Theron Couch
Ursula K. Le Guin once said, “All fiction is metaphorical.” It was the first sentence in a statement on science fiction’s superior ability to speak about the present day via metaphor. Superhero comic books may not be strictly science fiction, but like science fiction they are in a position to thoroughly tackle current real world issues in a way that other fiction can not. And when it comes to metaphors, One World Under Doom has a lot to say.
One World Under Doom #1-5
W: Ryan North | A: R.B. Silva | C: David Curiel | L: VC’s Travis Lanham
These first six issues of One World Under Doom can be easily divided into two parts. North spends the first three issues delivering what at times seems like endless monologue and dialogue sequences. There are some brief action sequences in these first three issues which are necessary to keep them from stalling out. These sequences do start to wear thin in issue three as the heroes get humiliated yet again and none of them question whether they might actually be in the wrong. Issues four and five deliver a well executed action sequence that includes an extensive and revealing internal monologue from Doom and eventually leads to some fracturing in the heroes over whether Doom’s rule is the evil scheme they’ve been insisting it is.
That is the barest of reviews, though. One World Under Doom is in many ways a current events commentary. One of the most obvious metaphors are the vampires from Blood Hunt and the rhetoric surrounding them which is reminiscent of the immigration arguments in the United States. Two other obvious examples are in the pro/con debate over Doom. Many arguments made in support of Doctor Doom are reminiscent of those made by Donald Trump’s supporters. Similarly, the heroes repeatedly express utter confusion over the idea that anyone would support Doom–a sentiment often given voice by Trump’s opponents.
North does heavily deviate from a one-to-one metaphor in how he presents Doom’s rule, though, and it’s a necessary story choice. One World Under Doom wouldn’t be noteworthy if it was nine issues of “Doctor Doom is obviously evil and all of Earth hates him.” Instead, North writes a Doom who is seemingly improving conditions for all the people of Earth. This leads to issue five where North gives Thor an extended monologue about how Earth is objectively better thanks to Doom, concluding with the question of whether the heroes’ opposition is actually right. At no point does the issue itself side with Thor. But it’s a necessary discussion to have because in the Marvel universe, the (probably) Trump equivalent is nothing but a positive influence on the world. The issue presents the reader with something to think about: Is it preferable to have a bad person delivering objectively superior results or a good person delivering objectively inferior results?
Fantastic Four #28-33
W: Ryan North | P: Steve Cummings; Cory Smith | I: Wayne Faucher; Oren Junior; Wayne Faucher & Oren Junior | C: Jesus Aburtov | L: VC’s Joe Caramagna
The One World Under Doom banner for these issues is somewhat misleading. Ironically, the series featuring Doctor Doom’s chief opponent drops out of the event completely once Doom depowers the Thing. The story North develops in Fantastic Four is primarily character based, hitting multiple emotional notes while employing very different one-and-done plots. As has been the case for so much of the series, North employs a great deal of science in the individual plots. As far as the main One World Under Doom storyline is concerned, these are among the least connected tie-in issues. That said, from a basic storytelling point of view, they are some of the strongest.
Thunderbolts Doomstrike #1-5
W: Jackson Lanzing & Collin Kelly | A: Tommaso Bianchi | C: Yen Nitro | L: VC’s Joe Sabino
Thunderbolts Doomstrike’s main flaw is that if a reader isn’t familiar with recent Thunderbolts story lines (and even Captain America: Cold War), there are plot points they may simply not understand. That said, this story works in many ways. Despite the challenges it faces with the big picture theme it tackles, it is a very effective Bucky Barnes vehicle. Bucky also helps legitimize the series’ references to World War II because they come via a character who existed in that time period (as opposed to references used elsewhere in the event). The series overall functions well in a larger sense because it is the only one that, for better or worse, makes the case for a violent insurgency.
Lanzing and Kelly stick with the themes of the main One World Under Doom series, and they are not subtle about where they come down on the topic. They are frequently inelegant, though. Perhaps the best example of this is a quote that variations of have been thrown around for decades now: “Standing for one thing you know is right when everyone else decides it’s wrong.” The problem is that while fiction often presents a clear cut right and wrong, the idea of what’s right is entirely subjective. Indeed, many ordinary people truly believe Doom is right. This is when Lanzing and Kelly fall down with respect to the theme they’re playing with. They repeatedly approach opposition to Doom from a place of fanaticism rather than rationality, Indeed, at one point it sounds like Bucky would be fine with someone ruling the world in this fashion so long as it wasn’t Doom. Ultimately this examination works for what it is, but it lacks the nuance present in every other series that engages with this topic, including One World Under Doom itself.
