Last issue Cliff Steele’s car went off a cliff and this time, to the surprise of precisely no one, he’s back in a robot form, courtesy of Keeg, the negative being who shares Larry Trainor’s body. It’s a little basic, but has potential.
The sleeping Larry pops some strange critters.
Everyone chases them around Dannyland.
And a planetary divorce is averted when Crazy Jane organises a cosmic encounter group and Lotion the cat gives out cuddles.
You know, I try to approach reviewing from the position that nobody sets out to make a bad comic, it’s more a matter of a title being not to my personal taste. So let’s call Doom Patrol: Weight of the Worlds #2 a comic that is massively not to my personal taste. As with last issue, things just happen with no line of causality – Keeg can whip up a robot body, Negative Man can give birth to orbs with legs, planets wear suits. It’s all super-whimsical and doesn’t appeal to me.
I realise that some people love big diagrams of settings, so no doubt the Dannyland spread will have its fans – likely the Dungeons and Dragons players who enjoyed #12 with its Daemonscape story – but I just could not be bothered to read it. I tried, really, I did. And as its significance in the issue begins and ends with those two pages, I doubt I missed out.
What follows is equally perplexing, but not in a way I enjoy, like this week’s House of X, which builds on comic history – more in a random manner… Casey is bathing in blood, Larry’s dreams tether him to a dog and so on. It’s as if writers Gerard Way and Jeremy Lambert decided their audience would be smoking rolled-up copies of Grant Morrison’s version so would he satisfied simply by the very sight of human figures with silly heads. And perhaps some are.
Maybe there’s a big picture that I’m failing to see, but I can’t imagine hanging around long enough to find out more. I’m a big fan of the Doom Patrol but I’m sick of moaning about this version, I should leave this run to its fans rather than be a wet blogging blanket.
There are certainly a few engaging images courtesy of artist James Harvey, who draws, colours and – unfortunately – letters. The old-fashioned Robotman body is great, it reminds me of long-gone British comics character Klanky. Lotion the cat in his undies is striking in a creepy way. And the final page surprise is eye-catching.
But images aren’t enough, I need a story that seems to be going somewhere, rather than everywhere. And characters who aren’t just there visually, but there in the sense of having some point – Rita and Flex may as well have stayed at home. If you’re a fan of this version of the Doom Patrol. I’d love you to share your enthusiasm because I just don’t get it.