Welcome back to G33k-HQ’s “Comic of the Week,” where every week (where I have the time and energy) we take a look at one comic that deserves to be highlighted. This week, we had some excellent choices, so we’re reviewing an unexpected Marvel crossover.
Marvel Comics has no shortage of famous and iconic characters, and over the next few months, they’re going to be having them cross over, team up, and face off. It kicks off this month with “Doctor Doom & Rocket Raccoon,” written by J. Michael Straczynski, illustrated by Will Robson, and colored by Andrew Dalhouse.

The first question for any crossover is: what brings these characters together? Well, Straczynski sets it up well, calling back to Doom’s time as a member of the Guardians of the Galaxy and finding a common ground between Rocket and Doom based on their scientific expertise. Yet the reason is also significant for Doom’s character, giving us some insight into his inner workings, desires, and self-reflection as he contemplates one of life’s biggest questions.
Of course, the character dynamics also have to work well, and thankfully, Straczynski does a great job with that as well. Doom and Rocket are very much opposites in many ways, so they serve as great foils to each other – Doctor Doom’s serious demeanor contrasts well with Rocket Raccoon’s irreverent and snarky attitude, making each of them funnier as they amplify each others’ traits. They’re also given some very amusing banter, like Doom being very good at the Monopoly board game thanks to his understanding of capitalism.
And just for a bit of added humor, the editor notes occasionally argue with each other.

However, “Doctor Doom & Rocket Raccoon,” for all its humorous moments, is more than just comedy. It also shows the lengths Doom is willing to go to for his goals, literally tearing out a piece of his soul and revisiting some of the darkest moments in his life as he travels back in time. In the end, his goal here isn’t conquest or power, but simply… answers. So it serves as a good character piece, letting us take a closer look at Doom in his more retrospective moments.
Visually, there’s a lot to be praised about “Doctor Doom & Rocket Raccoon,” but also a small critique. Will Robson’s artwork goes big, with larger than life designs for characters and settings alike. Doom’s castle in Latveria, for instance, is a massive, ominously lit fortress, with ancient cobblestones and wooden doors drawn in great detail. Even when we get scenes of Rocket and Doom sitting in front of the fireplace, the detail put into the flames and the way the room is illuminated is excellent.
Robson’s style also works really well for Rocket. He captures the design and body language of the character nicely, especially in how little details around his fur and whiskers change based on his mood and expression. (Also, Rocket’s outfit in this issue is clearly inspired by Fox McCloud, and I’m good with that.)

We also get some great designs for things like monstrous creatures that lurk at the boundary of creation and a mud-like being that shifts and changes as it approaches the answer to Doom’s question. We also can’t overlook the moment where Rocket gets flattened by magic, which makes for a great visual gag.
My one critique comes from how the larger-than-life style looks on the human characters, often giving them overly-large proportions or excessive folds on their clothes and muscles. Yet that is a minor matter, and should not be taken as a point against the comic or Robson’s art.
Another point in the comic’s favor is how the panel layout controls the pacing and the timing for optimal effect, whether humorous or dramatic. We get some key moments where equally sized panels control the flow of the scene to lead us into the gag with perfect timing, or expand to a larger size to convey the sense of intensity or immensity of the moment. Panel size and spacing plays a big role in setting the atmosphere and pacing, and “Doctor Doom & Rocket Raccoon” has it down to an art.

Just flipping through, we can find some excellent scenes and pages, like how Doom’s trip through time features a spiral of major moments from his life, displayed through panels of the comics they appeared in, or two pages that use the same layout and character poses to parallel the suffering of his past with his rise as a supervillain.
All the while, Andrew Dalhouse’s color work brings each scene to life with bold colors that perfectly match Robson’s illustrations. Doom’s silver armor practically shines off the page, while his cloak capture both pitch black shadows and several shades of green to emphasize the flow and folds.
Each page glows with its own lighting effects, whether from the red flames of the fireplace, blue energy channeled into a sphere, or Doom’s own green arcane power. And when Doom and Rocket head to the edge of time, the silver light, glowing wings of the creatures beyond, and blackness of the void contrast each other nicely.
Robson’s art and Dalhouse’s color work also make great use of darkness, using shadows to their fullest. It’s all incredibly atmospheric and adds both depth and dramatic effect, as is befitting of Doom.

All in all, “Doctor Doom & Rocket Raccoon” is a great read. The story flows well and gives us a combination of good humor and good character work while showcasing an unlikely pairing, while the artwork goes big at every opportunity for the best dramatic effect and controls the flow of the narrative. If you’re a fan of either character, or just want to see how the two can work as a team, “Doctor Doom & Rocket Raccoon” is well worth reading.