The fallout of One World Under Doom began last week in The Will of Doom, and this week we get to see the spoils spilling out of Latveria in Dungeons of Doom. The three-issue series explores what would happen if Doom’s stronghold is left unguarded, but instead of it being filled with power and riches, it’s filled with the worst things in the universe that only Doom could hold back. It’s a race to find and probably die from multiple groups all hungry for what could be.
First and foremost, Dungeons of Doom is a great concept, led by writers Phillip Kennedy Johnson and Benjamin Percy. Now that Doom is dead, multiple groups are trying to infiltrate Doom’s unguarded strongholds. With all types of groups infiltrated at once, it’s a race to crack these castles open and find treasure. The focus is on AIM agents, Red Hulk leading a group of American soldiers, and a Wakandan. It’s a good mix with varying reasons to break in and gain control, which allows for solid cutaways to each group throughout the issue.
The issue starts with all-out war, which leads to a massive explosion, and varying groups waking up in rubble just outside some very old and dangerous-looking doors. This creates a spooky situation with strong horror potential as they creep inside only to find horrors. One of which is a curious mutant that should prick up the ears of X-Men fans. There are also monsters, a curious weapon, and a cliffhanger that’s full on supernatural.
One of the monsters that appears in the first issue. Image from NYCC 2025.
Art is split up between Justin Mason, Robert Gill, Carlos Magno, Georges Jeanty, and Karl Story. Given the cutaways to different groups, the different art styles don’t feel too jarring, with everyone bringing a certain level of detail. The opening art has a more traced-from-real-life style that suits the all-out war and soldiers fighting for their lives. Throughout the issue are multiple epic moments, monster reveals, and some rather adult gore. At one point, a soldier shoots an AIM agent point blank, and the blood splatter is pretty graphic. That’s to say, this feels very adult, with a sharp and dark edge to it.
If there was a negative to this exciting and mostly thrilling opening issue, it’s that most of the characters doing all the talking are unknown soldier types. Red Hulk appears, but he’s not the central focus. You don’t really care if they live or die, although your interest is mainly drawn to the mysteries behind Doom’s dungeon doors.
Dungeons of Doom is a strong, sinister opening that smartly reframes Doctor Doom’s legacy as a necessary evil rather than a tyrant’s vanity project. While its characters are more functional than memorable, the atmosphere, concepts, and horror-forward execution carry the issue with confidence. If the series can deepen its cast while continuing to unpack what Doom kept locked away for a reason, this could become one of the most unsettling post-event follow-ups Marvel has done in years.
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