Classic Comic Runs is a feature where we revisit classic, and maybe some not-so-classic, comic book runs. Looking at how having the same creator(s) on the same comic book for a long time can create some amazing stories… or can be totally overrated.

Grant Morrison

Grant Morrison has a long and storied career. A career that is long enough that you might know him from one of his long runs from X-Men to JLA to Superman – or whatever he is doing now. You could be forgiven for forgetting his Vertigo days with The Invisibles or even his books that helped lay the foundation for Vertigo: Animal Man and Doom Patrol.

The Doom Patrol show (currently on the DC Universe streaming service, for as long as it still exists) is heavily based on Morrison’s run. That show is one of the best comic book adaptations out there, which – in the golden era of comic book movies and TV – is high praise. The show manages to be respectful to the source material without being slovenly beholden to it, and in translating it to a new medium, it adds something to the story.

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Doom Patrol

The run of Doom Patrol I am looking at is from February 1989 through January 1993, otherwise known as issues 19-63. Until recently, I had not read his run on the comic. I had read and liked his shorter works, but his longer runs have taken me more time to get into. A while back, I made it through The Invisibles – which I loved – and I own the entirety of his Animal Man. Both are amazing. But, for whatever reason, Doom Patrol never made it to the top of the pile.

After devouring the TV show, I made some space for the comic and do not regret this at all. Much more than either Animal Man or The Invisibles, Doom Patrol feels like an episodic comic book serial. Animal Man struck me as an attempt to sneak the crazy that Morrison is known for into a mainstream book. And despite its length, The Invisibles felt like Morrison always knew where it was headed (even if that place might have been somewhere completely insane and totally deranged). From page 1, it was the same destination in mind.

By contrast, Doom Patrol feels like Morrison was trying to get as many ideas out of his head as quickly as he could. Might be he felt like he had to, before someone took away his toys. The amazing part is that it works. Doom Patrol becomes a collection of not just off-beat superheroes but a collection of broken individuals who can barely keep it together… let alone save the world.

Somehow, though, they do save the world, against a series of villains most of whom are only a touch more or less functional than the Doom Patrol members themselves. The villains here are as likely to rant in quotes from philosophers or launch a metaphysical attack as they are to have a straightforward plan of any sort.

Again, despite the odds, this all somehow works.

The Rest of the Creators

The other standout here is the rest of the creative team. Richard Case, except for a few issues, is in charge of the pencils and never fails to bring the insanity to life. He has a style that lends itself to a book that includes a living street, a painting that eats Paris, and a main character whose physical appearance changes with each of her many separate personalities.

Another standout is John Workman, the letterer. It takes a lot to bring as much to a job as Workman does… and that is so important. At the same time, letting is a job that usually disappears into the background. Nevertheless, Workman brings a fine eye for both interesting fonts and clear text. Many times, when see an interesting font used, it is either distracting or unreadable. Not here, where the fonts are interesting yet don’t diminish the overall clarity.

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Worth It?

There are some big differences between Morrison’s run on the comics and the current TV series: no Rita Farr, Dorthy’s and the Chief’s relationship is very different, Mr. Nobody is quite different, and there is no goat. But, even with those differences, the show draws a lot from this run. I would say for anyone who is enjoying the show, it would be completely worth it to pick up. You can track down the issues from dollar bins at your local comic shop, buy the collected editions (either in print or digital), or subscribe to the newly announced DC Universe Infinite, which we’re assuming will have these books.