When BLACKEST NIGHT falls, skeletons start coming out of the closets—and no one has more skeletons in his closet than Niles Caulder, founder of the Doom Patrol. Caulder has been playing god for years, and the time for a reckoning has come. The Doom Patrol thought they knew darkness. Find out how wrong they were in this BLACKEST NIGHt tie-in issue! Meanwhile, in the Metal Men co-feature, trendy meets grotesque when the robots battle a group of living mannequins.
Witness the past, present, and future of the Doom Patrol through the eyes of the only constant member of the team. Through all its reincarnations, through all his remodelings, you can't have a Doom Patrol without Cliff 'Robotman' Steele!
Oolong Island is picking up the pieces after the Black Lanterns' devastating attack. Former Patrol member Crazy Jane finds the island first, bearing terrifying news of what's to come!
They were outcast heroes, bound together by fate, led by their mysterious, wheelchair-bound Chief: Robotman, Elasti-Girl, Negative Man and Beast Boy.Their strange powers made them the objects of fear instead of hero worship. In the 1960s, they were the most unusual super-team comics readers had ever seen. In this fourth volume of their Archive series, the Doom Patrol faces such bizarre menaces as Mr. 103, Ultimax, and the Brotherhood of Evil, including the duo of the Braina disembodied, super-intelligent brainand Monsieur Mallah, an evil, talking ape who speaks with a French accent.
The spirit of Grant Morrison's groundbreaking DOOM PATROL is captured in this debut series starring the cult-favorite misfits as a part of Gerard Way's new Young Animal imprint. Flex Mentallo, Robotman, Rebis, Crazy Jane, and more are back to twist minds and take control. This new take on a classic embraces and reimagines the Morrison run's signature surrealism and irreverence. Incorporating bold, experimental art and a brash tone to match a new generation of readers, Gerard Way's DOOM PATROL establishes radical new beginnings, breaks new ground, and honors the warped team dynamic of the world's strangest heroes. This abstract and unexpected ensemble series nods at the Doom Patrol's roots by continuing to break the barriers of the traditional superhero genre. Collects issues #1-6. DOOM PATROL is the flagship title of Young Animal--a four-book grassroots mature reader imprint, creatively spearheaded by Gerard Way, bridging the gap between the DCU and Vertigo, and focusing on the juxtaposition between visual and thematic storytelling.
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.
The Thing. Daredevil. Captain Marvel. The Human Fly. Drawing on DC and Marvel comics from the 1950s to the 1990s and marshaling insights from three burgeoning fields of inquiry in the humanities—disability studies, death and dying studies, and comics studies—José Alaniz seeks to redefine the contemporary understanding of the superhero. Beginning in the Silver Age, the genre increasingly challenged and complicated its hypermasculine, quasi-eugenicist biases through such disabled figures as Ben Grimm/The Thing, Matt Murdock/Daredevil, and the Doom Patrol. Alaniz traces how the superhero became increasingly vulnerable, ill, and mortal in this era. He then proceeds to a reinterpretation of characters and series—some familiar (Superman), some obscure (She-Thing). These genre changes reflected a wider awareness of related body issues in the postwar U.S. as represented by hospice, death with dignity, and disability rights movements. The persistent highlighting of the body's “imperfection” comes to forge a predominant aspect of the superheroic self. Such moves, originally part of the Silver Age strategy to stimulate sympathy, enhance psychological depth, and raise the dramatic stakes, developed further in such later series as The Human Fly, Strikeforce: Morituri, and the landmark graphic novel The Death of Captain Marvel, all examined in this volume. Death and disability, presumed routinely absent or denied in the superhero genre, emerge to form a core theme and defining function of the Silver Age and beyond.
