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3.94 AVERAGE
3.94 AVERAGE
This volume was the weirdest one so far and maybe too weird for me. I got a bit confused and even a little bored.
I'm torn on this volume. It's got the introductions of Flex Mentallo, Danny the Street, and the Men from NOWHERE in a fantastic two-parter. It's also got the space story, which is probably my least favorite story in the series. But it's still really good. I dunno. It's good stuff, it's just not as good as normal.
Volume 3 of the series starts strongly with the introduction of Danny the Street, a sentient street that can teleport itself into anywhere in the world. The idea of a magical shop (or street in this case) isn't new - TV Tropes calls it The Little Shop That Wasn't There Yesterday (http://tvtropes.org/pmwiki/pmwiki.php/Main/TheLittleShopThatWasntThereYesterday) but this story is deftly handled, with the exception of some weird artwork where the artist seems to have forgotten that Robotman has an immovable metal face.
It starts to fall apart almost immediately though, as the Danny the Street story is left hanging in favour of the story of the reawakening of Rhea Jones, who has been in a coma for a while but has now emerged as a mysterious being of undefinable power. This draws the attraction of two warring parties who both want her power for themselves, and this is where it loses me completely, because the whole section is an almost incomprehensible mess. There are some interesting ideas in here, but far too little context for them to be hung onto, so it ends up being just a lot of weird characters in search of a story.
As with other stories in this series, The Doom Patrol often finds itself as bystanders in their own comic, as Rhea stops the war by planting a flower from the Tree of Knowledge from the Garden of Eden, which was stolen by an Angel and taken to another planet.
The story pretty much just stops, with Rhea heading off to the stars and Robotman declaring that it was time that the Doom Patrol goes home, without making it clear just how they were expected to get back, considering they are still on another planet at this point.
So, probably 4 stars for Danny the Street, and 2 for the rest. Hopefully we will get back to more interesting stuff in the next volume, even if we can confidently say it won't be anything like normal (whatever that is).
It starts to fall apart almost immediately though, as the Danny the Street story is left hanging in favour of the story of the reawakening of Rhea Jones, who has been in a coma for a while but has now emerged as a mysterious being of undefinable power. This draws the attraction of two warring parties who both want her power for themselves, and this is where it loses me completely, because the whole section is an almost incomprehensible mess. There are some interesting ideas in here, but far too little context for them to be hung onto, so it ends up being just a lot of weird characters in search of a story.
As with other stories in this series, The Doom Patrol often finds itself as bystanders in their own comic, as Rhea stops the war by planting a flower from the Tree of Knowledge from the Garden of Eden, which was stolen by an Angel and taken to another planet.
The story pretty much just stops, with Rhea heading off to the stars and Robotman declaring that it was time that the Doom Patrol goes home, without making it clear just how they were expected to get back, considering they are still on another planet at this point.
So, probably 4 stars for Danny the Street, and 2 for the rest. Hopefully we will get back to more interesting stuff in the next volume, even if we can confidently say it won't be anything like normal (whatever that is).
Weird and fantastic! The cover art is so utterly gorgeous, it certainly puts the current T+A bozos to shame. (Though the 2005 rerelease cover is, of course, a T+A shot, which is so lame considering all the gorgeous art within. Idiots. Simon Bisley's work is a million times better than that smarm. *sighhhhh*)
This volume was the weirdest one so far and maybe too weird for me. I got a bit confused and even a little bored.
I didn't feel that this was as strong as the previous collection, The Painting That Ate Paris, but Danny the Street is extremely awesome.
The reading of this volume was way thougher than the predecessors. However, the great amout of work Morrison did to make this truly bizarre is outstanding. For me, this was one of those comics that trascend into pure art, pure surrealism.
Grant Morrison just came out as non-binary, so it's worth remembering that the 1987 Doom Patrol is full of non-binary representation and everyone should read it.