CLIFF! JANE! DOROTHY!
STEVE REBIS! JOSH! RHEA!
Yeah! They’re on the way!
DOOM PATROL! DOOM PATROL!
No threat’s too big,
No curse is too small,
DOOM PATROL, we’re on a roll
So here we go, DOOM PATROL 🎶
(On a serious note, I’m so glad I didn’t encounter this until middle age, I was weird enough already back in the ‘80s. Had I read this I’d have likely strapped garden shears to my hands and run around town attempting to speak only in anagrams...)
🎵 DOOM PATROL! DOOM PATROL!
We’ll be there on the double
Whenever there’s a problem
‘Round the DCEU
Caulder and his team of freaks
Will come and bewilder you
CLIFF! JANE! DOROTHY!
Yeah! They’re on the way!
DOOM PATROL! DOOM PATROL!
No threat’s too big,
No curse is too small,
DOOM PATROL, we’re on a roll
So here we go, DOOM PATROL 🎶
(On a serious note, I’m so glad I didn’t encounter this until middle age, I was weird enough already back in the ‘80s. Had I read this I’d have likely strapped garden shears to my hands and run around town attempting to speak only in anagrams...)
January 15, 2017
What the hell did I just read? This is some of the most bizarre, weirdest comics I have ever read and that is saying a lot especially because I am not a stranger to Grant Morrison's works. I've read his run on Batman and some of his other Vertigo titles and mini-series he has written in the past, but this is just balls to the wall batshit flippin' crazy! Scissormen that can cut you out of reality, parallel dimensions and paradoxes, and people with some of the strangest super powers imaginable! this book has all kinds of weird and psychedelic stuff. And it also happens to be some of the best drawn comics I have ever seen. It features art from Richard Case and a number of other artists and it's just wonderful to look at. it's like Dr. Strange meets the X-Men with bits of Neil Gaiman's Sandman thrown in there as well.
August 15, 2018
A brain placed inside an unfeeling robotic body. A man forced to share his body with a creature from a negative dimension. A woman with split personalities, each with their own metahuman power. And a manipulative bastard in a wheelchair who guides them all. They are the Doom Patrol, and when the world gets strange, these strange heroes step up to keep us safe from things you can’t even imagine.
Grant Morrison’s a nut. If you’ve read any of his stuff before, you know that’s true. But back before he was a household name, he took over a little book called Doom Patrol and wrote a run of comics that have gone down in history as some of the weirdest and most out-there books ever to be published. I’ve read some Grant Morrison, from the easily understood to the totally incomprehensible, so I thought I’d be prepared for this. Boy, was I wrong.
Things start off fairly tame, with Crawling From The Wreckage, a four part story that has Morrison pick up the pieces of the previous writer’s run on the book as he assembles his team, introduces some new characters, and gets the ball rolling on the weirdness with the arrival of the Scissormen, creepy monsters from an imaginary reality that is trying to force itself into existence. God, the sentences that this book is making me write. This arc is a solid introduction, although it did remind me of Alan Moore’s Swamp Thing in that Morrison’s building on things from before that we’re not privy to; I don’t know a lot about Invasion!, but it seems kind of important here.
Then we just dive right off the cliff of insanity as the Doom Patrol battle a being that could possibly be God, could possibly be Jack The Ripper, or both, or neither. It’s not exactly high concept stuff, but the vagueness and subtleties of Morrison’s writing makes you question literally everything you see in his comics – you can’t trust anything you read at all.
The focus shifts to Joshua Clay and Dorothy Spinner for an issue then, as they cope with the disappearance of the Patrol and end up fighting Dorothy’s imaginary friends. This little one-and-done reminds us that the Doom Patrol are part of the same world as the Justice League, even indirectly, and that’s almost as worrying as if they were the only heroes on the planet – if these guys are saving us from threats like this, then would the Justice League even stand a chance?
For those of you who have been reading Gerard Way’s Doom Patrol, you’ll be familiar with the villain of the next four issues – Mister Nobody and the Brotherhood of Dada attempt to destroy the world using a painting that eats people, only to run afoul of the Fifth Horseman of the Apocalypse. It doesn’t get any more surreal than this (he says, not having finished the run yet and fully prepared to eat his words). The Doom Patrol are almost incidental in this arc, and there’s a certain irony seeing two Justice Leagues standing around unable to do anything about the painting or even aware of the danger it poses.
We then get a deep dive into Crazy Jane’s split psyche as Robotman attempts to bring her back to the land of the living with some very interesting imagery, before the Doom Patrol are swept up into a battle against the Cult Of The Unwritten Book to save all of existence from the Anti-God. This is where things get really weird (as if they weren’t already) with Morrison throwing out super odd concepts in nearly every panel and never explaining any of them. It reminds me of the old Milestone Xombi book; you just have to accept the weird and get on with it.
Oh, and the final issue has Robotman’s body achieve sentience and then fight The Brain and Monsieur Mallah while Cliff’s brain sits in a jar on the side and talks to itself in one of the most absurdly wonderful single issue tales I’ve ever read. You just can’t make this stuff up (but Grant Morrison sure can).
