Fantastic Four 143 “The Terrible Triumph of Dr. Doom!” Published November 1973 Writer: Gerry Conway Pencils: Rich Buckler Inks: Frank Giacoia Letters: John Costanza Colors: Petra Goldberg Editor: Roy Thomas Cover: Gil Kane and Joe Sinnott
Synopsis
Dr. Doom captures Mr. Fantastic and Medusa, and reveals his plan for world domination by hypnotizing humanity. But as he subdues the Human Torch and Wyatt Wingfoot, Darkoth escapes and frees Reed and Medusa, enlisting them in a plot of revenge against Doom.
What’s going on here
This comic continues the story that began in earnest last issue. The focus is really on Doom and his machinations, and he’s in full, megalomaniac, world-beater mode in this comic. In years to come, Doom’s personality will shift and he’ll become more sinister and less grandiose, but this depiction, thanks to Gerry Conway’s over-the-top script, feels one of an archetypal super villain.
Rich Buckler’s art bolsters this concept of Doom, especially with this amazing double-paged splash that comes out of now where and blew my mind (Doom is addressing Belle Thorne, the wife of Reed’s now-unconscious college friend).
The Kirby influence is unmistakable here, not just in the layouts but in the finishes. But interestingly, this comic was inked by Frank Giacoia, not Joe Sinnott. Giacoia does a great job and is I think pretty under rated as an inker. (If anyone knows the whereabouts of the original art for this DPS, I would love to see it).
Also of note, the cover is by Gil kane and Sinnott, although it’s not obviously recognizable as such (nor does it depict anything that happens in the comic). Kane, a true legend, will go on to draw a few more FF covers over the next few years but never an interior, which is a shame.
What I liked
This was generally a well-plotted and -paced comic, with an exception I’ll get to. I liked the concept of Doom building a massive bunker under Manhattan, as if no one would notice (hopefully it was zoned appropriately). Doom’s scheme of hypnotizing all of humanity with a bomb is basically ridiculous, although no more than a million other comic plot devices. But his demonstration of its ability is chillingly cold blooded, and should be used as evidence for anyone who thinks Doom is warm and cuddly.
This splash page was also unexpected, and amazing:
What I didn’t like
The Darkoth twist at the end wasn’t well set-up over the course of the last two comics and wound up convoluted and confusing (I wouldn’t be surprised if Thomas didn’t have a hand in it). A lot of exposition was jammed into the last page (a Lee / Kirby tic), and this panel, where Darkoth reveals what has transpired, might set a record for the number of words in one comic panel:
Also, this comment from Johnny is just weird, where it seems like he’s telling Wyatt he should be OK with being jailed because his ancestry. Yeesh.
Fantastic Four 142 “No Friend Beside Him!” Published Oct. 1973 Writer: Gerry Conway Pencils: Rich Buckler Inks: Joe Sinnott Letters: John Costanza Colors: Petra Goldberg Editor: Roy Thomas Cover: Buckler and Sinnott
Synopsis
The Thing, disgusted with Mr. Fantastic’s actions in the last issue, flies to Eastern Europe to join Alicia Masters, only to be attacked and subdued by the villain Darkoth. Meanwhile, a distraught Reed —accompanied by Medusa — attend his college reunion, where they are confronted by Dr. Doom.
What’s going on here?
The biggest development in FF 142 is the introduction of Rich Buckler as penciler, replacing John Buscema. Buscema, who took over with issue 107 and penciled almost every issue for more than three years, was responsible for establishing the post-Kirby look of the Fantastic Four, a style reinforced by inker Joe Sinnott, who kept the book’s art uniform even as it changed pencilers. I suspect many collectors wouldn’t have noticed the change if hadn’t been announced. Buscema will return to the FF several times over his career.
Buckler was relatively new to comics, starting in 1970, but would go on to have a long career, primarily at Marvel and DC but also at places like Archie. He may be best known for creating Deathlok, a cyborg killing machine from the future and an amazing character, and for drawing the notorious KISS comic. Buckler sadly died in 2017.
There’s no denying the dynamism of his art, and the Kirby influence:
The other newcomer of note is Darkoth, the villain. This is my first exposure to the character, despite owning a Steve Rude drawing of him and the Thing, for a playing card almost certainly inspired by this comic. So far as a villain, there’s not much to him. He’s got an odd set of powers, and he speaks with Gerry Conway’s over-the-top grandiosity. A little online research reveals there’s more to the character than meets the eye but we’ll deal with that if and when we get to it.
Here’s is my Rude drawing of Darkoth:
What I liked
This was a fun, satisfying issue. It’s been a while since we had the Thing in what’s basically a solo adventure, and it was well structured and paced, starting with the Alicia subplot established in the last two issues. The Darkoth fight was fun, and the jumps between Ben’s story and that of Reed and Medusa, Johnny and Sue, rather than distracting from the flow, added dimension and which all paid off in the climactic scene, the Doom reveal. Doom, of course, makes any FF comic better.
