“The World’s Greatest Comic Magazine!” Fantastic Four No. 127

28 Sunday Apr 2024

Posted by percivalhenry in The World's Greatest Comic Magazine

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1972, Fantastic Four, Fantastic Four 127, Mole Man, Roy Thomas

Fantastic Four 127
“Where the Sun Dares Not Shine!”
Published July 1972
Writer: Roy Thomas
Penciler: John Buscema
Inker: Joe Sinnott
Letterer: Artie Simek
Editor: Thomas
Cover: Buscema and Sinnott

Synopsis

In pursuit of a cure for Alicia Masters’s blindness, the Thing enters the subterranean world of the Mole Man, where he encounters Kala, an Atlantean princess and the Mole Man’s paramour. They capture Ben, and change his appearance into that of a hairy monster, leading the rest of the Fantastic Four to attack him.

What’s going on here

Even though Fantastic Four 127 is technically Roy Thomas’s third as writer, it feels like the first issue where he really seizes the reins and makes it his own. It’s full of Thomas-ian flourishes—the purple prose with its highfalutin’ references to ancient Greece, the call-backs to obscure older comics (in this case, Tales of Suspense 43), the sometimes excruciating interior monologues.

It’s also a pretty good story. On a mission to help Alicia, Ben is lured into complacency by the mysterious Kala, and is blindsided by her and the Mole Man. Thomas also ratchets up the stakes by having the Mole Man and Kala launch a plot against the surface world. His version of the Mole Man isn’t just a misunderstood outcast, but a truly evil villain who plans to kill 3 billion surface dwellers. The story is well paced, contains some fun surprises and ends with a satisfying cliff hanger.

What I liked

After showing some growth as a character over the past few years, Sue backslid into her whimpering helpmate status in Stan’s most recent run, as he (via Reed) sidelined her to protect Franklin. Here, Roy seems to be making a statement about Sue’s role on the team:

This is a great sequence from Big John:

There are also a lot of fun touches throughout the comic, such as this byplay in the editor’s notes between Roy and Stan en français.

Along with a sweet scene of domestic bliss, there is some clever dialogue from Reed here:

And it’s been while since we heard these magic words:

What I didn’t like

As mentioned above, Roy has a predilection toward pompous verbosity and anguished interior monologues. We get all of that and more here:

Overall

A promising start to the Thomas era.

“The World’s Greatest Comic Magazine!” Fantastic Four No. 126

26 Friday Apr 2024

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1972, Fantastic Four, Fantastic Four 126, John Buscema, Mole Man, Roy Thomas, Stan Lee

Fantastic Four 126
“The Way It Began!”
Published June 1972
Writer: Roy Thomas
Pencils: John Buscema
Inks: Joe Sinnott
Letters: John Costanza
Editor: Thomas
Cover: Buscema and Sinnott

Synopsis

After squabbling with the Human Torch, the Thing uses a thought projector invented by Mr. Fantastic to revisit the origins of the Fantastic Four, and ends up resolved to force the Mole Man —the first villain they fought—to give sight to his blind girlfriend, Alicia Masters.

What’s going on here?

This is an interesting issue, for a few reasons. It’s the first issue after Stan Lee’s official departure from the FF—an occasion marked both in the Bullpen Bulletins and in a separate note on the letter’s page—and Roy Thomas’s first after officially taking the helm (although he wrote FF 119). Stan and Roy use the change as an opportunity to retell the origin of the Fantastic Four, in the longest re-cap of their origin to date. For modern readers, it might seem like a waste of an issue but we’re used to the immediate availability of back issues, either through reprints or online. New Fantastic Four readers in the early 1970s had fewer options to read FF 1 (although it had been reprinted in a few annuals by this point) and after a decade of comics, it made sense to reset the origin.

It also allows John Buscema a chance to put his spin on Jack Kirby’s classic story. He’s pretty faithful to the original, although there are a few tweaks, like modernizing Sue’s haircut.