The majority of these issues are pencilled by Richard Case, in what seems like an 80s DC house-style. But honestly, that just makes things even more creepy. If you had weird panel arrangements or out-there art styles like Dave McKean or something on this kind of book, it might be a little less creepy – seeing the weirdness drawn as if it’s just an everyday occurrence heightens the impact considerably, despite what you might think. There are fill-in issues by Doug Braithwaite, but he’s nowhere near his current style at this point, so it’s easy to mistake him for Case if you’re not looking closely.
I went into this volume thinking I’d get totally confused, but despite all of the insanity and strange concepts that Morrison chucks at the reader, it’s actually not that hard to follow what’s going on. Some of the nuances or the references that he’s drawing on to tell his story may have been lost, but that didn’t stop me from really enjoying all of this. The Doom Patrol and their adventures aren’t for the faint of heart, but if you like your stories completely balls to the wall insane, you’re in the right place.
Grant Morrison’s a nut. If you’ve read any of his stuff before, you know that’s true. But back before he was a household name, he took over a little book called Doom Patrol and wrote a run of comics that have gone down in history as some of the weirdest and most out-there books ever to be published. I’ve read some Grant Morrison, from the easily understood to the totally incomprehensible, so I thought I’d be prepared for this. Boy, was I wrong.
Things start off fairly tame, with Crawling From The Wreckage, a four part story that has Morrison pick up the pieces of the previous writer’s run on the book as he assembles his team, introduces some new characters, and gets the ball rolling on the weirdness with the arrival of the Scissormen, creepy monsters from an imaginary reality that is trying to force itself into existence. God, the sentences that this book is making me write. This arc is a solid introduction, although it did remind me of Alan Moore’s Swamp Thing in that Morrison’s building on things from before that we’re not privy to; I don’t know a lot about Invasion!, but it seems kind of important here.
Then we just dive right off the cliff of insanity as the Doom Patrol battle a being that could possibly be God, could possibly be Jack The Ripper, or both, or neither. It’s not exactly high concept stuff, but the vagueness and subtleties of Morrison’s writing makes you question literally everything you see in his comics – you can’t trust anything you read at all.
The focus shifts to Joshua Clay and Dorothy Spinner for an issue then, as they cope with the disappearance of the Patrol and end up fighting Dorothy’s imaginary friends. This little one-and-done reminds us that the Doom Patrol are part of the same world as the Justice League, even indirectly, and that’s almost as worrying as if they were the only heroes on the planet – if these guys are saving us from threats like this, then would the Justice League even stand a chance?
For those of you who have been reading Gerard Way’s Doom Patrol, you’ll be familiar with the villain of the next four issues – Mister Nobody and the Brotherhood of Dada attempt to destroy the world using a painting that eats people, only to run afoul of the Fifth Horseman of the Apocalypse. It doesn’t get any more surreal than this (he says, not having finished the run yet and fully prepared to eat his words). The Doom Patrol are almost incidental in this arc, and there’s a certain irony seeing two Justice Leagues standing around unable to do anything about the painting or even aware of the danger it poses.
We then get a deep dive into Crazy Jane’s split psyche as Robotman attempts to bring her back to the land of the living with some very interesting imagery, before the Doom Patrol are swept up into a battle against the Cult Of The Unwritten Book to save all of existence from the Anti-God. This is where things get really weird (as if they weren’t already) with Morrison throwing out super odd concepts in nearly every panel and never explaining any of them. It reminds me of the old Milestone Xombi book; you just have to accept the weird and get on with it.
Oh, and the final issue has Robotman’s body achieve sentience and then fight The Brain and Monsieur Mallah while Cliff’s brain sits in a jar on the side and talks to itself in one of the most absurdly wonderful single issue tales I’ve ever read. You just can’t make this stuff up (but Grant Morrison sure can).
The majority of these issues are pencilled by Richard Case, in what seems like an 80s DC house-style. But honestly, that just makes things even more creepy. If you had weird panel arrangements or out-there art styles like Dave McKean or something on this kind of book, it might be a little less creepy – seeing the weirdness drawn as if it’s just an everyday occurrence heightens the impact considerably, despite what you might think. There are fill-in issues by Doug Braithwaite, but he’s nowhere near his current style at this point, so it’s easy to mistake him for Case if you’re not looking closely.
I went into this volume thinking I’d get totally confused, but despite all of the insanity and strange concepts that Morrison chucks at the reader, it’s actually not that hard to follow what’s going on. Some of the nuances or the references that he’s drawing on to tell his story may have been lost, but that didn’t stop me from really enjoying all of this. The Doom Patrol and their adventures aren’t for the faint of heart, but if you like your stories completely balls to the wall insane, you’re in the right place.
February 22, 2019
You can find my review on my blog by clicking here.
