Dungeons Of Doom #2 - Marvel Comics

DUNGEONS OF DOOM No. 2, April 2026

It’s debatably a little difficult for anyone perusing this thirty-page periodical to shake off the notion that they’re somehow participating in a game of “Dungeons & Dragons” rather than simply reading a comic penned by Phillip Kennedy Johnson and Benjamin Percy. Indeed, this mini-series’ second instalment throws so many of Gary Gygax’s well known tropes at its audience, whether that be the all-seeing Eye of Khonshu, a mysterious Skull-Shaped Herb and the well-named Hammer of Treachery, that with each passing challenge any and all bibliophiles will feel that they’ve somehow outwitted another of Doctor Doom’s deeply buried dangers.

Perhaps foremost of these short-lived episodes is the one following Major Simmons and his depleted squad of American soldiers. Desperate to regroup alongside the formidably strong Red Hulk, this party of adventurers arguably appear to have the most humanity of the different “warring global factions” inadvertently hurled into “Doom’s most secret, most forbidden dungeons.” However, if any onlooker thought such a motivation was somehow going to protect them from the horrors trapped behind brick and mortar, they are soon put right – courtesy of their commanding officers’ well-meaning move to allow a limbless cadaver to somehow once again speak its words of magic.

Likewise, despite solely consisting of a lone Wakandan, the story of Umbra bravely diving into so ghastly a pit of unholy terrors appears just as riveting. Admittedly to begin with the white-clad operative does appear to be little more than a “thief” transgressing Latveria’s sovereign territory for their own ends. But such a label soon falls flat when its revealed that the agent’s mission is to penetrate a chamber packed full of T'Challa’s national treasures which Doctor Victor Von Doom has clearly stolen from the Black Panther's kingdom over a period of time.

Finally, the notion that a single publication featuring the work of five different artists would ordinarily be somewhat scoffed at by most comic book critics. And yet the illustrations of Justin Mason, Robert Gill, Carlos Magno, Georges Jeanty and Karl Story all seem to blend together quite magnificently, with only the odd strangely-sketched image of General Thunderbolt Ross’ colourfully-skinned alter-ego making those perusing Issue Two of “Dungeons Of Doom” momentarily doubt Senior Editor Jordan D. White’s decision to utilise so many talents all together.

The regular cover art of "DUNGEONS OF DOOM" #2 by Leinil Francis Yu & Romulo Farardo Jr.

Dungeons Of Doom #1 - Marvel Comics

DUNGEONS OF DOOM No. 1, March 2026

Announced at New York Comic Con 2025, this supposed grappling with “the aftermath of One World Under Doom” probably surprised a fair few of the bibliophiles who nonchalantly picked it up off of the spinner rack. For whilst the thirty-page-periodical is arguably a little clunky in its unconvincing premise of several opposing military-based factions somehow surviving a seriously long fall down into the deepest depths of Victor Von Doom’s underground chambers, as well as being a highly touted limited series which shockingly only consists of just three instalments, Issue One of “Dungeons Of Doom” makes for a compulsive read.

Indeed, whether by design or simply happy happenstance, writers Phillip Kennedy Johnson and Benjamin Percy manage to imbue the repeated assaults upon “The Monster’s Den” with plenty of pulse-pounding action and genuine gusto. Of particular note has to be the sudden appearance of Hydra, who having watched the Western Army visibly weaken itself against Latveria’s Freedom Fighters, decide to join the fracas with a massive aerial assault; “All that was Doom’s is now Hydra’s! Take down that gate! Kill anyone we find inside!”

However, it is the subsequent segments focusing upon the different factions’ survivors deep below the surface which really should capture the audience’s imagination; especially when they encounter “a mutant who should never have been born” and a multi-limbed monster straight out of a Dungeons & Dragon’s manual. These isolated episodes are really well-penned and somehow manage to both hold the attention, as well as inform any onlookers as to the personalities behind the considerably-sized cast. Furthermore it also seems intriguingly unlikely that many, if any, of the combatants are going to survive the experience, particularly within the Hydra faction where their leader quickly demonstrates his willingness to cold-bloodedly murder any member of his squad who threatens his chances of survival.

