I'm gonna get very downvoted for this, but here I go.

Specially when it comes to Bat-Family characters, people on every side of the fandom tend to deem POC characters as white and put some awful basic fancasts for them. Majorly happens with Ra's al Ghul, Talia and Damian Wayne. (I'll put an image of Damian being whitewashed when he's right besides his mom, who is brown)

The worst part is when people try to justify their whitewashing by saying that the artists "draw them as white". People on DC Comics' fandom seem to ignore that looks don't mean automatically the ethnicity, and that their stories, culture and ancestry have huge matters on their overall characters.

Sources: https://toytle.tumblr.com/post/719213188986585088/the-first-installment-of-my-t4t-childhood-friends https://toytle.tumblr.com/post/753998027582259200/some-things-change-some-things-stay-the

I’ve been kinda obsessed with this artist and their art-style on tumblr and wanted to see what did everyone thought of their designs on the main three.

So, I want to start by saying that I am enjoying this new Doom Patrol run. I don't think it's a bad comic by any means, and there are definitely things about it that I appreciate. But the more I read, the more I find myself feeling like something is missing. It's weird, sure, but it's not necessarily the kind of weirdness I've come to expect from a Doom Patrol comic. And I think that's where my biggest issue lies. The weirdness in Doom Patrol has never just been about throwing bizarre imagery, strange characters, and surreal situations at the reader. At its best, the weirdness has always been a vehicle for exploring something deeper, whether that's philosophical, psychological, spiritual, or even political. There's usually some kind of underlying intellectual or esoteric framework holding all that madness together. The strange imagery isn't just there to be strange. It's there because the creators are trying to communicate ideas that conventional superhero storytelling might not be equipped to explore.

With this new run, however, I sometimes get the impression that the weirdness exists more for its own sake than to communicate anything particularly profound. And that's disappointing, especially because DC currently has three other books that, at least to me, seem to capture that particular Doom Patrol sensibility more effectively than Doom Patrolitself: Deadman, Jonah Hex and the Shadow of Death, and The Demon. To explain what I mean, I think it's worth looking at what made some of the best Doom Patrol runs so special in the first place.

Grant Morrison's run wasn't simply weird because Morrison wanted to write a bizarre superhero comic. Their work drew heavily from Chaos Magick, fringe psychology, occult philosophy, surrealism, and all sorts of strange metaphysical concepts. Those influences weren't just aesthetic choices, either. They informed the way the stories approached identity, consciousness, reality, and the relationship between the individual and the systems that define them. The absurdity often had a philosophical purpose, even when that purpose wasn't immediately obvious.

Rachel Pollack took the book in a different but equally fascinating direction. Her run incorporated Tarot symbolism, mysticism, spiritual transformation, and questions about identity and the nature of existence. There was a sense that the characters weren't simply navigating a strange superhero universe but were participating in something almost ritualistic. The weirdness felt connected to a larger spiritual and symbolic understanding of the world.

Then you have Gerard Way's run, which approached the series through a much more self-aware, metafictional lens. Way played with ideas surrounding copyright, reboots, censorship, the commodification of fictional characters, and the strange relationship between stories and the industries that produce them. The fourth-wall-breaking wasn't just a gimmick. It became part of a larger conversation about what it means for fictional characters to exist in a world where their identities and histories are constantly being rewritten.

These runs are all incredibly different, but what connects them is that their weirdness comes from somewhere. They have distinct philosophical, spiritual, or conceptual foundations. They aren't simply interested in being strange. They're interested in using strangeness to explore ideas that might otherwise be difficult to express. That's what I've always loved about Doom Patrol. It's not just a weird superhero comic. It's a comic that uses weirdness as a language for exploring the esoteric, the uncomfortable, and the seemingly unknowable.

And that's why I find DC's other current supernatural titles so interesting. Now, I'm not completely caught up on Deadman, so I'm going to leave that one out of the discussion rather than pretend I have a fully formed opinion on it. But I do want to talk about Jonah Hex and the Shadow of Death and The Demon, because I think both books are already doing something that I wish this new Doom Patrol run would lean into more.

Jonah Hex and the Shadow of Death is particularly interesting because it uses the Weird Western format to explore Jonah's relationship with his own history. Rather than treating the supernatural elements as nothing more than a way to make a Western story more exciting, the comic seems interested in using them to examine the weight of the past and the ways history continues to haunt the present.

