One World Under Doom #9: Ideas and Sentiments

North comes closer to a straight Doom as Donald Trump metaphor in One World Under Doom #9 than he has at any point in the series. To call the obvious commentary thinly veiled is to insult the opacity of thin veils.

The series has earned this moment, though–largely because it didn’t relentlessly hammer the argument in every issue. At one point it included a counterargument voiced by one Avenger (Thor) while making the Avenger who pushed back (Tony Stark) look like an irrational conspiracy theorist. And even in One World Under Doom #9, the critique is framed in an exchange with Doom where the character offers surprisingly reasonable arguments for unreasonable actions.

This is the continued brilliance of North’s story. One World Under Doom has an unmistakable point of view. And it is certainly offering commentary on current events. But it is an intellectual debate as much as it is an emotionally heated punch fest. Even here in One World Under Doom’s final issue, winning the conflict of ideas is as important–perhaps moreso–than winning an actual fight.

Political and intellectual examination is not the most compelling aspect of One World Under Doom #9’s story, though. Not by a longshot.

One World Under Doom #9 is a story about love. North examines whether Doom is capable of doing something purely unselfish–sacrificing for another while gaining nothing. At the center of this is Valeria’s apparent death in the previous issue. One World Under Doom #9 opens with a series of panels catching the reader up on Doom’s relationship with his goddaughter. They are sentimental without being overly so. Nothing about them betrays the rest of Doom’s character, but at the same time, North makes Doom’s feelings for Valeria ring true. The result is a situation where Doom’s own hubris has become his greatest enemy.

Doom’s feelings for Valeria dovetail nicely into the only reasonable ending for One World Under Doom. Can anyone stop Doom other than Doom himself? The heroes have tried and failed through eight issues. But why would Doom ever make such a decision? Seemingly painted into a corner, North finds a way to end the series in a fashion consistent with Doom’s character and in a way that doesn’t invalidate any of One World Under Doom’s events.

All of that–and it’s surprisingly touching as well.

Owing in large part to an extended sequence where Doom interacts with magical and cosmic beings on planes other than Earth, One World Under Doom #9’s visuals are dominated by Curiel’s coloring. This sequence only accounts for roughly a quarter of the issue, but they leave an impression so indelible that the Earthbound scenes can’t quite compete. Silva’s lines are so thin and light on these pages that the color work feels organic–alive and interacting rather than trapped between clearly delineated borders.

Curiel and Silva’s complementary work has been a hallmark of the series, and the result is Doom depicted as an entity of energy and power rather than just a man. The character remains this right up until the end.

Silva’s work is more restrained but no less impressive. The series has delivered huge groups of characters and action packed tableaus in issue after issue. One World Under Doom #9 is a much quieter affair. Silva’s art largely stands out in closeups on characters. Small, thin lines, used minimally around mouths, eyes, and on foreheads, accentuate expressions. They also serve as good guideposts for Curiel to adjust color shades and add depth. Under SIlva’s pen, characters’ eyes are the most expressive feature. Size and shape, and especially the direction they seem to be looking in.

Particularly impressive is the depiction of Doom’s love for and tenderness toward Valeria. North’s writing explains how Doom feels. Silva’s art captures those feelings so effectively that North could have written about them less and readers would have had no difficulty understanding.

Lanham’s work in One World Under Doom #9 largely stays out of the way. Dialogue bubbles are out of the way and often grouped close in linear progressions that are easy to follow. Conversations between characters flow fast and easy. The few sound effects are colored in a very complementary fashion to Curiel’s work, never distracting from all the art around them.