“The World’s Greatest Comic Magazine!” Fantastic Four No. 208

23 Monday Feb 2026

Posted by percivalhenry in The World's Greatest Comic Magazine

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1979, Fantastic Four, Fantastic Four 208, marv wolfman, Marvel comics, Nova, Sal Buscema, Sphinx

Fantastic Four 208
“The Power of the Sphinx!”
Published April 1979
Writer: Marv Wolfman
Pencils: Sal Buscema
Inks: “D. Hands”
Letters: Joe Rosen
Colors: Glynis Wein
Editor: Wolfman
Cover: Keith Pollard and Joe Sinnott

Synopsis

After destroying their spaceship in a case of mistaken identity, Nova rescues the Fantastic Four, who confront the Sphinx aboard Nova’s ship. As they approach Xandar, the Sphinx senses the power of the Xandar living computer and teleports to it. Meanwhile back on Earth, the Human Torch returns to the Baxter Building where he is also teleported to Xandar, and where he rejoins the rest of the FF. The FF and the champions of Xandar then battle the Sphinx, who has tapped the living computer and has become vastly more powerful. After swatting away their attacks, he heads to Earth vowing to destroy it. The issue ends with Reed concluding they need the help of Galactus to defeat the Sphinx.

What’s going on here?

Marv Wolfman’s confusing and tedious space epic drags on. While it’s all revealed in the final few issues of Nova (also written by Wolfman), he never explains why the Sphinx seems to have joined forces with Nova, and why all these other characters are along for the ride. Dr. Sun? Powerhouse? Diamondhead? The Comet and Crimebuster? Who are these guys? Don’t expect to get any answers here. I’m repeating myself but it’s a major failing of Wolfman’s and of Jim Shooter for allowing him to be his own editor. And it speaks to the general neglect of the FF by the powers-that-be during this era.

Here’s a bunch of them fighting the Sphinx, whoever they are.

The Sphinx is an odd Marvel character. He’s powerful and cosmic, but never got the traction of other, similar characters like Galactus or Thanos. He does reappear over the years, but in second-tier books and never in the Fantastic Four or Avengers main titles. It could be because he debuted in Nova, somewhat of a Marvel backwater, or because he was so closely associated with Marv Wolfman. It’s also possible that he was pre-empted by Apocalypse, another powerful, grey-skinned villain with origins in ancient Egypt.

Sal Buscema is again the penciler, while the inks in the comic are credited to “D. Hands,” which is Marvel code for inkers by committee (sometimes it’s M. Hands). Mike’s Amazing World of Comics credits Al Milgrom with the inks, while GCD says it’s a combination of Milgrom, Frank Giacoia, and Frank Springer.

Keith Pollard contributed the cover (with Joe Sinnott inking) and it might be the best single thing about this comic.

What I liked

When preparing these reviews, I occasionally have to strain to find something positive to say, and this is one of those issues.

We do get a cool splash page from Buscema:

And I liked Johnny’s journey from the Baxter Building to Xandar:

(Incidentally “Suzerain” seems to the wrong title for Adora, since Xandar is not a vassal of another entity, but it’s own independent state. I’m guessing the editor-less Wolfman just liked the sound of it and no one told him not to use it. In later comics she is called Queen Adora, which seems more appropriate.)

What I didn’t like

We are reminded early in this comic that the FF have been subject to a Skrull aging ray, which is beginning to take effect and weaken them. Here, Reed has trouble stretching and Ben can barely lift a chair:

But that all seems forgotten it comes time to fight the Sphinx:

Anything else?

This was a good comic for ads featuring wholesome, all-American sports heroes like Johnny Unitas and, um, Pete Rose and, well, errr, hmm … O.J. Simpson.

Overall

Can this arc end soon? Please?

“The World’s Greatest Comic Magazine!” Fantastic Four No. 207

14 Saturday Feb 2026

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1979, Fantastic Four, marv wolfman, Marvel comics, Sal Buscema, Spider-Man

Fantastic Four 207
“Might of the Monocle!”
Published March 1979
Writer: Marv Wolfman
Pencils: Sal Buscema
Inks: Joe Sinnott
Letters: John Costanza
Colors: Ben Sean
Editor: Wolfman
Cover: Keith Pollard and Sinnott

Synopsis

Hypnotized by the Monocle, the Human Torch and rest of the students at the elite Security College are forced to steal items of value to be used for world domination by the secretive Enclave, the employer of the Monocle. Meanwhile, news photographer Peter Parker gets an assignment to infiltrate Security College and take photos. Once there, he realized something is up and as Spider-Man, follows the hypnotized students to an army depot. Spider-Man rescues the soldiers from the mob of students and hypnotized Torch, and then, back in the dorms, enlists Johnny to take on the Monocle, who has broken with the Enclave and is working on a plot of his own. The Monocle briefly hypnotizes Johnny again and he fights Spidey, but comes to his senses. Neither is able to stop the Monocle from escaping and the Enclave plots its revenge in a scheme that involves kidnapping Medusa of the Inhumans.

What’s going on here?

This issue resolves the Torch/Monocle storyline and just as last issue featured the rest of the Fantastic Four with no mention of the Torch, this issue has no mention of the rest of the FF and is devoted solely to the Torch.

Except that’s not really true, since the issue’s real star is Spider-Man, with the Torch in a supporting role. In fact the comic feels more like an issue of Marvel Team-Up than the Fantastic Four, perhaps because Marv Wolfman has spent the last year writing Amazing Spider-Man along with the FF.

Also contributing the Spider-Mannish feel of the comic are the guest pencils of Sal Buscema, who had just finished a long run on Spectacular Spider-Man and will go on to draw Spidey for the next 30 years or so. Buscema recently passed away and while he was never one of my favorites, his career was legendary and he was without a doubt, along with his brother John, an indispensable pillar of Marvel in the 1970s, 80s and 90s.

Buscema picked up this issue because of the departure of Keith Pollard, who moved on to pencil Thor. Pollard, who is generally underrated, will return to the FF in about 100 issues. Buscema will draw the next issue as well before stepping aside for John Byrne, in the first of his stints on the FF.

As a story, FF 207 is perfectly adequate. Nothing too exciting, nothing too disappointing.

What I liked

Buscema certainly knows how to draw comics, and this is a great splash page. The bold, san-serif title gives it power, even if “Might of the Monocle” seems a little ridiculous.

The Spidey/Torch banter is fun, and I liked this reference to Superman.

As I mentioned, it’s basically a Spider-Man comic, but that’s OK. Here, Peter Parker finally catches a break, which is always worth celebrating:

What I didn’t like

The cover seems to think comics readers are desperate to see the Torch and Spider-Man fight before, as if they haven’t done this a million times before.

And ironically, when it comes time for the two to tangle, it’s over in a single page. Here’s the whole “battle:”

And one plot hole bugged me: Peter Parker is on campus ostensibly to meet the headmaster. He’s not the son of any one powerful or connected, so how does he end up in a dorm room that night?

Anything else?

Some fun ads, and another perceptive letter from future Eclipse editor-in-chief Cat Yronwode.

Overall

A perfectly fine issue of Marvel Team-Up

“The World’s Greatest Comic Magazine!” Fantastic Four No. 206

08 Sunday Feb 2026

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1979, Fantastic Four, Fantastic Four 206, marv wolfman, Marvel comics, Nova, Skrulls

Fantastic Four 206
“The Death of … the Fantastic Four!
Published February 1979
Writer: Marc Wolfman
Pencils: Keith Pollard
Inks: Joe Sinnott
Letters: John Costanza
Colors: Ben Sean
Editor: Wolfman
Cover: Pollard and Sinnott

Synopsis

Now prisoners on the Skrull home world, Mr. Fantastic, the Thing and the Invisible Girl are brought before a court, where they are zapped with a ray while trying to fight back. It’s later revealed the ray will speed up their metabolism so they will die of old age in three days. After escaping once again, the FF steal a Skrull spaceship and travel back to Xandar, when they are unknowingly attacked by a spaceship carrying Nova, the Sphinx and other characters.

What’s going on here?

The FF’s Xandar arc continues and a storyline that started off promisingly now seems to drag. The sequence of the FF in the Skrull court did nothing to advance the plot, the lengthy scenes with Xandar’s Queen Adora and her consort Tanak don’t add anything, and while there’s some fun Skrull palace intrigue, it feels the whole issue could be told in half the pages.

By far, the most discordant element of the comic is the sudden appearance of Nova and a collection of characters who are not introduced and were utterly unfamiliar to me (save for the Sphinx, who we last saw as a villain). These are apparently the Champions of Xandar, although they won’t get that name for another few issues, and while readers of Nova might know who they are, FF readers would have no clue.

Again, this is a serious failing of Wolfman’s, who is writing and editing both the FF and Nova at this point. Besides this being a serious disservice to the reader, it’s also a bizarre lapse in marketing. I understand this is before the ear of crossovers, but surely you would signal on the cover that this issue includes a guest appearance of another Marvel hero.

As far as I can tell, Nova’s inclusion was Wolfman’s attempt to wrap up a story that he began in Nova but couldn’t complete because the series was canceled with issue 25. While this happens occasionally (Chris Claremont pulled lots of his characters from defunct series into the X-Men), it’s rarely done so awkwardly.

I did track down Nova 25 to figure out what was going on and man, it’s got some gorgeous art by Carmine Infantino, in his brief stint at Marvel, and the great Klaus Janson.

Also of note: Johnny doesn’t appear in this issue, and his Monocle subplot isn’t advanced.

And the cover (an excellent one) is the first that features Keith Pollard’s distinct lower-case signature, the first FF comic where he uses it. It’s one of my favorite signatures in comics.

What I liked

The old-age ray is an intriguing concept. I look forward to seeing how it plays out, although I think we all know it won’t be permanent.

I also liked the bickering between Skrull Emperor Dorrek and the Empress R’Klll. Like the Kree and Shi’ar, and unlike most other alien races in comics, the Skrulls have a well-developed structure and characters, giving their stories more depth and favor.

What I didn’t like

After what was arguably Pollard’s best FF issue last month, his work here is much more pedestrian and it feels like Joe Sinnott is carrying him across the finish line. Aside from the great cover, the art is a disappointment.

As mentioned earlier, the court scene dragged on and offered little. And strangely, the FF are accused of treason, which doesn’t seem possible, because they are not Skrulls. Although I liked the idea of the Skrulls having archaic rules of procedure dating to the Convention of Fornax.

Lastly, the Adora / Tanak romance would be a lot more interesting if we had been given any reason to care about these characters. As it is, it’s incredibly dull.

Overall

A misfire

“The World’s Greatest Comic Magazine!” Fantastic Four No. 205

31 Saturday Jan 2026

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1979, Fantastic Four, Fantastic Four 205, Keith Pollard, marv wolfman, Marvel comics, Skrulls

Fantastic Four 205
“When World’s Die!”
Published January 1979
Writer: Marv Wolfman
Pencils: Keith Pollard
Inks: Joe Sinnott
Letters: Jim Novak
Colors: Glynis Wein
Editor: Wolfman
Cover: Pollard and Sinnott

Synopsis

Mr. Fantastic, the Invisible Girl and the Thing travel by “teleportation ray” to the Andromeda Galaxy where Xandar is attacked by the Skulls. The FF battle on the side of the Xandarians before they are captured by the Skulls. Meanwhile, back on Earth, the Human Torch is hypnotized, along with other students at his new colleges, as part of some nefarious scheme of the Monocle and his unknown employer.

What’s going on here?

This comic does a capable job of advancing the two storylines that were kicked off in the previous issue. The main story is very much a space opera, with the Fantastic Four as players in the bigger struggle between Skulls and Xandar.

The fact that the FF are on Xandar came as a surprise, since it was never mentioned in the first issue. I confess I am not a reader of Nova, so I wasn’t familiar with the planet’s unique set-up, but I did think the soldiers looked suspiciously Nova-like. For a comic published in the era where it was assumed every issue was someone’s first, omitting the name of the planet seems like a big goof, and yet another reason why writer’s shouldn’t be their own editors.

While Wolfman’s story hums along, the star is really Keith Pollard, who delivers some incredible images, including a stunning double-page spread, which needs to be seen in a comic to really do it justice. With each issue, my appreciation for Pollard grows. Like John Buscema, he seems very comfortable within the official house style, as established by Kirby and policed by Sinnott, yet brings a flair for storytelling and dynamic panel designs.

What I liked

Here’s some more Pollard:

What I didn’t like

There are a number of odd elements in this comic, such as the narrator’s description of Ben as a “monstrous orange-hided Thing.”

The Watcher shows up and, of course, violates his oath. has there been a comic where he actually honors his oath? I would never lend that guy money because his word is just no good.

For an alien race, the Skulls seem very obsessed with dogs. Do they even have dogs?

Overall

A meh comic redeemed by Pollard

“The World’s Greatest Comic Magazine!” Fantastic Four No. 204

18 Sunday Jan 2026

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1978, Fantastic Four, Fantastic Four 204, marv wolfman, Marvel comics, Skrulls

Fantastic Four 204
“The Andromeda Attack!”
Published December 1978
Writer: Marv Wolfman
Pencils: Keith Pollard
Inks: Joe Sinnott
Letters: Jim Novak
Colors: Françoise Mouly
Editor: Wolfman
Cover: Al Milgrom and Sinnott

Synopsis

Mr Fantastic, investigating lingering damage caused by Quasimodo, discovers a ray leading from Earth to the Andromeda Galaxy. It delivers an alien woman, who is quickly followed by a Skrull. The FF subdue the Skull and learn the woman’s home planet is being attacked. When the team prepares to journey to space to save it, Johnny says he wants to remain on Earth and enroll in a new college, which unbeknownst to him is a trap set by The Monocle.

What’s going on here?

Despite it being a bit of a jumble, I liked this comic. It’s very much a setting-the-stage issue, putting into motion two plots but still leaving plenty of room for the character work that Wolfman excels at. There is an overly-long flashback that goes into great length about the history of the alien race, but it’s sort of fun and feels like a story from the golden age of science fiction. It’s also good to see the Skrulls again; a successful comic rotates stories between new menaces and old, familiar villains and it had been a while since we heard from the Skrulls.

Keith Pollard and Joe Sinnott are again solid on the art. The cover is by Al Milgrom, with inks by Sinnott.

What I liked

Johnny is really the star of this issue, and Wolfman returns to his feelings of loneliness and lack of independence. There is a cutting sequence where he tries to impress a girl and ends up doing the opposite:

(We later discover she may be a plant from The Monocle to undermine his confidence).

Johnny also runs into Franke Ray again, with similar results.

Johnny’s frustrations are revealed at this family conference, a reminder of how the FF is different from other teams:

I also liked this action sequence with Reed, Ben and the Skrull:

What I didn’t like

Comics often play fast-and-loose with science, and lord knows I’m no physicist, but everything about the ray from outer space makes no sense (and in fact seems borrows from the zeta-beam Adam Strange uses to jaunt around the galaxy). Since when do rays contain minerals?

There is an extended scene of Johnny moping around the city looking for a friend, which begins to feel a little maudlin. If I was a cynic, I would suspect this was just a ploy to plug ASM 190.

Anything else?

Future Marvel writer Peter Sanderson writes another long letter from his Columbia dorm, this time about issue 200. His analysis of that story just happen to agree with mine.

Some more cool house ads, for a pair of comics I never really read (that looks like Gil Kane on the PM/IF ad).

Edited to add: It’s actually Rich Buckler and Dave Cockrum on the PM/IF . A few readers set me straight.

Overall

A satisfying comic book

“The World’s Greatest Comic Magazine! Fantastic Four No. 203

11 Sunday Jan 2026

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1978, Fantastic Four, Fantastic Four 203, marv wolfman, Marvel comics

Fantastic Four 203
“…And a Child Shall Slay Them!”
Published November 1978
Writer: Marv Wolfman
Pencils: Keith Pollard
Inks: Joe Sinnott
Letters: John Costanza
Colors: Glynis Wein
Editor: Wolfman
Cover: Dave Cockrum and Joe Sinnott

Synopsis

After Reed cleans up left-over radiation from the FF’s fight with Quasimodo last issue, he and Sue are summoned to a hospital to treat Willie Evans Jr., a young boy who is in a coma because his father was exposed to cosmic radiation as a soldier. In his coma, Willie, a mutant and Fantastic Four fan, manifests evil versions of the FF that rampage throughout New York. The FF struggle to contain them until Reed figures out their source and uses his radiation-absorbing device to neutralize them. Willie recovers and Reed suggests the family take him to Professor X for training.

What’s going on here

This is a perfectly fine one-and-done. Nothing of great consequence happens and while the premise is hard to swallow — why does the boy create evil versions of the FF if he’s a fan? — it’s resolved neatly and in classic FF fashion, with Reed saving the day with science. And at least in this issue, Marv Wolfman introduced the device Reed used at the beginning of the story, unlike in the Stan and Jack days, where it would just appear at the end, deus ex machina.

In his ability to create super-powered entities out of radiation, Willie Evans Jr. appears to be an enormously powerful mutant, on a par with the Scarlet Witch and adult Franklin Richards. Apparently there were plans for him to become part of an early version of the New Mutants (along with Kitty Pryde) but Jim Shooter killed that idea. He does reappear many years later, in Iron Man Annual 8, where a manifestation of his power — an evil frog called Grunt — pushes him to battle Iron Man and X-Factor. It’s a pretty good story and worth seeking out.

Iron Man Annual 8 (1986), Words by Bob Harras, art by Paul Neary, Ian Akin and Brian Garvey)

Also of note: the cover is by Dave Cockrum (with Joe Sinnott’s inks). One of the few Cockrum FF covers. I don’t think it’s a particularly good cover, but there it is.

What I liked

There was some fun kibbitzing among team members. Team dynamics is Wolfman’s strength, here and later in the Teen Titans.

There’s also time for some domesticity, and a glimpse into Franklin’s growth (although it seems like he stays this age for the next two decades):

And I liked this image of Reed and Sue arriving at the hospital, like benevolent deities granting mortals a favor:

What I didn’t like

As mentioned earlier, Wille’s creation of the evil FF didn’t make a lot of sense to me. Buy, hey, mutant powers. They cover up a lot of plot holes.

Anything else?

Some pretty good house ads in this issue, especially for Micronauts (Michael Golden!) and Master of Kung Fu (Mike Zeck!)

Overall

Inoffensive but forgettable

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

28 Sunday Dec 2025

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

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

Synopsis

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

What’s going on here?

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

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

What I liked

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

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

This cliff hanger ending was intriguing:

What I didn’t like

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

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

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

Anything else?

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

Overall

The Yronwode letter is this month’s highlight

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

23 Tuesday Dec 2025

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

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

Synopsis

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

What’s going on here?

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

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

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

What I liked

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

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

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

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

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

What I didn’t like

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

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

Anything else?

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

Overall

Good enough, I guess

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

10 Wednesday Dec 2025

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

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

Synopsis

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

What’s going on here?

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

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

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

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

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

What I liked

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

And this romantic interlude:

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

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

What I didn’t like

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

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

Anything else?

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

Overall

Good stuff!

“The World’s Greatest Comic Magazine!” Fantastic Four No. 199

30 Sunday Nov 2025

Posted by percivalhenry in The World's Greatest Comic Magazine

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1978, Dr. Doom, Fantastic Four, Fantastic Four 199, marv wolfman, Marvel comics

Fantastic Four 199
“The Son of Doctor Doom!”
Published July 1978
Writer: Marv Wolfman
Pencils: Keith Pollard
Inks: Joe Sinnott
Letters: John Costanza
Colors: Janice Cohen
Editor: Wolfman
Cover: Pollard and Sinnott

Editor’s note: Fantastic Four Annual 13 came out between FF 198 and 199, but it’s a stand alone story so I’m going to finish the Doom / Zorba story arc first and pick up the annual after issue 200.

Synopsis

Dr. Doom advances his scheme to transfer the powers of the Fantastic Four to his son — actually his clone — as part of a scheme to keep Latveria in the United Nations, but faces unrest from the rebels of Latveria. Meanwhile the FF escape captivity but are thwarted by Doom, who has taken Alicia hostage. Doom’s clone then battles Doom, who kills him, setting up a showdown between Doom and Reed in issue 200.

What’s going on here?

This is another uneven story. The basic outlines of the plot are interesting: There’s political intrigue, Doom’s Machiavellian plotting, the FF reunited and the ersatz son of Doom gaining the powers of the FF (although the concept was done better with the Super-Skrull). But it’s all jumbled and incoherent, with Doom’s stated motivation for setting all this in motion — a desire to keep Latveria in the U.N. — absurd on its face. And we never quite learn why he’s transferring his powers to the clone.

What salvages the comics are some excellent action sequences delivered by the steady team of Keith Pollard and Joe Sinnott. There’s nothing flashy about their art but it packs a punch (sometimes literally). And I believe this is the first issue of the FF were Pollard signs the cover with his distinct lower-case signature, one of the best in comics.

What I liked

Here are a handful of the fun action panels in this comic:

I also liked the keyboard- control device Doom uses to power up his clone.

What I didn’t like

Most of the flaws in this comic seem to stem from Wolfman’s lack of understanding of Doom and his character. The Dr. Doom I’m familiar with could care less if Latveria was kicked out of the U.N. (hell, most of the U.S. would feel the same way) and would probably wear it as a badge of honor. I assume the hollow sculpture will house a bomb or some device but would Doom really offer a gift to the U.N.?

Nor would Doom feel the need to explain himself to his subjects, or rationalize his decision to abdicate the throne.

Doom’s clone also had odd moments. Here, he goes out of his way to explain he’s like the Fantastic Four but slightly less so. Then he says he forgot Doom had force shields, one panel before he claims to have all of Doom’s knowledge. Which is it, dude?

And the climax, where Doom’s clone faces Doom to acknowledge his self loathing should have been a powerful moment, but instead feels clumsy.

Lastly, longtime readers of this blog will recall that I was puzzled by how Stan Lee and Jack Kirby wrote and drew may of the robots and androids that populated the book. In their hands, they were often muscled like humans and seemed to speak like humans. We have the same problem here. In the last issue, Doom’s henchmen were discussing their children. But now they seem to have been turned into “servo-robots,” even if they still look pretty human.