“The World’s Greatest Comic Magazine!” Fantastic Four Annual No. 14

19 Sunday Apr 2026

Posted by percivalhenry in The World's Greatest Comic Magazine

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1979, Agatha Harkness, Annual, Fantastic Four, Fantastic Four Annual 14, George Perez, marv wolfman, Marvel, marvel-comics, Salem's Seven

Fantastic Four Annual 14
“Cat’s-Paw!”
Published October 1979
Story: Marc Wolfman and Geore Perez
Pencils: Perez
Inks: Pablo Marcos
Letters: Jim Novak
Colors: Carl Gafford
Editor: Wolfman
Cover: Joe Sinnott

Synopsis

After a brief battle with Sandman, the Fantastic Four return to the Baxter Building to find Agatha Harkness, who convinces the team plus Franklin to accompany her to New Salem for her annual visit. Meanwhile, a group of Salem witches is plotting to restore Nicholas Scratch — defeated by his mother, Harkness, and the FF in issue 186 —and then reveal themselves to be Salem’s Seven. They battle and subdue the FF, but Franklin escapes and is found by Harkness. Back in New York, Salem’s Seven harnesses the powers of the unconscious FF in order to summon Scratch, creating a powerful force field around the Baxter Building that resists the military and the Avengers. With Franklin, Harkness withstands Scratch’s assaults and once in the Baxter Building, Franklin’s latent powers restore the hostile, mind-controlled FF back to normal. Harkness then defeats Salem’s Seven and prevents Scratch from returning to Earth.

What’s going on here?

This is a big, fun, rollercoaster of an annual that only barely makes sense and is held together by George Perez’s amazing layouts and pencils. He is ably assisted by Pablo Marcos on inks, who has a nice light touch. If Perez had not worked on this book I would likely have a much lower opinion of it but thankfully we’ll never know. More on this great art in a bit.

Like a lot of annuals, this story feels a bit padded, particularly the opening sequence with Sandman, which serves no real purpose. It’s filled out at the end with a series of pinups. The story hinges entirely on the FF’s impromptu decision to join Harkness, and she ultimately is the hero of the story. After they are captured, the FF are barely players in their own annual.

This annual brings back Salem’s Seven, a fun group of villains who are surprisingly underused. They only appear a handful of times after this issue, despite seemingly tailor-made for fighting other super teams. Couldn’t the X-Men have fought these guys?

Also of note, the cover is by Joe Sinnott working solo, which is rare. It’s unfortunately not a particularly exciting or interesting cover, and my guess is Perez either couldn’t deliver his cover on time or it was rejected by Jim Shooter, necessitating a quick fill-in job by Sinnott.

What I liked

This is the first comic I’m aware of where we really see Perez’s layout innovations take hold. He was a master of propelling the story with panel designs, and often can fit seven, eight or nine on a page without it feeling cramped (most artists don’t exceed six). We can see the beginnings of that here, where he uses the bottom panel on four consecutive pages (I can only show three here) to introduce the main plot of the story through the sinister villainy of Salem’s Seven. Another artist might gave simply broken away from the main action and used four contiguous panels, but by using one panel per page, Perez undergirds the FF’s triumph over the Sandman with a portent of menace.

Here’s another page where Perez creates simultaneous action through page design. The small light blue panels show the machinations of the villains at the same time Harkness invites the FF to the evening’s big event. It’s a technique unique to comics; the movie or TV equivalent would be a picture-in-picture with separate characters and dialogue, which would be awful (you do sometimes see this in sports, but it’s hard to watch).

Perez uses 10 panels on this page, and it allows him to give the readers a sense of New Salem’s weirdness while advancing the plot.

The high point of Perez’s panel wizardry was probably Crisis on Infinite Earths, six years later, where he had roughly a zillion characters to include and a lot of story to tell. Here, in issue seven, he uses an insane 16 panels to record the death of Supergirl.

Today, one wide-screen artist like Brian Hitch would probably use half of a comic for the same sequence.

There’s lots of other great Perez art FF Annual 14, too, like this crazy double page splash:

Although the design is pretty rudimentary, with its one-point perspective, it’s full of fun details, like Johnny making time with a New Salem native (later revealed to be a succubus) and Franklin and Sue (and what is Sue wearing on her head??)

While this issue (and blog post) is really about Perez, Marv Wolfman has his moments. This was a fun sequence that followed the team thwarting the Sandman’s bank robbery and getting a kitten-themed calendar for their troubles:

And to finish up, just a few more amazing pages from Perez (the one with Avengers is stunning):

What I didn’t like

This being a Wolfman comic, there were all sort of odd plot devices and inconsistencies that seems could have been avoided with a bit of thought or (cough) an editor (cough) who wasn’t the same person as the writer.