Quite superbly bringing all this mayhem to life are the artists Justin Mason, Robert Gill, Carlos Magno, Georges Jeanty and Karl Story. Sadly, it isn’t made abundantly clear just which illustrator has pencilled which sheet. But that doesn’t debatably matter thanks to color artist Guru-eFx who does a first-class job of bringing everyone’s drawing styles together into an enjoyable gestalt thanks to his own palette choices.

The regular cover art of "DUNGEONS OF DOOM" #1 by Leinil Francis Yu & Romulo Farardo Jr.

Bring On The Bad Guys: Mephisto #1 - Marvel Comics

BRING ON THE BAD GUYS: MEPHISTO No. 1, October 2025

Described by its New York City-based publisher as bringing Mephisto’s epic scheme “to a fiery conclusion”, Marc Guggenheim’s script for this twenty-five page periodical disappointingly probably left the vast majority of its readers feeling pretty cold. Indeed, the notion that the Prince of Deceivers would be successfully outwitted by his servant Sister Sorrow, and resultantly readily allow the Latverian sorceress to walk off with the very Soul Forge he has spent so long filling with spirits, arguably provides this publication with a contrived ending at best; “You’re welcome to try to take it from me. Bur there are over eight billion souls on Earth. And they are all now under my command.”

Furthermore, many a bibliophile will surely find themselves scratching their heads in utter bemusement when Doctor Doom suddenly materialises inside the original sanctorum of the Lords of Darkness, leading the likes of the Dread Dormammu, Loki, the Red Skull, the Green Goblin and the Abomination in a premeditated attack upon the “Securer of the Seven Sins”. So preconceived an assault by so many of the Marvel Universe’s most powerful super-villains debatably smacks of sheer fan fiction, and doesn’t seem all that in character with several of the aforementioned evil power-houses; most notably the Lord of the Dark Dimension who would surely never feel it necessary to team-up with Norman Osborn or Emil Blonsky..?

Perhaps this comic’s biggest issue however, is that it is never made clear just what Mephisto’s plans for every soul on Earth actually are once he gains control over them. “Old Nick” presumably has some nefarious fate in mind for the world’s mortals. But such unimaginable power over the masses is never explored and resultantly will doubtless make some onlookers question just what the point behind these “seven villainous one-shots” actually was – especially as the Prince of Devils gives up his prize without even threatening Sorana with some future retribution.

Lastly, Alvaro Lopez’s artwork whilst proficient enough to help tell the story, does appear a little wooden once the plot becomes packed with so many “bad guys”. Admittedly, the illustrator does a very good job in capturing the look of the Silver Age Johann Shmidt. Yet when it comes to the supposedly super-athletic Green Goblin or quick-scheming Loki, this somewhat old-fashioned drawing style frustratingly causes them to appear as slow-footed, lumbering dolts.

The regular cover art of "BRING ON THE BAD GUYS: MEPHISTO" #1 by Lee Bermejo

Bring On The Bad Guys: Doom #1 - Marvel Comics

BRING ON THE BAD GUYS: DOOM No. 1, August 2025

As the opening instalment to an “overarching saga” goes, Marc Guggenheim’s narrative for Issue One of “Bring On The Bad Guys: Doom” does a first-rate job in enticing his audience into wanting to know more about the “ancient artifact known as the Soul Forge”. In fact, the twenty-five page periodical probably raises so many intriguing questions within the reader’s mind, not least of which is just how a Berlin-based Emil Blonsky happened to locate a long-lost dagger in the first place, that many of them doubtless immediately pre-ordered the rest of this series’ much-touted “seven villainous one-shots” from their friendly local comic book store.

Of particular note is undoubtedly the Emmy Award-winning writer’s handling of the titular character, who absolutely reeks of contemptuous arrogance just as soon as he’s shown sitting upon his throne in Latervia. This publication delightfully portrays Victor Von Doom at his most haughtiest, whether the Fantastic Four’s arch-nemesis is scornfully belittling one of his lesser spies, or childishly deceiving himself that the gamma-irradiated strength of the Abomination “would offer no contest” if the tyrant decided to pit himself against the monster in a fight; “Blonsky goes. Unaware of the mercy Doom has granted him.”