For those keeping track, Chris Claremont, John Byrne and Terry Austin used this same set-up, including the climactic last panel revealing the bad guy, in X-Men 111 about five years later:
As mentioned above, Rich Buckler’s art packs a (literal) punch. I really liked this splash (who couldn’t?):
What I didn’t like
Oddly, some of Buckler’s panels were annotated with arrows, pointing out details that readers might otherwise have missed. That seems like either a failing of Bucker to make his art clearer, or of Conway and/or editor Roy Thomas, not giving him better direction. Either way, I found them distracting.
Anything else?
Some more ads of note. I have no idea what iced cologne is, and even less of an idea why a 12-year-old comic reader would want some (reading more closely, it seems like an ad to entice women to become saleswomen in a vertical marketing scheme. Even more confusing for 12-year-old comic readers).
The Evel Kneivel toy, on the other hand, is exactly what 12-year old me would have wanted (and I think I did have some version of this as a kid).
Fantastic Four 116 “The Alien, the Ally and .. Armageddon!” Published: Aug. 1971 Writer: Archie Goodwin Pencils: John Buscema Inks: Joe Sinnott Letters: Artie Simek Editor: Stan Lee Cover Buscema and Sinnott
Synopsis
After the Thing and Human Torch are defeated by the Over-Mind, the Invisible Girl recruits Dr. Doom to the fight. They are overmatched, but when all seems lost, the Stranger appears to save the day.
What’s going on here?
This is a big issue, so let’s get to it!
First, this is literally a big comic: it’s 48 pages long, the first issue of the FF that’s longer than normal (not counting annuals). According to the Bullpen Bulletins, this is in honor of the 10th anniversary of the creation of the Marvel Universe (marked by the 1961 publication of Fantastic Four 1) and all Marvel comics this month are extra-sized (a quick scan confirms this to be true). The price is also bumped up, to 25 cents from 15 cents, and while the comics return to normal size after this month, the price stays elevated, at 20 cents. Sneaky!
Second, this a very good comic. It’s not great, for reasons I will get to, but it definitely justifies it’s extra length. Yes, the story wraps up the Over-Mind arc, which has been perculating for four issues now, but story-wise, the biggest development is Sue’s recruitment of Doom as an ally. In so doing, it fundamentally changed the FF’s relationship with Doom.
Readers of the Fantastic Four today are accustomed to Doom as a frenemy of the FF. In recent years he’s become a de facto uncle to Reed and Sue’s daughter, Valeria (after serving as her midwife), he came to their aid to help repulse an attack of Mad celestials, and the FF were invited to Doom’s wedding. Doom also had a run of trying to be a good guy. But for readers in 1972, who only knew Doom as a fiendish villain, this must have come as a shock. The depiction of Doom here reveals his courage and sense of honor, and provides a much richer, nuanced version of the character.
As written by Goodwin, Sue’s manipulation of Doom here is masterful, and I love Buscema’s shot of Sue turning her back. This whole sequence is perfect.
Lastly, it’s significant that Stan is credited here as “editor.” It’s the first time there has been an editor credit for the FF and to my reading it symbolizes Stan’s new, elevated status. Yes, he will come back to write, but adopting the title of editor implies a more detached, supervisory role.
What I liked
There’s a lot to like in this comic. Along with the aforementioned Doom plot, the story is well-paced and structured, with action sequences balanced by scenes of Sue’s agonizing and Ben and Johnny searching for Reed. Too often we see the two fighting or bickering; it’s refreshing to see them working as friends and teammates (plus, I love that last panel).
The comic’s extra length allows Buscema to stretch out, and we get some big panels and splash pages that befit the big action. Here’s a good one:
We also get some great insults from the Over-Mind, who’s superior intellect clearly gives him a way with words. Along with the above — “gross bumbling insects!” — check out the following:
What I didn’t like
The comic’s big flaw, and what make it ineligible to considered a great story, is the bizarre, deus ex machina appearance of the Stranger at the end to defeat the Over-Mind. While the character had been in a few other comics since his introduction in X-Men 11, this is his first time in a Fantastic Four comic, and readers could understandably be puzzled about who he was. Stan’s note doesn’t exactly help:
The Stranger explains that, just as the Over-Mind represents the sum of a billion minds from his planet, he is the collection of a billion minds from Gigantus, another, bigger planet, and is therefore more powerful. He reduces the Over-Mind to tiny size, in essence exiling him to the microverse.
From a story-telling perspective, this denouement makes little sense, and readers no doubt felt cheated that in a story where the FF and Doom teamed up to defeat the ultimate threat, they had little to do with the outcome. Perhaps anticipating their frustration—or perhaps critiquing a plot handed to him by Stan—Goodwin lets the Torch vocalize how silly this all seems:
Also, this issue marks the beginning of a new cover format, where the art is reduced to about two-thirds of the cover. It looks terrible but fortunately only lasts about 20 issues.
Anything else?
Some interesting ads, neither which seems aimed at young teenage comic readers.