Here, Harkness invites the FF to join her on a trip across the country and they decide to drop everything and go. Apparently world-class scientists like Reed don’t have meetings or lectures or experiments that keep him tied down. Would it have ruined the story to have made this a trip they planned in advance?

Then, instead of flying one of their several vehicles, they fly commercial. Because who doesn’t like an easily avoidable trip to the airport? (Also, note Reed is smoking a pipe on the plane. It was the seventies).

Later, the Salem witch Gazelle announces she’s a “beast of prey.” Really? Her name is Gazelle and she’s a predator??

And this feels like an own-goal, but when the Defenders show up and Iron Man says they’re helpless against this mystical, magical forcefield, it kinda begs the question about a certain missing Defender. Wears a cape. Lives in the village. Sometimes called the Sorcerer Supreme. Maybe he could have helped.

Anything else?

The pinups in the end are by Keith Pollard and Marcos. It’s called a gallery of the FF’s most famous foes but most of these guys are pretty obscure (there were six in total). I like that they each get a custom designed logos.

Overall

A Perez triumph!

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

14 Sunday Dec 2025

Posted by percivalhenry in The World's Greatest Comic Magazine

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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 Annual No. 12

28 Sunday Sep 2025

Posted by percivalhenry in The World's Greatest Comic Magazine

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1976, Annual, Bob Hall, Fantastic Four, Fantastic Four annual 12, Inhumans, Keith Pollard, marv wolfman, Sphinx

Fantastic Four Annual 12
“The End of the Inhumans … and the Fantastic Four!”
Published October 1976
Writer: Marv Wolfman
Pencils: Bob Hall and Keith Pollard
Inks: Bob Wiacek
Letters: John Costanza
Colors: Glynis Wein
Editor: Wolfman
Cover: John Buscema and Joe Sinnott

Synopsis

The Fantastic Four are summoned from their leisure activities — Johnny is racing a car, the rest are in Hollywood supervising a movie — by Crystal and Lockjaw, who report the rest of the Inhuman royal family have been captured and the Atillan has become a fortress. The FF eventually overcome the would-be ruler, Thraxon the Schemer (yes, that’s what he calls himself), only to discover he is a pawn of a much greater power, the Sphinx. The Sphinx, an ancient Egyptian wizard who is now immortal, requires Black Bolt’s powers to conquer Earth, and is holding the Inhumans aboard a spaceship. The FF travel to space and are helpless against the Sphinx, but in the melee, Lockjaw frees the Inhumans and Black Bolt defeats the villain in one-on-one combat.

What’s going on here?

This annual is very much a mixed bag. It contains some fun moments and characterizations, and the art is interesting, but the story is padded out with unnecessary fights and flashbacks and some truly painful attempts at topical humor. The story, written and edited by Marv Wolfman, comes in at 48 pages, yet somehow feels much longer. It’s a good example of why writers shouldn’t be their own editors.

The story falls out of the FF’s current continuity, and since Reed can stretch without apparent issue, it probably takes place a good deal earlier than the events in the main title, where the FF have broken up due to Reed’s loss of his powers. The villain, the Sphinx, is an attempt at a new big bad guy but he’s not very convincing, in part because his name and costume are both pretty silly. He debuted in Nova 6, also written by Wolfman, and will pop up every once in a while. He never becomes a top tier FF villain, and frankly, his ancient Egyptian evil schtick was handled much better by Louie Simonson a decade later with Apocalypse.

The pencils are credited to both Bob Hall and Keith Pollard, and it’s hard to tease out who did what (Incidentally, I’ve met Bob Hall at a few conventions and had him draw sketches for me. A very gracious man). Bob Wiacek handled the inks and they look much different — thicker and rougher —than the more refined lines I associate him with from his X-Men run. Still, the art has its moments and between the three artists I see echoes of Kirby and Gil Kane:

What I liked

Like his close friend Len Wein, Wolfman seems determined to elevate Sue’s usage as a member of the Fantastic Four. This page is a pretty good demonstration of how she’s been upgraded, both in her attitude toward her teammates and in her powers:

As I’ll get to later, the FF’s Hollywood sequence, where they fight a robot version of the Thing designed for a movie, is beyond tedious. But using the Gong Show’s gong as a weapon is a fun idea.

