(MARCH 2010)




"Doomwar Part 2"
(22 pages)

Story - Jonathan Maberry
Art - Scot Eaton
Inks - Andy Lanning, Robert Campanella
Colours - Jean-François Beaulieu
Lettering - Virtual Calligraphy, Cory Petit
Editor - Axel Alonso

Cover pencils - John Romita Jr.
Cover inks -
Klaus Janson


Doomwar was what Marvel called an "event storyline" in 2010; typically such story arcs would have a prelude in a regular monthly title (in this case Black Panther (vol. 5) #12) and then unfold in a "limited series" (Doomwar #1-6).


Victor Von Doom is once again in search of the rare and powerful metal ore Vibranium, and because this precious metal can only be found in Wakanda, Dr Doom once again focuses on this hidden African kingdom (just as he had done so previously in Astonishing Tales #6). But unlike that 1971 invasion of Wakanda, Doom applies a far more subtle approach this time around by essentially masterminding a political coup which overthrows the royal family of Wakanda and enables him to take control of the kingdom.

In Doomwar #2, the second of a total of six issues, the X-Men have arrived to help T'Challa and the Black Panther (at this point in time T'Challa's sister Shuri is the Panther) regain a foothold in what is now a Wakanda conquered and controlled by Dr. Doom with the aid of local rebels. It is, however, precisely the savageness with which Shuri acts towards these groups of her own people which starts to make the X-Men feel more than just uneasy.

When T'Challa makes it to the vibranium vault he finds Dr. Doom at an impasse, as even Storm (T'Challa's wife) cannot open the final lock. Seizing the opportunity now arisen, Doom leaves T'Challa with a choice which is both simple and sinister: either T'Challa's wife dies or he gives up the secret of the vault.

Not surprisingly, T'Challa chooses the latter option... (to be continued)


Doomwar #2 (May 2010)



2010 was a year which saw Marvel throw an extraordinary number of cross-overs at readers. The main focus and publicity output was on "Siege" (which saw Norman Osborn invade Asgard in the aftermath of yet another crossover, "Dark Reign"), which then led into "Heroic Age" (which saw Norman Osborn defeated). Other cross-overs which were milked almost to the breaking point with special and single issues in 2010 were "Shadowland" and "Chaos War".

But that was by no means all. Minor" crossovers and "event storylines" were "Realm of Kings", "World War Hulks", "Second Coming", "Thanos Imperative", "Curse of the Mutants" - and "Doomwar". Given that none of the big names of the time worked on Doomwar it is hardly surprising that the six issues somewhat flew underneath the radar amongst all the publicity clatter put out by the House of Ideas to promote (some would say hype) their "big names and big themes" crossovers and limited series.

  Which is a shame. Even though Doomwar received some very unfavourable comments at the time, there were also those who saw the strong points.

Possibly the main weakness was an overdose of super heroes involved in the story, the combined actions of which were at times somewhat all over the place - in order to help T'Challa and the Black Panther regain control of Wakanda, no less than the X-Men plus the Fantastic Four plus War Machine plus Deadpool descended on the African kingdom. Maybe it was the sales desk's idea, hoping to attract attention through this "more bang for your bucks" formula, or maybe it was writer Jonathan Maberry's bona fide idea that it would energize the story. Whichever it was, it didn't work.

What Maberry got spot on, however, was the portrayal of Dr Doom. The character has come a long way since his debut in Fantastic Four #5 (July 1962) where he was in essence a vagrant madman who seemingly built castles and machines of destruction all by himself.

Only given an actual origin story in Fantastic Four Annual #2 (September 1964) he was quickly promoted to being the leader of a fictional state (Latveria) situated in the Carpathian Mountains of Eastern Europe, making him much more than just a villain - he now was a dictator, and it literally put him on the map of the world which ultimately he sought to conquer and rule.

However, it also makes the character a lot more ambivalent than any regular villain, as Stan Lee himself pointed out many times:

"Everybody has Doctor Doom misunderstood. Everybody thinks he's a criminal, but all he wants is to rule the world. Now, if you really think about it objectively, you could walk up to a policeman, and you could say, 'Excuse me, officer, I want to tell you something: I want to rule the world.' He can't arrest you; it's not a crime to want to rule the world." (Stan Lee in Ricci, 2016)


Doomwar #1 (of 6)
(April 2010)


Doomwar #2
(May 2010)


Doomwar #3
(June 2010)


Doomwar #4
(July 2010)


Doomwar #5
(August 2010)


Doomwar #6
(September 2010)


"So [...] it's unfair that he's considered a villain, because he just wants to rule the world. Then maybe he could do a better job of it. So I'm very interested in Doctor Doom, and I'd like to clear his name." (Stan Lee in Ricci, 2016)

Originally written by Stan Lee as an extremely arrogant person in the 1960s and early 1970s (which ultimately would always lead to the downfall of his schemes), he became a more complex character as of the late 1970s, with a complicated background which included a harsh upbringing and the trauma of facial disfiguration.

Maberry latched on to this very well, exploring the mental (im)balance of a Dr Doom who - not unlike the classic Dr Jekyll and Mr Hyde juxtaposition - is constantly slipping away just when you thought you could put a label on him.

Although always a matter of taste, the artwork of Doomsday came across very strong too, courtesy of penciller Scot Eaton and inkers Andy Lanning and Robert Campanella.

Eaton started working as a freelance artist in the 1990s and has since worked for all of the major US publishers. He drew well-known Marvel characters under contract between 2005 and 2013 such as Captain America, Thor, Spider-Man and the X-Men, and also put in a significant amount of freelance work for DC, including fan favourites such as the Batman, Swamp Thing and Green Lantern. Eaton also worked on Crossgen's Sigil. His powerful style which comes across the pages as being very atmospheric and cinematographic in its rendition and composition really gave Doom (and all the other characters) the weight and presence needed.


Original artwork by Scot Eaton (pencils) and Andy Lanning & Robert Campanella (inks)
for page 9 of Doomwar #2 (scanned from the original) - and the same page as it appeared in print



  Given the already mentioned somewhat reduced publicity presence, the sales figures to comic book stores for Doomwar #1 weren't too bad at just over 43,000 copies, making it the 33rd best selling comic book of February 2010 - the bestselling book being DC's Blackest Night #7 with 130,000 copies followed by Marvel's Siege #2 in second place with 108,500 copies.

Two variant covers certainly pushed the sales a bit, but as of Doomwar #2 the numbers were going down, as is so often the case with limited series.

While the second issue still sold 30,500 copies, this decreased slightly to roughly 28,000 each for issues 3 and 4. The two final issues sold 26,000 (Doomwar #5) and 25,000 (Doomwar #6) copies. Overall these numbers didn't look too bad, given that the length of the mini-series (six issues) clearly pointed to a collected edition - which in 2010 had become the central publishing concept anyway. Published in October 2010, this turned out to be a 144 page count hardcover (Doomwar, ISBN 978-0-7851-4714-5) rather than just another "trade paperback".

The entire six issues of Doomwar were also reprinted by Panini for the French market in February 2011 in Marvel Saga #9.



RICCI K.J. (2016) "Stan Lee Interview", Cat Country Youtube Channel, 12 November 2016


The illustrations presented here are copyright material.
Their reproduction for the review and research purposes of this website is considered fair use
as set out by the Copyright Act of 1976, 17 U.S.C. par. 107.

(c) 2019


uploaded to the web 9 February 2019