KNEEL BEFORE DOOMFACE #1 (Review)

BLBlankenship

Apr 26, 2026 - 10:53

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Yesterday morning I finally found the time to read the much-talked-about indie/crowdfunded comic, Kneel Before Doomface, written by Aaron Sparrow, a popular comic book commentator on the internet and a creator who has a growing list of credits in the comic book community.

👉 You can learn more about and support Kneel Before Doomface here:

Official site / campaign hub: https://kneelbeforedoomface.com
Direct purchase & updates via Kickstarter: https://www.kickstarter.com
Creator updates and commentary from Aaron Sparrow: https://www.youtube.com/@AaronSparrow

Kneel Before Doomface #1 begins in the 1980s and is everything that anyone familiar with 1980s cartoons and comics would expect it to be. After a long, hard-fought battle, Doomface is essentially exiled to another plane of existence from our corporeal world. Forty years later, due to an incompetent social media influencer/personality, the relic that acted as the seal which kept him bound is destroyed, and he once again returns to our new world, where so much of what he'd known has fundamentally changed.

From its onset, Kneel Before Doomface is a deconstructionist satire of comic books, superheroes, supervillains, and the postmodern world which we currently live in (at the time of my writing this article). Certainly, that is a broad subgenre itself. One of the very first comics that I'd ever put out (i.e., Propaganda Comics #1) is sort of the same type of thing.

👉 You can explore Propaganda Comics here:

Indie listings & sales: https://www.indyplanet.com
Self-publishing platform Amazon (search “Propaganda Comics”)

In it, the villainess “Comic Relief” (loosely based on Kathy Griffin) travels back in time to The Capitalist Issue #3, where she plans to eliminate the bumbling (yet beloved) superhero whom she mocked and subsequently destroyed her career doing so. That book is through and through a love letter to Mad Magazine. It takes jabs at anything and everything, and had it become popular enough sales-wise to substantiate making an issue #2 and #3, I already had them mapped out in my head long ago.

Essentially, its main overarching theme is about how “Comic Relief” is fixated on “The Capitalist,” whom she bears ill will toward, and her total unwillingness to take personal responsibility. Everything else parodied social media censorship, how all media is owned and operated by a handful of billionaires, how easily the mindless masses are swayed by stories and narratives rather than thinking critically and ever questioning anything, and so forth.

Had the series continued, in the 2nd issue of Propaganda Comics, she would have traveled back to The Capitalist Issue #2, and in the 3rd, she would have traveled back to The Capitalist Issue #1 with the same goal. While she’s vastly more powerful than most of the characters within “The Bureau of Heroes” (this comic’s/Earth 8675309’s equivalent of the Justice League), her greatest enemy always winds up being herself. Essentially, she’s the instrument of her own undoing—no one else.

The other villains The Capitalist fights are “The Social Justice League,” whose characters include, but are not limited to: The Feminist, Racecard, The Abortionist, Illegal Alien (an actual extraterrestrial), Political Puppet, Non-Binary Commando, and The Social Mediator. They’re all essentially one-dimensional characters, as nothing in the Propaganda Comics series is meant for much more than gags and such.

If it ever does get an Issue #2 and #3 made, you’ll see that there is a higher evil above them, known as “The Plutocrats.” They’re the absurdly wealthy individuals who secretly run shadow governments, crime, and are pretty untouchable.

While reading Kneel Before Doomface, I also thought of the indie comic Super Killer by Vito Gesualdi.

👉 You can find Super Killer here:

Official storefront: https://www.etsy.com/shop/Superkiller
Indie comic platforms & creator pages (search “Super Killer Vito Gesualdi”)

It had a few sociopolitical jokes thrown into its first issue, though it mostly played off the same idea as the Deadpool & Wolverine—that there are too many multiverses within comics, and the way to snuff them out is by murdering the anchor being tied to those particular universes.

Kneel Before Doomface seems to take aim at all of this. From its inception, it makes jokes about various franchises, tropes, as well as how radically the world has changed since the 1980s.

🔥 Why Kneel Before Doomface stands out:

A sharp, unapologetic satire of comic culture and modern society
A nostalgic throwback to 1980s storytelling with a modern twist
High-quality indie production that rivals mainstream books
A creator-driven project with a clear, uncompromised vision

If you enjoy comics like Deadpool or genre-savvy satire, this is absolutely worth your time.

The artwork is excellent, colors are great, and the writing and story are strong. Quite frankly, I’m wondering if the dramatic shift in the Overton window will perceptibly make Doomface what postmodern audiences would see as a superhero, anti-hero, or something else entirely—the same way that Bill Maher (a fairly typical 1990s Democrat) isn’t considered a leftist today because shifting extremes have reframed perceptions.

Sometimes it really isn’t you—but everybody else.

📚 Final Thoughts & Where to Buy

If you’re looking to support independent comics that push boundaries, challenge norms, and still entertain, Kneel Before Doomface by Aaron Sparrow is an easy recommendation.

👉 Buy / Support Kneel Before Doomface: