Doom Patrol

The more I read Grant Morrison’s work, I find myself in a suspended state of discontent. I’ve read some of this Batman work, Animal Man, JSA, Filth, Supergods and found it to be ok… Some of it is hit-or-miss with me. And I think part of my problem is, I’ve compared his work too much to Alan Moore, since most critics tend compare one against the other… I’ve fallen into this trap too.

I’ve watched Happy! and found myself liking this dark, creepy, surreal world Morrison created (I haven’t started Season 2 yet). The translation from graphic novel to tv worked. Morrison’s worlds tend to be fucked up, no sugar coating, or no ultimate force of good — either you’re ignorant, or depraved. His heroes tend to be just as depraved as the villains, but at some point, some imaginary friend helps them in finding a moral compass and do what’s right… ish.

I’ve read reviews where they summarize Morrison to be a two-bit, shock-artist that lack substance… The latex fetish scenes just just reinforce this idea. But every once in awhile, Morrison has nuggets of good ideas.

When I started Doom Patrol, I suspected the show runners would source Morrison’s work for stories; and I didn’t know how I’d feel about that or how well it would translate to a tv series. And to be honest, it hasn’t disappointed. Similar to Happy!, the main characters suffer from past wrong-doings. The shock-value is there, but might be toned down (being a DC property).

I like the idea that the super-villain exists outside the 4th dimension in the “white space”. It allows for interesting (funny) commentary on the show and characters itself. The show plays on chance and happenstance in some interesting ways (similar to another show I’ve been following, Milo Murphy’s Law)…

Comments

comments