The reign of Victor Von Doom has ended, but his presence looms larger than ever in the debut issue of The Will of Doom #1. Written by Chip Zdarsky with art by CAFU, this issue acts as a heavy, character-driven examination of the vacuum left behind when a god-emperor falls, and the Fantastic Four’s place in it.
A World Without a Dictator
The story picks up in the immediate, messy aftermath of Doom’s demise. Victor, having siphoned the life force of his people to become Sorcerer Supreme, was eventually undone by the accidental death of his goddaughter, Valeria Richards. In a rare moment of genuine grief, Doom traded his life to the Living Tribunal to bring her back.
Now, the world is reeling. In the outskirts of Doomstadt, we see General Thaddeus “Thunderbolt” Ross being retrieved from Latverian captivity. Ross is a man of the old guard, frustrated by a world that rolled over for Doom and eager to reassert American dominance. His first act of freedom? Planting a U.S. flag in Latverian soil, which immediately creates a diplomatic nightmare, and highlights the core premise of this book: how do you govern a world that has forgotten how to lead itself?
The Burden of an Empire
While Ross plays at geopolitics, the Richards family deals with a more personal, overwhelming inheritance. Victor’s will is legally airtight under Latverian law, naming Valeria as his sole heir, effectively making Valeria the richest kid in the world.
The emotional weight here is palpable. Valeria, who was actually killed and resurrected by Doom’s sacrifice, is struggling with a complex form of survivor’s guilt. She admits to her mother, Sue, that despite everything Victor did, she still misses him. It’s an honest moment that elevates the book from a standard superhero romp to messy, confusing family drama.
Power and Distrust
Zdarsky’s script shines when it focuses on the deteriorating relationship between Earth’s heroes and the governments they serve. Secretary Brooke of the State Department delivers a scathing reality check to Reed Richards, accusing him of either being too arrogant to see Doom’s takeover coming or thinking he could “cowboy it” himself without telling authority.
This distrust is a major theme here. To the average person, the Fantastic Four aren’t heroes anymore; they are the people who magically got better and inherited a fortune while everyone else suffered. The issue also posits that real power is taken, and the heroes are finding that their moral high ground has eroded as Doom’s authoritarian ideologies still prevail even in death.
Art and Visuals
The art team of CAFU and David Curiel delivers a grounded, cinematic look that suits the political thriller tone. CAFU’s character work is exceptional, particularly in the subtle facial expressions of a weary Reed Richards and a defiant General Ross. The transformation of Ross into the Red Hulk is handled with a gritty, explosive energy that emphasizes power over spectacle.
Curiel’s colors are moody and atmospheric, shifting from the cold, snowy peaks of Latveria to the sterile, high-tension rooms of the White House. Travis Lanham’s lettering is clean and well-paced, especially during the chaotic Doombot uprising, where the dialogue needs to jump between multiple locations and speakers without losing the reader.
Final Thoughts
Will of Doom #1 does a great job of world-building in the aftermath of One World Under Doom. It sets up a global fail-safe for Victor’s ego, but the real meat of the story is in the fallout. The issue ends on a chilling note: while the heroes think they’ve deactivated the threat, Valeria is seen standing over a literal army of Fantastic Four-themed Doombots, claiming she might need them for backup. Doom might be gone, but his penchant for perfection has clearly rubbed off on his goddaughter.
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Will of Doom #1 does a great job of world-building in the aftermath of One World Under Doom. It sets up a global fail-safe for Victor’s ego, but the real meat of the story is in the fallout.
