FF #5 – Review

by Jonathan Hickman (writer), Barry Kitson (art), Paul Mounts (colors), and Clayton Cowles (letters)

The Story: The siege on Old Atlantis comes to a head as Sue comes to learn what Reed’s been keeping from her.

What’s Good:  With Old Atlantis under siege, Hickman gives us an issue that is both epic and desperate.  Seeing Sue and Alex stand against hordes of angry Atlanteans and Moloids, war engines and all, is exciting and grandiose.  All told, it both looks and reads impressively.  I loved seeing Alex play hero and unleash some real power.

Better still is Sue’s encounter with an “evil Reed.”  Her reaction is well-written and the whole thing, and really this whole issue, continues to turn the alter-Reeds into not only a credible villainous contingent, but one that’s downright frightening.  This month’s evil Reed in question, particularly in his treatment of Sue, is ice cold chilling and overall, the tone in which Hickman writes the Reeds goes a long way in making them a not only unique, but also very threatening enemy.  Sue’s confronting her Reed about all this is also a moment that is written sincerely and genuinely.

There’s also a little two-page interlude in which Alicia Masters plays grief counselor with Ben.  It may sound like this would be jarring, given that it comes out of nowhere, but it’s a nice little reprieve.  It’s heartfelt and Kitson’s Thing looks almost too adorable with his frowny demeanor.  It was only two-pages, but I could’ve done with more of this.

Barry Kitson’s art continues to be a major boon for FF moving forward.  His work has a slightly old school feel that brings a great deal of liveliness and energy to go along with the detail and general artistic horsepower.  His armies of monstrous looking Old Atlanteans and mole things look great, and his facial expressions on the various Reeds and the very slimy Mole Man are well done.  I also like his take on Sue, who has a distinct face as opposed to just being another good-looking blonde in the Marvel U.

FF #4 – Review

by Jonathan Hickman (writer), Barry Kitson (artist), Paul Mounts (colorist), and Clayton Cowles (letterer)

The Story: The Doom conference on Reeds continues as Sue, Alex Power, and Spider-Man raise to stop a civil war erupting in Old Atlantis.

The Review:  A single good concept can go a long way in carry a comic.  In this case, the continuing conference of FF bad guys led by Victor von Doom continues to be a very, very good concept.

There’s something so naturally awesome about the idea of a group of bad guys having a meeting in the Baxter Building about how to beat Reed and Hickman does a fantastic job of portraying the various personalities on display here.  Each villain is a different sort of bad guy and it’s so much fun watching them bounce off one another.  From Doom’s arrogance, to Diablo’s sly villainy, to the Wizard’s evil, this is great stuff.  Hickman also does an uproarious job in writing the Mad Thinker, who is everything his name suggests he is.  Throw in Reed, Val, and Nathaniel and this is merely an opportunity for Hickman to have strong personalities clash.

Furthermore, as grave and serious as the subject matter of this meeting is, there’s a constant undertone of humor, as you may expect given the cast involved.  From Reed’s telling Doom of what the his fellow Reeds do to the Dooms they find, to Reed’s muttering “this is a disaster,” this is just so much fun to read.

Also fun is the art provided by Barry Kitson.  I really like Steve Epting as an artist, but while his darker style suited the tone of the “Three” arc and the death of Johnny, he was quite the right fit for the FF moving forward.  Kitson brings a brighter more upbeat style that serves the series much better.

Fantastic Four #586 – Review

by Jonathan Hickman (writer), Steve Epting (pencils), Rick Magyar (inks), Paul Mounts (colors), and Rus Wooton (letters)

The Story: Sue tries to stave off war as she learns a starting secret, Reed journeys with Galactus, and Ben, Johnny, and the kids attempt to hold back the Negative Zone.

What’s Good: I’ve found the “Countdown to Casualty” on the front cover to be cheesy from the get-go, and yet that’s exactly the message that Jonathan Hickman so skillfully crafts this month.  In the last issue before the death occurs, the tension has reached a fever pitch.  In that sense, “Three” has been a beautiful arc; each issue was more tense than the last, as each month, the members of the FF find themselves in increasingly bad situations.

As far as that tension and anxiousness goes, this issue is by far the tightest and, at times, most breathless.  It’ll have you hankering for the next issue and truly at wit’s end over who it is that will meet their end next month.  In this sense, Hickman’s announcing the casualty early works great, as this month ends up being a “what if” guessing game.  This is a riveting, edge of your seat read where everything stands incredibly precariously. Nowhere is this tension clearer than in the running dialogue Reed and Galactus.  I’ve always loved mortal/god conversations because of uncomfortable dynamic, and that serves Three’s purposes well here and leads to a truly heroic splash page and resolution on Reed’s part.

Despite all the darkness and nervousness though, Hickman still finds time for his wacky humor.  He writes the kids brilliantly this month, who function as a kind of almost surreal comic relief amidst all of the darkness.  Seeing them gleefully building rifles and grenades is pretty damned hilarious, particularly given the circumstances.

Other than that though, there’s a reveal regarding the Atlantean conference and Namor’s intentions that is very well played and will have you re-evaluating and possibly re-reading previous issues.  It’s a wonderful twist by Hickman and one that I certainly didn’t see coming after last month’s issue.    Ultimately, big, big things are on the horizon for the Fantastic Four.  Those who have complained about the lack of narrative progression in Hickman’s Fantastic Four should love this issue, as a lot happens, or at least is revealed.

Once again, Steve Epting’s artwork serves this arc well.  It’s moody and dark, but still distinctly FF and his Galactus and Negative Zone monsters all look great.  I could ask for much more.