As anyone how follows this account on Twitter knows, I am perturbed by artists who draw the Thing as a giant. Here, Ben makes the same point:

There were a few good sequences that featured a maturing Johnny reconciling with Crystal being married to Quicksilver. Here, he combines some introspection with commentary about his powers:

And here, we see three adults acting like adults (it won’t last):

I did like the sequence of Black Bolt wailing on the Sphinx. It really establishes him as a true heavy weight, given that the four members of the FF could barely touch the Sphinx:

What I didn’t like

As mentioned, the Hollywood sequence is long, silly and feels engineered to pad the page count. The conceit is a heavily accented Italian producer — I assume a Dino DiLaurentis parody — is making a movie about the FF, which they agree to for “tax money.”

Sue’s comment about never wearing “anything like that” is sadly ironic, given what was to come.

(FF 374, by Tom DeFalco, Paul Ryan and Danny Bulanadi)

As if if couldn’t get more inane, the Thing’s fight with the robot Thing crashes into the set of the Gong Show, producing lots of unfunny jokes about a show that wasn’t particularly funny. The effect is a bit like an unsuccessful MAD magazine parody.

There are several instances in this comic of holes being blown through the walls of a space ship and people being sucked outside, and everyone surviving just fine. I’m sure Wolfman knew better, but didn’t want to take the effort to make it plausible.

Lastly, the FF’s pogo plane is nuclear powered? In midtown Manhattan?

Anything else?

House ads. I’ve never heard of The UFO Connection.

Overall

Would have been just fine as a 22 page story.

“The World’s Greatest Comic Magazine!” Fantastic Four Annual 6

24 Thursday Nov 2022

Posted by percivalhenry in The World's Greatest Comic Magazine

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1968, Annihilus, Annual, Fantastic Four, Fantastic Four Annual 6, Franklin Richards, jack Kirby, Stan Lee

Fantastic Four Annual 6
“Let There Be … Life!”
Published Nov. 1968
Story: Stan Lee and Jack Kirby
Script: Lee
Pencils: Kirby
Inks: Joe Sinnott
Letters: Sam Rosen
Cover: Kirby and Sinnott

Synopsis

The story begins with Mr. Fantastic frantically looking for a way to save the Invisible Girl, who is about to give birth to their child, from the “cosmic radiation” that remains in her blood following the accident that gave the team its powers. Reed has determined that one element, found only in the Negative Zone, can save her, and as he prepares to enter the zone to retrieve it, the Thing and the Human Torch insist on joining him.

Once in the Negative Zone, Reed is attacked and captured by a Scavenger, a creature in the employ of Annihilus, an insect-like warlord. Eventually Ben and Johnny are also captured, and the three are sent to the arena, where they are subject to Annihilus’s torture devices. The team overcomes them, and Reed realizes Annihilus’s control rod, which he wears around his neck, contains the element he needs to save Sue.

Reed steals the control rod and the team escapes, only to be pursued by Annihilus and his minions. Eventually the trio reaches a zone where “space is transformed into antimatter” (last seen in issue 51) and where they are powerless. Trapped, they strike a deal with Annihilus, who returns their harnesses, which allow them to travel through the Negative Zone, in return for the control rod, (save for a small amount of the element within Reed keeps t save Sue).

The team returns to earth in time to deliver the element to the hospital, and after an anxious wait, find Sue has given birth to a healthy (unnamed) son.

What’s going on here?

This is a big issue, with a lot going on. Aside from some very notable first appearances, it’s just a great story, one of the best of Stan and Jack’s run. The stakes are high and there is genuine suspense, and even if Negative Zone science is a little peculiar, it all make sense. Jack’s art has never looked better, and the extra page count (it’s 48 pages of story) gives him room to stretch out, with six splash pages, including one double-page splash, just the second in his FF run to date.

This comics was voted the 38th best Fantastic Four story in a CBR poll, but I would argue it’s better than that, one of the best of the Lee / Kirby run.

While technically a King Size Special, this comic really functions as an annual, with its numbering consistent with other annuals. And it has all the elements of a great comic annual, with an exciting story anchored by a Big Event. Often it’s a wedding, but here it’s the birth of Franklin Richards.

Who’s the new guy?

The birth of Franklin Richards added a significant new dimension to the Fantastic Four. He helped solidify the family nature of the team, and was often playing with toys or getting underfoot in the Baxter Building. He also was often thrust into the hands of baby sitters—usually Alicia Masters or Agatha Harkness—and opened Reed and Sue up to accusations they were negligent parents (this became a story arc in J. Michael Straczynski’s run in the 2000s). After Dan Slott’s run sent Reed, Sue and their kids into space for six years, Franklin is now a surly teenager who inexplicably died his hair black (I suspect it’s to distinguish him from Johnny in group shots) and uses the horrible codename Powerhouse. Here he is mouthing off to his dad.

