Review by Ian Keogh

Christopher Cantwell begins Doctor Doom’s first solo series in decades not with the villain in pursuit of power, but with the ruler of Latveria. A rebellion is being fermented on Latveria’s border with Symkaria, a time lost Kang keeps dropping by, and only Doom seems to be able to see that a black hole waste disposal unit on the moon is a bad idea. Cleverly, the strands are drawn together to put Doom on the back foot.

The situation deteriorates further, enabling Cantwell to show a very different Doom, one bereft of his power base, his resources and what few friends he has. He’s a man on the run with only his intellect to sustain him. From that situation Cantwell builds a picture of resilience and adaptability as Doom sustains some comfort from knowing he’ll survive. After all, he’s familiar with a future where he’s benign ruler of Earth and a contented family man. Can he trust in that vision?

Doom’s subsequent journey takes in some very different environments, all of them portrayed with significant detail by Salvador Larroca. Technology is sleek and modern, locations look as if they’re used, and are populated, while the action scenes crackle with energy, although they’re infrequent and often don’t involve Doom himself.

A presumption on Cantwell’s part is that readers will know the broader strokes of Doom’s past as passing comments aren’t always explained, yet add depth. Some are clever observations, one being the Pottersville title with the next volume named Bedford Falls referring to It’s a Wonderful Life’s investigation of how one man shapes a world. Yet Cantwell isn’t above broad conveniences such as intervention from the personification of Death usually seen in the presence of Thanos. That type of lapse is rare and passing in what’s otherwise a compelling portrait of a singular man amid intelligent use of other stock characters.

This is a satisfying fall and rise arc in two acts, combined if preferred as Doctor Doom by Christopher Cantwell and Salvador Larroca.