What happens when you let the legendary Grant Morrison loose on a series meant to have eccentric ideas within a superhero universe? You can find that out in Grant Morrison’s reboot of The Doom Patrol. With some of the weirdest heroes and villains in the superhero game, this comic book series has truly embraced its identity thanks to Grant Morrison’s vision for it as he reevaluated it throughout his comic book run and gave it a distinctive level of absurdity that is unprecedented in the genre. While these heroes are integrated within the DC Universe, their world alone is drenched in senseless madness that puts heroes like Robotman, Negative Man and Crazy Jane at the heart of all the action. Reality is intangible and throughout their adventures, you are constantly bombarded with psychedelic and illusional events that make you question your own sanity. This is an experience in its own that only someone like Grant Morrison could have devised.
What is Doom Patrol (Book One) about? Collecting issues #19-34 that marks the debut of Grant Morrison’s reboot of this series originally created by the visionary team of writer Arnold Drake and artist Bruno Premiani back in the 1960s, the story follows a team of misfits who face threats that are beyond our wildest imagination while struggling with their own personal issues that shun them as freaks and outcasts. Known as the “World’s Strangest Heroes”, Grant Morrison looks to infuse these heroes with a singular dose of absurdity and get these heroes to earn their title without anyone being able to contest it. These first adventures thus introduce fans to the members of the Doom Patrol as well as some of the strangest villains bent on world domination who force our peculiar superpowered heroes into teaming up and trying to save the day.
If there’s one thing that is obvious is that Grant Morrison must have felt amazing writing this series since this is undeniably his kind of creative territory. Stories like these are what allows him to flex his visionary muscles as every other writer out there lamentably look away in shame at their inability to turn heroes like the Doom Patrol into relevant characters. In the first issues of his run, Grant Morrison doesn’t shy away from exploring some of the most bizarre concepts as he plunges deep into dadaism and surrealism without caring one bit about the reader’s comprehension of the events unfolding. A lot of dialogues are impossible to decorticate and promote carelessness to the narrative as the attention is rather put in the development of chemistry between characters rather than the manifestation of events. In fact, it’s the internal and psychological struggles of these heroes that remain the focus of this story as their outlying characteristics are converted into special abilities that are used to combat evil and serve as their entry point into a band that ultimately helps them slowly discover a feeling of belonging within this world.
If the narrative alone explores insanity in unimaginable ways, the artwork comes complement Grant Morrison’s vision with multiple artists who bring horrid and mystifying heroes villains to life only to further torment the readers’ understanding of this surreal universe. There isn’t a single moment that isn’t filled with crazy ideas that jump out of the pages of this comic book story as the colours greatly amplify the dream-like occurrences and add an unexplainable vividness to what can ultimately be considered nightmares. The artwork also does a wonderful job in capturing the tormented spirit of our heroes as they each live with defeat and try to compensate as best as they can in order to feel alive in the world. The Doom Patrol is indeed the lifeboat that allows them to find a purpose to their confused lives and hide it all within a superhero facade while they are not necessarily heroes.
Doom Patrol (Book One) is a creatively surreal story that follows a band of misfits who strive to save the world despite their personal struggles tempered by loss and insanity.
Yours truly,
Lashaan | Blogger and Book Reviewer
Official blog: https://bookidote.com/
What happens when you let the legendary Grant Morrison loose on a series meant to have eccentric ideas within a superhero universe? You can find that out in Grant Morrison’s reboot of The Doom Patrol. With some of the weirdest heroes and villains in the superhero game, this comic book series has truly embraced its identity thanks to Grant Morrison’s vision for it as he reevaluated it throughout his comic book run and gave it a distinctive level of absurdity that is unprecedented in the genre. While these heroes are integrated within the DC Universe, their world alone is drenched in senseless madness that puts heroes like Robotman, Negative Man and Crazy Jane at the heart of all the action. Reality is intangible and throughout their adventures, you are constantly bombarded with psychedelic and illusional events that make you question your own sanity. This is an experience in its own that only someone like Grant Morrison could have devised.
What is Doom Patrol (Book One) about? Collecting issues #19-34 that marks the debut of Grant Morrison’s reboot of this series originally created by the visionary team of writer Arnold Drake and artist Bruno Premiani back in the 1960s, the story follows a team of misfits who face threats that are beyond our wildest imagination while struggling with their own personal issues that shun them as freaks and outcasts. Known as the “World’s Strangest Heroes”, Grant Morrison looks to infuse these heroes with a singular dose of absurdity and get these heroes to earn their title without anyone being able to contest it. These first adventures thus introduce fans to the members of the Doom Patrol as well as some of the strangest villains bent on world domination who force our peculiar superpowered heroes into teaming up and trying to save the day.
If there’s one thing that is obvious is that Grant Morrison must have felt amazing writing this series since this is undeniably his kind of creative territory. Stories like these are what allows him to flex his visionary muscles as every other writer out there lamentably look away in shame at their inability to turn heroes like the Doom Patrol into relevant characters. In the first issues of his run, Grant Morrison doesn’t shy away from exploring some of the most bizarre concepts as he plunges deep into dadaism and surrealism without caring one bit about the reader’s comprehension of the events unfolding. A lot of dialogues are impossible to decorticate and promote carelessness to the narrative as the attention is rather put in the development of chemistry between characters rather than the manifestation of events. In fact, it’s the internal and psychological struggles of these heroes that remain the focus of this story as their outlying characteristics are converted into special abilities that are used to combat evil and serve as their entry point into a band that ultimately helps them slowly discover a feeling of belonging within this world.
If the narrative alone explores insanity in unimaginable ways, the artwork comes complement Grant Morrison’s vision with multiple artists who bring horrid and mystifying heroes villains to life only to further torment the readers’ understanding of this surreal universe. There isn’t a single moment that isn’t filled with crazy ideas that jump out of the pages of this comic book story as the colours greatly amplify the dream-like occurrences and add an unexplainable vividness to what can ultimately be considered nightmares. The artwork also does a wonderful job in capturing the tormented spirit of our heroes as they each live with defeat and try to compensate as best as they can in order to feel alive in the world. The Doom Patrol is indeed the lifeboat that allows them to find a purpose to their confused lives and hide it all within a superhero facade while they are not necessarily heroes.
Doom Patrol (Book One) is a creatively surreal story that follows a band of misfits who strive to save the world despite their personal struggles tempered by loss and insanity.
Yours truly,
Lashaan | Blogger and Book Reviewer
Official blog: https://bookidote.com/
September 15, 2024
Weird. Grant Morrison's Doom Patrol was a surreal and acid fueled trip enhanced by the blocky and perfectly odd art by Richard Case featuring memorable villains like the scissorkmen, Red Jack, Mr. Nobody, and among my favorite the Pale Police who can only speak in anagrams.
Long time villains the Brain and Mallah even make an appearance in the last story of the collection with the breakout star being Crazy Jane, who has not only multiple personalities, but super powers to go with each one.
It all brought back memories to me when issue #19 of the series hit the new comic racks and the book just skyrocketed from there with Morrison's perfect blending of the absurd and bizarre with this team of misfits.
Wonderful stuff!
Long time villains the Brain and Mallah even make an appearance in the last story of the collection with the breakout star being Crazy Jane, who has not only multiple personalities, but super powers to go with each one.
It all brought back memories to me when issue #19 of the series hit the new comic racks and the book just skyrocketed from there with Morrison's perfect blending of the absurd and bizarre with this team of misfits.
Wonderful stuff!
March 25, 2019
Liked it, but..
I couldn't help noticing the.. similarity.. of ALL the stories. The Scissormen, the Painting that Ate Paris, and the invisible city of Nurnberg were all much of a muchness, weren't they?
Also, the art started to get a little slipshod toward the end.
October 2, 2019
El cómic imposible. El que derriba las barreras de la imaginación, el que estira las posibilidades de la realidad.
El que hablando en joda plantea cosas serias.
Un must read it difícil de clasificar.
El que hablando en joda plantea cosas serias.
Un must read it difícil de clasificar.
March 26, 2019
A year or so ago I tried giving this run a go. I got 4 issues in and I had to put it down. Grant Morrison was just fucking with my head. All that mumbo jumbo just didn't connect with me and overall it was just a bit too weird for me to sink my teeth into.
After loving the Doom Patrol show so much I thought I would try again. And hot diggidy dog did I enjoy it!
What changed? Maybe it was reading Grants run on Animal Man that made me appreciate his out of the box thinking? Or maybe I just enjoyed seeing more of the characters from the show (which if your not watching, you need to check it out. Really really good, quirky greatness).
The stories are bonkers, and the art by Richard Case is top notch. Overall if your into the weirder side of comics this is a no brainer!!
After loving the Doom Patrol show so much I thought I would try again. And hot diggidy dog did I enjoy it!
What changed? Maybe it was reading Grants run on Animal Man that made me appreciate his out of the box thinking? Or maybe I just enjoyed seeing more of the characters from the show (which if your not watching, you need to check it out. Really really good, quirky greatness).
The stories are bonkers, and the art by Richard Case is top notch. Overall if your into the weirder side of comics this is a no brainer!!
August 1, 2018
This was typical Morrison with his weird wacky and crazy Doom Patrol run. Superheros with a wacky twist. Philosophy, comedy, action, literature/arts and more. If you want something covered this probably has it. Not straight forward and it wont make sense for a while, however it still made sense and was a good read. If you've never read a Doom Patrol novel before I'd recommend starting here. I unfortunately started a little later and it didnt make much sense. Here it does in a Morrison type of way.
January 15, 2021
Grant Morrison is a writer who throws every idea he has at the same wall, hoping that something will stick. Usually something does, and in this book Morrison has more hits than misses. It’s clever, wry, and beautifully drawn.
dnf
January 9, 2021DNF @ 52%
Really wanted to like this one, but while I enjoyed the first volume a fair bit, the second volume has been confusing to the point where it's unenjoyable. Add to that the fact that I only like a couple of the characters and I just don't see the point in carrying on with this one.