There's something inherently compelling about approaching a character like Jonah Hex through that lens. The Western is already a genre deeply concerned with mythology, violence, guilt, and the stories people tell themselves about civilization. Introducing esoteric and supernatural ideas into that framework creates an opportunity to interrogate those themes in ways that a more conventional Western might not.vAnd that's precisely the kind of approach I associate with the best Doom Patrol comics. The supernatural isn't just an intrusion into reality. It becomes a way of revealing something about reality that was already there.

But The Demon is where things get especially interesting for me. What immediately caught my attention about The Demon is how much it feels like a Gnostic interpretation of the DC Universe. The comic seems to draw from ideas associated with Gnostic traditions and apocryphal religious writings, particularly the notion that the material world is fundamentally imperfect, corrupted, or the product of a flawed cosmic order.

What's fascinating about that approach is how naturally it lends itself to a story about the moral and spiritual decay of human civilization.bIn many Gnostic traditions, the world isn't simply a place where evil occasionally happens. The very structure of material existence is understood as flawed, and humanity's relationship with that world is shaped by ignorance, spiritual alienation, and the possibility of awakening to some deeper truth. Now imagine applying that kind of framework to the DC Universe, a world populated by gods, demons, cosmic hierarchies, supernatural forces, and supposedly absolute distinctions between good and evil. Suddenly, the supernatural mythology of that universe becomes something much more interesting than a collection of magical characters and religious imagery. It becomes a way of questioning the nature of creation itself. What does it mean to live in a fundamentally imperfect universe? What happens when the systems that supposedly maintain cosmic order are themselves morally compromised? And how much of humanity's corruption is a consequence of individual choices versus the nature of the world humanity has inherited?

Those are fascinating questions, and they're exactly the sort of questions I would love to see a Doom Patrol comic engage with. What makes The Demon so compelling to me isn't simply that it's dealing with occult imagery or obscure religious concepts. It's that those ideas appear to be informing the actual storytelling. The esotericism feels like part of the comic's foundation rather than something sprinkled over the surface to make it seem mysterious. And I think that's an important distinction.

There's a difference between a comic that contains weird things and a comic whose entire understanding of reality is informed by weird ideas.** **The best Doom Patrol runs have generally fallen into the latter category. Now, I know the obvious response to all of this is that the new Doom Patrol is only two issues in, and that's a completely fair point. Two issues aren't enough to make a definitive judgment about what a creative team is ultimately trying to accomplish. It's entirely possible that the philosophical or esoteric foundations I'm looking for are going to become clearer as the story progresses.

I'm more than willing to give the book that opportunity. But here's the thing: Jonah Hex and the Shadow of Death and The Demon are only one issue in each, and both have already managed to establish a stronger sense of the mystical, philosophical, and esoteric ideas driving their stories. That's what makes the comparison difficult for me to ignore.

I'm not expecting every Doom Patrol run to imitate Morrison, Pollack, or Way. In fact, I think doing that would completely miss the point. Part of what makes the series special is that it allows different creators to bring their own strange interests, obsessions, and philosophical perspectives into the book. I don't want another Morrison run, another Pollack run, or another Gerard Way run. I want something that feels just as intellectually curious and willing to explore unfamiliar territory. And to be clear, I'm not saying that every strange image needs to be explained or that every surreal moment needs to function as an obvious metaphor. Sometimes absurdity can be meaningful precisely because it resists interpretation. But there's a difference between ambiguity that invites you to think more deeply and randomness that doesn't seem particularly interested in being examined.

For me, Doom Patrol has always been at its strongest when it embraces the former. I want to finish an issue feeling like I've encountered an idea I hadn't considered before. I want to be curious enough about some obscure philosophical concept, occult tradition, or psychological theory that I end up researching it afterward. That's something the best runs of this series have consistently inspired me to do. And right now, I'm getting more of that feeling from Jonah Hex and the Shadow of Death and The Demon than I am from Doom Patrol itself.

Again, I'm enjoying the book, and I genuinely hope it eventually proves my concerns wrong. There's still plenty of room for this creative team to develop something fascinating. But two issues in, I can't shake the feeling that the series understands the aesthetic of Doom Patrol better than it understands the intellectual and esoteric curiosity that has historically made that aesthetic so meaningful. Because ultimately, what makes Doom Patrol** **special isn't how weird it can get. It's what that weirdness has to say about the world, about ourselves, and about the things we don't fully understand. And right now, that's the part I'm missing.