Fantastic Four #585 – Review

by Jonathan Hickman (writer), Steve Epting (art), Paul Mounts (colors), and Rus Wooton (letters)

 

The Story: Reed tries to talk down Galactus and the Surfer while Sue attempts to mediate a meeting between Atlanteans.

What’s Good: I’ve heard people complain that not enough happens per issue of Jonathan Hickman’s Fantastic Four.  That sure isn’t the case this month.  This issue jam-packed with content and story.  Almost every major plotline currently running in FF is touched upon and moved forward in some significant way and every member of the Fantastic Four plays a major role.  This is one of those comic books that truly feels longer than its 22 pages.  Nothing is neglected and honestly, it’s impressive what Hickman accomplishes given that he’s tasked with simultaneously running two very different stories in the span of a single issue.  The dealings with Galactus and the Atlanteans are very different in plot, tone, and setting and yet Hickman manages to synthesize them into a cohesive, calamitous whole.

I think one of the reasons for that is the ever-present feeling of dread and darkness that looms over the series.  That’s not to say that Hickman’s writing a grim and gritty or particularly pessimistic Fantastic Four, far from it, it’s just that there’s this ominous feeling that lingers over the issue and all of its plotlines.  There’s a near constant sense of danger and encroaching disaster that is honestly independent of the countdown on the cover, though admittedly that doesn’t hurt.

With the FF split apart this month and placed on very separate missions, things feel like they’re spiraling out of control and that it’s only a matter of time before something catastrophic occurs. Yet, the beautiful thing is that I have neither idea nor clue as to what that catastrophe will be and where it will come from, as, right now, there are so many things going wrong.  Similarly, Hickman continues to give each of the members of the FF little moments of farewell, emotional characterization, or impending danger that hints that they’re a goner but these are so subtle and played so evenly, that it makes me feel like I’m swimming in a sea of red herrings.

Fantastic Four #584 – Review

by Jonathan Hickman (writer), Steve Epting (art), Paul Mounts (colors), and Rus Wooton (letters)

The Story: Ben takes the Future Foundation’s potion and, along with Johnny, enjoys the first day of his week as a normal guy.

What’s Good: Amidst all his huge ideas, it’s easy to forget that Jonathan Hickman is just as good at writing those heartfelt, “little” moments.  His best Fantastic Four issues usually feature a sprinkling of it here and there, but this month, Hickman reminds us of his capabilities in this arena by giving us not a sprinkling, but almost an entire issue’s worth.

If you’re a Ben Grimm fan, it’s hard not to be touched by the events of this month.  Seeing Ben enjoying his life is a genuine treat, as are his contentedness and habitual caution and self-awareness, so suddenly unnecessary.  There’s something deeply satisfying here, all the more if you love Ben and, really, what comics reader doesn’t have at least a small place in their heart for him?  This issue truly cuts to the emotional core of the character and actually gives him something of a small victory.

However, just as much as this issue is about Ben, it’s also about his unique friendship with Johnny, which has always been one of the funnest things about the Fantastic Four.  Hickman shows that he has a firm handle on this relationship, and never has it been clearer how much these two buds care about one another and that for all his bluster and arrogance, Johnny has a soft side for Ben and, for all the jokes, is perhaps more attuned and sympathetic to his friend than any other member of the family.  Johnny’s urging Ben forward and taking him out on the town was quite heart-warming to read and the last destination that Johnny brings Ben to leads to a truly feel-good moment.

All of this goes on to make the cliffhanger all the more startling and possibly the most effective cliffhanger of any book I’ve read this month.  It’s a total 180 in tone and substance and comes out of nowhere.  It’s so sudden, yet so massive, that you might get a chill when you see that last page.

I also adored Hickman’s new take on the Yancy Street Gang.  It’s so ridiculous that I couldn’t help but laugh, as Hickman combines contemporary politics with Silver Age cheese in a way that must be seen to be believed.

Fantastic Four #579 – Review

by Jonathan Hickman (writer), Neil Edwards (pencils), Andrew Currie (inks), Paul Mounts (colors), and Rus Wooton (letters)

The Story: Tired of self-limitation among the scientific community, Reed looks to prepare the next generation of thinkers.

What’s Good: This is one of those issues of Fantastic Four that demonstrates why the title is perfect for Hickman, linked as it is with ideas he’s had since Transhuman.  That is, specifically, the refusal to accept limitations and glass ceilings and a simultaneously idealist and escapist belief in infinite potential and boundless possibility.

This is laid out in the book’s strongest scene, an extended speech by Reed at a conference scientists, where he condemns them for their inertia and self-limiting.  It’s a beautiful fusion of Romanticism and scientific thought, and a bold, exciting message of hope.  It’s also highly relevant to our world as well, with Reed actually calling out the decision to suspend manned space missions.  Reed’s speech is some of the finest writing I’ve ever read from Hickman particularly because it’s so pertinent to the human condition and contemporary society in its ideas and sentiment.  It’s also, of course, perfect for the Heroic Age.  Simply put, the sky is the limit but, in Reed’s eyes, we’ve stopped looking up.

This idea of “no limits” extends to a conversation between Reed and the Wizard.  The Wizard is wonderfully written by Hickman, stark raving mad and spewing just barely incomprehensible pseudo-science babble.  Reed’s explanation for his reasons behind taking in the Wizard’s clone is very well linked to the speech with which he opened the issue, almost as though Reed is putting his own words into practice.  He will raise the boy in order to prove that there are no limits to human potential; genetics, destiny, and predestination are bunk in the face of a nurturing environment.