Fantastic Four #1 – Review

By: Matt Fraction (story), Mark Bagley (pencils), Mark Farmer (inks), Paul Mounts (colors), and Clayton Cowles (letters)

The Story: Welcome to the next era of the family four.  Meet the family and learn all about their new mission, which will have them sailing off to the unknown corners of the universe.

The Review:  In many ways, the issue is structured as something of a reassurance for readers of Jonathan Hickman’s seminal run.  Matt Fraction knows he has big shoes to fill so he takes baby steps here, showing that he’s not ditching any of the strong elements that Hickman introduced.

At the same time, the issue has a very clear structure:  each of the four gets one scene where Fraction basically shows us how he understands each character and his take on their respective core essences.  All told, each scene hits the mark.  Reed and his habit of taking on burdens, Sue’s role as the mother of the team, and Johnny and Ben’s respective brands of comic relief all go off quite well.  There is an argument to be made that perhaps Fraction goes a little far with Johnny and Ben, who feel a bit over-the-top and a bit like caricatures of themselves to an extent, but honestly, given how funny I found their respective scenes, it’s hard to really fault Fraction for this.  I mean, sure their personalities were a little exaggerated, but I still enjoyed the hell out of their portions of the issue and fun is the ultimate objective, right?  And there’s no mistaking that Hickman’s Ben and Johnny are pretty darned funny.

FF #15 – Review

by Jonathan Hickman (writer), Nick Dragotta (pencils), Mike Choi (inks), Chris Sotomayor & Guru eFx (colors), and Clayton Cowles (letters)

The Story: Franklin receives guidance from his imaginary friend as the kids race to prepare Sol’s Anvil.

The Review:  Before I get to the real meat of the review, let’s all do a little happy dance that Juan Bobillo has officially departed from the title.  Hurray!

Now that we’re through with that, this is actually a somewhat troubling issue.  It’s certainly not at all poorly written: it’s technically a well-crafted script by Hickman, as you’d expect, with big cosmic hullabaloo combined with little injections of humour.  The problem is that no matter how I think on this issue, I can’t really think of a bona fide reason why it had to be written at all.

Put simply, there’s not a whole lot of significance that occurs here beyond what we already knew from the last issue of Fantastic Four and the new events that we do witness could easily have been assumed to have occurred off panel.  Hell, it even ends on the same cliffhanger splash page (albeit, not as well drawn).  It’s hard to see why this issue had to exist at all either than to give some of the kids a little screen time.  Really, I’m left feeling that this issue is akin to your favorite band putting out a collection of b-sides.  It’s kind of cool as a collectible or an oddity, but it’s not at all a must-have, nor does it stand at the same level or gravity of a full album, ultimately being “for completionists only.”

The weirder thing is that, while this issue doesn’t do much above and beyond what Fantastic Four #603 already rocked our brains with, it also can’t be read without having read that issue.  I can’t imagine FF #15 making a lot of sense at all if you’re not reading Fantastic Four.  In fact, it becomes even more useless.  So ultimately, if you’re reading Fantastic Four, you’re sort of getting an issue narrative “extras” a bit lacking in necessity and substance while, if you’re not reading Fantastic Four, this won’t be of any worth at all.

FF #13 – Review

by Jonathan Hickman (writing), Juan Bobillo (pencils), Marcelo Sosa (inks), Chris Sotomayor (colors), and Clayton Cowles (letters)

The Story: The Future Foundation cross the Bridge into the former home of the Council of evil Reeds, now owned by the mad Celestials.

The Review: Last month, myself and many other reviewers took FF to task for the bizarre artwork turned in by Juan Bobillo.  While Hickman turned in a solid enough script, the art was completely off-kilter and wacky.

Well, the artwork still sticks out like a sore thumb, but there are improvements.  Bobillo’s take on Doom is fun and his illustrations of the Celestials and any technology is detailed and generally entertaining and charming to look at.  But really, most of the improvement should be credited to the incredible efforts of Sosa and Sotomayor, who work their asses off to make Bobillo’s art as appealing as possible.  Sosa uses pleasant, thick lines while Sotomayor has made a dramatic shift from his work last month, opting for a bright, vibrant palette that makes the comic far more appealing.