Also, a letter from Bob Rozakis, who would go to write about a million comics for DC, including the underrated ‘Mazing Man.
Yes, I know I said I was taking a break from Fantastic Four blogging for a while. And I am. Really. But before I do, I thought I’d be remiss if I didn’t try to do a bit more to commemorate the 107 issues by Stan Lee and Jack Kirby, the greatest sustained run of creativity in the history of comics.
What follows is a run down of some of my favorite stories from Stan and Jack. It’s not a list of the best issues (whatever that means) and certainly not the most famous. But these are the stories I think of first when I think of their run, and the ones I most enjoyed reading. Could this list change? Yes! Do I feel strongly about the order? No! Are there great issues I left off? Of course! Do I hope you read some of these comics? Absolutely!
10) Fantastic Four 94
Fantastic Four 94 is a delightful comic. It comes very near the end of the Lee / Kirby run, and an indication there despite whatever disagreements the two had, there was still plenty of creative juice in the partnership.
In FF 94, the team travels to Whisper Hill to meet Agatha Harkness, a potential nanny for baby Franklin. Harkness appears to be a witch and her house seems haunted. But rather than tell a typical horror story, however, Stan and Jack upend our expectations by having Harkness become the hero, single-handedly defeating the Frightful Four and leaving the FF baffled. It’s a great story, told with lots of wit and humor.
9) Fantastic Four 13
Fantastic Four 13 is a classic Silver Age story, full of Cold War symbolism, as the FF travel to the moon where they encounter the Russian Red Ghost and his Super Apes. Significantly, the story introduces the Watcher, and expands the horizons for this comic and, eventually, the whole Marvel universe. It’s fair to say that FF 13 initiated the Marvel cosmic tradition that eventually leads to not just Galactus and the Silver Surfer, but the Kree, the Shi’Ar, Adam Warlock, Mar-Vell, infinity stones, Thanos, Guardians of the Galaxy and so on. It’s also just a fun comic.
8) Fantastic Four 28
There was a roughly two year period when the FF teamed up with most of the nascent Marvel universe—the Hulk, the Avengers, Nick Fury, Ant-Man, Dr. Strange, Daredevil—but this story featuring the X-Men was the best. If the plot, featuring mind control and the team’s eventually joining forces to defeat the bad guys, feels familiar, it’s because it’s the template for hundreds of subsequent super-hero team ups. It’s also a great cover that has been referenced many, many times over the years.
7, Fantastic Four 91-93
Another story from late in the Lee / Kirby run. Ben is abducted by Skrulls to fight as a gladiator on a planet where the natives have adopted the appearances and mannerisms of 1920’s gangsters. It’s a great adventure that lets Kirby draw both cool alien stuff AND cool urban New York scenes in the same story. And it has one of the most touching endings of any comic (see above).
6) Fantastic Four 54
Fantastic Four 54 falls in the heart of the Lee / Kirby peak period (issues 44-60) so it’s understandable if it gets overlooked amid stories introducing Galactus, the Black Panther and the Inhumans. But it hold its own. Not only is there a fun and interesting adventure involving Johnny, Wyatt Wingfoot and the medeival knight Prester John, but there are loads of other subplots and supplemental story lines involving Wakanda and the Inhumans. This issue helps establish Wyatt as a major supporting character, and features some of Jack’s strongest work during this middle period (and that’s saying something).
5) Fantastic Four 38-43
This is the first real multi-part Fantastic Four story (aside from issues 25-26, where they team up with the Avengers) and as if to make up for lost time, it’s a sprawling six-parter. It begins with the FF battling, and very clearly losing, to the Frightful Four (featuring the first appearance of Medusa), who render them powerless. Then, an un-powered FF teams with Daredevil to battle Dr. Doom, who has captured the Baxter Building. The team’s powers are returned and in the aftermath of that fight, Ben, who is now in his rocky form again, quits the team in disgust, and falls party to the Frightful Four (they’re back!), who hypnotize him and set him against his team. The Frightful Four captures the Fantastic Four, who then escape and reverse Ben’s mind control, freeing him to defeat the bad guys.
Whew!
It’s a lot, and arguably not one unified story, but I think of it as one epic with many twists and turns. It works in part because the FF keep getting beat, but they pick themselves up and keep fighting.
4) Fantastic Four 78-79
Another story that hinges on the transformation of the Thing back to his human form. Ben is the heart of the Fantastic Four, and his constant struggle with his monstrous appearance lies at the heart of his character. Here, he has to choose between his personal happiness and his duty to his adopted family in a story that is particularly well-crafted and poignant. When human-looking Ben and Alicia are having dinner at a restaurant, it’s so painfully awkward we’re almost relieved when the villain bursts into interrupt them.
3) Fantastic Four Annual 6
This comic is, simultaneously, a ripping Negative Zone adventure, a high-stakes quest to save the life of Sue and her unborn baby, the introduction of a top-tier villain in Annihilus and, arguably, Jack Kirby’s single best issue of the Fantastic Four. With the birth of Franklin at risk, the stakes are high and Stan and Jack rise to the occasion in one of the best Marvel annuals ever.
