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Ultimates #17, by Deniz Camp with guest art by Phil Noto, delves into the complex and tormented soul of Doom, the man formerly known as Reed Richards. This issue is a compelling character study wrapped in a superhero team-up, offering a fresh, engaging, and unexpectedly emotional look at a character often defined by his cold logic and metallic mask.

The world is still in a precarious state. Iron Lad (Tony Stark) is frantically trying to organize the Ultimates to prepare for the return of the supervillain, the Maker. But Doom, despite being a crucial part of the team, is totally preoccupied. His obsession is the Ultimate Fantastic Four: the family and team he never got to have.

The whole issue revolves around “Project 4,” Doom’s latest, twisted attempt to recreate this lost group. Using years of cosmic energy research and the advanced Immortus Engine, he assembles a group of individuals for surgical enhancement, creating scientifically “balanced” units of four. It’s an incredibly cold and mechanical way to chase a memory. He wants his family back, but his methods are pure, ruthless Doom.

The core of the issue is the conversation between Doom and Iron Lad, revealing the source of Doom’s torment. He’s haunted by the realization that three versions of himself exist across the multiverse: the classic heroic Mister Fantastic, the villainous Maker, and himself, Doom.

Doom has spent his life fighting the Maker, believing his choices could prevent his fate. Now, the issue reveals that all three are, in a sense, him. This revelation shatters his belief in free will and his capacity to change, paralyzing him and suggesting his entire existence has simply been a reaction to the Maker. The trauma inflicted by the Maker has essentially given Doom a brutal, metaphorical lobotomy, robbing him of his joy and capacity for genuine, heroic breakthroughs.

Camp’s script brilliantly explores the theme of predestination versus free will. It’s a dark, beautiful look at a man trying to escape himself and failing spectacularly.

Feeling unstable and hopeless, Doom attempts to step back from the Ultimates, concluding his fight is a failure. Iron Lad, acting as the team’s moral anchor, refuses to let him leave, reminding him that the Ultimates are founded on the principle of choice.

But Doom’s final decision is chilling and ambiguous. He pledges to stay to help, but only long enough for his revenge, telling Tony, “I will have my revenge on the Maker… and then I will come to you. My family… in death we will be together again.” It’s a personal, dark resolution that suggests he hasn’t escaped the Maker’s influence (or his own self-destructive nature) at all.

Phil Noto’s guest art perfectly anchors the emotional script. His distinct, painterly style gives the issue a somber, weighty feel, especially in the flashbacks. The weariness in Tony Stark’s eyes and the pain in the young Reed’s face perfectly convey the immense emotional toll. The visual contrast between the bold, vibrant colors of his “Fantastic Force” victims and the muted, dangerous reds surrounding Doom effectively sells the tragic, experimental nature of his plans.

The main criticism here is that, while the emotional beats are strong, the overall issue feels methodical and even like filler. Not much happens that radically changes the global plot, and most of Doom’s psychological torment was already implied. Additionally, while Noto is a legend, his signature style sometimes leads to faces feeling a bit too quickly rendered or hasty, which is especially noticeable and unfortunate on Doom’s final, climactic panel.

Despite a slightly slower pace and some minor artistic haste, Ultimates #17 is a powerful, dark, and utterly fascinating character piece. It’s a compelling look at a man trying (and tragically failing) to rebuild the family he lost, reminding us that sometimes the greatest battles are fought within the mind.

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• X
• Reddit
• Instagram

Ultimates #17, by Deniz Camp with guest art by Phil Noto, delves into the complex and tormented soul of Doom, the man formerly known as Reed Richards. This issue is a compelling character study wrapped in a superhero team-up, offering a fresh, engaging, and unexpectedly emotional look at a character often defined by his cold logic and metallic mask.

The world is still in a precarious state. Iron Lad (Tony Stark) is frantically trying to organize the Ultimates to prepare for the return of the supervillain, the Maker. But Doom, despite being a crucial part of the team, is totally preoccupied. His obsession is the Ultimate Fantastic Four: the family and team he never got to have.

The whole issue revolves around “Project 4,” Doom’s latest, twisted attempt to recreate this lost group. Using years of cosmic energy research and the advanced Immortus Engine, he assembles a group of individuals for surgical enhancement, creating scientifically “balanced” units of four. It’s an incredibly cold and mechanical way to chase a memory. He wants his family back, but his methods are pure, ruthless Doom.

The core of the issue is the conversation between Doom and Iron Lad, revealing the source of Doom’s torment. He’s haunted by the realization that three versions of himself exist across the multiverse: the classic heroic Mister Fantastic, the villainous Maker, and himself, Doom.

Doom has spent his life fighting the Maker, believing his choices could prevent his fate. Now, the issue reveals that all three are, in a sense, him. This revelation shatters his belief in free will and his capacity to change, paralyzing him and suggesting his entire existence has simply been a reaction to the Maker. The trauma inflicted by the Maker has essentially given Doom a brutal, metaphorical lobotomy, robbing him of his joy and capacity for genuine, heroic breakthroughs.

Camp’s script brilliantly explores the theme of predestination versus free will. It’s a dark, beautiful look at a man trying to escape himself and failing spectacularly.

Feeling unstable and hopeless, Doom attempts to step back from the Ultimates, concluding his fight is a failure. Iron Lad, acting as the team’s moral anchor, refuses to let him leave, reminding him that the Ultimates are founded on the principle of choice.

But Doom’s final decision is chilling and ambiguous. He pledges to stay to help, but only long enough for his revenge, telling Tony, “I will have my revenge on the Maker… and then I will come to you. My family… in death we will be together again.” It’s a personal, dark resolution that suggests he hasn’t escaped the Maker’s influence (or his own self-destructive nature) at all.

Phil Noto’s guest art perfectly anchors the emotional script. His distinct, painterly style gives the issue a somber, weighty feel, especially in the flashbacks. The weariness in Tony Stark’s eyes and the pain in the young Reed’s face perfectly convey the immense emotional toll. The visual contrast between the bold, vibrant colors of his “Fantastic Force” victims and the muted, dangerous reds surrounding Doom effectively sells the tragic, experimental nature of his plans.

The main criticism here is that, while the emotional beats are strong, the overall issue feels methodical and even like filler. Not much happens that radically changes the global plot, and most of Doom’s psychological torment was already implied. Additionally, while Noto is a legend, his signature style sometimes leads to faces feeling a bit too quickly rendered or hasty, which is especially noticeable and unfortunate on Doom’s final, climactic panel.

Despite a slightly slower pace and some minor artistic haste, Ultimates #17 is a powerful, dark, and utterly fascinating character piece. It’s a compelling look at a man trying (and tragically failing) to rebuild the family he lost, reminding us that sometimes the greatest battles are fought within the mind.