That said Bobillo is guilty of some of the same crimes:  it’s still difficult to tell some of the kids apart, Dragon Man looks nothing like himself, and Reed still looks far too old and weathered.  That said, I’m coming to the conclusion that Bobillo isn’t really a bad artist, just hugely inappropriate for this title.  Hickman is trying to tell a grandiose epic tale with heavy cosmic elements.  A heavily stylized indie cartoonist just isn’t a good fit for a book like this.

Hickman’s script, however, hits enough high notes that it makes the issue more than worthy for Fantastic Four fans to give it a look.  For starters, seeing Franklin confront a gang of Celestials is a blast.  We don’t often get to see Franklin flex his very superpower muscle, but whenever he does, it’s always “fist pump” awesome, and that’s certainly the case this month.  Power-level aware comic geeks will also get a serious kick out of a little tidbit the Celestials reveal regarding Franklin.

Also, yet again, Hickman writes a fantastic Doom.  His talking in the third person, his general badassery, it’s all here in spades and as always, it’s a treat to read.  What Hickman does so well is portray Doom’s reasoning, both highly intelligent and with an arrogance that forms a key part of his decision making.  Doom’s logic may make little sense for another character, but for Doom, it’s elegant perfection.

Fear Itself #5 – Review

by Matt Fraction (writer), Stuart Immonen (pencils), Wade von Grawbadger (inks), Laura Martin & Milla Molinar (colors), and Chris Eliopoulos (letters)

The Story: Thor fights for his life against the Worthified Hulk and Thing, Cap grapples with Sin, and Tony Stark cuts a deal with Odin.

What’s Good:  Do you like big, explosive, set-piece action sequences?  Well, if you’re picking up a big summer event from either of the big two, somewhere deep inside you, the answer should be yes.  Fear Itself #5 is possibly the issue that most delivers on this front thus far.  The fights are big, exciting, and important.  At some level, seeing Thor rumble with Thing and Hulk is the sort of pure fun that superhero comics are made of, or at least have lodged deep in their core.  All the superhero punching leads to an energetic, fast-paced read.

Certainly, this is helped along by Stuart Immonen’s pencils and Laura Martin’s vibrant colors.  Immonen’s art is by its nature dynamic and quick-witted, which lends itself well to an issue like this.  Honestly, I think that Immonen may very well be the best thing about Fear Itself, thus far.  It’s great to seeing an artist of his particular style getting a spot on Marvel’s biggest stage and he’s really capitalized on the opportunity by being remarkably consistent from issue to issue.

There’s also a really cool moment involving the Serpent, what that really garners an “oh no you didn’t!” reaction.  The Serpent may not be the most developed baddie in many respects, but he’s certainly a legit one.

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.

FF #1 – Review

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

The Story: The Future Foundation recalibrates following Johnny’s death, as dangers loom.

The Review: One thing is immediately clear while reading FF #1: this is what Jonathan Hickman has been building up to.  Many of the plot-threads resurge in this new series.  You get the return of the Wizard, a reminder regarding that little meeting Val had with Dr. Doom a few issues back, Nathaniel Richards’ return, and references to Sue’s new role in Old Atlantis and the fate of the Inhumans.  FF is, basically, a culmination of Hickman’s Fantastic Four.

Another thing that strikes me about this issue is just how well Hickman quite consciously balances the wild, super-heroics of FF with the idea of its being a family, with neither side being more important than the other.  They’re a group that goes off and has a wacky battle with AIM and then comes home to a family dinner afterwards.  More than that though is the fact that both these sides of the team are equally entertaining, albeit in totally different ways.  The superheroics bring the action and the sci-fi, while the family bits bring the laughs and the sincerity.  Speaking of laughs, little Bentley has the best line once again.

That said, there’s also a sense of sadness that lingers throughout the issue.  From the black and white outfits to Ben’s grieving to Franklin’s insistence of keeping Johnny’s seat empty at the dinner table, this is a family afflicted by loss, for all its superpowers and dinner table guffaws.  While Hickman doesn’t make that the defining feature of FF, it’s still present and not forgotten with a new #1.