2, Fantastic Four 48-50
This is probably the most well-known and beloved story from the Lee / Kirby run (and maybe from the entire Silver Age), but its fame and popularity is no reason to exclude it. There are many, many reasons to love this story, from the introduction of Galactus and the Silver Surfer to the Torch’s journey across the universe, but ultimately what sets it apart is its ambition. Stan and Jack gave the FF a threat to the world that not just theoretical, but immediate and seemingly unsolvable. That they needed the help of both Watcher and the Silver Surfer doesn’t diminish the Fantastic Four, but raises the consequences of the threat and hence the story
1) Fantastic Four 57-60
This story concludes the peak Lee / Kirby period and in my considered opinion, it’s the best of their entire run. It’s a gripping story, with Dr. Doom stealing the power of the Silver Surfer and using it to subdue the entire planet, and one that really cements Doom as a bad guy without equal. No one else in comics combines his genius, his ruthlessness and his arrogance with his twisted sense of nobility and purpose. He is a compelling villain and he’s at his best here.
Like all great FF stories, this one also features the Fantastic Four getting their asses kicked. It’s only when they are beaten do we understand how big a challenge they have to overcome. It’s well-paced as well, with the story building over four issues.
But what really sets this story apart is how it combines so many threads of the Fantastic Four up to this point. It’s as if Stan and Jack had been mixing ingredients for five years and they finally pulled the finished cake from the oven. Doom stealing the Surfer’s power, the appearance of Wyatt Wingfoot, the Inhumans sub-plot; they all adds up to be more than the sum of their parts.
That said, they story isn’t without its flaws, particularly the anti-climactic ending, which I have discussed previously. But there is no perfect FF story, even from Stan and Jack (and rushed ending are endemic in their run), and this one comes closer than most.
That’s it! That’s the list! Agree? Disagree? Let me know! And stay tuned for more installments of So Random!, where I analyze a comic picked from my collection at random.
Fantastic Four 100 “The Long Journey Home” Published: April 1970 Story: Stan Lee and Jack Kirby Script: Lee Pencils: Kirby Inks: Joe Sinnott Letters: Sam Rosen Cover: Kirby and Sinnott
Synopsis
As they return from Attilan following the events of last issue, the Fantastic Four—plus Crystal, who has rejoined them—are attacked by Kang and Doctor Doom, who shoot down the FF’s flying saucer (again, the saucer’s origin is never explained). It quickly becomes clear these are not the real Kang and Doom, but androids, and that the Puppet Master and Mad Thinker are behind them.
The FF are then attacked by a wave of androids in the form of virtually ever villain the FF has faced in its first 100 issues: The Kree Sentry, Namor, the Red Ghost and his apes, Diablo, Dragon Man, the Hate Monger, the Frightful Four, the Super Skrull, etc. The only obvious omission is Galactus. The FF scramble to escape, via camels, boat and eventually a car in what appears to be Egypt, and eventually make it to a NATO air field when the Puppet Master accidentally destroys the Thinker’s command center.
What’s going on here?
One hundred issues (plus some annuals) is a lot of comics, and it’s obviously an occasion worth memorializing with a big issue. Fantastic Four 100 is the first comic of the modern Marvel era to reach that milestone (other titles with higher issue counts, like Thor and Captain America, were renamed from older titles). Among super hero comics, only old DC stalwarts like Action Comics (issue 389 at this point) and Batman (200) had published more issues.
But despite the big anniversary, FF 100 is still a standard-sized comic with just 20 pages of story. Double-sized anniversary issues didn’t come along until years later (FF 200 in 1978 is a double sized issued) and the big, blow-out issues with extra-long stories, back-up features and pinups were still reserved for annuals at this point. It’s possible FF 100 was originally intended to be a double-sized issue or an annual, because there is a lot of story jammed into relatively few pages and Jack has to resort to a handful of nine-panel pages to fit it all in, something he rarely does at this point in the FF. Needless to say, there are no interior splash pages and overall the art looks pretty cramped in this comic.
Structurally, FF 100 reads a lot like FF Annual 3, which featured just about every villain attack the FF during Reed and Sue’s wedding. Unlike that story, this one tries to have its cake and eat it too; instead of coming up with an explanation of how all these villains would coordinate with other, Stan and Jack just turn them into androids. As Reed explains, they are androids with the memories and power of the villains they are modeled on, which is somehow a result of the Puppet Master’s radioactive clay. It’s not exactly clear how that works, or why the Puppet Master’s clay seems to work differently in every appearance to date, but no matter, it serves to move he story along. (As we have discussed earlier, Stan and Jack often blur the lines between human and machine when they use androids).
Unfortunately, for such a big occasion, the story falls flat. There’s no real tension or drama, all the action feels rushed, and ultimately it seems like a bit of a gimmick. Great cover though.
Happy anniversary!
Here are the covers from the other FF comics ending in “hundred.” Unfortunately they’re not all great comics, and some of the best FF creators didn’t get a chance to write one. Note that issue issue 400 had a holographic foil cover (it was the 90s!) and issue 700 is due out in about 10 days of this writing.
A message from Stan and Jack
The pledge to continue their efforts “unabated” will last another three issues.
Kang who?
Kang’s appearance here is an odd one. He’s the first bad guy to attack the FF, yet he’s never really faced them in the FF’s own book to this point, with only the briefest of appearances in FF Annual 3. He has of course fought them as Rama-Tut, but it’s not clear that the FF knows they are the same person. He did face the Thing and the Human Torch in Strange Tales 134, which explains Ben’s comments about waiting years to fight him (and a reminder that I really should read those Torch stories in Strange Tales).
There’s also this odd reference from the Doom android, suggesting Kang is a future version of himself, something that came with Rama-Tut in FF Annual 2. In later comics it’s explained that Kang may be a descendent of Doom ( and how an android would know all this is not clear).
Speaking of Doom, I love this line:
Crazy credits
If only this were true …
Clobberin’ time
Say what?
Crystal appears to be taking syntax lesson from Yoda
Half and half
There are two of these atrocious half pages in the comic. Neither are included in the digital version on Marvel.com that I use to all these images.
Dig that Kirby Krackle
This is the first installment of “The World’s Greatest Comic Magazine!” where I had to actually search for great Kirby panels. As mentioned above, the art feels cramped and workmanlike, and there are not a lot of examples of Kirby’s genius. But there are a few notable panels, particularly the splash:
Fantastic Four 87 “The Power and the Pride” Published March 1969 Story: Stan Lee and Jack Kirby Script: Lee Pencil: Kirby Inks: Joe Sinnott Letters: Artie Simek Cover: Kirby and Sinnott
Synopsis
The issue immediately follows the events of the last issue, when the Invisible Girl showed up to save the team from destruction in Latveria. Now, the team—reunited and with Crystal—prepares to take on Dr. Doom in his castle. Doom, however, welcomes their incursion, as he plans to destroy them with a piano that emts “hyper-sound.” That’s right, a super piano.
As the FF crosses the drawbridge, a trap door opens and Sue and Crystal are whisked inside the castle. When the Thing tries to open the door, a booby-trap sends him, Mr. Fantastic and the Human Torch to the castle’s roof, where a “air gun” fires on the Torch. As Ben and Reed battle their way in, Sue and Crystal eventually find themselves before Doom, where he invites them to a feast.
Meanwhile, Doom”s lackey, Hauptmann, has discovered Doom’s portrait artist and art curator is a secret agent of SHIELD, and prepares to incinerate him and Doom’s priceless collection of artwork. Doom is horrified at the thought of his art being destroyed and uses the hyper-sound piano to kill Hauptmann instead. Then, seemingly bored with it all, Doom gives the FF safe passage to leave Latveria and instead of pushing their advantage, the team exits.
What’s going on here
As genuinely suspenseful and thrilling as last issue was, Fantastic Four 87 is as unsatisfying and anti-climactic. The finale of a four-issue arc that brought the FF to Latveria only to be tormented by Dr. Doom, we’ve been primed for a confrontation between our heroes and their nemesis. Instead, we get a plot that turns on an incoherent narrative about Hauptmann and concludes with a fizzle. The ending is reminiscent to the poorly-paced FF stories from the early 60s where Stan and Jack would cram fives pages worth of story into the last page.
Further, much about the story makes little sense. Reed and Doom both maintain the FF are still prisoners in Latveria, but it’s not obvious how; they have their powers back and they are no longer mind-controlled. And then, just as the FF have battled their way into Doom’s stronghold, they seem willing to abandon the fight just because Doom has lost interest. Why not press on and capture Doom?
It’s hard to not to feel Stan and Jack just mailed this one in.
The Feasts of Doom
Fantastic Four 87 features a splash page of Doom welcoming Sue and Crystal to join him with an extravagant feast before him.
Doom hosting his friends, enemies and frenemies with lavish meals has become something of a Marvel comics trope. Here are a few examples from over the years.
Here, Doom surprises Reed at a Empire State University reunion (Doom is a fellow alum, after all):
Fantastic Four 142 (1973, Gerry Conway, Rich Buckler and Joe Sinnott)
At his castle in the Adirondack, he hosts Storm:
Uncanny X-Men 145 (1981, Chris Claremont, Dave Cockrum and Joe Rubinstien)
In Latveria, Ben is offered a solo feast:
FF 380 (1993, by Tom DeFalco, Paul Ryan and Danny Bulanadi)
Doom offers Namor a lesson on the rights of kings over a meal.
New Avengers 24 (Vol. 5) (2014, Johnathan Hickman, Valerio Schiti and Joe Caramagna)
And here he hosts the Savage Avengers after they have triumphed over Kulan Gath (this team’s lineup is extremely eclectic):Savage Avengers 27 (2021, Gerry Duggan and Patrick Zircher)
Nazis! I hate these guys!
