One World Under Doom #6 is a game-changer. After five issues of watching Dr. Doom’s reign go seemingly unopposed, Ryan North and R.B. Silva pull off a brilliant turn that finally gives the heroes a real chance to fight back.
North makes the bold choice to kick off this issue not with a huge battle, but with a televised debate between Mr. Fantastic and Dr. Doom. It’s a surprising and fascinating change of pace after all the epic battles that came before. The media outlets are all over it, with 616 TV, a hilarious nod to the main Marvel universe, and others clamoring for a “battle of wits.” The twist? The public is firmly on Doom’s side, and it’s clear from the start that Reed is the underdog.
The debate is a masterclass in how authoritarian figures use their platforms. Doom, ever the showman, expertly uses half-truths and lies to win over hearts and minds. He even brings up a questionable historical comparison to Winston Churchill and Pearl Harbor, which is clever because the truth of the matter becomes irrelevant; it’s about emotional impact. Meanwhile, he expertly wields his power as Sorcerer Supreme, with Silva’s art beautifully illustrating Doom’s magical arguments with images of the heroes’ past failings. But the debate isn’t just talk. It’s a front for the real plan.
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While Doom is distracting the world with his performance, the Avengers, led by Maria Hill, are executing a desperate plan. The art here, particularly the panel of the Avengers lining up, is powerful. We follow Invisible Woman, Black Widow, and Scarlet Witch as they breach Doom’s Latverian shields, with a great moment of banter from Black Widow that feels authentic and funny.
Once inside, the trio discover the horrifying truth about Doom’s “perfect” society: it’s a lie. Latveria is empty, populated only by hard light constructs, while the real citizens are in glass cages, their life energy being drained by a giant magical tower. It’s a chilling visual by Silva that makes the stakes incredibly personal. The issue ends with the first significant crack in Doom’s empire, a domino falling that promises an explosive finale.
The art throughout this issue is phenomenal. R.B. Silva’s visuals, particularly the double-page spread of Doom’s magical projections, are a series highlight. Colorist David Curiel’s work is fantastic, with the toxic dark greens of Doom’s magic being a consistent standout. Even Travis Lanham’s lettering, with its bombastic onomatopoeia, adds to the action. And you can’t talk about this issue without mentioning Ben Harvey’s striking and unsettling cover. It’s the kind of cover that makes you stop and stare, and it sets the perfect tone for the horrors revealed inside.
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This issue is a brilliant and compelling story that shows how real-world political themes can be woven into a superhero comic. North’s writing is a chillingly effective look at the power of half-truths and propaganda. While some of Silva’s facial models are inconsistent, the overall art and visual storytelling are top-notch.
One World Under Doom #6 is a riveting read and a perfect setup for what’s sure to be an epic conclusion. Ryan North has built a convincing and timely story about the rise of authoritarianism, and the art team of Silva, Curiel, and Lanham delivers on every single page.
‘One World Under Doom’ #6 Review: Doom’s Lie of a Perfect World
One World Under Doom #6 is a riveting read and a perfect setup for what’s sure to be an epic conclusion. Ryan North has built a convincing and timely story about the rise of authoritarianism, and the art team of Silva, Curiel, and Lanham delivers on every single page.