Furthermore, the actual premise behind "Mephisto's ultimate scheme" is surprisingly well explained, with the American author quite patiently spelling out just how the Soul Forge was apparently created by the sorcerous arts of the world’s six Lords of Darkness. Packed with some (obligatory) blood sacrifices and a somewhat astonishing act of treachery, this backstory shows just how long a game the Machiavellian Lord of Evil is clearly playing, and rather shockingly may even make the odd bibliophile believe that perhaps it would actually be in humanity’s best interest if Latveria’s heavily-armoured monarch won the day as opposed to Stan Lee’s demonic co-creation.

Lastly, “acclaimed artist Stefano Raffaele” also deserves some applause for proficiency pencilling plenty of attention-holding panels throughout this comic. In addition to the Abomination’s incongruous disguise outside Platz Der Republik, the Italian illustrator also serves up a wonderful, atmospheric dish for the Forge’s aforementioned flashback sequences, as well as leaves no doubt as to the sheer hellish grandeur of Mephisto’s fiery domain – courtesy of a deeply disconcerting double splash page.

The regular cover art of "BRING ON THE BAD GUYS: DOOM" #1 by Lee Bermejo

Iron Man [2020] #17 - Marvel Comics

IRON MAN No. 17, April 2022

Very much placing Tony Stark himself as this ongoing series’ main antagonist, Christopher Cantwell’s storyline for Issue Seventeen of “Iron Man” certainly provides a chilling demonstration of absolute power corrupting its wielder absolutely. For whilst the cosmically-enhanced billionaire seemingly thinks his dubious decision to ‘exponentially raise the intelligence of every New York City citizen’ is a good one, the Chicago-born writer’s narrative provides plenty of evidence as to just why making approximately nine million people super-smart is simply a recipe for chaos, crime and even cold-blooded murder; “The Frog never realises he’s dead until it’s too late.”

Disconcertingly however, especially for those readers who are fans of the Golden Avenger, “Farewell, My Space Friends” also shows the disastrously detrimental effect being the Iron God has had upon the mental stability of its current owner. The egotistical industrialist has arguably always struggled to accept justified criticism of his poorer pronouncements, but in this twenty-page periodical, the “proficient scientist” simply transforms all his detractors, naysayers and even friends, into persistently nodding “Yes Men” so he can “pull off my vision without all the headache and second-guessing.”

Such a massive abuse of his galactic-sized responsibility doesn’t even register upon the egotist’s moral compass, and subsequently sets this comic up for a truly terrifying confrontation between Stark and the rag-tag band of heroes who actually helped him achieve victory over Michael Korvac in the first place. Indeed, debatably for many readers Tony’s almost nonchalant destruction of the likes of the Silver Surfer, original Human Torch, Gargoyle, War Machine and Frogman one by one in a decidedly evil fashion depicts just how utterly insane Stan Lee’s co-creation could potentially always have become if given the ‘right’ circumstances.

Clearly helping imbue this homicidal so-called deity with a ton of hubris and self-satisfying swagger are Ibraim Roberson and Angel Unzueta, whose prodigious panels do a first-rate job of illustrating both the carnage caused by Iron Man’s highly questionable choices, as well as his matter-of-fact massacre at Patsy" Walker’s luxurious sky-line apartment courtyard. The vile sneer shown upon Stark’s face when he’s actually disintegrating his former comrades-in-arms is particularly disturbing, and instantly shows just how badly one of the world’s mightiest champions for justice has fallen.

The regular cover art of "IRON MAN" #17 by Alex Ross

Astonishing Tales #5 - Marvel Comics

ASTONISHING TALES No. 5, April 1971

Gerry Conway undeniably gave his readers plenty to get their heart’s beating with his script for Issue Five of “Astonishing Tales”, thrusting the bi-monthly’s Lord of the Hidden Jungle into a seemingly ceaseless series of battles against the likes of Zaladane, a terrified pterodactyl, the ape-like Guardian of the Fire Pool and an utterly homicidal Petrified Man, and all within the space of just ten pages too. In fact, it’s arguably hard to imagine a more sense-shattering sequence of action-packed set-pieces than those a determined Ka-Zar faces during his mission to not only rid the Savage Lands of the High Priestess’ thirst for bloody conquest, but also the murderous insanity of his five hundred year old new friend, Garokk.