Here is Jack’s:

And here’s Big John’s version of the same scene:

Probably the biggest difference is in how Buscema draws Ben, updating his original, lumpy look to the more familiar rocky version. Again, here’s FF 1:

And FF 126:

Roy also tweaks the dialogue a bit to make Ben’s style of speech more consistent with what we’re used to, but by and large it’s pretty similar.

Along with the recap of the origin (and both the original and a subsequent battle with the Mole Man, setting the stage for Ben’s quest), the issue also strikes a lot of familiar notes that seem designed reestablish the FF’s status quo. There’s a Ben and Johnny fight, which was once almost a mandatory feature. There’s an appearance from Alicia, and a reminder she’s blind. There’s Reed and Sue wondering about their future with the team now that they have a child. In all, it reads like jumping off place for new readers, and a new writer.

A few other items of note:

* The credits now say “Stan Lee presents” and Roy is credited as both writer and editor.
* The cover now says “The World’s Greatest Comix Magazine!” I don’t know the basis for the change, and it lasted only until issue 131, but it’s a bit odd.
* I realize I never addressed the change in the logo, which happened in issue 119. Just another sign of the changin’ times. Marvel will use this logo until issue 160 and doesn’t return to the classic ’60s logo until issue 218 (although it’s used for annuals).

Here is the note introducing Roy as writer on the letter page:

What I liked

I generally liked Buscema’s recap of the origin, and particularly his take on Jack’s classic cover for FF 1. That cover has been the subject of many homages over the years (some of which I get into in my recap of that issue here) and I assume this is the first. There is still no explanation of who tied up Reed. There is also a great splash page (seen above).

What I didn’t like

While it’s an interesting issue, I’m not sure it’s a particularly good issue. Roy tries to weave the lengthy flashback into the story, but it’s not really coherent, and the thought projector as a plot device feels unnecessary and clumsy. Leaping ahead from the FF’s first battle with the Moleman to one that took places in issues 88 and 89 also feels awkward and manufactured to set up the next issue.

Also, it’s not really clear Roy has a grasp on Ben’s character, as evidenced by this sequence:

(who is Godfrey?)

Anything else?

Ads for some neat-o toys in this issue:

Overall

An issue probably of more value to readers in 1972 than today

“The World’s Greatest Comic Magazine!” Fantastic Four No. 125

16 Tuesday Apr 2024

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1972, Fantastic Four, Fantastic Four 125, John Buscema, Stan Lee

Fantastic Four 125
“The Monster’s Secret!”
Published: May 1972
Writer: Stan Lee
Pencils John Buscema
Inks: Joe Sinnott
Letters: John Costanza
Cover: Buscema and and Sinnott

Synopsis

The rest of the Fantastic Four attempts to rescue Sue from the underwater creature before it’s revealed it was never actually a threat.

What’s going on here

This is Stan Lee’s last issue as a regular writer of the Fantastic Four and it’s an unfortunately lackluster note to end on. The story feels thin and padded with unnecessary digressions, while the central question about the creature’s intentions for with Sue doesn’t have much tension since we know from the creature’s previous appearance that it’s a harmless alien. As a result, the twist at the end—the creature returned to cure its mate of a virus acquired on earth—felt sort of predictable. The final note, with the FF urging us to respect our differences, may be heartfelt but feels hokey. It’s the sort of earnest closing message Stan used early in the FF and by now feels sort of tired.

It’s probably worth pausing a moment to appreciate Stan’s amazing run as writer of the Fantastic Four. Between issue 1 and 125, he wrote, co-wrote or scripted (by my count) 119 regular issues and six annuals. That’s an impressive run for anyone, much less someone also writing a half dozen other comics and serving as editor and pitch-man for the entire line.

Trying to apportion credit for the Fantastic Four’s greatness between Stan and Jack Kirby feels like a fool’s errand. The (deserved) push to properly recognize Jack for his work at Marvel has unfortunately created a backlash diminishing Stan’s contributions (and it doesn’t help that Stan was part of the management of a company that cheated Jack of his due). According to some revisionist histories, Stan merely rubber stamped Jack’s stories. But I think it’s inarguable that for all of Jack’s genius, there would be no Fantastic Four as he know it without Stan as well.

