After three issues of global conquest, political intrigue, and power plays from the shadows, One World Under Doom #4 finally shifts the spotlight fully onto the man behind the iron mask. Yes, this issue is Doom’s issue—narrated by the would-be god himself, and packed with the brutal, mystical showdown fans have been waiting for: Doctor Doom vs. Dormammu.
Following the cliffhanger of issue #3, this chapter wastes no time. The battle begins on page one, and writer Ryan North wastes not a panel. Where past issues showed Doom from the outside—as a tyrant, a liberator, a manipulator—this one gives us the Doom monologue we’ve been craving. North writes Victor Von Doom with poetic menace, capturing not just his infamous arrogance and intellect, but something far rarer in depictions of the character: his desperation.
And that’s what makes this issue sing. Doom is no underdog—he’s never seen himself as one—but against Dormammu, he’s clearly outmatched. North uses this imbalance masterfully. He doesn’t just show Doom reacting; he shows Doom calculating, adapting, refusing to yield. It’s a rare comic that shows Doom not just trying to win, but trying not to lose—and in those cracks of overconfidence, North finds the humanity in the monster.
The fight itself is well-scripted, a chess match of spells, strategy, and sheer willpower. Momentum shifts rapidly, sometimes within the same page, which gives the conflict a sense of real volatility. North’s pacing is excellent, and the choice to let Doom narrate his own struggle elevates the stakes. We don’t just see Doom’s genius—we feel it working in real time.
However, One World Under Doom #4 isn’t perfect, and much of that comes down to the visuals.
Artist R.B. Silva, a consistent highlight of previous issues, stumbles here. His talent is undeniable—several pages absolutely crack with cosmic energy and dramatic framing—but this issue’s art is weighed down by cluttered compositions and an overabundance of detail. Wide shots lose clarity, particularly when energy blasts and mystical debris fill the scene. In a comic that’s basically one extended magical battle, clarity is key—and too often, it gets lost in the noise.
The panel layouts contribute to the problem. Silva opts for numerous small panels to track the micro-movements of the fight, but this sometimes breaks the rhythm rather than enhancing it. With so much happening, the action loses its fluidity.
Colorist David Curiel does his best to amp up the magic, but his colors, while vivid, add to the visual chaos. With constant shifts in tone and light, the palette becomes overwhelming, muddying key moments instead of enhancing them. What should feel explosive and ethereal often becomes visually exhausting.
This is unfortunate, because the script demands a clean, dynamic visual translation. North’s writing delivers a first-rate internal portrait of Doom, and the art only partially delivers on that promise. When Silva and Curiel align, the result is stunning. But when they miss—even slightly—it undercuts the weight of the story.
That said, One World Under Doom #4 remains a strong issue overall. The writing is among the best Doom character work since Jonathan Hickman’s run, and North makes the bold choice of framing Doom not just as the terrifying overlord of the Marvel Universe, but as a man clinging to the illusion of control. There’s arrogance, yes, but also fear—and in Doom, that’s more compelling than invincibility.
Despite its artistic missteps, One World Under Doom #4 is a must-read for Doom fans. Ryan North delivers one of the most nuanced takes on the character in years, digging deep into what makes Doom tick as both villain and reluctant hero. The art doesn’t always keep pace with the script’s ambition, but when it works, it really works.
