This is the comic that confused me the most in years. Not story-wise, I love the Doom Patrol's weirdness, and even dadaism (Grant Morrison's run is among my 5 favorite books of all time). But here, I'm so confused by the editorial, writing and creative choices. The run started great, even if it suffered from being postponed multiple times. I thought that after Milk Wars, it would be a fresh start but the story is not cohesive at all. The seven issues are mainly one-shots, some quite fun, especia...

Disjointed and bizarre, you have to be patient with the story elements of this one; remember when you were a kid and you found out that eggs were in cake, but then instead of being gross it was sweet? Well, this is so, so sweet. It all culminates and ties the fibers Way started weaving a few years ago together. Really spectacular, better than just picking up Morrison's torch, really building on the original.

This is zany enough to pass as a Doom Patrol comic, but it suffers from some very poor choices in storytelling. The stories are too disjointed and the jumping of timelines doesn't make for a seamless reading experience. Really wanted to love this, but meh.

It’s a real trippy “adventure “. But there are too many pieces that seem to get lost and the style is too much for me. Maybe if it get like one type of odd or two bit not the handfuls of odd style it is.

Morrison's Doom Patrol was weird but also had interesting stories that made sense and characters we cared about. This is a pale imitation that's weird for the sake of being weird without any substance. I powered through all 3 volumes because they're quick reads and I hoped the story would get better. It never did.

Wacky wacky fun!There is just no other way to describe this...

A bit lacking in terms of a conventional story, which makes things hard to follow and requires the reader to do a bit of dot connecting (which is fine!). That being said, the Doom Patrol are quirky, odd, crazy, and weird in all the best ways and the driving force of the plot at the end (Robotman turning into a planet) ties things up really well in terms of using time fluidly.

Just as zany and off the wall as the rest of the run, Weight Of The Worlds throws the Doom Patrol into a series of adventures each more insane than before, while the throughline plot for Robotman keeps everything cohesive and brings it all together for the final issue.There's something poignant about this run. For all its one-shot stories, it does all follow a singular narrative, and it definitely highlights the similarities between Way's run and Morrison's (he's a self-professed fan, so it's no...

I'd rate this one around a ~3.5. The opening is incredibly dark and so interesting. I love how vol. 3 really leaves you thinking there will be so many unresolved plot points. We finally get Cliff's backstory, and suddenly his connection to Jane feels all the more deep. I think it's genius and brave of Gerard Way and team to save that for vol. 3. It has one of the most striking panels of the whole run thusfar (vol 1 - 3). The final chapter is also a good return to psychological beat that this run...

I was really looking forward this book because the last run was so incredibly good... but I ran into something that lacked depth and was all over the place. It was disappointing at best. Maybe because Gerard Way wasn’t entirely focused on the story, maybe because someone else penned the books, whatever the case, they didn’t deliver. I mean, I found one of the issues enjoyable, but that’s a very low rate.The Doom Patrol is weird, that’s what it is and that’s one of its great qualities. Stories ca...

Cliff is having an existential crisis. So is Larry, who wants a dog. Danny the Ambulance is trying to prevent two planets from getting a divorce. Lotion the Cat gives a cosmic cuddle. Negative Man becomes Positive Man. In the future, Doom Patrol is all that’s left of humanity, unless Jane can get to the Underground, go back in time and stop Mento from stopping Planet Cliff from devouring every planet in the galaxy. Flex Mentallo goes back to his old haunt, Destiny Beach, only to find that it is

This is essentially a collection of six one-issue stories, albeit with a plot arc in the background about Cliff trying to rediscover his humanity and heroism and going about it all the wrong way. Some of the individual stories are good and some less so. The story about Flex’s former beach being threatened by a villainous spandex jockstrap is, for example, exactly the sort of thing that this comic should be about, and there’s a good story that brings back some characters from an earlier run in a

I could see myself giving Weight of the Worlds five stars, even if it's written by Gerard Way. Aside from issue #1 of Way's run (the one issue edited by Shelly Bond, and the one that truly achieves greatness), I think that WotW is his main storyline that feels really confident, free, and madcap. Its structure is complex, it deftly juggles changing artists on each issue, and I think it's the one arc in the series that's trying for real greatness, rather than just being performatively bizarre. I g...

I absolutely adored Way’s first Doom Patrol run and I really wanted this to continue that lovely weirdness. Weight of the Worlds, however, winds up being just a little bit too disjointed for me to enjoy as much as that first Young Animal run. That being said, there is still plenty to enjoy here, especially if you’re a Doom Patrol fan.

The point of Doom Patrol from the start was that it could be a little weirder than the average superteam (which is saying something) and this took a turn for the absolute bonkers during Grant Morrison's run in the 1990s. Gerard Way has taken Morrison's lead (and more than a couple of his creations) for this incarnation and it's mostly worked out for the best so far.This volume of the 'Young Animal' imprint Doom Patrol collects a seven-issue miniseries (though apparently the series was cancelled

Some disjointed storytelling keeps this from being great. Focuses way more on being bizarre than telling a cohesive story, probably having to do some with all the writers and artists that had to pitch in to get this done with Gerard Way only "co-writing" each issue.

This was the ending to a pretty solid run by Gerard Way. I'm a big fan of Grant Morrison's Doom Patrol and the run was a nice continuation of the weirdness of that run and in re-introducing Flex and Crazy Jane.These are done in 1 issues here with an over-arching plot. Derrington is back, this time only on covers. There's different art teams between issues and they all do a great job. It's hard to pick out favourites on art as each artist brings their own take that fits in with the tone of the is...

The second issue is one of the most Tom Scioli comics I've seen from someone who's not Tom Scioli, taking in planetary divorce, an astronomy of hugs, and reversing the polarity of the Negative Man. And that's not significantly more bugged-out than the rest of it, which featured Flex Mentallo's evil symbiote posing pouch, a Cliff grinding for upgrades, and a visit to the beach for the ultimate flex. At times it's barely even pretending to be a connected story so much as just glimpses into the wei...

I have a soft spot for Doom Patrol. It is allegory, allergy, elegiac... It is an awesome property that pushes comics into a better place. This iteration has a few pushes towards the fourth wall and a few good dives into what it means to be human; body, mind and madness and all. Of the Young Animal, it is probably my favourite though Shade from the original set would be my favourite. So, well worth the read if you are into weirdness. Isn't everybody into weirdness right now?

Doom Patrol is just as out there as ever, but damn if it isn't engaging and amusing. Gerard Way and about a dozen authors and artists cram six or seven stories into Weight of the Worlds, though it never quite feels overstuffed or confusing as long as you go with the flow. Truly, that's the key here: disengage thinking processes and just take it all in.Ultimately, Weight of the Worlds is Cliff's tale of reckoning with his family issues and loneliness, and it all does tie together neatly in the fi...