*X-Men/Fantastic Four 3 (2020), Zdarsky/Dodson/Dodso*n

After it was revealed Franklin had mutant powers in FF 130, generations of Fantastic Four writers haven’t been able to resist tinkering with him in various ways, whether it’s him using his powers as a child, prematurely aging him, or introducing us to teenage or adult Franklins from the future or other dimensions (or both). Franklin has been depicted by so many writers and artists in so many different ways over the years it would be impossible to show them all, but here are some of the more noteworthy (or egregious) examples.

For a long time, this was Franklin’s basic look (I always loved the “4 1/2” sweatshirt). This is a John Byrne image, but not sure from where.

This is a pretty typical depiction of this era. Note Agatha Harkness.

*Fantastic Four* *Annual 14 (1979) Wolfman/Perez/ Marcos*

Here he is prematurely aged:

Here’s an alternate future version of Franklin:

*Fantastic Four* 377 (1993) Defalco/Ryan/Bulanadi

Another (short-lived) alternate future version, from the classic Days of Future Past

*Uncanny X-Men 141 (1981) Claremont/Byrne/Austin*

A painful stint as a super hero in the present, as part of Power Pack

As a superhero in the future:

*Fantastic Four 605 (2012) Hickman/Garney*

And finally, a future version with his present self:

Enter the bad guy

The other major debut in FF Annual 6 is Annihilus, who becomes a top-tier Fantastic Four villain, maybe trailing only Doom as an FF bad guy. Almost every Negative Zone story features him in one way or another, and he was responsible for the apparent death of Johnny Storm in Johnathan Hickman’s run. Although I’m tempted to post his major appearances as well, I think I’ll just go with these great Kirby panels from this issue.

Reed Richards is a Jerk

I get that Reed is stressed, but jeez man, chill out.

It’s Clobberin’ Time

Of course it is.

The sexist sixties

Of course fathers aren’t allowed in the delivery room. That would be crazy!

Read all about it

Surely this is a HIPPA violation:

Weird science

That’s “Mr. All-Engulfing Sonic Sponge” to you.

Dig that Kirby Krackle

This issue is frankly a bit insane. Almost every other page has an example of over-the-top Kirby craziness, so I’m going to restrain myself to showing the very best examples. Hold on!

First up of course is this beauty:

More splash pages:

And some other amazing panels:

And some more:

And some more:

Really, I could go on. It’s a hell of an issue for Kirby fans.

Also on sale

August 1968 was a great month for comic covers. Here are a few more classics, from Carmine Infantino, Joe Kubert and Gene Colan:

Next issue: Crystal (finally) joins the team!

“The World’s Greatest Comic Magazine” Fantastic Four Annual No. 1

16 Sunday May 2021

Posted by percivalhenry in The World's Greatest Comic Magazine

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Annual, Fantastic Four, Fantastic Four Annual, jack Kirby, Namor, Spider-Man, Stan Lee

Fantastic Four Annual 1
Published July 2, 1963

“The Sub-Mariner versus the Human Race” (main story)
Story: Stan Lee and Jack Kirby
Pencils: Kirby
Script: Lee
Inks: Dick Ayers
Letters: Art Simek

“The Fabulous Fantastic Four Meet Spider-Man” (second story)
Story: Lee
Pencils: Kirby
Inks: Steve Ditko
Letters: Ray Holloway

Cover: Kirby and Ayers

Buckle up everyone, because we’ve got a lot to cover in the Fantastic Four’s first annual. It features two stories, both loaded with historic significance, a gallery of pin-ups, and a handful of assorted extras, all of which are worth looking at.

But first, the main event:

Synopsis

The story begins under the ocean, in Atlantis, which Namor the Sub-Mariner has finally rediscovered and where he is now crowned as ruler. We meet Dorma, his love interest, and Krang, a rival. Meanwhile, in New York, the Fantastic Four plan a cruise vacation in part to investigate the sighting of sea monsters. While at sea, the team is captured by Namor (the sea monsters were a lure), who informs the team the surface world can no longer encroach on his ocean kingdom, and releases the FF to spread the word.

Reed summons an emergency session of the United Nations, and introduces Dr. G. W. Falton, who explains the history of homo mermanus, the water-breathing off shot of humans, their civilization, and the birth of Namor. When Reed declares humanity must fight Atlantis, Falton reveals himself to be Namor in disguise, and then launches an invasion of New York.

