Superior Avengers #1: Doom’s Mightiest Heroes

A new dictator needs a new superhero team. Or something like that, anyway. If Earth’s mightiest heroes won’t support Doctor Doom’s new world order, the only solution is to find a bunch of new mightiest heroes in Superior Avengers #1.

Kristoff Vernard wants to give his adopted father his very own super team in Superior Avengers #1. But rather than recruiting villains or otherwise undesirable people, Kristoff’s idea is to use Doom’s time platform to pull powered people from the future, where Doom’s rule has been successful, Earth is prospering, and there are no more villains. Enter Killmonger, Abomination, Doctor Octopus, Onslaught, Malekith, and Ghost. But while they may be working for Kristoff in support of Doom right now, they also have their own secret agenda.

Superior Avengers #1’s opening pages set up what appears to be a “been there, done that” premise–whether it was in the days of Norman Osborn and H.A.M.M.E.R. or Secret Empire. The premise makes perfect sense, though, which is why it keeps popping up. It’s logical that a villain who managed to take power would have his own set of “heroes,” after all. Foxe’s tweaks to the underlying idea livens it up, though. These characters may be villains, at least nominally, but they’re also complete strangers. Readers may assume things about them based on their names, but in truth they are unknowns that offer the potential for a lot of surprises.

How close Superior Avengers’ storyline runs to One World Under Doom’s is still to be seen. But in any event Superior Avengers #1 gives Foxe creative freedom. What does the future look like under Doom’s rule? The high concept of taking characters from timelines where Doom is supposedly successful opens up the possibility for a kind of Savage Avengers style story which could show in detail the ways Doom’s rule may or may not go. It piques the curiosity.

The most interesting part of Superior Avengers #1 on a character level is the relationship between Doom and Kristoff. The issue gives very little space over to exploring the dynamic, but it’s still difficult to miss. Kristoff is the child desperately trying to please his father. Doom is the demanding father who only appreciates success. There are more issues to come, but the Kristoff/Doom dynamic is the most compelling part of this one.

Maresca’s character designs are inventive. They range from quirky and unusual (Onslaught) to dangerous and threatening (Malekith). Onslaught’s design is easily the most interesting as it both calls back to his origin with the Magneto-esque design (right down to the cape) and subverts it by being a gaunt figure hovering away from the battle.

Kristoff is well served despite his few appearances in Superior Avengers #1. In perfect alignment with Foxe’s depiction of his and Doom’s relationship, Maresca captures Kristoff’s fear of disappointing Doom. His brow and eyes are almost constantly downcast. Maresca at first gives the character a measure of strength in his features, highlighting his cheekbones and jawline. But all of that is missing in the panel where he brings the time platform online despite anticipating failure. The weakness on display there informs the character for the remainder of the issue.

Iacono uses a vivid color palette. It complements Maresca’s character designs, giving these mysterious and unusual new characters a kind of heightened reality. Even though they are no brighter than the rest of the images on the page, the coloring still helps them pop off the page. This is most apparent in Doctor Octopus and Onslaught.

There is a page late in Superior Avengers #1 that also shows off Iacono’s versatility. This single page depicts a flashback to at least some of these characters’ past. It is not drawn by Maresca, and the action sequence depicted is more visceral with heavier shading and line work. Iacono’s coloring is muted here relative to the rest of the issue, enhancing what feels like a dark chapter in these characters’ past.

Petit brings his usual skill at providing neatly organized bubbles and caption boxes to Superior Avengers #1. The issue isn’t particularly text heavy, but when it leans in that direction it is usually set against busier panels. Petit keeps that text out of the way of Maresca’s art, letting both it and Iacono’s colors remain the focal point.