Songs: The Where, What, How And Whom Of Doctor Doom

notes / gigs / releases

He's got a metal mask with square holes for his eyes
Grilled mouth, triangular nose
Green cape, hood and tunic, clasps and belt
With metal armour under all of those

He's called Doom, Doctor Doom, Victor von Doom
With titles linked to Latveria's rule
He speaks in the third person in a formal tone
And uses words like Bah, Dolt and Fool

He genuflects dramatically to demonstrate his power
Which he likes to exercise from a distance
Using Kirbytech machinery like viewing screens
Weapons and his Doombot assistants

This is the where, what, how and whom of
Doctor Doom

He spends a lot of time with the Fantastic Four
Latverians, the Avengers and Spidey
He exists within the Marvel Universe
Which he traverses widely

You'll find him in Latveria and in New York,
In the Baxter Building and the United Nations
Also space, castles, control rooms, on Battleworld
Labs, dungeons and other dimensions

His past includes much of his origin
And his triumphant Latverian putsch
He's described as villainous and powerful
But also often awesome and good

This is the where, what, how and whom of
Doctor Doom

Well he's disagreeable but conscientious
And open to new experience
In comics he's a bit neurotic
But in other media tends towards level headedness

He's motivated by the need
To prove he his the best
Also intellectual curiousity
And a hatred of the FF

He was created by Stan Lee and Jack Kirby
Developed by them and other creators as well
Like Jim Shooter, Joe Rosen, Artie Simek and Joe Sinnott
And he is owned by Marvel

This is the where, what, how and whom of
Doctor Doom

Published by Wipe Out Music Publishing

This feels like the KEY song in Data and Doctor Doom for me, not least because it's the point where I FINALLY stop telling people HOW I did the analysis and start showing them what I actually found out!

It was also quite a big one for the SONG WRITING process as I realised I didn't have to do all the results in EXACTLY the same order as in the original research if it meant that changing it around would make the song work better. For instance, a keen-eyed observer might note that I do the order of components differently here to how they go in My Unified Catalogue Of Transmedia Character Components, for reasons of SONG FUNCTIONING. As with other aspects of the DEVELOPMENT of the PIECE, this might not seem like a lot to other people, but it sure did to me!

It was also a flipping HECK of a thing to learn - that's a LOT of words and they have to be RIGHT!