Weapon X-Men #1
W: Joe Casey | P: Chriscross | I: Mark Morales | C: Yen Nitro | L: VC’s Clayton Cowles
The story’s Latveria setting seems to be the only excuse to give this a One World Under Doom banner. No doubt advertising this as connected to a larger event is a good way to sell extra copies of the new series’ first issue. Deadpool’s inclusion makes this largely predictable. The character has, after all, spent entire series bantering with Cable and Wolverine. Expect the same here along with the obligatory fourth wall breaking. There is nothing of substance here to appeal to readers who aren’t established fans of these characters.
Avengers Academy Infinity #43-45
W: Anthony Oliveira | A: Carola Borelli; Bailie Rosenlund | C: Ruth Redmond; KJ Díaz | L: VC’s Ariana Maher
There are the makings of a compelling story here, but it makes no real sense in the context of One World Under Doom. The implication is that somehow Hydra is able to operate in the United States as a result of the chaos Doom creates. As a result, the team sends Hydra’s captives to Canada which is also ruled by Doom. There’s also a strange moment where Oliveira gives Escapade a brief monologue that sounds like the character justifying their existence to the reader.
The deeper thematic elements are equally confused. Oliveira makes sure to point out that Doom is a fascist just like Hydra (which is debatable given their behaviors as seen thus far and the fact that words have meanings). But then the story arc ends by showing Doom as a person willing to tolerate diversity of people as a result of his childhood experiences. Indeed, the issue ends with a tweaked quote from Exodus 22:21 (“You shall not oppress a stranger nor torment him for you, too, were a stranger in a strange land.”) that seems to be directed positively toward Doom in the wake of his actions. Generally speaking, these two characterizations are incompatible.
Avengers #25-28
W:Jed MacKay | A: Valerio Schiti; Andrea Broccardo; Andrea Broccardo & Farid Karami | C: Federico Blee | L: VC’s Cory Petit
Largely a “make Sam feel better about himself” vehicle, the Avengers tie-in issues are entirely inconsequential to One World Under Doom. The story arc has a weird vibe from the start, and it gets progressively less intelligent as it goes. It’s a foregone conclusion that the bad guys will lose, but MacKay writes them as especially inept here. They want to discredit Doom by showing they can do things he can’t stop, and yet they never really try to do so despite the power they now wield in the Impossible City. For instance, they aim an asteroid at New York City but put its launch on a very long timer. Ultimately the issue does what it sets out to do: pits Sam against easily disposable enemies who he beats both physically and strategically, thus making him feel better about himself.
Storm #4 (no banner)
W: Murewa Ayodele | A: Lucas Werner | C: Alex Guimarães & Fer Sifuentes-Sujo | L: VC’s Travis Lanham
Given how many tie-ins carry the One World Under Doom banner while having nothing whatsoever to do with One World Under Doom, it’s surprising that Storm #4 doesn’t. The issue supplies the most organic blend of an ongoing series’ story arc with larger One World Under Doom events and ideas. Ayodele supplies enough in-story exposition to make this issue fairly approachable for new readers. There is also significant exploration of the titular character. Indeed, the conversation with Doom, which deals with a theme far more important than what Storm herself is going through, provides an excellent vehicle for this character exploration.
That larger theme that Storm #4 deals with, and easily the most compelling part of the issue, is Doom’s claim that his personal experiences (especially his identity as a Romani) led him to admire mutants. Thus he offers to Storm to make mutants “his people.” Trying to harm mutants would be akin to trying to harm Doom himself. He bases his appeal on similar experiences and identity: “I am like you, thus you must be for me.” Storm pushes back on Doom’s offer, rightly seeing it as self-serving on Doom’s part. As is clear by the end of the issue, this offer was good only so long as mutants were on his side. This decidedly anti-Doom story provides a fascinating lens through which to view some styles of leadership in western culture today.
Storm #5
W: Murewa Ayodele | A: Lucas Werner | C: Alex Guimarães | L: VC’s Travis Lanham
It makes little sense for Storm #5 to carry the One World Under Doom banner while Storm #4, which is heavily connected to the event in its themes, does not. Readers who come here for a One World Under Doom tie-in will find an almost impenetrable cosmic storyline that is difficult to follow without having read the series’ previous issues. The Storm/Doom interaction is limited to a few threatening words in a few panels over a few pages. Storm readers will find this issue compelling, but it is unlikely to have much appeal beyond them.
Iron Man # 6-10
W: Spencer Ackerman | A: Julius Ohta; Julius Ohta with Michael Dowling; Michael Dowling, Julius Ohta & Guiu Vilanova; Guiu Vilanova | C: Alex Sinclair; Michael Atiyeh | L: VC’s Joe Caramagna
It’s difficult to talk about the Iron Man tie-in without going straight to the major topics that Ackerman examined in the story. In a big picture sense, though, this arc suffered much in the same way that many Iron Man stories in recent years have: Tony Stark is more of a plot device than a developed character. He’s willing to create a neverending battle between Doomstadt and insurgents while either not caring or being too ignorant to understand that such a conflict would claim dozens if not hundreds if not thousands of lives. In fairness, this depiction of Tony works with his almost irrational behavior in One World Under Doom #5. But it’s unclear whether that was actually intentional. And in fact in One World Under Doom #3, Tony specifically said he wasn’t a murderer. That’s probably a distinction without a difference between these two issues.
Ackerman steps away from dealing with the obvious themes examined by One World Under Doom to look at the importance of collective bargaining, whether the rich can be trusted to ever do the right thing, capitalism in general, and arms dealing to insurgents. It’s somewhat ambitious to put a lens on all of that in five issues, and the result is a muddled mess (not unlike the plot itself). Doom, despite being evil and the nominal bad guy, sides with the story’s apparent (righteous) assertion that the power many versions of capitalism bestows upon the wealthy is bad. And all the while the arms dealing themes are so vague, they could apply to defensive “insurgents,” offensive terrorists, and sovereign nations engaged in war. This all needed a lot more space and nuance than it got as a brief tie-in story to One World Under Doom.
Doctor Strange of Asgard #1-5
W: Derek Landy | A: Carlos Magno | C: Espen Grundetjern | L: VC’s Cory Petit
The first issue suggests this series will be about getting Strange back in the fight against Doctor Doom. Landy stretches that notion out for five issues in what is ultimately a major misdirection to entice readers to this series who might otherwise ignore it without the One World Under Doom banner. That said, as an isolated story that has nothing to do with One World Under Doom, Doctor Strange of Asgard delivers five entertaining issues. The mystery story at its heart is well thought out, and Landy drops clues to make it solvable while at the same time including red herrings. This is accompanied by a very dry wit style of humor. Doctor Strange of Asgard is one of the better tie-ins that has nothing to do with the main event.
Doom Academy 1-5
W: Mackenzie Cadenhead | A: Pasqual Ferry; Pasqual Ferry & João M.P. Lemos | C: Edgar Delgado; Edgar Delgado & João M.P. Lemos | L: VC’s Layton Cowles
Largely a Strange Academy reunion, the series doesn’t spend too much time connecting itself to One World Under Doom. There are no real story holdovers from previous Strange Academy series which makes the series very approachable for new readers. Much of it boils down to the main characters wondering if Doom’s Academy is evil. Cadenhead delivers a largely character-centric story, focusing especially on Zoe. Despite being a relatively low action series, the good character based writing makes these page turners.
There is a thoughtful idea at the heart of the series, especially in light of how cultural conflicts play out in the current day., But Cadenhead doesn’t explore it in depth so it’s unclear how intentional its inclusion was. Doom Academy offers Doom the perfect opportunity to reach potentially impressionable children and teenagers. Cadenhead touches on the idea of propaganda but never goes full bore with attempts at manipulation or indoctrination. The final pages do see Doom congratulating the Strange Academy children for succeeding where adults had failed and encouraging them in their future endeavors.
Red Hulk #1-6
W: Benjamin Percy | A: Geoff Shaw | C: Bryan Valenza | L: VC’s Cory Petit
Percy spends almost all of these Red Hulk issues crafting a General Ross character examination. The story loosely circles the events of One World Under Doom, but it’s shot through the point of view of a character who has no idea that the world changed while he was fighting his way out of captivity. The primarily first person monologue-oriented point of view storytelling distinguishes these issues from the other tie-in issues. Red Hulk #6 brings the series and its titular character closer to One World Under Doom’s main story, but it doesn’t speak to the event’s larger themes.
