Fantastic Four 144
“Attack!”
Published: Dec. 1973
Writer: Gerry Conway
Pencils: Rich Buckler
Inks: Joe Sinnott
Letters: Artie Simek
Colors: George Roussos
Editor: Roy Thomas
Cover: Bucker and Sinnott

Synopsis

Aided by Darkoth, Mr. Fantastic, the Thing and Medusa escape Dr. Doom’s subterranean New York lair, only to be attacked by the android Seeker. Reed reprograms the Seeker to free the Human Torch, and while Doom flees into space, he is attacked and apparently destroyed by Darkoth.

What’s going on here?

This is a fun, if not entirely coherent, issue. Bucker’s art is big and bold, as we will see, and Conway has crafted a rollicking story that hits a lot of the notes of later Lee / Kirby issues, but probably tries to stuff too much into the comic. This issue feels like the clearest example of how Conway and Bucker’s Fantastic Four differs from the Roy Thomas / John Buscema era. It’s less wordy, less concerned with intricacies of plot, while more exuberant and grandiose.

The issue wraps up a three-part arc that featured the return of Doom and introduced Darkoth. Both appear to die in the final pages, which feels like a classic way to wrap up a big story, but I assume most comic fans knew better than to think it was conclusive.

What I liked

As mentioned, Bucker’s art is dynamic and the double-page spread above is a great example. I’m not sure the FF have had a double-page spread since the Kirby era (and they were pretty rare then) so this was a an exciting surprise when I found this across pages 2 and 3. The panel is big enough to serve up recaps from the last few issues, give a great visual image of the FF’s plight (who knew the New York sewers had stalactites?) and even include an apology about Medusa’s outfit.

Here’s another great Buckler image:

I love the way the Torch pops off the page. It’s like a 3-D comic.

This issue also had a lot of by-play between Reed and Ben, who is distraught and irritable about Alicia being held prisoner by Doom. Reed is at his best as a leader and friend here.

And a bit later:

Conway strikes the right balance here with Reed, who can be a pushy and domineering jerk, but also knows how to motivate his team to get the job done.

The comic had a bittersweet ending, with Ben once again reminded of his monstrosity.

And I liked how Doom refers to his prisoner as “Coach Thorne.” Just like me, he has trouble referring to old teachers by their first names.

What I didn’t like

Overall, the story felt thin and not full developed. Darkoth’s backstory is confusing — is he a demon? is he a cyborg? — and it’s not clear how or where Doom found him. Doom’s plot for world domination, utilizing the mass-hypnotizing vibro-bomb, never feels like more than a McGuffin, while the Seeker shows up out of nowhere and makes little sense. It’s easily defeated, and serves as Doom’s undoing. I’ve written before about how the villain’s androids in the Fantastic Four rarely seem like androids, and have oddly human characteristics for machines. This is another example. Why does an android have muscles? Why does it need to talk? (And what are “nuclear-discharger rods,” anyway?)

Once again, Medusa is barely in the story — I think she only speaks in two panels — and Sue and Franklin are not only not seen, but never referenced. In all, there’s a “let’s throw it against the wall and see what sticks” quality to the story that leaves it unsatisfying.

There’s also this weird interlude, which feels like Conway getting back at the jocks in his high school.

Anything else?

Lots of interesting advertising in this issue. I love these ads for record clubs. It’s reminder of what we think of music from the 1970s wasn’t all that people listened to. Englebert Humperdink, anyone?

Also lots of ads for job training. The economy was not great in 1973.

Lastly, I hate when this happens. Luckily the kid who owned it didn’t cut to cut out any of the story.

Overall

Fun but flawed (like most of ’em)

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.

Overall

A solid comic