Really wanted to like this one, but while I enjoyed the first volume a fair bit, the second volume has been confusing to the point where it's unenjoyable. Add to that the fact that I only like a couple of the characters and I just don't see the point in carrying on with this one.
September 15, 2021
fave fave fave forever I can’t wait to keep plowing thru these trades. I’ve been chipping away for a while and I honestly think that’s my favorite way to read Doom Patrol. To much at once and my head starts to hurt a bit 🤪
July 17, 2022
3,5* rounding up to 4*
November 11, 2017
As villains, the Brotherhood of Dada putting Paris in a painting perfectly encapsulates the sort of surrealism that makes Doom Patrol so good. A classic, Bill Watterson-esque trip through different schools of art and levels of the painting as the Doom Patrol battles not only the Brotherhood but one of the four horsemen of the apocalypse. Meanwhile, Superman and the rest of the Justice League are left in the role of the depicted observers, looking at the painting.
It's just plain fun. There are a few stories in this collection that don't make the weird work quite as well. For instance, why would Robot Man's body be able to attain independent thought? It doesn't have an operating system independent of Cliff's brain. If it's incapable of thought, being just a body, it shouldn't be able to make advanced plans to explode the way it does. I get that the writers wanted to be rid of the new robot body and the possibilities it presented, but that short story was bizarre and not in a particularly well thought out way. I'm sure I'm not the first to notice.
Still, I love the themes of stories coming to life, art consuming reality, and the thin lines between madness and sanity. Doom Patrol is a good read, and I highly recommend it for fans of the weird.
It's just plain fun. There are a few stories in this collection that don't make the weird work quite as well. For instance, why would Robot Man's body be able to attain independent thought? It doesn't have an operating system independent of Cliff's brain. If it's incapable of thought, being just a body, it shouldn't be able to make advanced plans to explode the way it does. I get that the writers wanted to be rid of the new robot body and the possibilities it presented, but that short story was bizarre and not in a particularly well thought out way. I'm sure I'm not the first to notice.
Still, I love the themes of stories coming to life, art consuming reality, and the thin lines between madness and sanity. Doom Patrol is a good read, and I highly recommend it for fans of the weird.
June 11, 2019
Love is lovelier the second time around and damn this book is somehow even better. Having read this once before I knew already the level of...oddity it possesses, also known as "Morrisonesque" because damn if he doesn't demonstrate his understanding of the arcane and marvelous.
Doom Patrol is nothing like anything the reader is likely to experience, and that's by design. These characters experience mania and esoteric threats that are nothing like an average comic-book hero, and Marrison balances this oddity by giving the characters a depth and realness that keep the reader grounded.
The stories in this first book are weird and strange and wonderful and they remind me that Doom Patrol is a book that I will pick up again and again because, no matter how many times I read the stories of Mr. Nobody, Crazy Jane, the scissor-men, or even of poor, resilient RobotMan Cliff Steele I know that I'm going to be entertained and find something to marvel at.
Doom Patrol is nothing like anything the reader is likely to experience, and that's by design. These characters experience mania and esoteric threats that are nothing like an average comic-book hero, and Marrison balances this oddity by giving the characters a depth and realness that keep the reader grounded.
The stories in this first book are weird and strange and wonderful and they remind me that Doom Patrol is a book that I will pick up again and again because, no matter how many times I read the stories of Mr. Nobody, Crazy Jane, the scissor-men, or even of poor, resilient RobotMan Cliff Steele I know that I'm going to be entertained and find something to marvel at.
February 17, 2019
I'd recently read 19-25 in a previous collection, so I just read the remaining after glancing through the first half. The first half I rated 3 stars, but this back half I'd give 5 stars, so the title gets averaged down.
There is some amazing crazy stuff here. The first incarnation of the DaDa squad, and the Painting that ate Paris is just a machine gun of insane ideas in an entertaining story form (the cameo of JLA at their most befuddled is a nice touch). The exploration inside Crazy Jane's mind is a fascinating story that deals with mental illness in an interesting way, and also touches on abuse in a manner that feels way ahead of its time. The Cult of the Unwritten Book is another fountain of insanity in story form, and Willoughby Kipling is John Constantine under another name basically. The stories are radically off-kilter, occasionally hilarious and always challenging in the best way. I can see why this is a milestone series and made Morrison's reputation.
There is some amazing crazy stuff here. The first incarnation of the DaDa squad, and the Painting that ate Paris is just a machine gun of insane ideas in an entertaining story form (the cameo of JLA at their most befuddled is a nice touch). The exploration inside Crazy Jane's mind is a fascinating story that deals with mental illness in an interesting way, and also touches on abuse in a manner that feels way ahead of its time. The Cult of the Unwritten Book is another fountain of insanity in story form, and Willoughby Kipling is John Constantine under another name basically. The stories are radically off-kilter, occasionally hilarious and always challenging in the best way. I can see why this is a milestone series and made Morrison's reputation.
