“The World’s Greatest Comic Magazine!” Fantastic Four No. 202

28 Sunday Dec 2025

Posted by percivalhenry in The World's Greatest Comic Magazine

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1978, Fantastic Four, Fantastic Four 202, Iron Man, John Buscema, marv wolfman

Fantastic Four 202
“There’s One Iron Man Too Many!”
Published October 1978
Writer: Marv Wolfman
Pencils: John Buscema
Inks: Joe Sinnott
Letters: Jim Novak
Colors: Janice Cohen
Editor: Wolfman
Cover: Buscema and Sinnott

Synopsis

The Fantastic Four are attacked in the Baxter Building by a doppelgänger of Iron Man, who triggers a new device installed by Mr. Fantastic that allows the top six floors of the building to fly across the world (yes, really). The FF team up with the real Iron Man to track down their building and discover Quasimodo, an artificial intelligence, created a replica Iron Man and stole the Baxter Building to drain its power. After a battle, Quasimodo escapes into space in the FF’s rocket.

What’s going on here?

This issue is only notable because of the appearance of Iron Man, but the story makes clear there’s no legitimate reason for Iron Man to be in the comic. Quasimodo explains he needed a robot to serve as his arms and legs — makes sense! — but he could have built anything. It seems he chose a replica of Iron Man to compel Iron Man’s guest appearance in the comic. It’s the sort of plotting problem an editor could save a writer from making, but in this case, writer Marv Wolfman serves as his own editor. It’s a reminder that Wolfman is much stronger at dialogue and characterizations than in story telling, and another reminder (if we needed one) that writers need actual editors.

John Buscema fills in for Keith Pollard on pencils and delivers his usual steady work.

What I liked

Despite its practical impossibility, I liked the idea of the top floors of the Baxter Building shooting into the sky like a bottle rocket. And Reed’s explanation — that the landlord demanded some sort of failsafe to protect other tenants — actually makes sense.

This scene with Tony Stark is a flashback to our pre-MCU concept of Iron Man, where everyone somehow accepted he was Stark’s body guard, despite them never being seen together.

This cliff hanger ending was intriguing:

What I didn’t like

My big complaint is the dumbness of the story’s premise. But I’ve said my piece about that.

Also, I can usually accept that the image on the cover is meant as marketing, and doesn’t literally capture a scene from the comic. But it’s been a while since I’ve seen one this divorced from the events in the story. Even the the blurb — “Mayhem Over Manhattan! — is misleading.

And why does the FF keep a wooden desk in their high-tech control room?

Anything else?

A very eloquent letter to the editor from Cat Yronwode, who would go to be the editor-in-chief of Eclipse Comics, among many other diverse and varied roles.

Overall

The Yronwode letter is this month’s highlight

“The World’s Greatest Comic Magazine!” Fantastic Four No. 201

23 Tuesday Dec 2025

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1978, Fantastic Four, Fantastic Four 201, marv wolfman, Marvel comics

Fantastic Four 201
“Home Deadly Home!”
Published Sept. 1978
Writer: Marv Wolfman
Pencils: Keith Pollard
Inks: Joe Sinnott
Letters: John Costanza
Colors: Françoise Mouly
Editor: Wolfman
Cover: Pollard and Sinnott

Synopsis

After accepting the thanks of Latveria’s new leader, Zorba, the Fantastic Four return to the Baxter Building, where they move back in to their former headquarters. But something is amiss, and the building’s automated systems go haywire, almost killing the FF before the Invisible Girl can overcome its defenses and shut it down.

What’s going on here?

Like most FF comics of this era, FF 201 is a mixed bag. It’s welcome palate cleanser after the high-stakes events of issues 196-200, and it contains some nice character interactions and development. But the plot fizzles and it feels a bit like Marv Wolfman is killing time waiting to start another big story.

Complicating things is that Fantastic Four Annual 13, discussed last week, ALSO was written as a palate cleanser after issues 196-200. Not surprisingly, there seems to have been no coordination between Wolfman and Annual 13 writer Bill Mantlo, so many of the issues this comic deals with — will the FF remain a team? Where will their headquarters be? — were also grappled with in the annual. A true continuity zealot could probably point to where Annual 13 could slip between two panels of FF 201 but even the Marvel Chronology Project, which exists for exactly these purposes, concedes defeat and has the annual following 201.

Also of note is the return of the “quad-cover,” which is a staple of FF cover design from the beginning. The idea is that instead of showing one fight scene on the cover, the four quadrants each depict a member of the FF fighting some menace solo, and thereby creating even more incentive for eager buyers to snap it up. Here are all the other quad-covers from the first volume of the FF (which ended in 1998):

What I liked

In some ways this issue serves to reset the team and provide a jumping-on point for new readers. To that end, it gives Reed an opportunity to restate the purpose of the FF: To use their powers for the betterment of humanity. It’s sort of a mission statement and it puts an end to Reed’s waffling about the future of the team.

