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Unstoppable Doom Patrol #2 is published by DC Comics, written by Dennis Culver, art by Chris Burnham, colors by Brian Reber, and letters by Pat Brosseau. The Doom Patrol return to the Shelter with their new members, but with Peacemaker hunting them, it may not be a place of safety.
The plot of Unstoppable Doom Patrol #2 is similar in pace and structure to the first issue, perhaps building a formula. More exposition is needed as readers and newcomers are shown around the headquarters. There is a period of calmness then, with little sub-plots and character moments beautifully expanding the world. But then it is clear that the danger is about to come. Even that takes its time, not unfolding in a fast, action-packed way. Instead, it is methodical and creepy, raising the tension and further lacing more threads. A fly-on-the-wall exposes hidden figures and murky dealings. And it isn’t long before Culver throws a massive surprise, generating much more excitement.
The small cast of the premier issue has been expanded greatly once the crew has returned to base. Those core members have the least development, with the supporting cast being introduced. The exception to that statement is Robotman, who has a lot of touching and emotional moments in one chapter. But it is the newer figures as well, Worm and Beast Girl. Still an unknown quantity, they both seem sweet and adorable, which is dangerous in a comic like Unstoppable Doom Patrol. Then comes Peacemaker, who is terrifying as the oppressor in this issue. He is ruthless and brutal.
The art is brilliant, with innovative and clever techniques used multiple times. The most notable one is the cross-section of the Shelter. It’s so brilliant at providing a map and a sense of place for the whole issue. When characters move around, which is especially important by the end of the comic, you now know which rooms are connected and where they lead. Burnham likes showing multiple rooms at once, possibly because it provides context. Culver also uses this part for character moments. When they’re alone, the intimacy is heightened. The sci-fi elements of the comic are fantastic, with the sometimes ridiculous amounts of detail working well with wires, screens, and machines. At the end of the issue, the art by Burnham is heartbreaking yet stunningly executed.
The colors are emotive and vibrant without seeming out of place in the dark tone. The best example of this is Beast Girl. She’s been given a purple and orange palette, which may clash at points. That orange is a common shade in the book. With so many characters and designs, it’s not easy to make all the colors work together, but the clunky, random nature of Doom Patrol as a team makes it work. The lettering is dynamic but always easy to read.
Unstoppable Doom Patrol #2 lands all of its innovations. This comic has creators who are brave enough to try various design or narrative choices to tell the story, and a team with the acerbic and mad nature of Doom Patrol may be the best pick. Even with the bizarre powers and the prison-like base, there is a sense of comfort within the Shelter. But it now seems vulnerable, and Culver does a superb job of fracturing that feeling of safety.
Unstoppable Doom Patrol #2 is available now wherever comics are sold.
Unstoppable Doom Patrol #2
TL;DR
Unstoppable Doom Patrol #2 lands all of its innovations. This comic has creators who are brave enough to try various design or narrative choices to tell the story, and a team with the acerbic and mad nature of Doom Patrol may be the best pick.
William is a screenwriter with a love of comics and movies. Once referred to Wuthering Heights as “the one with the Rabbits.”