Following their recruitment of She-Hulk, the Ultimates continue to prepare for Maker’s reemergence. All the while, Doom, the Reed Richards of Earth 6160, continues his experiments to bring the heroes back to the universe and reflects on his torture by the Maker. As the only surviving member of the Fantastic Four, the memory of the life he could have had haunts him and drives him toward remaking what he lost. As he mourns his failed future, Doom must choose to save the world or recreate the dreams that weigh on his mind. Deniz Camp and Phil Noto unveil the tragic history of Doom that hides behind the mask he wears in The Ultimates #4. 

While the Maker explains how he can control the fourth dimension, i.e., time, Camp and Noto can do the same with the layout and presentation of the story. Across its 20 pages, the issue sticks to a continuous repeating four-panel layout that initially presents the narrative in the traditional linear structure. But once one begins to reread and dissect its presentation, we step into Doom’s shoes as we go beyond the formal approach of reading an issue and think beyond the standard panel by panel on a page approach. Although we are free to read it one panel on each page at a time and then flip back to the cover to start with the second panel, we are still trapped within those dimensional constraints where the story never truly ends but becomes cyclical. It does not matter how you read it; there can only be one ending, and that ending is Doom.

By revealing Doom’s backstory, Camp showcases the horror and trauma that Doom endured at the hands of the Maker. With the Maker and Doom both variants of Reed Richards, it crafts a horrific reflection of how the Maker sees himself and views a replica of him who does not fit his idea of perfection. The Maker can only see his internal imperfections and believes that Earth 6160 Reed needs to be punished for it. Most horrific of all lies in the Maker manipulating the fabled space flight, which gave the Fantastic Four powers, to kill them off leaving only Reed As Reed and Doom exist as not only foils but with their Earth 616 origins intertwined, Camp dives into new waters with the relationship of the Maker and Doom. With the original Doom created due to an accident, the Maker decided to play God and create a Doom in his image. 

As the guest artist, Noto’s art crafts the tragic atmosphere and tone that reinforces Camp’s script. Along with the repetition of the four panels, his work elevates a strong panel as he demonstrates what a comic can be through its art and layouts—especially with an ambitious narrative like this. Camp and Noto needed to be in perfect sync, which they achieved. Noto’s interiors and colors, with VC’s Travis Lanham’s lettering, show a man whose life was ripped away from him and how he will hang onto the vanishing threads. 

Camp and Noto craft a tragic, melancholy story in The Ultimates #4. Doom can neither hold onto his past nor grab this lost future. And Doom must decide whether he will try to live up to the Reed Richards he was meant to be or be the Doom that the Maker crafted him to be. I am reminded of Number Six in The Prisoner “I am not a number, I am a free man!” as Doom struggles with his internal chains. Even with the Maker locked up, he still feels trapped and forced to embrace the metal mask of Cain on his forehead. His armor essentially making his body a prisoner.

Story: Deniz Camp Art/Color: Phil Noto Letterer: VC’s Travis Lanham
Story: 9.7 Art: 9.7 Overall: 9.7 Recommendation: Read

Marvel provided Graphic Policy with a FREE copy for review

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