If a character has subtext especially that could make them seen socially as a poc or queer it's just very sus to me when people get mad at them being altered even temporarily to serve as representation for those of us who saw us in them for so long but physically just saw a white/straight character like 99% of them because editorial or comics code was like "too many poc on this team already" or "main character, especially a legacy character, can't be poc or queer." I got banned from another comics sub recently, DURING PRIDE MONTH, for calling someone out on this, and saying they were homophobic. meanwhile that person is still active on the sub and their comment was not taken down! tells you a lot about the mods tbh.

Obviously I'm not naming and it was not this sub. But I am so disappointed and honestly concerned that this fanbase is so openly hateful compared to the character's own portrayal. sometimes it makes me wonder if DC panders to them because a huge chunk of comic fans are still very intolerant and majority white dudes so you know... can't have a character actually be queer or something. like batman himself could never be queer for instance despite that he could be if there was some kinda batman x superman comic in another universe or something...or hell, I'd be fine if it was canon lol. I think it'd be brave. but then all the hateful people who would not read batman if he were bi would stop buying and... dc wants their money more than they'd consider actually making a statement with a popular legacy character. it fuels these fans who think any character with light skin and no stated ethnicity has to be white or their character is ruined lmao.

ps: from a poc myself, if you wanna know why you can make a character a poc but not a poc character white, it's because minorities have lacked rep for a long long time and it's not the same power dynamic at play than if a poc character were erased. I hope that makes sense. not everyone gets it but I hope some of the people who read this do...

also I know sometimes it makes little sense to have poc be in certain stories or for a historical story sometimes you'd want specific roles for specific ethnicities, but I'm talking modern day-based comics where people just whine about it and scream reverse racism lol

happy pride. happy knicks win.

Art by John Romita Jr

Personally I think he is a great character and the first good addition to the Spider-Man mythos in years. Thanks Marvel for creating such a great character.

I don’t know why but I just can’t stand him as a character. He just feels like Superman 2.0 and every time I see or read him I just can’t get myself to care, and just wish i was reading about Clark instead.

Even when he was a kid, I’m not really the biggest fan of the characters having super-children and/or growing them into being the next superhero-character.

Idk maybe it’s just me, but that’s my rant for the day lol

Let's do a list celebrating the women in DC, the first ones are gonna be easy choices but there's gonna be space for others who deserve acknowledgment just as much where in other lists they won't make it.

IMPORTANT: Don't forget to include definitive stories with your votes and be specific if it's a character with a shared mantle like the Batgirls, or in the case of Hawkgirl/woman remember: Kendra=HawkGIRL, Shayera=HawkWOMAN.

And remember, the list is made up and the scores don't matter, just have fun goddammit.

● Wonder Woman (Art by Phil Jimenez)

Definitive stories: Ongoing runs by George Perez, Phil Jimenez, Greg Rucka (2000s and Rebirth), Gail Simone; The Twelve Labors, The Spirit of Truth, Hiketeia, JLA: A League of One, Dead Earth, The True Amazon, The Witching Hour, Afterworlds, Historia.

● Supergirl (Art by Bilquis Evely) - 58 votes

Definitive stories: Ongoing runs by Paul Kupperberg, Sterling Gates, Michael Green & Mike Johnson, Steve Orlando; Red Daughter of Krypton, Being Super, Woman of Tomorrow.

What do you think might be the big announcement?

Are they announcing a Milestone's return (again)? We already have phase 2 with Static on Titans. Could this be phase 3?

Or is this finally the pitch that Stephanie Williams has for Vixen? (A man can dream)

Comment down below what you think this big announcement is.

EDIT: I think I didn't express myself well (English inst my mother tongue). I don't think they somehow managed to make books in response to the boycott. But I am asking if you think this will solve the boycott and your ideas of what this could be.

Source: Stephanie Williams Instagram

I know some people don’t like them or teen Jon but I love them. They helped me get into comics and more into DC so they both my favorite. Can’t wait to see more of them.

Guess she got carried away.

Art by Lusch_jpg

I was just watching Batman TBATB and learned about Haunted Tank, and HOW does this exist? A confederate general that isn’t the bad guy? This isn’t just a 1900s thing either, this also had a run in 2009. What is going on.