REVIEW: ‘One World Under Doom’ Issue 9

One World Under Doom Issue 9 is published by Marvel Comics. Written by Ryan North, with art by R.B. Silva, colors by David Curiel and letters by Travis Lanham.

This is the final part of the One World Under Doom event. Doom has accidentally killed his goddaughter, Valeria, and is willing to do anything to get her back. Doom’s one vulnerability has been found and severed. There is a slow pace to One World Under Doom Issue 9 as what Doom has done really sinks in.

He made his victory over the heroes a fixed point in time. Unable to mess with time again and rewrite his wrongs, Doom has to go further. Beyond Earth, to the most abstract entities in the universe. No more battling heroes and villains, the ones that control the fabric of the cosmos are the next target. It’s a powerful journey, but a little too easy to predict.

The deed that has to happen is clear from the moment Doom sees Valeria‘s corpse. The political elements of the event are also there in the second half. Doom’s perfect but fascist world meets the imperfect, fractured society that the heroes occupy. The discussions are again pungent and sheets prevalent, because that perfection comes with pain.

Doom has been the main character of this event from the start, and North had never moved away from that fact. The cast shrinks in One World Under Doom Issue 9 to focus on the one that matters most. Doom has so many facets to his personality; he’s a conniving dictator who can deceive others into believing he’s caring and considerate, when in fact he’s narcissistic and despotic. However, the one person he truly cares about lies dead at his feet, and his heart has shattered.

He’s experiencing grief and love at the same time. It’s important to note that Doom is not remorseful of his actions on Earth or against the heroes, just devastated over the loss of Valeria. When talking to abstract entities, he is commanding and arrogant, still considering himself the most important creature in the universe. He cares about the planet and his goddaughter, and both have been devastated by his touch.

The art is phenomenal once more. There’s a terrific contrast between the world and the celestial beings that humans can’t even perceive. The abstract entities are huge and imposing, and Doom tries to match their majesty. But there’s also Valeria’s body. It’s a surprisingly brutal mess, with some having to actually try to put her back together. This is fused with captions that hammer home that Valeria is well and truly gone. Then come the vox pops and interviews with regular people.

The downside is that the final part of One World Under Doom Issue 9 is just dull visually. The conversation is interesting, but it’s just faces and no movement until the final page. That last page has a secret that isn’t executed as well as it could be, with the text not fitting the surface it’s written on at all.

The colors at the start of One World Under Doom Issue 9 are vibrant, imbued with cosmic energy. Doom always radiates energy from his body, like a cloud, enhancing his aura. That green remains integral until the very large page. The lettering, aside from the last page, is comfortable and easy to read.

One World Under Doom Issue 9 comes to a quiet conclusion. The battle happened in the previous issue, so this final chapter is the aftermath. It’s slower, contains less noise and changes the spectacle. The other characters have been close to irrelevant throughout the event, and the pacing has been off multiple times.

As a blockbuster that had tried to also have a noble conversation about fascism and how it has become acceptable and favored, One World Under Doom Issue 9 both staggered and shone at times. And as an exploration of Doom as a character and what he stands for, it has been pretty much perfect.

One World Under Doom Issue 9 is available where comics are sold.