The robots are less threatening when they work with a slight delay
Has more merit to adapt well to the Doom Patrol than to the Avengers. In the end, the group of Marvel is a welter of heroes, the more the better, and in his eccentricities, colorful and gusts folk is your strength. The team is so versatile that the renegades of Captain America outside of the law are Avengers in their way, if they get Spider-Man as they still are, and if they are working for and paid by the government to save the interests of the West, remain the Avengers. ‘Doom Patrol’ is a much more modest, but also much more specific in its identity.
And that which has lived through successive incarnations in its long history, since they were born in the pages of the number 80 of the comic-book ‘My Greatest Adventure’, in 1963. Here were already part of the team Chief, Elasti-Woman, Man, Negative, and Robotman that appear in the version of the series, that they added Mento and Beast Boy (link with ‘Titans’). With a few or other members (there has been more than a dozen patrolmen in addition to these), yes, always deserved the title of “The heroes more strangers in the world”. And that has been its hallmark for decades.
Without a doubt, the version to which more must this new series of ‘Doom Patrol’ is the stage guionizada by Grant Morrison, characterized by an absolute dementia in the concepts I was driving, and that the unclassifiable author has stated that he conceived with salvador Dalí and William Burroughs in mind. Its stage left enemies as delusional (and, possibly, inadaptables) as a Network Jack, which is believed to the time Jack the Ripper and God, or the Brotherhood of Dada, in permanent combat against the reason. Among the members of the Doom Patrol in this phase is the unforgettable Danny the Street, which is… well, a street with a conscience.
Characters eccentric (even for the high levels of craze of the Doom Patrol!) besides, a detail that Morrison would introduce into the series is a certain level of metafiction, with which he had experienced in his amazing stage in ‘Animal Man’. Softer here, but still palpable, the characters of the Doom Patrol, the script writer seem to be aware that they are fictional characters, and perhaps as a nod to that mood, the series of DC Universe starts by stating that know your nature. “do Another series of superheroes?” asked a voice off. “Sure that you already have the urge to ahorcaros“. But this is different, guaranteed.
Doom Patrol: sufficiently eccentric as to earn your attention
And this new incarnation in serial format of ‘Doom Patrol’ is different, since then, maybe not as much as you would like the devotee of Morrison (let’s face it: no one expected that extreme), but that you come to a certain nice light tone, very self-conscious, at times tontorrón, and sometimes with very bad grapes. Something that without a doubt distance ‘Doom Patrol’ of the majority of the series superheroicas of the time, even to the lightest.
The series starts by introducing you to its characters (which are already presented in a chapter of the first season of ‘Titanes’ almost isolated from the rest of the series and that ended up becoming, to the surprise of no one, in the best of the season). It does so with an episode of compromise, with a multitude of stories of origins of all the characters, but with his as know to glory, compared with the cold leaden flashbacks in other series are prolonged episodes integers: Cliff Steele (Brendan Fraser), trapped in a body of the robot; Elasti-Woman (April Bowlby), which for the moment only is able to melt without control; the still mysterious Man Negative (Matthew Zuk), covered by bandages; Crazy Jane (Dianne Guerrero), with 64 personalities, each with their own powers; and Chief, father figure to all of them (Timothy Dalton).
Despite its flirtations with the breaking of the fourth wall (refreshing, but far from extreme as ‘Deadpool’) and its acid humor (the vocabulary is brutísimo, something unheard of in a series of these features),
the series is closer productions gamberras but within limits, as ‘Legends of Tomorrow’, another adaptation DC, this for The CW, and starring anti-heroes out of the ordinary. Your showrunner, Jeremy Carver, has written abundant episodes of ‘Supernatural’ for the same channel.
Without too many excesses but with a sense of irony very refreshing, ‘Doom Patrol’ still has much to prove (to begin with, missing the arrival of another member of the group, Cyborg) when you start the action and when you define the personality of a villain that is very promising (the donkey!). Of time, the pitch is constant, the actors are entonadísimos and the idea of a sitcom with weird people is attractive. Viva la difference.
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The news ‘Doom Patrol’ starts celebrating the difference within the series superheroicas was originally published in Espinof by John Tones .
February 19, 2019
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