From my perspective, it was a true partnership, where the sum of their contributions was greater than the whole. The Fantastic Four did tail off in the years after Jack left, but it was uneven during his last years on the book as well. And in many of the comics Stan wrote on his own or with John Buscema—particularly the recently concluded Air-Walker/ Galactus saga— there’s enough of the old FF energy to indicate it wasn’t Jack alone. And Jack’s work at DC is proof that he benefitted enormously from Stan’s scripting.

Today, Stan’s legacy is so tied up in his identity as the public face of Marvel, his cameos in the movies, and the ugly fights over copyrights, it’s easy to lose sight that, at his core, he was a damn good comic creator.

What I liked

Big John turns in his usual excellent work. I particularly liked this sequence:

And wet Johnny:

What I didn’t like

As mentioned above, the comic felt padded with a lot of filler. Reed escaping his doctors took up two pages. Ben finding transportation took another two pages. The story probably could have been told in one issue without losing much story and gaining some pace.

Overall

A muted milestone

“The World’s Greatest Comic Magazine!” Fantastic Four No. 124

06 Saturday Apr 2024

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1972, Fantastic Four, Fantastic Four 124, John Buscema, Stan Lee

Fantastic Four 124
“The Return of the Monster!”
Published April 1972
Story: Stan Lee
Pencils: John Buscema
Inks: Joe Sinnott
Letters: John Constanza
Cover: Buscema and Sinnott

Synopsis

Mr. Fantastic, exhausted from the travails of the last few issues, takes ill and is rushed to a hospital, where a monster lurks and abducts the Invisible Girl.

What’s going on here?

This is a busy, and slightly peculiar issue. It opens in the middle of the action—mise en scene, if you’re fancy—with the Fantasti-Car about to crash because Reed has passed out. Simply landing the car takes up about four pages, and much of the rest of the issue takes place in or around the hospital. The villain is of course the creature first introduced in issue 97, and while that was a fun, one-and-done story, there was nothing so compelling about the creature—really, a misunderstood alien modeled on the Creature from the Black Lagoon—that demanded it be brought back. The easiest explanation is that Stan, near the end of his active writing career, was bereft of ideas, and so reached back to an older story for one.

Still, despite feeling like a retread, there’s some interesting things going on in FF 124. Reed is virtually absent, since he’s unconscious in a hospital bed, so the other members are asked to propel the story in ways normally performed by Reed. There’s a fun sequence, for example, where Johnny plays detective and tries to identify the hostile monster using the FF’s equivalent of the Bat-Computer. It’s also a nice reminder that, after a decade of comics, the FF has it’s own rich history and rogue’s gallery.

Oddly, despite much of the comic devoted to the FF unraveling the riddle of the monster, the readers knows all along who it is from the cover and title.

What I liked

As mentioned, each of the non-Reed characters gets a a chance to shine in this issue. Sue, particularly, uses her powers in some new and interesting ways, such as repairing the crashing Fantasti-Car on the fly:

Or breaking out of her bindings:

There’s an interesting sequence where Johnny is humbled by a doctor after terrifying patients by flying around the hospital with his flame on:

It looks like Buscema is trying something new as he draws Johnny, giving him a more distinctly human appearance when he’s in his flaming form.

I also like the classic cliff-hanger ending, with Sue caught in a flooding cave:

And this Kirby-esque panel of Reed in the hospital.

What I didn’t like

When I first began this blog, I started tracking how many times Sue was taken hostage. I stopped counting after Fantastic Four 38, when the count had reached 10. It’s one of Stan’s oldest and most tiresome cliches, and unfortunately he revives it again here.

Also, I’m not a fan of plots that depend on the most unlikely of coincidences. The hospital were Reed is taken just happens to be haunted by a creature the FF once confronted on a tropical island?

Anything else?

A bunch of ads that seemed pitched at an older reader. The Vietnam-themed game seems strange, given the war was still raging in 1972.