I suppose the most important aspect of this issue is what it sets up for the future.  The return of the Wizard is ominous and promises a sure to be totally awesome plotline.  Meanwhile, the last page cliffhanger, revealing the FF’s newest member, is a massive shock and one that honestly gave me chills.  Granted, I’m a huge fanboy when it comes to the character in question, but it’s a massively powerful moment nonetheless.  Then there’s Nathaniel’s role throughout it all, already putting Reed’s customary leadership position into a greyer area.  All told, this is one of those issues that promises really good things to come and leaves Hickman’s FF in quite possibly a stronger and more interesting position than it’s ever been in before.

Fantastic Four #588 – Review

by Jonathan Hickman (writer), Nick Dragotta & Mark Brooks (art), Paul Mounts (colors), and Rus Wooton (letters)

The Review:  Given the upcoming involvement of Spider-Man in Jonathan Hickman’s upcoming FF, it isn’t a stretch to think that Hickman and Dan Slott have been corresponding with one another, and Fantastic Four #588 may provide evidence of that.  As such, Hickman makes similar creative decisions in his dealing with character death as Slott did in this week’s issue of Amazing Spider-Man.  As such, many of the strengths that my cohort Mr. Stell expounded upon in his review of that comic also apply to this one.

Perhaps the most noticeable similarity is Hickman’s decision to have the entire issue, save the back-up and the final page of the main feature, go entire without dialogue or narration.  What results is an experience that’s far more haunting and emotional.  The images on the page and the events they depict become so much heavier and more laden with significance, as the emotions and sorrow of the characters does not have to be expressed, and hence contained, in words.  When it comes to conveying raw emotion, language is a limitation.  It takes, in this case, powerful grief, and shoves and squeezes it into the shape demanded by language’s framing structure, which forces it to adhere to context and that which words can actually express.

Without dialogue, we are without restriction or middle-man.  The emotion of the characters and the story are far more direct, far more honest, and not at all mitigated.  We are allowed to feel the brunt and truth of the emotional pain created by Johnny Storm’s death amongst his family, friends, and the world he left behind.  It’s a serious, heavy comic that is unrelenting, unwilling the compromise the significance of Johnny Storm’s passing with any attempts at banter.  The grief and sorrow are served to us without spice, chaser, or sweetener.

And really, as such, it’s a wonderful farewell for a great character, what that’s guaranteed to hit any FF fan hard.  More than that, at various points, the reader will become so caught up that he will most likely feel the characters’ emotions alongside them.  While I think various readers will respond differently to different scenes, for me, my eyes watered a bit during Ben’s emotional breakdown, which was beautifully told by Hickman and co.  Similarly, I found myself just as enraged as Reed by Annihilus’ absolutely grotesque taunting.  It was utterly sickening and almost too much for me to bear.  In other words, it’s fabulous writing.

Fantastic Four #587 – Review

by Jonathan Hickman (writer) & Steve Epting (artist)

The Story: Reed Richards attempts to save a planet’s worth of people, Sue finds herself thrust into an ancient war, and Ben, Johnny, and the kids make their stand against the Annihilation wave.

What’s Good: So let’s talk about the character death first.  Despite all the publicity, polybags, countdowns to casualty, and general hype, Jonathan Hickman actually gives us a character death that is heartfelt, tragic, and close to tear-inducing.  Given all the hype, that’s no small feat; all the marketing may have tried its best to cheapen the event itself, but Hickman plays it brilliantly.  The character finds him/herself against impossible odds and it’s, ironically, a defining moment for him/her.  It is truly, well, heroic, which only makes it all the more heart-rending.  It also exposed the true heart of the character, beneath all the fluff and pretensions.  More than that though, Hickman also does a great job by balancing the character’s sacrifice with his/her relationship with one of the other members of the FF.  It makes it all the more touching and gives a tragic “those left behind” feel for that latter character and the sheer emotion is violent in its intensity.  Indeed, the final page will haunt you.  It’s just such a damned sad image and it’s one of those situations where you feel as bad, maybe even worse, for those left behind as you for the deceased.

So the death is handled extremely well, hits all the right notes, and is about as tastefully and sincerely written as can be hoped for.  However, what really distinguishes this issue is that Hickman doesn’t let it standalone.  The plot with Reed on Nu-World ends is resolved through ploy that’s guaranteed to make you go “whoa.”  It’s one of those massive ideas that defies any sense of limitation, the sort of thing that has defined Hickman’s Fantastic Four.  The plot with Sue, meanwhile, happens upon yet another massive twist, leaving things in a very interesting state going forward while also providing a great Namor/Sue moment.

