Since the creation of the Fantastic Four in 1961, the succeeding Marvel Universe has been often marketed as “The world outside your window”. One of the key factors that set Marvel apart from the distinguished competition was that the colorful characters of Marvel Comics lived and operated in real-world cities and encountered real-world issues. In light of this, it should come as no surprise that as fascists rise to power around the globe, both the mainline and Ultimate Marvel universes grapple with totalitarian rule. Between the Maker’s shadow council and the newly installed Emperor Doom, both universes offer unique depictions of fascism.

*Spoilers for the Marvel Ultimate Line and One World Under Doom #1*

In the new Ultimate universe, earth 6160, the Maker has shaped the world in his image. The world leaders, installed by the Maker, convene in secret to control the public through various duplicitous methods. The Maker’s Council carefully organizes global conflicts to create controlled opposition, distracting the populace with a common enemy. HAND, this world’s twisted version of SHIELD, harnesses the media and espionage to stifle resistance, silencing anyone who would even question the validity of the status quo. This world’s heroes are branded terrorists, and the totalitarian control of the Maker’s Council often feels insurmountable. This Ultimate universe is one in which the bad guys have been in power for nearly a century, and evil is embedded in the very framework of society. The fascism here is systemic and hidden beneath the surface. Just as the original Ultimate line placed the heroes of the Marvel pantheon within the context of the 2000s, The Ultimate Universe of the 2020s reflects the sentiments and concerns of the modern world. This new line appeals to our darkest suspicions about some of the current power structures in the world. We are told by those in power that we have freedom, but it is easy to feel powerless beneath the whims of our politicians and corporate lobbyists. The events of The Ultimates ongoing title are particularly striking, and oftentimes unsettling, for how they eerily reflect our lived experience. Ultimates #2 features the team tackling the president of the “North American Union”, a hyper-capitalist wearing golden Iron Man armor and calling himself Midas. The allegory is anything but subtle. Like any worthwhile piece of art, these stories ask us to examine and question the world around us, and looking outside our windows today, it can be quite frightening to recognize more that we have in common with the world under the Maker’s design than we may have once thought.

While the Ultimate Universe eerily echoes our current events, authoritarian domination is not new in Marvel Comics. The main continuity, 616, has seen its fair share of tyrannical regimes. 2017’s Secret Empire, saw a nazified Captain America seizing control over the United States. In 2015’s Secret Wars event, Doctor Doom successfully plotted to become God-Emperor of the remnants of a destroyed multiverse. Like the Maker’s rule over Earth 6160, these regimes were explicitly evil. Hydra Cap killed all those who opposed him and used mind-controlling substances to manipulate the public into falling in line. Doom crafted his Battleworld empire in such a way that he was perceived as God, shaping reality for the sole purpose of obtaining unbridled dominion over all. This is where One World Under Doom, the latest 616 event, differs from those that came before. While Doom is most certainly still a megalomaniacal fascist, his actions and intentions appear to be benevolent. In his own words: “Doom is magnanimous.” As his first decree as ruler of Earth, Doom bans war and asserts that all those under his rule will be granted a basic standard of living with universal healthcare and education. He then goes on to dismantle Hydra. By the end of the first issue, through his actions alone, without any form of mind control or coercion, the public embraces Doom’s sovereignty.

On its surface, One World Under Doom is steeped in allegory. The opening page of issue one features a mingling of fictional and real-world news stories depicting civilization in great turmoil. Doom’s ego is not unlike some world leaders and he assumes a level of power that many fear these men seek. However, Doom’s words and actions adhere more to left-wing populism than right-wing ideology. In this way, the event positions itself less as allegory, and more so as an ethical and philosophical experiment. It begs the question: Is fascism permissible if it is benevolent?

Historically, fascism has played a key role in the superhero genre. Emerging at the dawn of WWII, superheroes were born to fight fascists. However, by the time the 1980s arrived, the public viewed those in power in a different light. Alan Moore’s Watchmen and the Dark Knight Returns, both released in 1986, offered powerful critiques of the superhero genre, insisting that fascism is latent within the superhero concept itself. Superheroes use their mighty powers to enforce their unilateral vision of right and wrong, good and evil. Watchmen in particular depicts the dangers of such great power in the hands of fallible individuals. Despite these critiques, the superhero genre persists. This is due to the implicit benevolence of the superhero. Superman, Spider-Man, and Captain America are meant to be platonic forms of heroism. They represent the purest form of idealism. As readers, we trust their judgment and permit them to act under their own authority to shape the world as they see fit.

This, seemingly, is the crux of One World Under Doom‘s conflict. Doom’s actions are positive and beneficial to the masses. Few would argue against abolishing war and providing healthcare to all, and as Captain Marvel says after Zemo’s murder is revealed: “A dead nazi is hardly a bad thing”. Yes, the public’s agency was removed in Doom’s ascent to power, but if the public embraces him because of a measurable improvement in their quality of life, is it not inherently fascistic for our heroes to overthrow him against the public’s will? Is the authoritarian nature of his rule enough to justify the heroes going after him? Hopefully Ryan North and co. explore all of these questions and more in the coming issues.

Looking at both Earth 616 and 6160, comparing and contrasting them, provides the grounds for critical interrogation of the world outside our window. While comics have always provided essential escapism and often lend themselves to passive reading, we should consider looking deeper into what these stories have to offer. The world is an increasingly frightening place, and we don’t have superpowered do-gooders to come and save us. One World Under Doom and The Ultimate Marvel Universe, if examined critically, have the potential to aid in the development of a considered worldview, one which may arm us against grander forces that seek to discombobulate us.