Fortunately, all these sensational shenanigans are dynamically drawn by Barry Smith, whose wonderful ability to imbue Kevin Plunder with all the natural athleticism one would expect from a man whose closest companion is a sabre-tooth tiger, adds even more vitality to an already hyper-active narrative. The London-born illustrator’s plethora of panels depicting Ka-Zar agilely back-flipping onto the back of an out-of-control flying lizard is particularly mouth-watering, and sets a staggeringly brisk pace which the penciller then continues to maintain once the eldest son of a British nobleman crash-lands back to the ground; “How forgetful of me, Ka-Zar! There’s one final detail --- The pool is most jealously guarded!”

Far less complicated, yet no less entertaining, is Larry Lieber’s storyline for “A Land Enslaved”, which features Doctor Doom returning from a sojourn on the French Rivera only to find his beloved kingdom of Latveria now under the rule of the Red Skull. Basically boiled down to the armour-clad monarch fighting an entire nation single-handedly, this quite silly caper still packs plenty of punch, as Victor confidently fights the swastika-loving invader and his goose-stepping goons one-on-one, in a string of confrontations which aptly demonstrate both the dictator’s much-hyped technological prowess and the whacky abilities of the Exiles.

Incoming artist George Tuska is equally up for the challenge of sketching Doctor Doom with all his infamous pomp and over-confidence. The American artist’s panels featuring the Latverian stomping through the underbelly of his castle are particularly impressive, as the tyrant’s green cape billows around the clearly angered-figure, and it’s incredibly easy to hear Victor’s metal clad feet clanking across the stone-floor in the character’s haste to navigate “this subterranean passageway [which] lead to the main power station!”

Writer: Gerry Conway, Artist: Barry Smith, and Inker: Frank Giacoia

Astonishing Tales #4 - Marvel Comics

ASTONISHING TALES No. 4, February 1971

Purportedly pitting the Jungle Lord against the Savage Land’s Sun God, at least according to its sensationally-sketched John Buscema cover illustration, Gerry Conway’s script for Issue Four of “Astonishing Tales” probably caught a fair few of the comic’s loyal readers somewhat off-guard in February 1971 due to the sheer complexity of its plot. Indeed, having initially appeared to be a simple ten-page tale depicting Ka-Zar and his friends attempting to thwart Zaladane “from slaughtering a group of peaceful villagers”, the Brooklyn-born writer’s storyline suddenly involves the capturing of a bedazzling unicorn, an attack by “one ponderous Tyrannosaurus Rex”, and the sudden rise to godhood of Garokk, the Petrified Man.

Undeniably adding to this fantastical feast for the eyes is Barry Smith’s exquisite artwork, which quite beautifully depicts both the soaring savagery of the High Priestess and the fearsome fireballs her pterodactyl-flying warriors bring down with devastating effect upon the City of the Vala-Kuri. The British illustrator’s menagerie of Savage Land wildlife is especially well-drawn, with the prehistoric King of Lizards and dazzling horned horse both appearing suitably formidable in their own unique ways; “Hold Zabu -- Ka-Zar claims this prize! The fabled unicorn is the swiftest of beasts ---“

Infinitely more hilarious, at least until is disconcertingly dark final splash page featuring plenty of Fourth Reich swastikas, is Larry Lieber’s tale concerning Doctor Doom quite preposterously deciding to take a holiday at “the world famous Riviera” whilst his peasants briskly rebuild his castle, following its destruction during Prince Rudolfo’s failed rebellion. Busy battling society’s elite at the roulette wheel, or effortlessly thwarting an attempt to steal his famous armour by a pair of hopeless burglars, this ludicrous scenario is surprisingly counteracted by the far more menacing appearance of the Red Skull in Latveria, and his bizarre entourage of “international would-be world conquerors… during World War Two.”

