This is what Millennial comics should do: DP fighting a sentient black hole in front of the Large Hadron Collider. Doom Patrol vol. 5 #2 (November 2009).
We who are about to die salute you! That's the gladitorial rallying cry of DC's ill-fated superteam known as the Doom Patrol. On Valentine's Day, DC Comics
announced the cancellation of several titles. Among these was the fifth incarnation of
Doom Patrol, written by Keith Giffen and drawn by Matthew Clark. This cancellation to 'free up' creative talent for production of the summer comics blockbuster
Flashpoint has prompted outcry from the
DP's fans (there is a petition asking DC to save the title
here). This series had poor sales but great reviews; it was considered by many to be the publisher's most sophisticated title. Today, the last issue of the series hits comic shops.
Why? What makes any comic, belonging to a genre known for its clichéed action and romance, its cheesy borrowings from the epics, mythology, pulps, mystery, horror, romance and science fiction even come close to having pretensions?
Comics are sometimes one of the areas of pop culture where certain ideas are tested before they become mainstream. This series of blog posts on the 'Revolving Door of Death' is about the use of death in comics as a means to finding new values of heroism - a new moral compass - in times that are rapidly changing. That change involves pushing the boundaries of superheroism past the point of no return. In that regard, the
Doom Patrol fits right in - and the title is still unique.
First, the Revolving Door of Death. Comic book creators, especially mainstream publishers Marvel and DC, have earned a lot of criticism over the past twenty-five years for cheapening death and rebirth when they used them repeatedly as sensational devices for making money. More surprisingly, post 9/11, the editors at DC Comics have killed off hundreds of heroes. Then, in a bid to make comic book killings 'more serious,' they recently announced that their characters will no longer be reborn. But the deaths of superheroes continue. This trend suggests a high degree of confusion and ambivalence. DC has continually worn down the moral stature of its heroes. The company has made them ever more flawed and weak - while building up its villains. DC is letting evil win.
Why? Does this reflect a crisis in American culture? Last week, DC had Superman renounce his American citizenship in
Action Comics #900, a move which
won the editors a lot of criticism in comics forums and the mainstream media. Does this chime with the
intense, politicized commentary against American campaigns abroad? Marvel Comics, echoing the 1960s' voice of social criticism, can jump on that train without any problems. But DC, the classic American comics company, is in a strange, ambiguous place right now. Like her exhausted troops in Iraq and Afghanistan, America's heroes in the DC Universe are being pushed to the breaking point. The question is where DC will go with this existential crisis and soul searching. Comic books thrive on taking their characters to the greatest extremes possible, within the current bounds of taste and story-telling. The catharsis comes when the heroes triumph against all odds. DC has yet to pull off that gigantic catharsis. Its creators are still in the midst of dragging its characters down deeper and deeper.
The Nascar accident which almost kills Cliff Steele. Doom Patrol vol. 5 #21 (June 2011).
In this context, the Doom Patrol is unusual, because they are already ahead of all of DC's other heroes as far as being pushed past the limits goes. They were always a team 'out there,' beyond the pale.
DP stories demonstrate how changes and challenges to our concepts of life and death are transforming our society, our consciousness and our moral attitudes.