In FF 87, we find out that Doom’s toady, Gustav Hauptmann, was a Nazi who worked for Hitler. (Incidentally, his death in this issue complicates his reappearance in FF 258 (as discussed here) but that Hauptmann was apparently his brother, Gert Hauptmann.)
Mrs. Who?
Crystal initially shows Sue proper respect and calls her “Mrs. Richards” but a few panels later they are on a more familiar basis.
Weird science
Here’s that hyper-sound piano.
It’s Clobberin’ Time
Ben apparently now has super-breath. No sign of X-ray or heat vision yet.
Dig that Kirby Krackle
Another cool Doom splash:
Another postcard from scenic Latveria:
And a cool panel (with lots of credit to Joe Sinnott):
Fantastic Four 86 “The Victims” Published Feb. 1969 Story: Stan Lee and Jack Kirby Script: Lee Pencils: Kirby Inks: Joe Sinnott Letters: Sam Rosen Cover: Kirby and Sinnott
Synopsis
Rendered powerless by Dr. Doom’s hypnosis last issue, the Fantastic Four are trapped in a Latverian village targeted for destruction by Doom’s new robot army (Doom wants to test their prowess). The FF (minus the Invisible Woman, but with Crystal) rally the villagers, and prepare to defend the town as best they can when their powers begin to return as the robots attack.
Meanwhile, Doom secretly concedes the robots are out of control, and might turn on him, but that he has a failsafe device to shut them down. He also has planted explosives under the village, to destroy it if necessary.
Back in the village, the fighting continues when Mr. Fantastic finds Doom’s failsafe device, which he uses to slow the robots. When a last attack by the robots fails, an enraged Doom detonates the explosives beneath the village. The FF and townspeople are saved, however, by a force field created by Sue, who followed the team to Latveria. The issue concludes with the team preparing to take on Doom.
What’s going on here?
This is a really good issue, one of the best of the Lee/ Kirby run so far. It’s taut, tightly plotted and has genuine high-stakes and suspense. It doesn’t have the pyrotechnics of issue 60 or the pathos of issue 51, but in its way it might be better. The FF aren’t just fighting for themselves, but for the villagers, and the outcome is genuinely in doubt. Sue’s appearance feels a bit deus ex machina but it makes sense in the context of the story (and haven’t I been complaining Sue is rarely seen or mentioned lately?) and I was genuinely surprised. Even her appearance on the cover didn’t give it away.
Structurally, the story has a timeless quality — heroes banding together to save a village from marauders. We’ve see it in the Seven Samurai, Lord of the Rings (the Battle of Helm’s Deep) and even Return of the Jedi. It works particularly well here because Kirby contrasts the old-timey Latverian village with the gleaming sci-fi polish of the robots. For what it’s worth, this story arc—called “Within This Torture Land”—ranked 14th among all Fantastic Four stories by a poll of readers at CBR, and sixth among Lee/ Kirby arcs.
Latveria, Sweet Latveria
Jack really seems to dig drawing these quaint European towns. Maybe he took a vacation to Bavaria before he drew these issues. We even get a Latveria splash page.
Jack particularly likes to draw the town from above, the view Doom has from his castle, or looking down the cobble-stoned streets. The uncredited colorist does a great job here, too.
Non-Robotic Robots
As I have discussed elsewhere, Lee and Kirby have a habit of making some of their robots very un-robotic. Here, one of Doom’s standard-issue robot servo-guards seems pretty human, down to the musculature of its (his?) legs.
Weird Science
Instead of just building an off-switch for his robots, Doom instead made this … thing.
The sexist sixties
It feels a bit unfair bringing this up in a issue where Sue is the clear hero, but does Crystal really have to be shunted aside like this? (and womenfolk? really?)
It’s Clobberin’ Time
Well, sort of. Ben never actually say it in this issue.
For a smart guy …
Reed can be pretty dense. Stretching is not flying. Of course the robot would grab his legs. That’s where he left them
Topical references
Spiro Agnew, the Kamala Harris of his era.
Dig that Kirby Krackle
A few more amazing splash pages
Plus some other great images:
Also on newsstands
What else was on sale in February of 1969?
Next issue: The conclusion of the Latveria story arc!
Fantastic Four 85 “Within This Tortured Land” Published January 1969 Story: Stan Lee and Jack Kirby Script: Lee Pencils: Kirby Inks: Joe Sinnott Letters: Artie Simek
Synopsis
Fantastic Four 85 pick up where the last issue left off, with a de-powered FF stuck in Latveria, where Dr. Doom demands they fall in line like the rest of his subjects. The team is rendered unconscious after eating a meal laced with tranquilizers, then subjected to further hypnotic treatment.
Meanwhile, back in the US, the Invisible Girl is house hunting, and is taken to see an unusual, subterranean home with a mysterious provenance.
Back in Latveria, Doom proceeds to test an army of new, seemingly invulnerable robots on a pair of Latverians who attempt to escape. Doom then plans to unleash his new army on an entire Latverian village, where the rest of the FF are trapped.