Despite the imminent death, Hickman even finds a way to cram some humour in.  Bentley and Leech were both absolute riots this month.  Leech was adorable while Bentley was hilarious due to his downright creepiness.

I also appreciated how Hickman structured this issue, intent on building tension throughout as the reader tries to guess who’s going to bite the bullet.  He slowly resolves each plotline one at a time, eliminating each member of the Fantastic Four until only two are remaining.  It’s a great ploy that made for a gripping read.

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 #583 – Review

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

The Story: While the FF do battle in the Neutral Zone, Val strikes a deal with Victor von Doom after discovering some of her father’s secrets.

What’s Good: This month sees the start of a new story-arc and Steve Epting taking over art duties.  I’ll start off by saying that Epting’s art this month is fantastic and he very well-matched for the Fantastic Four.  I love Epting’s art, but I was a bit concerned over how his darker, more shadowed art style would work on FF, but work it does.  Epting’s style gives the book a heavier sense of mystery and epic scope, as well as a high-budget feel of polished professionalism.

With respect to Hickman’s side of the book, this issue is really carried by two people: Val and Doom.  Both of them are wonderfully written.  Val oozes undeniable intelligence and confidence which work in perfect contrast to her age and appearance.  Hickman writes a fantastic Val, as has been the case throughout his run, but here he takes it further, giving us a Val that seems one step ahead of the rest of the book’s cast, even her own father.  Under Hickman’s hand, Val is lovable, heroic, and incredibly smart and I adored reading her, which is significant given my long-standing ambivalence to child characters.

Doom is also pitch-perfect.  He’s brooding and he’s intelligent, and one can practically hear the gears turning whenever he speaks, or even by his body language alone.  Frankly, even when down on his luck, Hickman’s Doom is the total badass that Dr. Doom should be.  Moreover, Hickman does a great job writing Doom’s feelings regarding personal weakness, and how he deals with his own.  The fact that we’ll be seeing a lot more of him in future issues has me giddy.

Brought together, Doom and Val have a really, really strong dynamic.  Their conversation works so well because it’s a mix that reflects both Doom’s being older, while also respecting Val’s intelligence.  There’s a kind of familiarity, even a familial aspect here, and yet there’s also a cat-and-mouse rivalry as well.  It’s perfect and the frame where Doom and Val come to an accord is easily the most memorable image any comic has given me this month.

Fantastic Four #582 – Review

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

The Story: The Great Hunt concludes and the older Val and Franklin try to save/create reality and the future.

What’s Good: One of the things that I love about comics, or serial publications in general, is that now and then, you’ll be reading an issue and the thought will flash through your head, clear as day, as much a thought as a feeling.  It usually sounds something like this: “goddamn, I love this book.”

That’s pretty much how I felt about Jonathan Hickman’s Fantastic Four last month, and that’s how I feel this month as well.  Though this month’s issue isn’t quite as strong as last month’s, it’s still a triumph of Hickman’s imagination.

The Great Hunt is awesome concept and the fight between Nathaniels is really well-done, as is the montage showing evil Nathaniel’s elimination of the other Nathaniels.  Hickman’s narration of this sequence is really strong, and in one page, it manages to build up this evil Nathaniel into something truly horrifying.

The fight itself is great if only because it shows glimmers of what Reed, Doom, and Ben will become.  Reed’s humanity is highlighted, while young Doom is an absolute joy under Hickman’s hand.  The character is so ridiculously bombastic and arrogant that it’s impossible not to love the guy.  Hickman has the character’s voice completely down to a science, and I cannot wait to see him write the “real” Victor von Doom.

This issue is interestingly divided into two distinct halves, with the other being devoted to the trials of the future, older Val and Franklin.  Though a more complex read, it’s enjoyable on a different level, mostly due to the strong characterization of Franklin and Val.  Franklin appears at times to be truly god-like, while his bond with Val is really touching.  This leads to a truly magnificent ending for the issue, one that touches upon this sibling bond, making clear their love for each other without beating us over the head or coming across saccharine.  It’s a really affecting moment of sacrifice that also once again focuses on Hickman’s idea behind Fantastic Four, that being an ethos that rejects limitations and impossibilities.

