Sarah Horrocks considers Doom Patrol at Mercurial Blonde.

“I was really surprised by Doom Patrol.  From the Morrison front, I feel like one of the things he’s best at is turning comics into these kind of jagged poems spinning off into all directions, and one of the things he’s worst at is the kind of dense meta-narratives that say, someone like Moore carries off with ease.  Morrison at his best is more of a poet, and Moore is more of a novelist in a lot of respects.  Doom Patrol plays to those strengths.

The real revelation though was Richard Case, whose work I was unfamiliar with before this.  It’s wild all of the great artists who dropped in on Doom Patrol, whose work I like otherwise, like Kelley Jones, Shaky Came, Bisley, and many more–but they were all just distractions from Case.  Whenever Case wasn’t on an issue it was really felt.  I felt a legitimate yearning for his return even within the context of how fast you can whip through an omnibus.”

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