April 2, 2018
Clever, odd adventures of a group of disturbed superheroes. I enjoyed it, but didn't feel it lived up to the hype, or maybe I didn't sufficiently appreciate how original it seemed 30 years ago.
Two specific problems dropped my rating sharply:
1. The labelling of this as "Book One" is misleading. It's the start of Morrison's run on an existing title, and nearly all the characters have history. I had to spend a lot of time on the DC Wiki to make sense of things. A good introduction with a "Who's Who" and a "Previously in..." would have made a huge difference.
2. Apparently, Morrison was denied permission to use John Constantine. Willoughby Kipling is such a poor imitation Constantine that virtually every panel he's in is painful.
Two specific problems dropped my rating sharply:
1. The labelling of this as "Book One" is misleading. It's the start of Morrison's run on an existing title, and nearly all the characters have history. I had to spend a lot of time on the DC Wiki to make sense of things. A good introduction with a "Who's Who" and a "Previously in..." would have made a huge difference.
2. Apparently, Morrison was denied permission to use John Constantine. Willoughby Kipling is such a poor imitation Constantine that virtually every panel he's in is painful.
February 22, 2019
I’m still not sure if I’m a fan of Morrison. And this book is the perfect example. There were a couple of story arcs that were -incredible-, easily 5-stars. But there were just as many arcs that were just way too weird for my liking. That doesn’t make them bad, just not necessarily for me.
June 15, 2017
This book makes me wish there were more words for "weird." Some of the weird of the book, I loved. Some of the weird was incomprehensible. The book finished with the perfect kind of weird.
June 16, 2019
I picked up a few issues of the Morrison run at a thrift store a few years back, and for the life of me I don’t know why I didn’t seek out the full run earlier.
Fast forward to a few weeks ago. I started cold-exposure therapy. I started digging into psychedelic philosophies I read in my late teens and early twenties. Who shows up in my YouTube feed but Grant Morrison. In the video he spoke about meeting aliens, chaos magic, and how his writing had become massive sigils, altering his reality. He led me back to R Anton Wilson.
Then earlier this week I found out kindle unlimited had merged with Comixology. Doom Patrol and The Invisibles are all free on there.
So here I am.
It is like all of the paths I half walked my entire life are merging so I can complete the journey.
The first thing that struck me was the fact that in comics such as this (there’s also a great thought battle in Sandman, when Morpheus has to get his helm back) reason becomes force. I am amazed by how seamless Morrison’s transition into this new form of heroism is in virtually every issue. You can almost tell the comics are thought puzzles Morrison created for himself. He gets his heroes into these impossible messes, and then has to think them out of it. As a writer, I have to say it is one of the best exercises out there. Write yourself into a veritable corner, and then dig yourself out.
The next thing that struck me were these new archetypes Morrison had developed (the anti-person, the super absurdists) We see these in other works from this time period as well, like Moore’s material.
I have heard there is a bit of tension between these two authors due to similarities in their stories. I think these two are on a similar wavelength, a wavelength apart from most others. Like they are attuned to a different frequency than most and as such they pick up on similar “transmissions,” or something. Seems like the psychedelic philosophers operate on this frequency as well.
I used to get bummed when I read Morrison and Moore’s work because I always found that they’d thought of good ideas years ago that I thought I had come up with. Now I like the challenge their works present me with. Human creativity and thought will be more and more likely to reach similar conclusions as more and more time goes by. So as artists we have to strive to think outside of the box.
Morrison is a visionary. He thought way outside of the box. His ideas have influenced other artists, and today it is no surprise that folks who have read very little Morrison still come up with ideas reminiscent of his.
I have read a little, but it is still a bit surreal to see so much of his influence in my work, especially when it is work I had not read until the last few days. I’m hoping it means I’m just starting to tap into the frequency that dude has been tuning into for the past 30 years or so.
Fast forward to a few weeks ago. I started cold-exposure therapy. I started digging into psychedelic philosophies I read in my late teens and early twenties. Who shows up in my YouTube feed but Grant Morrison. In the video he spoke about meeting aliens, chaos magic, and how his writing had become massive sigils, altering his reality. He led me back to R Anton Wilson.
Then earlier this week I found out kindle unlimited had merged with Comixology. Doom Patrol and The Invisibles are all free on there.
So here I am.
It is like all of the paths I half walked my entire life are merging so I can complete the journey.
The first thing that struck me was the fact that in comics such as this (there’s also a great thought battle in Sandman, when Morpheus has to get his helm back) reason becomes force. I am amazed by how seamless Morrison’s transition into this new form of heroism is in virtually every issue. You can almost tell the comics are thought puzzles Morrison created for himself. He gets his heroes into these impossible messes, and then has to think them out of it. As a writer, I have to say it is one of the best exercises out there. Write yourself into a veritable corner, and then dig yourself out.
The next thing that struck me were these new archetypes Morrison had developed (the anti-person, the super absurdists) We see these in other works from this time period as well, like Moore’s material.
