Once upon a time, the Doom Patrol were just another low-rent disrespected super hero team made up of society's cast-off misfits. Then Gran Morrison got their hands on them, and things got weird.

Take, for example, the very first page of Doom Patrol #28:

I love the team introduction here where they are contrasted against the "norms" in the Justice League International and presented as outsiders... in their own book!

(Booster Good is a pretty great choice here for contrast between the haves and have-nots, as no one makes more effort to be accepted by the masses than Michael Jon "Booster" Carter.)

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Grant Morrison became a fan favorite writer by tweaking threadbare superhero genre tropes to breathe new life into the JLA, Superman, and Batman mythos.

But before Damian Wayne or All-Star Superman or "Mageddon," Grant honed a talent for thinking outside the four-color corner box with often bizarre deconstructionist experimental comics like The Invisibles, Arkham Asylum: A Serious House on Serious Earth, and The Doom Patrol. That last one was especially fitting, as the Doom Patrol had billed itself as "The World's Strangest Heroes" since it's earliest appearances in 1964.

Booster Gold would find out just how strange they were in Doom Patrol #29, released on this day in 1989. The Justice League International confronted Morrison's brand of psychedelic madness head-on after Mister Nobody and his Brotherhood of Dada displayed a stolen painting that eats people (and also happens to contain the Fifth Horseman of the Apocalypse, "Extinction") under the Eiffel Tower and... well, see for yourself:

art by Richard Case, John Nyberg, Danny Vozzo, John E. Workman

Just another regular day on the job for Morrison's Doom Patrol.

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