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Doom Patrol: Weight of the Worlds #3 review: on the Brinke

Doom Patrol comics allow the writers to experiment with the form itself and positively confuse the audience.

In a surprise twist, Doom Patrol is still on schedule. Maybe that’s because ol’ Gerard Way is being assisted by not only Jeremy Lambert, but also now Steve Orlando. This time around, art duties have shifted to Doc Shaner for this future-hopping issue. I’m definitely not complaining.

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You know Lucius, the child occult prodigy? He’s all grown up now and stalking around in a trench coat. Yes, we are in the future. And even more surprising is what’s happened to Casey Brinke and Jane—they’ve joined bodies for an unknown reason. Now they go by Jasey (#adorbs).

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Cliff is stalking around, also in a trench coat, as a detective investigating a case involving dead robot cops and a bearded Larry Trainor. I won’t say much more, because you should definitely experience the oddities yourself.

Gerard Way and his co-writers succeed with this book because they embrace what Grant Morrison and Rachel Pollack strove for previously: messing with the audience. Of course having weird crap just to be weird is a huge factor, but Doom Patrol comics allow the writers to experiment with the form itself and positively confuse the audience.

One issue you’re watching planet-headed divorce proceedings, and the next you’re dropped into the middle of a futuristic noir where the editors are telling you about all the things you’ve missed from imaginary issues. Part of the worldbuilding magic is the mystery.

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If I had one major complaint, it’d be that despite Casey and Jane becoming one entity, there’s not much personality left. I’ve felt for a while that Casey has been sidelined and it’s sad to see it continue even after getting what some might consider an upgrade.

Evan “Doc” Shaner makes a wonderful addition to the creative team. He, like Nick Deringron and James Harvey, has a cartoony style that’s as accomplished and polished as artists who go for a more dynamic, action-oriented bent. Shaner is like a less shadow-infused Chris Samnee. But never let it be said that Tamra Bonvillain didn’t deserve credit! Her muted neon colors collide beautifully across Shaner’s sleek canvases.

Is it good?
Young Animal always swings for the fences, and Weight of the Worlds is no exception with its time-hopping confusion.
Shaner's art and Bonvillain's colors.
The story demands you (the audience) keep up!
Weird, wonderful world-building.
Why you gotta do my girl Casey like this? And Jane? SAD!

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