I have heard there is a bit of tension between these two authors due to similarities in their stories. I think these two are on a similar wavelength, a wavelength apart from most others. Like they are attuned to a different frequency than most and as such they pick up on similar “transmissions,” or something. Seems like the psychedelic philosophers operate on this frequency as well.
I used to get bummed when I read Morrison and Moore’s work because I always found that they’d thought of good ideas years ago that I thought I had come up with. Now I like the challenge their works present me with. Human creativity and thought will be more and more likely to reach similar conclusions as more and more time goes by. So as artists we have to strive to think outside of the box.
Morrison is a visionary. He thought way outside of the box. His ideas have influenced other artists, and today it is no surprise that folks who have read very little Morrison still come up with ideas reminiscent of his.
I have read a little, but it is still a bit surreal to see so much of his influence in my work, especially when it is work I had not read until the last few days. I’m hoping it means I’m just starting to tap into the frequency that dude has been tuning into for the past 30 years or so.
February 5, 2024
This collects issues #19-34 (Feb 1989-Jul 1990), the beginning of Grant Morrison's 4-year run. It's some of the most gonzo comic storytelling. The Doom Patrol still has The Chief (Niles Caulder) and Robotman (Cliff Steele) from the original group (although it's revealed that Cliff's robot body was built by the Metal Men's creator, Will Magnus). Negative Man (Larry Trainor) is now merged with a black doctor named Dr. Eleanor Poole, to create a multi-gender multiracial entity known as Rebis. Gone are Elasti-Girl (Rita Farr) and Beast Boy (Gar Logan). New member Crazy Jane, whose multiple personalities manifest a wide range of superpowers, joins the team. Supporting team members are Joshua Clay, a medical doctor with energy powers, and Dorothy Spinner, an ape-faced girl with powerful "imaginary friends."
One of the first villains are The Scissormen, who use their giant scissor hands to cut people out of reality. Another antagonist is The Brotherhood of Dada (successor to the The Brotherhood of Evil), one of whose members is The Quiz who has "every superpower you hadn't thought of."
The artwork by Richard Case, John Nyberg, Doug Braithwaite, Scott Hanna, and Carlos Garzón has very much a 1990's sensibility, with dynamic layouts and fine line work.
As bizarre as some of the ideas are, most of it flows clearly, although there are a couple of times when it seems like Morrison may have written himself into a corner and just reverts to deus ex machina resolutions. Cliff's new robot body that he gets late in this collection includes hidden weapons that seem out of character. I suspect some of the bumps in the road will be smoothed out as the series progresses.
One of the first villains are The Scissormen, who use their giant scissor hands to cut people out of reality. Another antagonist is The Brotherhood of Dada (successor to the The Brotherhood of Evil), one of whose members is The Quiz who has "every superpower you hadn't thought of."
The artwork by Richard Case, John Nyberg, Doug Braithwaite, Scott Hanna, and Carlos Garzón has very much a 1990's sensibility, with dynamic layouts and fine line work.
As bizarre as some of the ideas are, most of it flows clearly, although there are a couple of times when it seems like Morrison may have written himself into a corner and just reverts to deus ex machina resolutions. Cliff's new robot body that he gets late in this collection includes hidden weapons that seem out of character. I suspect some of the bumps in the road will be smoothed out as the series progresses.
August 16, 2021
Regresso a um dos melhores arcos narrativos de sempre na história dos comics, embora não dos mais conhecidos: a temporada de Grant Morrison como argumentista de Doom Patrol. Um conjunto de personagens que em si já é algo bizarro, um grupo de heróis relutantes que tem em comum o sentirem-se à margem da sociedade. Morrison pega nessa margem e explora-a até ao tutano, em aventuras surreais e absurdistas. Quão surreais? Neste primeiro livro, a coligir as histórias, o grupo de heróis que inclui uma força negativa que fundiu os corpos de um homem e mulher numa união alquímica, uma mulher capaz de manifestar centenas de personalidades múltiplas, e um homem cujo cérebro reside num corpo robótico, terão de enfrentar estranhas ameaças. Uma cidade imaginária que se manifesta e começa a recortar os espaços físicos. A terrível ameaça dos vilões da irmandade Dada, chefiada por Mr. Nobody, talvez o melhor super-vilão de sempre, que se consuma com o devorar da cidade de Paris por uma pintura, onde reside o quinto cavaleiro do apocalipse. O oposto do deus criador, o demiurgo descriador, ativado por uma seita que reside numa cidade desaparecida que se oculta em recantos esquecidos, através do rapto para leitura de um homem que nasceu com um livro naturalmente tatuado na pele. Surreal, absurdo, uma lição de história de arte (as ligações à pintura e literatura surrealista e dada são óbvias, com influências do ocultismo e pensamento hermético), e algo totalmente inesperado nos comics. Os comics nunca são um trabalho individual, e os ilustradores que acompanharam Morrison nesta aventura surreal conseguiram materializar a visão inesperada do argumentista.
March 19, 2025
Ten komiks udowadnia, że Grant Morrison od zawsze jest świetnym scenarzystą.