Fantastic Four #581 – Review

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

The Story: Young sophomores Reed Richards, Ben Grimm, and Victor von Doom look to help Nathaniel Richards in a battle with…. himself?

What’s Good: This is without a doubt the best issue of Hickman’s Fantastic Four since his first arc on the series.  I think a good part of it is because he’s ditched the one-shot formula he’s been using for the past few months and is thus able to stretch his legs for a grander, and more cohesive, story.  The result is real Fantastic Four goodness, a good mixture of high-concept sci-fi wackiness and strong chemistry between characters.

Nathaniel Richards is also put to good use by Hickman in a plot that is a total winner on concept alone.  Essentially, as we saw in Hickman’s other Marvel series, SHIELD (a SHIELD reference in FF? Yes!), Nathaniel Richards touched the power source of that… errr… exploding dude.  This resulted in all the Nathaniel Richardses of every reality being pulled into the main Marvel U, and because Immortus will only tolerate one Nathaniel Richards in one reality, all the Nathaniels are locked in a deadly battle royale to be that final Nathaniel.  It’s almost like a mixture of Fantastic Four and Highlander and it’s the sort of mind-boggling insanity that distinguishes Hickman’s work.

While this plot itself is a great deal of fun, Hickman’s character work is strong as well, as he does really well with the voices of undergraduates Reed, Ben, and Victor.  All the characters feel really true to themselves; Victor is as arrogant and elitist as ever, while the friendship between opposites shared by Reed and Ben is quietly heartwarming to see in action.  A debate in a moral philosophy class between Victor and Reed is also a great read, doing a good job of capturing the fundamental conflict between the two characters.  Really, the issue is full of moments like this; little winks and prescient nods to what the characters will later become, unbeknownst to them.

Fantastic Four #580 – Review

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

The Story: Franklin, Leech, and Johnny head to Arcade Toys for “the most impossibly awesome toy event ever.”

What’s Good: With wacky characters like Arcade and Impossible Man and most of the action taking place in a madcap toystore, the book reads like a really fun kids movie or cartoon of the sort that adults can also find enjoyment in.  As a result, there’s a lot of energy and gleeful abandon to the book, making it basically impossible to dislike.  It’s the kind of action that just makes the reader happy and that’s never a bad thing.

Certainly, Arcade and Impossible Man’s larger-than-life presences are more than welcome and make the comic a livelier and more welcoming experience.  Both characters suit the kids movie tone perfectly and give the book a sense of familiarity.  They’re two Saturday morning type characters and as such, they offer a bit of a reprieve from the big ideas that Hickman usually layers his books with.  I do love Hickman for those ideas, but giving us a little break now and then can be refreshing and liberating.  That and Impossible Man, when written well, is always a barrel of fun.

Amidst all the wackiness, there is solid character work as well.  I was pleasantly surprised by Hickman’s writing of Johnny this month, who came across as uncharacteristically paternal, loving, and even, dare I say it, responsible.  His relating to Franklin’s situation and the advice he gives his nephew hit home and provided something of a tender moment between the two.  Basically, Johnny acted like the perfect uncle this month.  All of this was still distinctly Johnny, however, with his characteristic narcissistic remarks peppered throughout.

The final scene, which involves the Future Foundation seeking a cure for Ben’s condition, was intriguing as well.  I found it particularly effective due to bittersweet note it ended on.  What the Future Foundation does for Ben is so limited, yet for Ben, that’s already a miracle.  It’s heartwarming to see something done for Ben, but also sad that it took this long and is so deteriorated in effectiveness as a result.  Hickman struck this balance perfectly.

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.

Fantastic Four #578 – Review

by Jonathan Hickman (writer), Dale Eaglesham (art), Paul Mounts (colors), and Rus Wooton (letters)

The Story: Johnny has a run-in with some Negative Zone badness while the undersea denizens revealed last month make for an unhappy Namor.

What’s Good: It’s great to see Johnny get some love this month.  As much as I like Reed and the kids, and Reed is probably among my top three comic characters, I’m glad that Hickman is trying his best to share the spotlight a bit.

