“The World’s Greatest Comic Magazine!” Fantastic Four No. 123

30 Saturday Mar 2024

Posted by percivalhenry in Uncategorized

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1972, Fantastic Four, Fantastic Four 123, galactus, John Buscema, Silver Surfer, Stan Lee

Fantastic Four 123
“This World Enslaved!”
Published March 1972
Story: Stan Lee
Pencils: John Buscema
Inks: Joe Sinnott
Letters: Jon Costanza (credited as Jon Costa)
Cover: Sal Buscema

Synopsis

After Galactus delivers his ultimatum—either the Silver Surfer becomes his herald again or he will destroy the Earth—Mr. Fantastic counters with a threat to destroy Galactus’s spaceship, stranding him on Earth. Galactus calls his bluff and Reed returns Galactus’s ship, but when the Surfer attempts to follow him into space, Reed stops him, leading the U.S. military to intervene and almost fatally wounding Reed. While the Thing and Torch battle the army, Reed, with the help of Agatha Harkness, broadcasts a message around the world that he has has tricked Galactus, rigging his spaceship to send him to the Negative Zone, where his deal with the Surfer doesn’t apply.

What’s going on here?

This issue wraps up the latest Galactus arc in a perhaps less-than-satisfying way (more on that later). As befitting a big, climactic issue, it includes a number of guest stars, like the Surfer and Agatha Harkness, and yet it feels, given all that’s at stake, that other heroes should appear. I’m not sure where the Avengers are at this point, but the potential end of the world seems like something that would interest them.

Perhaps the most intriguing guest appearance is that of Richard Nixon, who is unnamed but obviously himself, making references to John Mitchell, Henry Kissinger and his reelection.

There’s a long history of U.S. presidents appearing in comics, and I could devote an entire blog post to tracking them down. Sometimes they are generic old white men, and sometimes they seem to resemble whomever is president at the time. Few, however, are as specific as this representation of Nixon.

(One small detail of interest: in the second panel above, there’s a typo in the printed comic, and it reads “he on the open circuit” which is corrected in the digital comic, which I used here).

There are also some creators making their first contributions to the Fantastic Four. After a few years at DC, Jon Costanza joined Marvel in late 1971, and starting with this issue, becomes a semi-regular letterer of the FF. Probably more significantly, FF 123’s cover is drawn by Sal Buscema, Big John’s younger brother. Sal began working in comics in 1968, but this is first work on the Fantastic Four. He later does a few fill-in issues and will become the regular FF penciler for a brief stretch in 1986. While I’ve never loved Sal Buscema’s style, it’s hard not to admire his productivity and longevity. And I do like his extra-shiny version of the Surfer on what’s otherwise a very busy cover.

What I liked

This entire Air Walker / Galactus / Surfer arc has a fun, throw-back feel. An appearance of Galactus makes any comic feel important, and in this issue we get more insight into his psyche. He’s not just a villain intent on destruction, but a weary agent of the universe who can’t control his own destiny.

We’re also treated to some harrowing images of what Galactus’s consumption of Earth might look like.

What I didn’t like

Like a lot of Fantastic Four epics, the climax to this story feels rushed, and this one feels particularly half-baked. Reed appears to have saved the Earth with a bit of legal trickery, based on the Surfer’s pledge to follow Galactus “in this universe,” creating a loophole so Reed can send Galactus to the Negative Zone, where he’s not bound by the agreement. Left unclear, of course, is why Galactus would feel obliged to honor a deal whose spirit is so obviously violated by Reed. Did we miss the panel where contracts were signed and notarized? Will some court enforce it? I suppose Reed (and Stan) could argue that since Galactus violated his pledge to leave the Surfer alone, then he’s just getting what he deserves, but it feels weak.

And all this leaves aside the issue of how Reed altered Galactus’s ship to enter the Negative Zone, something we previously thought could only be achieved through a portal in the Baxter Building.

The comic also digresses into an off fight between the military and the Fantastic Four. It’s distracting and while it creates the opportunity for Reed to be shot by a panicky soldier, and then saved by the Surfer, none it feels very necessary or serves to advance the story.

Anything else?

I liked this house ad: More Marvel for your Bread!

(I’d never heard of Combat Kelly and his Dirty Dozen before. Apparently it was a reboot of a 1950s war comic but it only lasted nine issues in its second incarnation). Luke Cage had a bit more success.

Overall

A bit of a let down.

“The World’s Greatest Comic Magazine!” Fantastic Four No. 122

24 Sunday Mar 2024

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Fantastic Four, Fantastic Four 122, galactus, John Buscema, Silver Surfer, Stan Lee

Fantastic Four 122
“Galactus Unleashed!”
Published Feb. 1972
Story: Stan Lee & John Buscema
Script: Lee
Pencils: Buscema
Inks: Joe Sinnott
Letters: Artie Simek
Cover: Buscema and John Romita Sr.

Synopsis

The Fantastic Four and the Silver Surfer battle Galactus, who demands the Surfer rejoin him as his herald or he will destroy Earth. In response, Reed travels to space to capture Galactus’s ship.

What’s going on here

This is an old-school, action-packed comic, with high stakes and lots of drama. I have some quibbles (see below) but on the whole this feels like a return to form for the Fantastic Four after an uneven period following the departure of Kirby. Galactus is a great villain, and his need for the Surfer to be his herald again gives at least a plausible reason for his to return to Earth after promising to spare it.

What I liked

After some predictable fighting sequences, the comic shifts into high gear when Reed travels into space to capture Galactus’s space ship. Bucesma gets to stretch his Kirby muscles, and the sequence has a great mix of wonder and tension.

I also liked this sequence, which is both a testament to the Thing’s power and a bit ridiculous (punching a foot?)

What I didn’t like

The Air-Walker robot, the focus of the last two issues, seems to have been dropped as a plot line. It seems like an elaborate ruse of Galactus’s to draw out the Surfer, and it’s begging for additional explanation.

Also, I recognize the FF has to try to stop Galactus, but — in my view — he should be too powerful to bother having to fight back, hence deploying the Punisher android in earlier appearances. Here, he not only scraps with the Fantastic Four but Ben knocks him off his feet. It serves to diminish what should be a character above physical confrontation.

Further, Galactus should wear long pants. At least they removed the G from his chest.

Lastly, calling the Silver Surfer “whitey” just sounds weird, especially since he’s, you know, silver.

Anything else?

The month marks the debut of Luke Cage, a future member of the FF (very briefly).

Overall

Comics done right!

“The World’ s Greatest Comic Magazine!” Fantastic Four No. 121

16 Saturday Mar 2024

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1972, Fantastic Four, Fantastic Four 121, galactus, Silver Surfer, Stan Lee

Fantastic Four 121
“The Mysterious Mind Blowing Secret of Gabriel!”
Published: Jan. 1972
Story: Stan Lee & John Buscema
Script: Lee
Pencils: Buscema
Inks: Joe Sinnott
Letters: Sam Rosen
Cover: Buscema and Sinnott

Synopsis

The Air-Walker turns humanity against the Fantastic Four, whose effort to battle him are futile, before admitting he was only attempting to lure the Silver Surfer. After the Surfer beats him and reveals him to be a robot, Galactus makes a dramatic appearance.

What’s going on here?

After last issue’s long build up, FF 121 delivers some pay off. There’s a long fight with Air-Walker, some not-too-subtle commentary about religious fanaticism by Stan, a dramatic appearance from the Silver Surfer and two big twists: Air-Walker is a robot, and he was doing the bidding of Galactus. Unfortunately, most comic readers today know Air-Walker as a herald of Galactus (information I first received from the Official Handbook of the Marvel Universe circa 1983) , but I imagine for a reader in 1972 this would have come as a shocking revelation. Mind-blowing, even (to quote the comic’s title). At this point, Stan may be close to the end of his days as a regular comic writer, but he shows here he’s still got something on his fastball.

Along with the aforementioned plot twists, I did like Stan’s injection of social commentary into the New Yorkers reaction of Gabriel. It’s pretty clear what Stan thinks of zealotry.

There are some great Buscema panels, like this one:

As well as some fun sound effects (which I think would be done by Buscema, not Sam Rosen, the letterer):

What I didn’t like

This issue suffers from the same sluggish pacing of a lot of Stan’s Fantastic Four comics. The FF spend an awful long time either fighting Air-Walker, running away from Air-Walker or escaping New Yorkers doing Air-Walker’s bidding, and so the appearance of the Silver Surfer is jammed into the last few pages. When he arrives to save the day, it’s a tiny panel and he’s about half an inch high. Surely this dramatic scene merits at least a half splash?

Anything else?

In his soap box, Stan take on another fun subject: the Attica prison riots!

Overall

Not bad, not bad at all

“The World’s Greatest Comic Magazine!” Fantastic Four No. 120

11 Monday Mar 2024

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1971, Fantastic Four, Fantastic Four 120, John Buscema, Stan Lee

Fantastic Four 120
“The Horror That Walks On Air!”
Published Dec. 1971
Story: Stan Lee and John Buscema
Script: Lee
Pencils: Buscema
Inks: Joe Sinnott
Cover: Buscema and Frank Giacoia

Synopsis

After dispatching a band of thugs who invade the Baxter Building, the Fantastic Four confront the Air-Walker, who warns the end of the world is at hand.

What’s going on here?

I’ve been looking forward to this comic for a while. While it’s not revealed in this issue, Air-Walker is a herald of Galactus, and of the main heralds from 60s, 70s and 80s (basically the Silver Surfer, Firelord, Terrax and Nova), he’s the one I’m least familiar with. He eventually gets a long and complicated back story, which I won’t get into here.

Most of the issue, however, is devoted to establishing Air-Walker as a massive threat, and it feels a bit like over-kill. He does very little except float around, and only displays his powers after he’s attacked. Only in the final panel do we really get hint of his menace. Given the build up, the next few issues better deliver.

The other big development in FF 120, which helps explains the long, breathless introduction of Air-Walker, is the return of Stan Lee as writer. After a few issues of Archie Goodwin, and one by Roy Thomas, Stan is back in the saddle for what will be his final stint as lead writer of the FF. The issue feels a lot like a classic Stan and Jack issue, with lots of one-liners and wise cracks from Ben, and comic set-pieces like another squabble with the landlord.

Interestingly, Stan shares writing credits with Buscema here, like he did with Jack. My sense is that, as with Kirby, Stan gave Big John a loose plot, let him work out the details, and then added the script, in the classic Marvel Method. With the other writers, I’m guessing John had less say in the story.

The issue also features the introduction of a new inker, John Sinnott. I’m kidding. It’s clearly an error.

What I liked

More great Buscema art, including this panel:

I liked this use of Sue’s powers (although wouldn’t the bad guy know he was holding the gun?)

And while I still loathe this cover format, this one looked pretty good.

What I didn’t like

As mentioned, there’s a lot of set up in this issue without much pay off (yet). And the sub-plot / shtick with the FF’s landlord remains tedious.

Overall

I’m reserving judgement until we see how this Air-Walker arc plays out.

“The World’s Greatest Comic Magazine!” Fantastic Four No. 119

03 Sunday Mar 2024

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1971, Black Panther, Fantastic Four, Fantastic Four 119, Roy Thomas

Fantastic Four 119
“Three Stood Together!”
Published: November 1971
Writer: Roy Thomas
Pencils: John Buscema
Inks: Joe Sinnott
Letters: Artie Simek
Editor: Stan Lee
Cover: Buscema and Sinnott

Synopsis

The Thing and Human Torch rescue the Black Panther from a white supremacist prison before all three tangle with Klaw.

What’s going on here?

This is an interesting issue, for a few, interrelated reasons. The main development is that it’s Roy Thomas’s first time writing the FF. By this point in his career, Thomas had been writing a range of Marvel comics, including the X-Men and Avengers, and was Stan’s right-hand man in many ways. He goes on to have his own run on the Fantastic Four but this was a standalone issue for him.

Thomas’s story is surprisingly topical, as Ben and Johnny are summoned to “Rudyarda”—perhaps named after Rudyard Kipling?—a white-supremacist nation bordering Wakanda and clearly modeled after South Africa. Ben and Johnny are offended by the country’s official racism, and it’s brought up several times over the course of the story.

Speaking of current events, this issue also marks a name change for the Black Panther to “the Black Leopard,” specifically to avoid confusion with the activist group in the US. It didn’t last long.

What I liked

There’s a gritty, contemporary quality to the story that’s unusual in the FF, and it’s either to Stan’s credit that he allowed Thomas to take the comic in a new direction—much as he did with Archie Goodwin last issue—or he simply wasn’t paying attention. Either way, it’s feels fresh, which is a good thing after a decade of FF comics.

What I didn’t like

Ben and Johnny take a commercial jet to Rudyarda, which doesn’t make a lot of sense given the fleet at the FF’s disposal, except it sets up a skyjacking scene. The sequence doesn’t add anything to the story—although it allows Thomas to slip in another topical reference—and it takes up space that could be better used elsewhere.

Those two pages could have been used, for example, to give the climactic fight with Klaw some breathing room. As printed, Buscema crammed 18 panels into two facing pages, creating a visual overload that is begging for more space.

The story also opens with yet another silly fight between Ben and Johnny, and ends with the introduction of this monstrosity, which is clearly paving the way for the dreaded H.E.R.B.I.E. Thankfully, A.U.N.T.I.E. only appears in this one issue. I wish I could say the same about H.E.R.B.I.E.

Also, that cover is terrible. Yuck.

Anything else?

This seems to be a goof, either on the part of Thomas’s script or Simek’s lettering. But it’s pretty clear from the story these thugs are blood enemies of Wakanda, not blood brothers.

Overall

Definitely an interesting comic book.

“The World’s Greatest Comic Magazine!” Fantastic Four No. 118

25 Sunday Feb 2024

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1971, Archie Goodwin, Fantastic Four, Fantastic Four 118

Fantastic Four 118
“Thunder in the Ruins” and “What Mad World?”
Published Oct. 1971
Writer: Archie Goodwin
Pencils: John Buscema
Inks: Jim Mooney
Letters: Sam Rosen
Editor: Stan Lee
Cover Buscema and John Verpoorten

Synopsis

The Human Torch fights to free Crystal from the mind-control of Diablo, whose scheme to use the Inhuman to take control of a Central American dictatorship is thwarted when the rest of the Fantastic Four arrive. Plus, in a back-up story, Ben Grimm is teleported by Lockjaw to an alternate universe, where he meets another Thing.

What’s going on here?

This is an interesting comic. The main story resolves the Diablo/Terra Verde/Crystal story that began last issue. It’s fine so far as it goes, but there’s nothing particularly interesting happening. Crystal is reunited with Johnny, but we’ll see how long that lasts.

Much more intriguing is the back-up story, where the Thing is teleported by Lockjaw to another reality, not something I was aware could happen. There, Ben lands in a sort of West World-type amusement park created by the Thing of that world, where all the robot villains have the face of Reed. I’m reluctant to give away too much, because it’s there’s a twist that I don’t want to spoil, but it’s a smart, short story that reads like a prototype of What If?, which would debut in 1977.

It’s been a long time since there’s been a backup in a regular-sized FF issue (maybe not since FF 10). I have no idea how it came about but I assume it’s the influence of Archie Goodwin, who came to Marvel from Warren Publishing, where he wrote dozens of stories in Eerie and Creepy magazines. Horror and science fiction were nothing new to him. If the backup was indeed Goodwin’s idea, it’s heartening to see that Stan was relaxed enough about his co-creation to allow Goodwin to experiment with new ideas. It’s also a good reminder that here’s nothing new about multiverse stories. They may be the flavor of the month in the movies, but they’ve been around since at least 1961 and Flash 123.

Also of note, this issue features the Fantastic Four debut of Jim Mooney on inks, who is filling for Joe Sinnott. Mooney was a comic lifer, whose first credit was a story in Mystery Men Comics in 1940, and who was still drawing and inking as last as 2000. This is his only work on the FF as far as I can tell, and he seems to be following Sinnott’s lead.

What I liked

Buscema delivers another steady performance. Nothing too flashy, but more well constructed story-telling. Here’s a good sequence:

What I didn’t like

Nothing? That seems sort of lame, but nothing jumps out as flawed or problematic. As frequent readers know, I am not shy about pointing out faults, either.

Anything else?

Some interesting ads. The height one is creepy.

Overall

Better than average, thanks to the back-up story,

“The World’s Greatest Comic Magazine!” Fantastic Four No. 117

17 Saturday Feb 2024

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Fantastic Four 117
“The Flame and the Quest!”
Published Sept. 1971
Writer: Archie Goodwin
Pencils: John Buscema
Inks: Joe Sinnott
Letters: Sam Rosen
Editor: Stan Lee
Cover: Buscema and Sinnott

Synopsis

The Human Torch launches a desperate search for Crystal, and with the help of Agatha Harkness, discovers she has fallen under the control of Diablo, who is using her powers to take control of a Central American dictatorship.

What’s going on here

After the giant-sized extravaganza of last month, it makes sense to have an issue that allows the team and readers (and creators, presumably) a chance to catch their breath. There’s not a lot that’s notable in this issue. Johnny going on a crazed search for Crystal feels pretty familiar at this point, and we’re seeing a lot of Agatha Harkness lately.

Archie Goodwin returns as the writer and introduces Tierra Verde (called Terra Verde here), a stereotypical banana republic that makes a few appearances over the years, including in Goodwin’s own run on Wolverine in 1989.

On a personal note, this issue was published the day I was born in 1971. Happy birthday to me!

What I liked

Diablo is a fun villain, and it’s good to see him back. Buscema delivers his usual excellent art, and the story hangs together well.

Here’s a fun sequence from Big John:

And while it’s a bit of a cliche, I liked the depiction of dictator General Robles and his lackey:

What I didn’t like

I really dislike this cover format. I better get used to it because it will be with us for another dozen issues or so.

Anything else?

Study computer programming? I dunno, seems like a gimmick to me.

Overall

A perfectly serviceable issue.

“The World’s Greatest Comic Magazine!” Fantastic Four No. 116

12 Monday Feb 2024

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Dr. Doom, Fantastic Four, Fantastic Four 116, John Buscema, Over-mind, Stan Lee

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.

Overall

A fun comic. A shame about the ending.

“The World’s Greatest Comic Magazine!” Fantastic Four No. 115

03 Saturday Feb 2024

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1971, Fantastic Four, Fantastic Four 115, John Buscema, Over-mind, Stan Lee

Fantastic Four 115
“The Secret of the Eternals”
Published: July 1971
Plot: Stan Lee
Script: Archie Goodwin
Pencils: John Buscema
Inks: Joe Sinnott
Letters: Artie Simex
Cover: Buscema and Frank Giacoia

Note: Apologies for the delay in posting this. I was dealing with an illness that unfortunately made everything else, even the Fantastic Four, take a back seat. I’m doing much better now and should be back on track.

Second note: Between Fantastic Four 114 and 115, Fantastic Four Annual 9 was published (technically it was a King-Size Special, but they used those terms interchangeably back then). Since it just consisted of reprints of older stories, I’ve decided not to re-cap it here.

Synopsis

After the Watcher gives the (lengthy) history of the Over-Mind, Reed turns on the rest of the Fantastic Four, under the control of the villain.

What’s going on here

This is very much a transitional issue, basically setting the stage for a climactic showdown with the Over-Mind. The bulk of the story is devoted to the history of the Eternals, the Over-Mind’s alien race (and kind -of, sort-of related to the Eternals that would come later; see the post for FF 114). The story gives John Buscema an opportunity to stretch his muscles, and it’s a fun, if sort of loopy, sequence.

The big development of FF 115 is that it’s the first issue of the Fantastic Four in which the writing isn’t credited to Stan Lee or Jack Kirby. While Stan gets a plotting credit, the script is by Archie Goodwin, a comic veteran at this point who would go on to a many-decades long career at Marvel and DC. Oddly, Goodwin wasn’t the first choice for scripting, but apparently Roy Thomas was busy elsewhere.

It’s not clear why this note was necessary, since readers had no reason to expect Thomas to be scripting the story.

Elsewhere in the comic, in the Bullpen Bulletins, Thomas makes it clear why he’s so busy: Stan is taking some time off. Hey, everyone needs a break once in a while. As it turns out, Stan’s hiatus from the FF will last about 10 issues, but he does return.

What I liked

Buscema’s art in this issue is really epic as he illustrates the history os the Eternals. Here’s a few choice panels:

And for those of you partial to Buscema’s work on Conan the Barbarian, this panel should feel familiar:

What I didn’t like

The fight between Reed and the rest of the FF was pretty inane. The lowlight was this sequence, where he defeats Ben by … ticking him?

Overall

A fine issue

“The World’s Greatest Comic Magazine!” Fantastic Four No. 114

13 Saturday Jan 2024

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1971, Fantastic Four, Fantastic Four 114, John Buscema, Marvel, Over-mind, Stan Lee

Fantastic Four 114
“But Who Shall Stop the Over-Mind?”
Published: June 1971
Writer: Stan Lee
Pencils: John Buscema
Inks: Frank Giacoia
Letters: Sam Rosen
Cover: Buscema and Giacoia

Synopsis

Out on bail from their arrest by the NYPD and facing eviction, the Fantastic Four confront the Over-Mind, only to have the fight erased from their memories by his mental powers. To help provide answers, Agatha Harkness contacts the Watcher.

What’s going on here?

This is a much more satisfying issue than the last, as the Over-Mind developed into a formidable foe with an interesting backstory. There are some plot holes, but overall the story moves briskly, the fight is well designed, and the sequence with Agatha Harkness is appropriately creepy.

What I liked

It’s the best issue from John Buscema to date, and maybe not a coincidence that it’s the first not inked by Joe Sinnott: Frank Giacoia inked this issue, presumably filling in. There’s no arguing Sinnott’s power and style, but Giacoia has a lighter touch, which perhaps lets Buscema’s style emerge more clearly. Here’s a panel I really liked:

And this sequence:

What I didn’t like

As mentioned, there are some plot holes. In this issue, the Over-Mind apparently encounters the FF for the first time, yet at the close of last issue we saw him manipulating the mayor to have the FF arrested. Also, there’s an oddly discordant note, when, in the midst of their eviction drama, Ben gets a package with a stink bomb from the Yancy Street Gang. Rather than lighten the mood, it just seems like an annoying distraction.

There’s also the continuing nonsense of the FF’s eviction. Comics and stories about business rarely mix well, and this is no exception. There’s a dozen reasons why the landlord’s actions don’t make sense, and while maybe the average FF reader of 1971 didn’t know them, this sub-plot all seems farfetched. (Yes, I know it’s a comic based on far-fetched events, which is why real-world subjects like commercial real estate law are better left outside its pages).

Anything else?

This issue kind-of, sort-of introduced the Eternals to the Marvel universe, as the Over-Mind discusses that he is following their commands. Initially these Eternals were not connected to the Eternals later introduced by Jack Kirby in his 1976 return to Marvel (these were instead supposed to be the “Eternals of Eyung”) but they were later retconned to be another branch of the Eternals, also created by the Celestials. It’s all deeply confusing, and had no real impact on this story.