What’s going on here?
This is an interesting and well-constructed issue. Unlike almost every FF comic that came before it, the Fantastic Four aren’t engaged in battle, not even with each other (the Thing is knocked out in one panel). The only real action sequences come when Doom’s prisoner attempt to flee and they battle his robots. The FF members in Latveria are almost inert, as they are hypnotized and powerless. Much of the comic devoted to Doom and his machinations.
The issue falls in the middle of longer arc, and from a story-telling perspective it make sense to establish the FF’s helpless predicament and set up the following two issues. But it’s definitely unusual for a comic from this era not to show its heroes in action, and I think it speaks to both Stan and Jack’s maturity as storytellers, and their faith that Marvel’s readers could handle a more deliberately paced story.
Speaking of Doom
As with last issue, this arc expands our understanding of Doom and his kingdom of Latveria. It’s very clear this story inspired Fantastic Four 258, a classic comic from 1983 written and drawn by John Byrne that focuses entirely on Doom (the FF never appear in their own comic).
Take, for example, this sequence where Doom is offended by his lackey, Hauptmann:
And compare it to these panels from FF 258:
As for Hauptmann, he makes his final appearance in FF 258:
In FF 85 we also see Doom out of his armor, a very rare occurrence, in an amazing Kirby splash. Doom’s new-found confidence about his appearance did not last long.
The sexist sixties
While the rest of the team is in Latveria, Sue is stuck back in the U.S., looking for a new house where she and Reed can raise their (still unnamed) new son. She looks impossibly glamorous while doing so.
She’s quickly surrounded by a group of kids who look a whole lot like the Newsboy Legion, characters Kirby co-created in the 1940s with Joe Simon, and would reintroduce in a few years in Jimmy Olsen when he left Marvel for DC.
FF 85Jimmy Olsen 170
Dig that Kirby Krackle
Along with the above-mentioned splash, Kirby gave us this awesome image of Doom:
Some other cool images:
Also on newsstands
What else was on sale in January 1969? Covers by Adams, Kubert and Kirby.
Fantastic Four 84 “The Name is Doom!” Published Dec. 1968 Story: Stan Lee and Jack Kirby Script: Lee Pencils: Kirby Inks: Joe Sinnott Letters: Sam Rosen Cover: Kirby and Sinnott
Synopsis
After their adventure with the Inhumans last issue, the Fantastic Four—Mr. Fantastic, the Thing, the Human Torch and Crystal filling in for the Invisible Girl—are flying back home through the Himalayas in a “gyro-ship,” a gift from Inhuman king Black Bolt. They are intercepted by Nick Fury and Dum Dum Dugan of Shield, who need the FF’s help with a secret army amassing in Europe. As Fury shows the FF a robot arm sent by a Shield agent, the arm takes on a life of its own, grabbing a gun and blasting the FF before Johnny destroys it.
Reed suspects the robot is the handiwork of Dr. Doom, and the team travels incognito from a neighboring Communist country to Latveria, where their car is quickly destroyed and they are surrounded by Doom’s robots. While Reed urges the team not to fight back—his plan is for them to be captured to learn Doom’s secrets—Johnny attacks when they seize Crystal, and the rest of the team battles back before they are subdued. The team awakens in a comfortable inn, and are greeted warmly by Latverians. Doom, monitoring them, reveals they have been hypnotized into not using their powers
Eventually they are reunited with Crystal in a town square, and only when Reed attempts to escape does Doom warn the FF that they must remain in Latveria as his prisoners, where they must be happy or die.
What’s going on here?
This is a promising set-up for a Doom story, with Doom engaged in his typically sinister machinations, this time with Latveria as the backdrop. While we’ve seen Latveria before, this is the first time the FF (or readers) have spent much time with Latverians, and it adds to the more nuanced view of Doom and Latveria that Marvel writers have developed over the years. Yes, Doom is an absolute monarch and a dictator, but he ensures his people are cared for and happy, provoking questions about security vs. freedom. It’s a bit of a simple construct for political analysis, but hey, it’s a comic book.
There have been too many depictions of Latveria and Doomstadt to count, but they generally use the template established here by Stan and Jack, of a kind of story-book, fairy-tale European kingdom. John Byrne took the ball and ran with it here in FF 258 (from 1983). In Latveria, the men are all strong, the women are all pretty and the children are all above average. Just don’t ask too many questions.
Where are we?
Geographically, we are told in this issue Latveria lies “deep in the heart of the Balkans,” which is more or less consistent with how it’s described over the years and where it’s depicted in a Marvel Universe map from 1987.
Yet here in FF 84 a dissident tries to escape via the sea. At least it looks like the sea. Maybe it’s a big lake.
The sexist sixties
The comic again pays short shrift to Sue and her (still) unnamed baby. Reed at one point mentions he’d like to go home and see his baby, but he is overruled by Nick Fury, who seems to command anyone at will. Well, at least he tried.
Deus Ex Fury
Fury’s appearance here is typical of how he’s used in many Fantastic Four (and Avenger) comics over the years: He shows up briefly, asks he super-team to investigate someting, then vanishes. It’s an effective way to getting the plot rolling, even if it becomes a bit of a cliche.
It’s Clobberin’ Time
Indeed it is.
Red Menace
A reminder that it’s still the Cold War.
Dig that Kirby Krackle
Here’s a totally nuts opening splash page:
Plus another excellent splash:
This is an outstanding page:
And a cool panel:
Also on sale
What else was on the newsstands on December 1968? (Sheng the Savage is not to be confused with Ming the Merciless).
Fantastic Four 73 “The Flames of Battle…” Published: Jan. 1968 Story: Stan Lee and Jack Kirby Script: Lee Pencils: Kirby Inks: Joe Sinnott Letters: Artie Simek Cover: Kirby and Sinnott
Note: Apologies for missing last week. A family event intervened. I try to write these posts every weekend but unfortunately it’s not always possible.
Synopsis
Fantastic Four 73 follows not another FF issue but Daredevil 38, the first time the FF readers have needed to read another Marvel comic to keep track of an FF story.
Daredevil 38 is the third issue of a convoluted arc that starts with Daredevil fighting the Trapster, who subdues the Invisible Girl and plants a bomb in the Baxter Building. Daredevil rescues the Sue and disposes of the bomb, then battles the Trapster. After taking a beating, Daredevil is dazed in the New York subway, where he is confronted by Dr. Doom.
Doom captures Daredevil and eventually switches bodies with him, part of a plot to defeat the FF. Daredevil, in the body of Doom, uses a radio to warn the Fantastic Four of the switch, then orders Latveria to attack its neighboring countries. Doom quickly switches the bodies back to avoid a war, but uses a voice modulator to impersonate Daredevil and convince the FF that he is still in Daredevil’s body.
Daredevil 38, Stan Lee/Gene Colan/Frank Giacoia
Fantastic Four 73, then, begins with the FF preparing to fight Daredevil, who they think still contains the consciousness of Doom. Daredevil tries to convince them he’s really himself, but the FF won’t hear it. After tangling with the Human Torch, Spider-Man arrives and realizes Daredevil will need reinforcements to take on the FF. He recruits Thor, who is dazed from a battle with Wrecker, and eventually the three heroes battle the FF, with Daredevil taking on Reed, Spidey fighting Johnny (for about the 100th time) and Thor battling the Thing (possibly for the first time).
The fight finally ends when Sue intervenes, saying that she saw Doom in Latveria on the 6 pm news. Reed apologies and Daredevil says it’s no big deal.
What’s going on here?
This is a peculiar issue. No only does is it require readers to have read a few issues of Daredevil prior, but the plot is incredibly flimsy and contrived. Spider-Man and Thor are shoehorned into the comic with the weakest possible explanations—literally they were just passing by—and then serve no real purpose except to provide sparring partners for the FF. Usually in a superhero team-up situation, after they fight and they realize it was all a big misunderstanding, they join forces to go after the bad guy. Not here: Once Sue let’s them know it was a mistake, they all go their separate ways. Of course it’s fun to see the Thing battle Thor, or Reed fight Daredevil, but it would be a lot more satisfying if it was in a more coherent story.
Making it even more frustrating is that the Daredevil stories leading up to it are much more fun and interesting. Yes, the switching bodies is a bizarre plot device, but Lee explores how Daredevil would react to having sight again, and Doom’s confusion over Daredevil’s radar sense. We also get an explanation of how Doom—who, last time we saw him, had stolen the power of the Silver Surfer—survived running into Galactus’s barrier (Galactus, sensing it was not the Surfer, gently transported Doom to Latveria). And Gene Colan knocks it out of the park with his art.
Oops
Fantastic Four 73 also has a surprising number of errors and goofs. One obvious one: In one panel, Jack draws Daredevil’s mask so you can see his eyes, then changes back to his eye-covers (or whatever you want to call them) for the rest of the comic.
Here, it seems like Stan is writing around Jack’s art to explain how Daredevil could stun Ben with a kick. Stan’s explanation: Reed used a “nerve blast ray” on Ben.
And perhaps most perplexing is how Thor is dealt with. His appearance apparently come between panels in Thor 150 (although there is no mention of it in the Thor comic), where he has apparently lost his powers. After he is recruited by Spider-Man, he can’t fly, and has to hitch a ride on Spidey’s webs. This is just weird:
Then as he battles Ben, this happens:
No further explanation is provided, until the last page, when Ben say Thor hold him he had to fight the Wrecker. But we have no idea of what happened in the above sequence. Maybe a subsequent story has addressed it, but I’m not aware of it.
Weird science
Along with the aforementioned “nerve blast ray,” there is also a “demolo-gun.” (And this isn’t the first time Reed has left extremely dangerous, and easily engaged, weapons lying around his lab).
It must be Israel Day
Spider-Man references Moshe Dayan, Israel’s minister of defense during 1967’s Six-Day War.
Percival Henry: The Fantastic Four and more 