Proficiently pencilled by Wally Wood, the Exiles are the highlight of “The Invaders”, with the likes of Baldini, Hauptman, Krushki and Cadavus, Monarch of the Murder Chair, all being given their very own panels within which to exhibit their variety of super-powered attacks. Doom too is given plenty of sheet space with which to shine by “one of Mad's founding cartoonists”, repeatedly demonstrating his advanced technology’s superiority over the international resort’s unimaginative visitors by means of an electrical zap, a devastating punch, and the creation of a casino-wrecking swirling vortex.

Writer: Gerard Conway, Artist: Barry Smith, and Inking: Sam Grainger

Astonishing Tales #3 - Marvel Comics

ASTONISHING TALES No. 3, December 1970

Featuring the fascinating five-hundred year-old origin story of the Petrified Man, as well as the highly convoluted conclusion to an attack upon Doctor Doom’s Latverian throne, there probably wasn’t much time for this bi-monthly’s audience to catch their breath when first reading the comic in February 1971. For whilst Gerry Conway’s “excursion flight into the timeless world” of the Savage Land is certainly more sedentary in its pace than that of Larry Lieber’s cataclysmic destruction of Castle Doom and revelation as to “the secret of the Faceless One”, neither of this book’s two ten-page stories really provide much in the way of an action-stopping pause.

Happily however, such momentum doesn’t mean that any part of this publication is 'padded out' with superfluous fight scenes, as Gerry Conway’s enthralling script to “Back To The Savage Land” strongly attests. Firmly focused upon the tragic creation of a shipwrecked mariner into “a living avatar of the stone god Garokk”, as well as sensationally summarising the desperate desire of Queen Priestess Zaladane to have her Sun-People conquer the prehistoric preserve, this tale’s sole disappointment is that it has no sheet space with which penciller Barry Smith can depict the annihilation of Tongah’s village by pterodactyl-riding attackers.

Regrettably, Lieber’s plot conveying the final stages of Prince Rudolfo’s revolution in Latverian similarly suffers from a lack of panels, as Doom finally manages to bring an end to the threat of the Doomsman by simply impelling “my mental energy into his cerebral apparatus” through “a process of mind fusion”. Considering all the utter mayhem and wanton ruin Victor’s mechanical creation has already caused in this story’s past, it seems somewhat strange that the “would-be conqueror” didn’t put just such an end to the heavily-bandaged robot a lot sooner; “The Doomsman is beyond all reason -- all entreat! There is but one to stop him!”

So minor a quibble though really is nit-picking, especially when measured alongside the sheer breadth of Larry’s extraordinary narrative. Exploding human replicas, alien life forms piloting human-shaped lifeless vehicles, “molecules that expand upon contact with air”, a bombardment by anti-particles and even the teleportation to another dimension, are all crowbarred into this pulse-pounding adventure, and give Wally Wood plenty of sense-shattering opportunities with which to demonstrate his remarkable drawing skills.

Writer: Gerry Conway, Artist: Barry Smith, and Inking: Sam Grainger

Astonishing Tales #2 - Marvel Comics

ASTONISHING TALES No. 2, October 1970

Leading with an incredibly fast-paced fist-fight between Ka-Zar and Sergei Kravinoff at the summit of a Manhattan hotel, Issue Two of “Astonishing Tales” must have practically exhausted its adolescent audience by the time the comic’s writer, Roy Thomas, moved on to continue its secondary tale, “Revolution”, featuring the Master of Menace, Doctor Doom. In fact, almost from the very moment Kevin Plunder brazenly walks up to the guesthouse’s reception staff and demands “to see the man called -- Kraven! You will summon him, please -- at once!” the Missouri-born writer’s ten-page “Frenzy On The Fortieth Floor!” depicts the Lord of the Hidden Jungle doing little else but trading punches, kicks and taunts with the man who has kidnapped his Smilodon, Zabu.