Doom’s Division #1-5
W: Yoon Ha Lee | A: Minkyu Jung | C: Matt Iacono | L: VC’s Travis Lanham
Much of the appeal of this series will be the return of the less frequently seen Tiger Division. These characters have always been compelling in the team setting, and that is true again here. A major virtue to this story is that while it has some of the most thought provoking ideas in One World Under Doom, its basic plot could be told whether connected to this kind of event or not. It’s a good example of how big ideas need not crowd out strong character arcs.
Though disconnected from Doctor Doom himself, Doom’s Division handles the event’s larger concepts better than any of the tie-ins to this point. Lee looks at the idea of collaboration from the points of view of high profile civilian activity as well as superhero activity (read: law enforcement, military, etc.). The Luna Snow story arc is particularly complex because it’s arguable that she is having a positive impact on the populace despite essentially being a Doom propagandist. Lee also touches on the complexity of how to resist Doom via a discussion of whether Sunfire’s tactics are too extreme and risk alienating potential supporters. But by far the best part is that Lee doesn’t outright tell the reader what to think. Though the series has a viewpoint which is definitively anti-Doom, Lee allows the reader to think about these issues and come to decisions on their own. Additionally, the universality of the discussion (as opposed to likening Doom’s supporters to Nazis) will appeal to readers who might find such comparisons to real world events extreme or inappropriate.
Lee also brings up a fascinating idea, though it’s unclear whether it was meant truthfully or to make White Fox look silly. In Doom’s Division #5, White Fox says, “Peace doesn’t always mean the absence of war.” On its face, this statement sounds ridiculous. But there is an uncomfortable truth to it. In the Marvel universe, for example, humans and mutants are frequently depicted as being in a de facto war, but the humans never seem to think that’s the case. In the real world, the United States is often bombing someone somewhere, but so long as that’s the only thing the United States is doing, its citizens are likely to say that it’s peace time. This is an idea that deserves serious consideration.
Runaways #1-2
W: Rainbow Rowell | A: Elena Casagrande; Elena Casagrande & Roberta Ingranata | C: Dee Cunniffe | L: VC’s Travis Lanham
The Runaways’ participation in One World Under Doom is still in progress leading into the third issue, but so far it’s an effective light-hearted romp that borders on comedy. There are some solid character examinations, both serious and humorous. In a big way, though, this is more an opportunity to catch up with the Runaways following the events seen in their most recent series. While this series is fairly approachable thanks to a hefty amount of in-story exposition, new readers may not find these ongoing arcs compelling. The story so far is fairly inconsequential to the larger One World Under Doom event. But unlike some tie-ins that aren’t directly related to One World Under Doom, Runaways #1-2 is at least a consequence of it and does impact this series’ main characters.
X-Factor #7
W: Mark Russell | (A) Bob Quinn | C: Jesus Aburtov | L: VC’s Joe Caramagna
One World Under Doom gives X-Factor the opportunity to tell a fairly serious story (in its own way). The idea of a country (Gigosha) run by a super computer and the algorithms it generates sounds ridiculous, especially when presented here as a way to literally mind control people. Yet it might be a little too close to home with current technological advancements. The action story and its inevitable double cross works well. Keeping the issue primarily action lets it include the dark and bizarre humor that is central to the series. Russell floats some barebones high concept ideas (such as Gigosha) but doesn’t linger on them too long which is actually a benefit to a series like X-Factor. The reader is invited to do some thinking while still having fun.
Superior Avengers #1-4
W: Steve Foxe | A: Luca Maresca & Kyle Hotz | C: Matt Iacono; Matt Iacono & Rachelle Rosenberg | L: VC’s Cory Petit
The series’ greatest strength so far is that it’s easy to get caught up in the non-stop deceit that is at its core. At times it even borders on the ridiculous and is, in a very dark way, almost funny. But the ability to find dark humor is the result of a story that is incredibly dark. The revelation of what the future looks like when Doom’s rule succeeds is its own kind of horror. It’s a good reminder of who Doctor Doom is. Despite everything he’s saying in the present, in the future he reverts to the same selfish, self-important petty dictator that he has always been. A surprisingly effective lowkey character arc belongs to Kristoff. It reads as a son who is constantly trying to get approval from a father who will never give it.
These reviews can be debated and in many cases may only scratch the surface. One World Under Doom has a lot to say about current events. And with almost half of the event remaining, it will no doubt have more to say. One World Under Doom #6 releases on August 6th.
