In the annals of British comics, few characters have left an indelible mark quite like Doomlord. Created by the legendary John Wagner and Alan Grant, Doomlord emerged onto the pages of the legendary “Eagle,” on 27th March 1982. Doomlord’s inception marked a departure from conventional superhero tropes, introducing readers to a darker, morally ambiguous protagonist in the realm of science fiction. The story begins with Doomlord – a powerful alien – judging the human race’s right to exist. Over the course of the strip, three different Doomlords – Zyn, Vek, and Enok – would act as protagonist. The comic’s narrative mastery lay in its ability to blend thought-provoking moral dilemmas with thrilling adventures. Often, Doomlord would confront ethical quandaries, exploring the darker aspects of human nature, forcing readers to contemplate the consequences of their actions.
Journalist Howard Harvey and policeman friend Bob Murton witness an apparent meteor falling into local woods; it in fact a spaceship bringing Doomlord, the self-proclaimed servant of Nox, master of life and bringer of death to Earth. Doomlord kills Bob and knocks Harvey unconscious. Waking alone, Harvey discovers Bob alive, laughing at his friend’s ‘dream’ – however, Bob is wearing the Doomlord’s “energiser ring”. Harvey realises Doomlord had the power to murder people, and absorb their memories and personality by touch. Doomlord then disintegrates the body with the ring, and then uses his ability to shapeshift his form to resemble his absorbed victim, and thus impersonate them flawlessly. In this way, Doomlord moves freely amongst human society, leaving only a trail of missing persons as he abandons each identity for a new one…
One of the standout story arcs involved Doomlord’s encounters with various individuals, examining their actions and ultimately rendering judgment. These encounters served as a canvas for exploring the complexities of human behavior, often blurring the lines between right and wrong, leaving readers to ponder the nuances of morality.
In its original form Doomlord was a photo comic written by Grant and Wagner as Eagle experimented with the format. Doomlord was deemed popular with the readership but the photo stories, popularised in “girl comics” were not. This led to a change in format on 24th September 1983 with art from Alberto Giolitti under the pseudonym Heinzl (and later Eric Bradbury). Heinzl’s artistic prowess lent Doomlord a distinctive visual identity. The character’s imposing form, juxtaposed against mundane human settings, created a striking contrast. The artwork skillfully captured the tension between Doomlord’s otherworldly presence and the earthly dilemmas he faced. It would continue its run until October 1989.
Doomlord’s impact reverberated beyond the confines of its publication. Its thought-provoking narratives and morally ambiguous protagonist challenged the traditional superhero archetype, influencing subsequent comic book storytelling. The series left an enduring legacy, inspiring creators to delve deeper into intricate character dynamics and explore the complexities of ethical decision-making within the genre.
Decades after its initial publication, Doomlord remains a beloved figure, revered by aficionados of British comics. Its thematic depth, compelling storytelling, and unique visual aesthetics continue to captivate audiences, cementing Doomlord’s status as a timeless icon in the pantheon of comic book legends.
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Brett Summers
Brett founded CultFaction.com in 2014 a website and podcast that deals with cult film and tv. He also has a strong interest in grappling martial arts both as a practitioner and as a historian.
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