New York is soon overwhelmed by Atlanteans, but Reed invents a device that evaporates the water in the their helmets, sending them back to the sea. Defeated, Namor abducts the Invisible Girl after a scuffle with the FF, and brings her to Atlantis. The rest of the FF pursues, and while Namor and the team battle, Dorma realizes Namor is in love with Sue and floods her chamber. Sue nearly drowns, and Namor calls off his fight with the FF to take Sue to a hospital on land. When he returns to the ocean, the city of Atlantis is deserted as his people have abandoned him.

What’s going on here?

This is the first annual of the modern Marvel era, but apparently not Marvel’s first annual. While investigating the history of Marvel’s annuals is an exercise in frustration, the lack of explanation in this issue suggests readers were used to them. Initially Marvel used its annuals to tell big stories or for big events like Reed and Sue’s wedding (spoiler!). Later, they became used for Marvel’s interminable cross-over events. While they were once reliably published one a year (annually, you might say) they’ve since become much more erratic. The FF reached 27 annuals before the first series was rebooted in 1998 (though some were reprints).

This first story has a lot going on. Most importantly it tells the story of Namor, his people, and his birth to an Atlantean princess and a human sea captain. Namor has now appeared in five stories in the FF’s first two years, as many as Dr. Doom, and with this annual he’s given more dimension and background. Notably, he’s also identified as by G.W. Falton (really Namor in disguise) “the first known mutant,” a tag line which Marvel used to advertise Namor’s solo book in later, mutant-crazed years.

The story also moves Namor from villain closer to hero, or at least, anti-hero. Despite his new-found leadership of Atlantis, it doesn’t appear his heart is really in the invasion of earth, and he’s still clearly smitten with Sue. And while Sue remains Namor-curious, she seems to realize her future is with Reed and the team.

The annual just has a ton of action as Stan and Jack take advantage of the extra space to stretch out. The regular jokey fight between Ben and Johnny, usually just a panel or two each issue, covers more than two pages. The team also battles Namor twice, each time for several pages.

They’re fighting

As noted above, this is a big brawl.

The sexist sixties

The real victim of Ben and Johnny’s fight? Sue’s dresses.

The Amazing Mr. Fantastic

Reed gets to show off a bit while fighting Namor

Operator

Reed never wrote down the number for the United Nations.

Red Menace

Khrushchev makes his second appearance in the FF. For those keeping score, that’s Khrushchev 2, JFK 1.

Vacation!

Ooops

Very odd drawing of Ben here by Jack. If I didn’t know better, I’d say he looked like Pepe the Frog.

Kirby Krackle

Kack makes up for his stumble with all sorts of cool images, particularly in this double-page spread of Atlantis, the only double-page spread in the FF to date.

Also this is a pretty excellent view of Namor. A swimmer’s body, indeed.

But wait, there’s more!

The second story is an odd one – it’s an expanded version of the FF’s first meeting with Spider-Man, which appeared as part of a larger story in Amazing Spider-Man 1, published a few months earlier.

There’s not much to it: Spider-man, very new to the super-heroing business, breaks into the Baxter Building and fights the FF, hoping to prove his value with the expectation they will hire him. When he finds out there’s no money in being an FF member, he sulks off. While the version in ASM 1 was drawn by Ditko, this one was drawn by Kirby with Ditko’s inks. The dialogue and the layouts are basically the same, but the art is very different. See for yourself:

Spider-Man tried the same trick decades later with the Avengers, breaking into Avengers Mansion and asking for a job. It didn’t work out then, either. (Much later, of course, he ended up as a member of both teams).

While Spidey’s initial meeting with the FF was an inauspicious one, it was the first of many encounters that led to a deep friendship between Peter Parker and the FF. They have appeared in so many issues together it would be impossible to list them all but here are some notable ones:

From Marvel Team-Up 17

From Marvel Team-Up 100

From Amazing Spider-Man 258

And much more recently, from 2011 ‘s FF 1, when Peter joined the team after Johnny was believed dead:

We’re still not done!

Fantastic Four Annual 1 included a series of pin-ups of the FF’s foes. Interestingly, while many—like the Mole Man and the Mad Thinker— had only appeared one, their presence in the gallery suggested Stan and Jack had long-term plans for them.

The annual also included a cutaway drawing of the Baxter Building, the third such illustration of the FF’s headquarters so far. Each one is a little more detailed, and this one includes an interesting tidbit about Sue and Johnny still living at home and commuting in from the suburbs.

Lastly, each of the FF was the subject of a Q&A section that attempted to answer readers’ questions about the team. For example, we learn why Reed is grey at the temples, that Johnny is just 16, and that while the Hulk is stronger than the Thing, Ben is a more wily fighter. Alas, much of Sue’s Q&A is dedicated to her love life.