Also of benefit to new readers: a neat-o rendering of the interior of the Baxter Building, something we saw a few times early in the Lee / Kirby run but we haven’t seen since. (I think the meditation chamber is a 1978 addition.)

As discussed in previous posts, Wolfman had made it his mission to give Sue more bite, both as a character and a team member. Here, she puts Reed in his place:

And here, she saves the day, shutting down Ben’s objections, then rescuing Johnny.

This was also a fun sequence (although I wonder if Wolfman knows the translation of fromage):

What I didn’t like

After the team spends most of the issue battling the Baxter Building run amok, Reed’s explanation is basically, “I dunno.” It’s deeply unsatisfying and suggests Wolfman really didn’t the story much thought. Maybe it will be explained in a future issue but for now, it’s painfully anti-climactic.

For years I have cringed whenever the FF’s writers try to make commercial real estate a plot point. Here it’s thankfully disposed of quickly but it’s never not clumsy and silly.

Anything else?

A house ad for the FF’s new TV show, the one that replaces Johnny with H.E.R.B.I.E. (blech) for reasons to do with intellectual property rights and giving rise to all sorts of urban myths.

Overall

Good enough, I guess

“The World’s Greatest Comic Magazine! Fantastic Four Annual No. 13

14 Sunday Dec 2025

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Annual, Bill mantlo, Fantastic Four, Fantastic Four Annual 13, Marvel comics, Mole Man, Sal Buscema

Fantastic Four Annual 13
Published July 1978
Writer: Bill Mantlo
Pencils: Sal Buscema
Inks: Joe Sinnott
Letters: Irving Watanabe
Colors: Françoise Mouly
Editor: Marv Wolfman
Cover: Keith Pollard and Steve Leialoha

Synopsis

In the aftermath of their big confrontation with Dr. Doom, the re-formed Fantastic Four is taking stock of their new situation (since they moved out of the Baxter Building) while a mysterious figure is kidnapping homely and blind New Yorkers, while also stealing statues. At Alicia master’s studio, they discover the Mole Man is behind the abductions. He subdues the FF and captures Alicia, and the FF pursue him to Subterrenea. There, he explains he is capturing outcasts who might prefer a life underground and providing them with statues to enjoy (really). He then lets free anyone who wants to return to the surface while Alicia presents the Mole Man with a statue of himself.

What’s going on here?

This is a lackluster comic, and feels like a regular issue that was padded out into an annual. Nothing of much consequence happens, and after the big events of the last few issues, it makes sense for the FF to chill for a bit. Still, I think annuals should bring something extra, either in terms of story or the creative team, to justify the additional length and cost. This story mostly felt tedious. If it’s notable for anything, it’s the presentation of the Mole Man as a sympathetic figure who’s trying to help the misfortunate. I’m not sure it’s convincing but it’s an interesting evolution of a character that’s been around as long as the FF. And you can draw a through line from how he’s treated in this comic to his depiction in the new Fantastic Four movie.

Oddly, this is the second story in a row Alicia has been kidnapped for her sculpting skills..

Bill Mantlo is the writer, and given his history as a last-minute fill-in specialist, I wonder if he was pressed into service because Marv Wolfman couldn’t get it done in time. Sal Buscema delivers his usual workmanlike pencils which are enhanced by some dramatic inking by Joe Sinnott.

The cover is by Keith Pollard and inked by Steve Leialoha making his FF debut. Leieloha’s inks add a supple, fluid quality to the already strong Pollard and the cover is probably the best thing about this comic.

What I liked

Beginning with Len Wein, continuing with Wolfman and now with Mantlo, there’s been a real effort to upgrade Sue’s powers and role with the team. Here, in a well-told sequence, she pursues the Mole Man by herself, then casually insults the rest of the team and puts Reed in his place (although has anyone outside of comics ever referred to someone as “husband-mine?”).

The padded-out story does give Mantlo room for a few running gags, like having Ben encounter obnoxious Yancy Streeters are every turn (incidentally, I’m pretty sure there aren’t any newsboys in NYC in 1978).

I also enjoyed this cameo of Daredevil. It’s completely incidental to the story, but reinforces the idea of all of Marvel’s heroes living in the same world. These little surprises were one of the things I liked most about reading comics as a kid.

What I didn’t like

Whatever Mantlo’s intentions, the central premise of the story felt clunky and forced. The Mole Man is kidnapping ugly people AND blind people? As if they are the same thing? And giving them statues to enjoy? None of it makes much sense and feels half-baked.

And while we have been trained to believe the Mole Man is a formidable opponent, it’s hard to accept he can take down the entire FF by himself. Here, he knocks out Ben with one zap of his staff.

There’s also some sloppiness that speaks to a lack of communication between Mantlo, Wolfman and Buscema. Here, Reed explains the pogo plane is in storage, except the FF just used it to fly to Latveria and back.

