THERE IS ANOTHER WORLD.
THERE IS A BETTER WORLD.
WELL... THERE MUST BE.
These were the closing lines of Grant Morrison's run on Doom Patrol, probably the most bizarre traditional superhero comic around. I know, I know, that sounds like a contradiction, but, what I mean is, it did not break or twist the superhero tradition (Invisibles, Filth, etc.), it bent it as far as it could go. You could even see the little stress marks forming. But it is still a cape-and-cowl book. Nothing more.
DP's entire raison d'etre is the recasting of the malformed, the crippled. This can be done quite literally, through Morrison's use of physically and mentally disabled persons as the "superheroes", or it can be done through Morrison's dredging up of old, flawed ideas (a group of badguys called "The Brotherhood of EVIL") and transformation and re-synthesis of those same ideas (a group of badguys called "The Brotherhood of DADA").
What is most striking about Doom Patrol, however, is how it is aware and earnest of is absurdity while only occasionally venturing into the cheap, comedic territory of irony. Rather, it uses its fringe placement to create worlds and situations that remain both compelling and dissatisfying--beyond reach.
I'm quite clearly rambling here. Let me refocus a bit.
Doom Patrol is great because it gives us a jaded world--a world that doesn't deserve saving--without being jaded itself. Morrison writes:
-How must it feel to have saved a world you don't really believe is worth saving?
-Well, you're the shrink, lady. You tell me.
It is great because it masters the art of being self-aware without being (1) overbearing (think Berthelme) or (2) flippant (think Nextwave).
Here's why I'm thinking about it. I'm watching the crowds of alums and parents and soon-to-be-grads mill and glad-hand about campus. I'm watching a bunch of people graduate from a liberal arts school with degrees in Philosophy and Cinema Studies and English and Comparative American Studies, and a host of other similar degrees. Of course there's use and importance in liberal arts education--don't get me wrong. But what these degrees imply is a sense of detachment. A sense that (1) we don't need to get a "trade" (at least not right now), and (2) we want to--and are worthy to--be culture-makers. be the people who decide what is good and not good. what is important and not important. We are, according to our degrees (forthcoming as they may be), the ones who deserve to nudge culture. And, in this way, many of us become outsiders, who have to hold in their heads this idea that there both must be a better world and that we have to help bring it there. The implication being, the world is not all right, and I am the one who can bring it there.
It isn't surprising that many become such ironic, distanced participants in this game of cultural tug-of-war, at once embracing and disdaining mainstream culture. Doom Patrol manages to steer clear, for the most part, of the nihilistic irony so depressingly common in these parts. That is probably for the best. In the meantime, congratulations, seniors. Keep wearing those so fashionable unfashionable sunglasses. Keep wearing them, knowing that you do so because you're making fun of the people who might wear them ernestly, though, you, yourself, wear them earnestly. Keep fighting that good fight.
Jesus, I'm mopey today
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