What’s better still is that Hickman doesn’t write Johnny as the two-dimensional comic relief/jerk as it’s all too easy to do.  Sure there’s humour and arrogance, but there’s also heroism and even responsibility.  I’m glad Hickman decided to give Johnny a more serious look and when Johnny’s taking responsibility for his own mistake ends up being an even bigger mistake, there’s a tragic, bittersweet taste behind the irony, seemingly because he doesn’t know how to go about fixing his messes.

The self-reflection on Johnny’s part is outstanding.  It’s all the better due to how little Reed actually has to say; Johnny is already well aware of his shortcomings.  It’s always a strangely voyeuristic pleasure to see Johnny ashamed of himself, perhaps because the character is so defined by his douchebag persona.

Dale Eaglesham continues succeeds at the sci-fi insanity as usual, this month with a horror tinge, but it’s the more subtle stuff that caught my eye.   His work on his characters’ facial expressions is truly outstanding this month and absolutely spot on.  His work on Val and Johnny feel incredibly human, even adorable at times while the opening portrait is sure to catch the eyeballs.

Fantastic Four #574 – Review

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

The Story: It’s Franklin’s birthday, but who’s the mysterious visitor who invades the Baxter Building come nightfall?

What’s Good: If anything, every single one of Hickman’s issues of Fantastic Four have all felt very true to the core values of the series: good wholesome fun with a dash of sci-fi wackiness/action.  This month’s book continues that trend.

Franklin’s birthday forms the bulk of the issue, and for the most part, it’s fun.  The Spider-Man cameo was good for a laugh, and it’s hard not to enjoy seeing the character act as a birthday performer and child entertainer.  Hickman basically writes Spider-Man almost as a kid’s party magician….except for the fact that he’s Spider-Man.  Children’s birthdays in the Marvel Universe are just like ours, only far more awesome.

And of course, with Spider-Man’s presence comes the hilarity of his relationship with Johnny.  Torch’s seething jealousy for the character is as funny as ever under Hickman.  The present he gets for Spidey is bound to make you laugh, as well as the sight of Johnny accusing someone else of being a show-off.

Spidey’s not the only guest to bring the laughs though.  The child found in the Wizard’s lair back at the beginning of Hickman’s run is also a guest at the party (it’s good to see Hickman’s not forgotten him), and surprisingly, despite the dark nature of the character, his page of dialogue with Sue is a real laugh.  He’s morbid, apathetic, and depressed…but he loves cake.  Sue’s completely ignoring his macabre dialogue definitely helped.

The last bit of the issue hints at big things to come.  I loved what Neil Edwards did with the art here.  A mysterious visitor gives Val portents of the future, and Edwards renders said portents as child’s crayon drawings.  I got a real kick out of seeing a cackling Dr. Doom illustrated in crayon.  Also, I had to say, when Val revealed the visitor’s identity, my jaw literally dropped. How Hickman has Val address the visitor for who he really is was oddly touching.

Fantastic Four #573 – Review

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

The Story: Johnny, Ben, and the kids go to Nu-World for a vacation but what they find there is a far cry from being a resort.

What’s Good: Probably the best thing the issue has going for it is its generic tone.  The book is a wacky, retro sci-fi adventure.  While Nu-World has become a dystopian mess, Hickman uses this as an excuse to fill the issue with a scuttling, disembodied brain and a hero with a goofy helmet blasting apart robots by the dozen with his ray gun.  It’s cheesy, but definitely fun, like a bad 70s sci-fi flick.  There’s also a depiction of a pseudo-scientific, transcendental sort of mass suicide that sort of reminded me of Logan’s Run with astronauts.  I’m probably alone on that, but it’s cool nonetheless.

I’ve never been a fan of the kids, but Hickman actually made me enjoy their presence.    Both Val and Franklin have a comical way of undercutting Ted Castle and his planetary problems, but in different ways.  Val makes it all seem so simple through her intellect, while Franklin approaches the situation and his circumstances on an entirely different level, as a child would.  There’s a beautifully paced sequence where he offers a grieving Ted Castle a sandwich, tugging the heart-strings while providing a laugh.

