YMMV: Doom Patrol

  • Base Breaker: Coagula.
  • Crack Pairing: You will believe a Mad Scientist's disembodied brain and a hyperintelligent Marxist gorilla with a French accent can find love together! It's actually kinda cute...in a creepy way.
  • Crazy Awesome: A recurring theme. Crazy Jane has a different superpower for each of her personalities, which shift continuously. Dorothy Spinner's imaginary friends aren't imaginary. And Rhea Jones' powers are greatly amplified after she goes mad.
    • To put in special context with Rhea, she literally brought down a gigantic, levitating stone city which may have been a literal angel and helped put an eons long feud between two alien races to a halt simply because she got tired of waiting for Cliff's signal.
  • My Real Daddy: Even DC Comics agrees with this; their "Volume 1" trade paperback begins with Grant Morrison's run of Doom Patrol, at issue 19. (Issues 1-18 were basically X-Men with a different cast: not bad, just So Okay, It's Average.)
  • Fair for Its Day: Drake's portrayal of Rita Farr in the original series is surprisingly progressive, if still a bit dated to modern eyes.
  • Nightmare Fuel: The matter-of-factness of the art style makes the 1960s version of what Negative Man looked like under the bandages truly disturbing. Grant Morrison's run quite deliberately injected quite a lot of horror imagery.
    • The Candlemaker is an Eldritch Abomination bent on ending reality.
    • The Scissormen are unintelligible beings with scissors for hands, inhabitants of the imaginary - but parasitic - city of Orqwith.
    • When the Chief snaps, his breakdown and his actions are absolutely horrifying.
  • Some Anvils Need to Be Dropped: While some argue that Coagula from Rachel Pollack's run was a Mary Sue, the fact of the matter was that were virtually no other positive representations of transgender characters in superhero comic books at the timenote , so it's no wonder that Pollack strove to create a strong and competent transsexual superheroine.
  • Tough Act to Follow: Morrison again. The strong Pollack and Arcudi runs often suffer unfairly in comparison, since Morrison's is regarded as one the very best superhero comics of the late 80s/early 90s.
  • True Art Is Incomprehensible: Morrison and Pollack. Of course, things start to make a good deal more sense if you love esoterica, Burroughs, Borges, dada, Surrealism, Kabbalah, and identity and gender politics.
  • Ugly Cute: Dorothy Spinner, Cliff Steele.
    Cliff (to somebody in a hospital elevator): Fourth floor, pal. I'm here to complain to my plastic surgeon.
  • Values Dissonance:
    • In the 1960s, version the characters are all viewed as "freaks," including the Chief... because he uses a wheelchair. Fortunately, attitudes towards disabilities have changed somewhat since then.
    • When it turned out Monsieur Mallah and the Brain were in love, the reaction of most people was "OMG, they're gay! That's disgusting!" Never mind that one's an ape and the other a brain in a jar, and they're both demented murderous criminals: it's the fact that they're the same gender that they found offensive.
  • What Do You Mean, It Wasn't Made on Drugs?: The whole dang series, but especially the Morrison/Pollack run. And they were only working from what Drake had already established - seriously, Animal-Vegetable-Mineral Man?
  • The Woobie: The whole team most of the time, really, but especially Robotman.