Fortunately, so relentless a power struggle actually proves enthrallingly entertaining, not least because the lengthy, action-packed sequence portrays both antagonists using their brains and considerable cunning to consistently outwit one another, rather than just their substantial brawn. Perhaps somewhat significantly, the "Son of the Tiger" is especially well served in this story, allowing his rival to both snare him in an inescapable bola-net, and supposedly be rendered unconscious by “the potency of my tranquiliser spray”, just so the unarmed savage can learn precisely where within the multi-storey building Kraven has his four-legged fanged friend held captive.

Prodigiously pencilled by Jack “King” Kirby, the destructive body blows on show appear thunderously impactive, with Ka-Zar launching one particularly full-blooded punch that carries both Sergei and the Shazam Award-winner’s co-creation out through a glass-pane window; “Astounding! Your reflexes are those of some tree-born simian!” Disappointingly however, it would appear that a couple of the book’s panels featuring close-ups of Plunder were disconcertingly sketched by another unknown artist, and these distinctly dissimilar drawings rather jar with the rest of the pulse-pounding antics on show.

Infinitely more complex, and packed with a significantly larger cast of leading villains is Thomas’ narrative for Victor Von Doom’s rematch with Prince Rudolfo. Establishing both the Machiavellian machinations of the orb-headed Faceless One, alongside the “terrible potentialities” of the heavily bandaged Doomsman, this political piece somehow manages to contain a large scale assault on the impregnable palace of Latveria’s dictatorial monarch, as well as plenty of mystery as to the identity and motivations behind the armed coup.

Writer: Roy Thomas, Artist: Jack Kirby, and Inking: Sam Grainger

Astonishing Tales #1 - Marvel Comics

ASTONISHING TALES No. 1, August 1970

Conceived as a ‘split title’ depicting the solo exploits of Ka-Zar and Doctor Doom in their own separate ten-page stories, this inaugural issue of “Astonishing Tales” not only provided its readers with “Two of Marvel’s mightiest together in one mind-shattering mag”, but also two markedly contrasting stories. Indeed, Roy Thomas’ ancillary adventure, “Unto You Is Born… The Doomsman!” is so much more noticeably complex when compared to Stan Lee’s singularly straightforward lead tale, that this particular publication is arguably an excellent example as to just why Lieber felt he could trust his eventual successor as “Marvel Comics” editor “enough that he virtually never again read anything I wrote.”

Happily however, despite these differences this comic’s opening yarn, “The Power Of Ka-Zar!”, is a great first feature for Kevin Plunder, following the son of an English nobleman simply being side-lined as a supporting character in “The X-Men” and “Daredevil”. Clearly the master of all he surveys in the “vast unchartered jungle, bordered by the ever-drifting glaciers of far-off Antarctica”, the Lord of the Jungle’s tenacity to free his ‘friendly’ sabre-tooth tiger drives the action forward at an admirable rate, and resultantly, this book’s audience don’t have too long to wait until the "Son of the Tiger" cataclysmically confronts Zabu’s abductor in a no holds barred wrestling match.

Perhaps somewhat surprisingly though, the star of this story is undeniably Kraven the Hunter, who despite seeming to be rather overly-reliant upon his tranquilizer spray to defeat his foes, dominates each and every panel Jack Kirby pencils him in. In fact, even when Sergei Kravinoff’s face shows fearful incredulity as the “jungle savage” breaks his much-lauded grip, it is difficult not to still admire the dangerous nature of one of Spider-Man’s “most formidable enemies”.

Containing a far more convoluted narrative is Thomas’ “dramatic debut of a startling new series”, which depicts Victor Von Doom both developing “the ultimate weapon -- a super-powerful living being -- fed and activated by Cosmic Rays” and fending off an attempt by “the rightful ruler of Latveria” to depose him of his crown. Illustrated by Wally Wood, “a veteran of Nineteen Fifties EC Comics stories”, this entertaining mash-up of horror, romance and political intrigue soon bears an uncanny resemblance to one of Alex Raymond’s “Flash Gordon” escapades, courtesy of Prince Rudolfo’s rebels successfully attacking Doom castle whilst wearing jet-packs; “See how they gape, wide-eyed, at our flying belts!”

Writer: Stan Lee, Artist: Jack Kirby, and Inking: Sam Grainger