Through his wacky sci-fi hijinks and his use of the brain and the kids, Hickman takes what could’ve been a heavy-handed, grindingly tragic affair and turns it into something much more light and fun.  That said, by the time the issue ends, he still gives a little glimpse of the epic nature of what actually unfolded, finishing the book with a beautiful retrospective montage, narrated in a simple fashion that metatextually breaks the comic into its component parts and making it seem all the grander in retrospect.

What’s Not So Good: Despite all this, under perhaps a more cynical lens, it’s hard not to be very well aware of the fact that this issue was more or less written to serve a simple purpose: sweep Nu-World under a rug.  Now, don’t get me wrong, I’m all for it, but it can be a bit frustrating when a writer’s purpose is so abundantly clear.  The comic is as much a story as it is a means to an end.

Of course, if Hickman is writing this issue solely to be done with Nu-World, that also means that several characters are treated cursorily, perhaps not with the respect they deserve.  There’s not one but two character deaths, both of which are insultingly brief, abrupt, and underwhelming.  Like Nu-World itself, it’s clear that Hickman just wanted them out of the way.   The Nu-World characters have little page-space, don’t flesh themselves out much, and basically show up just to remind us that they’re there.

Furthermore, while the art isn’t atrocious or anything, Neil Edwards is a far, far cry from Dale Eaglesham.  His artwork just feels very generic, with little sense of individual style or flair.  It does the job without attempting to do anything more.  Edwards also struggles with headshots.  Two panels in particular, one of Johnny and one of Psionics, are total botches.

Conclusion: Enjoyable for what it is, but it creaks a little at times due to the weaker art and Hickman’s obvious motivations.

Grade: B

-Alex Evans

 

Fantastic Four #570 – Review

by Jonathan Hickman (writer), Dale Eaglesham (art), Paul Mounts (colors), and Rus Wooton (letters)

The Story: After fighting a gang of robots in typical FF style, Reed enters the Bridge to meet a “council” of very familiar faces.

What’s Good: As a Fantastic Four comic, Hickman’s first go is generally a success for being 22 pages of pure fun that manages to put a smile on your face.  In other words, it’s exactly how an FF comic should be.  The battle with the robots is flashy and fun, the bad guy sounds suitably crazy, providing the necessary darkness in an otherwise bright comic, and the comic ends with some required inter-dimensional wackiness.

A special mention must go to the first scene of the book.  It truly is an iconic way to begin a run, feeling both intimate and grand. It’s touching, yet it also foreshadows an epic lot of stories to come. Let’s hope Hickman can live up to that promise.

It’s always a test for a writer’s first issue on a venerable series; and it’s good to see that Hickman has a solid handle on the various characters’ voices.  Johnny and Ben maintain their humourous banter (or glum moroseness in the case of Ben), but a special mention must go to the way Hickman handles the kids.  The kids are all too often the victims of poor writing, either sounding mentally handicapped, inappropriately mature, or some bizarre hybrid of the two that just sound off. Hickman passes the test with flying colors.  Franklin sounds like the fun, adventurous kid that he is, while Val definitely sounds too old for her age, but it’s appropriate for her character and Hickman makes sure to point out the oddity of it while maintaining Val’s tone of innocence despite the outrageous maturity of her dialogue. She’s still a kid, just an outrageously smart one.

All told, this is a fun comic that takes a little break from the Dark Reign glumness. It’s nice to see Reed venturing out into alternate Earths and in-between spaces once again. The party he finds on the other side of the bridge is a bit of surreal, almost comedic fun, while the last page reveal promises more cosmic mayhem to come.

What’s Not So Good: While Eaglesham’s art is solid by and large, it needs to be asked: what the hell is up with Reed? When did the lanky scientist become a world-class bodybuilder? This may sound like I’m nitpicking, but it’s really distracting. Seriously, Richards looks way, way too buff.

Despite Eaglesham’s calibre as an artist, I did find some of his action scenes in the early parts of the issue a little hard to follow at points as well. I could tell that the Thing was clobbering a robot, but how and what part of the robot remained a bit of a mystery. I’m not sure if the panels were too small, or what it was exactly, but it was a little hard to decipher.

Also, while the comic is far from unreadable, I do feel as though I would have benefited from reading Hickman’s Dark Reign: Fantastic Four miniseries, which is a little irritating.

Conclusion: A solid and promising start to what will hopefully be nice run.

Grade: B+

-Alex Evans