And here, Reed claims the flare gun can now fit in the FF’s belts on a shot that shows Sue holding a bulky gun and wearing a skin-tight uniform.

Lastly, Sal Buscema has some strengths as an artist but drawing faces isn’t one of them. Otherwise why would this fireman look so much like Peter Parker?

Anything else?

Fun house ad for Ms. Marvel (later Binary, later Warbird, later Captain Marvel) by Dave Cockrum.

Overall

Meh

“The World’s Greatest Comic Magazine! Fantastic Four No. 200

10 Wednesday Dec 2025

Posted by percivalhenry in The World's Greatest Comic Magazine

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1978, Dr. Doom, Fantastic Four, Fantastic Four 200, jack Kirby, marv wolfman, Marvel comics

Fantastic Four 200
“When Titans Clash!
Published August 1978
Writer: Marv Wolfman
Pencils: Keith Pollard
Inks: Joe Sinnott
Letters: John Costanza
Colors: Francoise Mouly
Editor: Wolfman
Cover: Jack Kirby and Sinnott

Synopsis

Reeling after the death of his son/clone, Dr. Doom traps the Fantastic Four in his Latverian castle and flies to New York to realize his plan of world domination. The FF escape, rescue Alicia and follow Doom, with Mr. Fantastic confronting Doom at his stronghold in the Adirondacks while the rest of the team flies to the United Nations to thwart Doom’s scheme. While Reed and Doom battle, Doom’s statue — sculpted by Alicia and intended as a gift to the UN — hypnotizes the delegates, who then attack Ben, Sue and Johnny. Reed eventually gets the better of Doom, and rips off his mask, where the image of his disfigured face reflected back at him hundreds of times in the facets of a giant crystal drive him into a catatonic state. Reed shuts down the UN device and with Doom in a mental institution, Zorba is installed as the leader of Latveria.

What’s going on here?

This is a big milestone issue and almost in spite of itself, the comic lives up to the occasion. It’s the conclusion of a five-part act that meandered unnecessarily — particularly with the clone-of-Doom subplot which fizzled out anti-climatically — but Marv Wolfman manages to stick the landing. He correctly recognizes the conflict between Reed and Doom is the central tension in the book and he gives the two the battle they deserve. Because it’s a double-sized anniversary issue, he has room to stretch out the confrontation, and includes a flashback to their time at university together that reminds us (and informs new readers) of the origin of Doom’s enmity toward Reed. The climax, where Doom goes mad at the sight of his own face reflected back at him, is clever story telling, and centers Doom’s defeat in his own vanity and insecurity. It feels like less of a triumph for Reed than a tragic downfall for Doom. (Although I would have preferred Doom not telling us he was going mad as he was going mad).

A lot of credit for this issue’s success goes to Keith Pollard and Joe Sinnott. Pollard, particularly, uses the extra pages in this issue to stretch out, particularly in the fight scenes, where there are often just four panels per page. There are also three full-page splashes (not including the opening one), a rarity in this era.

This is the most successful of the Fantastic Four’s big milestone issues to date. Issue 50, which included the conclusion of the Galactus saga, didn’t make note of it being a meaningful issue. Issue 100 was a dud, and came at the end of the Lee / Kirby partnership. Issue 150, featuring the marriage of Crystal and Quicksilver, felt more like an Avengers comic (and not a very good one, either). Looking into the future, issues 300 and 400 aren’t that impressive either. Issue 200 manages to deliver story that both feels big, satisfying and consequential.

Fantastic Four 200 also features one of the best covers in the history of the comic, by none other than Jack Kirby. Kirby’s FF covers over the last few years have been hit or miss, but this one has all the hallmarks of classic Kirby (although it’s is unfortunately cluttered with too many blurbs hyping the comic). Sadly, this is Kirby’s last original work on the Fantastic Four and one of his last at Marvel.

And in a nice touch, the comic is dedicated to Stan and Jack:

What I liked

Despite its bombast, the issue also deliver some nice moments of character development. There is this testy exchange between Ben and Reed:

And this romantic interlude:

After restoring Reed’s powers, Wolfman seems serious about powering him up, and in two separate sequences Reed stretches himself into tiny apertures to escape confinement. This one is the most impressive:

Pollard has a real knack for interesting action shots. Here are a few I liked:

What I didn’t like

The plot device — the McGuffin, if you will —of this story never makes much sense. Doom somehow thinks he’s going to take over the world by hypnotizing United Nation’s delegates? If he spent more than a minute paying attention to the UN’s long history of ineptitude, he would realize how ridiculous an idea this was.

We also have the same problem of Doom’s lackeys as in last issue. Are they humans? Or robots? or both? Here one of them has a wife and child, further confusing things.

Anything else?

A letter to the editor from future writer/editor/comic historian Peter Sanderson, who appears to be writing from his Columbia University dorm room: