Doom Patrol has returned to comic book stores to the delight of long-time fans and is being written by Eisner Award-winner Gerard Way (formerly of the band My Chemical Romance).
Doom Patrol is the flagship title for DC’s Young Animal imprint. Young Animal is similar to DC’s Vertigo line in that it is used for storytellers to tell more adult oriented stories with a more experimental approach.
The Doom Patrol, dubbed “The World’s Strangest Heroes”, was first introduced in June 1963. The team was centered on super-powered “misfits” whose “gifts” brought them alienation and trauma.
Similarities have been made between The Doom Patrol and The X-Men, but unlike the latter, the Doom Patrol has not been able to achieve mainstream success.
Way’s modern take on Doom Patrol kicked off the imprint with its debut issue last fall and won overwhelming acclaim for its strange-yet-extremely-human story and for Nick Derington’s confident, protean art stylings. DC Comics recently sat down with Gerard Way to talk about the different aspects of his stories and the imprint in general.
When asked about the success of the Young Animal Imprint, Way stated,”I feel great about it. The best part about the whole experience has been collaborating with all of the teams and then watching them go off and run their own books. That’s been really amazing. Obviously, I still look over everything that comes through, but being there, in the beginning, helping plant the seeds with the creators, and then watching them go and take their stories and run with them has been really rewarding.”
Because of Way’s work on Doom Patrol, other series have been able to spin off and achieve success in the Young Animal imprint such as Shade, the Changing Girl, Mother Panic, Cave Carson Has a Cybernetic Eye, and Bug: The Adventures of Forager.
Young Animal stories have been known to be stranger than the normal DC Rebirth titles, but Way explained how he is able to get away with strange stories to DC Comics. “You make sure that the story means something and has a lot of heart. That’s the main thing we try to get in there, even more so than a completely coherent story. If we make sure that they have a lot of heart, it’s okay if it takes a minute to get to the coherency.”