Doom Patrol to banda wyrzutków z wszelką masą chorób i problemów psychicznych, którzy ratują świat w najdziwniejsze sposoby od jeszcze dziwniejszych zagrożeń.
Bohaterowie są charakterystyczni, mają projekty, które porządnie odzwierciedlają ich charakter oraz oglądając ich przygody nigdy nie można się nudzić.
Fabularnie tutaj jest naprawdę dobrze. Historie są pełne kreatywnych konceptów, które dziwią i fascynują czytelnika swoją wyjątkowością. Są one szalone i abstrakcyjne, ale nigdy nie odwracają uwagi od opowieści, lecz dodają do niej.
Rysunki Richarda Case'a są porządne. Większość czasu jest to zwykła rzemieślnicza robota, ale kiedy fabuła odpina wrotki, wizualia robią to wraz z nią i serwują niesamowite wrażenia, od których ciężko jest odwrócić wzrok.
Zdecydowanie polecam ten komiks ludziom lubujących się w niestandardowych historiach, które potrafią pobudzić wyobraźnię czytelnika i pokazać mu coś nowego, czego wcześniej nie widział.
Doom Patrol to banda wyrzutków z wszelką masą chorób i problemów psychicznych, którzy ratują świat w najdziwniejsze sposoby od jeszcze dziwniejszych zagrożeń.
Bohaterowie są charakterystyczni, mają projekty, które porządnie odzwierciedlają ich charakter oraz oglądając ich przygody nigdy nie można się nudzić.
Fabularnie tutaj jest naprawdę dobrze. Historie są pełne kreatywnych konceptów, które dziwią i fascynują czytelnika swoją wyjątkowością. Są one szalone i abstrakcyjne, ale nigdy nie odwracają uwagi od opowieści, lecz dodają do niej.
Rysunki Richarda Case'a są porządne. Większość czasu jest to zwykła rzemieślnicza robota, ale kiedy fabuła odpina wrotki, wizualia robią to wraz z nią i serwują niesamowite wrażenia, od których ciężko jest odwrócić wzrok.
Zdecydowanie polecam ten komiks ludziom lubujących się w niestandardowych historiach, które potrafią pobudzić wyobraźnię czytelnika i pokazać mu coś nowego, czego wcześniej nie widział.
August 25, 2020
Grant Morrison can be very hit or miss for me, this was definitely a hit.
A surealist take on the usually boring and predictable superhero genre.
For all the times I've read that "so and so deconstructs the superhero genre" this is the one time where it is actually true.
These guys are "super" because they have extraordinary powers, but these powers are what makes them incredibly flawed. It says a lot that the most relatable character is a robot with a transplanted brain.
With its non-linear narrative Morrison embraces the absurd and takes this eccentric team to places superhero comics usually don't go and this is a 30 year old series. I can't imagine what it would have been like reading this back in the day, pre-Vertigo.
Anyone that likes surrealism, the absurd and clever comics needs to give this a chance.
Even if like me, you're not the greates Grant Morrison fan.
A surealist take on the usually boring and predictable superhero genre.
For all the times I've read that "so and so deconstructs the superhero genre" this is the one time where it is actually true.
These guys are "super" because they have extraordinary powers, but these powers are what makes them incredibly flawed. It says a lot that the most relatable character is a robot with a transplanted brain.
With its non-linear narrative Morrison embraces the absurd and takes this eccentric team to places superhero comics usually don't go and this is a 30 year old series. I can't imagine what it would have been like reading this back in the day, pre-Vertigo.
Anyone that likes surrealism, the absurd and clever comics needs to give this a chance.
Even if like me, you're not the greates Grant Morrison fan.
August 18, 2019
It was the late nineties when a coworkers lent me this collection of books and blew my mind. Morrison has a way of taking the hokiest of comic book tropes and merging them with literate metaphors. One is never sure how seriously to take the Doom Patrol, and this run of the book launches that confusion into higher planes of existence. I recommend Morrison’s entire run on DP, and if you hunger for more weirdness, check out The Invisibles, where he really kicks the surreal engine into high cosmic gear.
May 17, 2020
SPOILERS (only some tho)
These comics are so phenomenally strange they rock the mind to its foundations. The art is dark in that superb late '80s style (i dunno art descriptions). I love this stuff I mean they fight a guy who thinks he's Jack the Ripper and God and at one point a painting eats Paris and only by the power of dada is the universe saved from the fifth horseman of the apocalypse who is powered by the history of artistic ideas. THE GOOFS, man. I rate this one lovely, absolutely lovely.
These comics are so phenomenally strange they rock the mind to its foundations. The art is dark in that superb late '80s style (i dunno art descriptions). I love this stuff I mean they fight a guy who thinks he's Jack the Ripper and God and at one point a painting eats Paris and only by the power of dada is the universe saved from the fifth horseman of the apocalypse who is powered by the history of artistic ideas. THE GOOFS, man. I rate this one lovely, absolutely lovely.
Displaying 1 - 30 of 174 reviews