Revisiting the FF's Rise & Fall

Unable to find a trailer on YouTube for Fantastic 4: Rise of the
Silver Surfer but each official one had embedding to share as
"disabled by request." These are just some of my credentials.

This Friday, the third attempt at establishing a "successful" film franchise for Marvel Comics' First Family will be released when Josh Trank's Fantastic Four hits the screens. Though never released theatrically, yet available as a bootleg, I am including the famously low-budget effort, Roger Corman's 1994 The Fantastic Four in that total.  Somewhat surprisingly, despite making significant profits for distributor 20th Century Fox,  the last two Tim Story-directed Fantastic Four films have been deemed "failures" worthy of being forgotten.

While I will see Trank's film in theaters opening weekend, and having seen each film iteration of the team's exploits, I still maintain that the criticism levied against both Fantastic Four (2004) and Fantastic Four: Rise of the Silver Surfer (2007) is unwarranted. In truth we may never get a big-budget film that reflects the classic FF story as closely as the 2007 sequel. While I hope to be entertained this weekend at the movies, from what little footage that has been made available (all the trailers/ads seem to consist of the same two minutes of film re-edited), because the filmmakers opted to go the Ultimate Universe route, my optimism is muted.

I write here, however not to bury the new Fantastic Four movie, but to praise the previous one. Chances are that if you've read this far you know the basics of the plot to 2007's Fantastic Four: Rise of the Silver Surfer: The Fantastic Four (Ioan Gruffudd, Jessica Alba, Chris Evans, Michael Chiklis) learn that they aren't the only super-powered beings in the universe when they square off against the powerful Silver Surfer (Laurence Fishburne and Doug Jones) and the planet-eating Galactus while their old nemesis, Doctor Doom (Julian McMahon) waits in the wings. Whether you "like" either film, it is clear that Rise of the Silver Surfer is a much more confident film than the first; the returning cast is much more comfortable in their respective roles, and without the need to address (again) the origin story, the narrative moves on to a more interesting "World's Greatest Comic Magazine" story.

Beyond relative vagaries of "like" or "dislike," there seem to be four quibbles that fanboys have with Story's films, as exemplified in Fantastic Four: Rise of the Silver Surfer, and I'll take them individually. Not surprisingly, the majority of the perceived issues I'll address reflect the process of difficulty in bringing to life cinematically those characters that so many have visualized in their imaginations for many years.

• An inconsistent or "silly" tone. In retrospect, Story's take may have been ahead of it's time. Released during the popularity of the grittier, psuedo-intellectual Christopher Nolan Batman films, some may not have been ready to have fun with superheroes, at least the way they are now (see last summer's The Guardians of the Galaxy for further evidence). Rise successfully evokes the classic humorous mood reflected in the camaraderie and affection our characters have for one another.  Story and his cast nail the characterization of each teammate. Many rightly pointed to the excellent dynamic between Johnny Storm (Chris Evans) and Ben Grimm (an underrated Michael Chiklis), but upon repeated viewings I have grown to appreciate Gruffudd and, especially Alba's, performances too. Alba plays Sue as strong, sweet and intelligent. As a longtime comic book fan, Alba's Sue is developing into the field leader the Invisible Woman has since become, and I only wish they'd had the courage to allow Alba to play the role without the faux blue eyes and blonde hair (an option co-star Chris Evan's apparently did have). When depicting the smaller moments in the life of Marvel's First Family, the comedic elements are brought to the forefront. The tone suitably shifts to a more serios one when telling the Surfer/Galactus story. Much like Ant-Man (2015), Rise is consistently inconsistent in tone, which is to suggest it honors both necessary aspects of the source material (if not seamlessly) that the narrative dictates.

Note Ben Grimm's size relative to his teammates in the Kirby
influenced panel to the right and the shot from F4: RoSS.

• The Thing looks like a lumpy, "regular" guy with a skin condition. Actually, for what it's worth, Ben Grimm and the Thing (both played by Chiklis) look pretty much how they were originally envisioned by creators Stan Lee and Jack Kirby. While many would rather have had a CGI Thing (something they'll get with the new film), the decision to use a "suit" was pretty bold given what producers knew  movie goers might have expected to see. The fact that the Thing was not depicted as eight feet tall and five feet wide only helps to reinforce the greatness of the character; Ben Grimm is a man trapped in a deformed but powerful facade. Ben Grimm is a man who gift came at a cost, unlike his teammates. There is a scene in Silver Surfer where Johnny, having acquired the ability to switch powers with the team after tangling with the Surfer, becomes a "Thing" himself. Not just a goofy shot, Johnny's response to momentarily sharing Grimm's burden reminds us how strong Ben is not to snap completely given his permanent physical state. This was just one of many smaller moments that Story deftly weaves into the larger narrative that reminds the viewer that the four really are just "regular" folks caught up in fantastic circumstances.

Classic Marvel 616 Dr. Doom and
Doctor Doom from FF: RoSS as played 
by Julian McMahon.

• They messed up Doctor Doom. I had not seen Nip/Tuck prior to Julian McMahon playing Victor Von Doom, but having watched the six seasons since, I totally understand why the studio tapped him for the role. In Rise, Doom is written in a manner that better reflects the villain we love in the comic books, especially his manipulative nature and obsession with acquiring the power cosmic. Visually, the costuming (if not the power set) is without  a doubt spot on. For old school comic book fans, Doom's attire is very reminiscent of the updated look Doom acquired wa-a-a-a-ay back in the original Secret Wars (1984) limited series. For my money, McMahon successfully began to scratch the surface of what could have done with the character here, and if there was a weakness in his performance I would say the finger of blame would more fairly be pointed at the writers.

The introduction of the Ultimate Universe's Gah Lak Tus swarm
on the cover of Ultimate Extinction #3 and the Galactus cloud 
(recolored for enhancement in the still) in F4:RoSS.

• The Galactus "cloud"!? The director/producers couldn't win. They could have gone "full comic book" and given  us a gigantic, planet-eating man with a tuning fork on his head, or Ultimate Universe and introduce a horde of robotic drones operating with a shared hive mind. I think they actually went in the most reasonable direction, if one envisions the "cloud" as a "swarm" (though it was never fully detailed as such). The threat as presented in Rise is serious--Galactus is shown by the Silver Surfer to be capable of "eating" planets--a claim supported by Mr. Fantastic. 

With repeated viewings, the strengths of Tim Story's Fantastic Four films are clear: family friendly entertainment, that both honors the past and sensibly modernizes the story elements that might play as silly in a contemporary context. These qualities are sharpened in Fantastic Four: Rise of the Silver Surfer (2007), a film deemed a failure by fans despite winning it's opening weekend at the box office with a $58 million take, $2 million more than its predecessor. Ultimately, Rise ended its theatrical run by taking in nearly $290 million dollars on a $140 million dollar budget.

This weekend with Josh Trank's Fantastic Four the aesthetic elements others desired are going to be addressed: the Things is CGI, the tone is gritty and realistic, Doctor Doom is... well, you get the idea. Perhaps the younger, darker Ultimized version of the FF will connect with audiences and my favorites will finally be seen as the viable cinematic commodity comic book fans of the Four have always known them to be.

Source:
Wikipedia's FF: RoSS Entry

Run Reader: Fantastic Four: The World's Greatest Comic Magazine (2001)

With this alliterative splash page we return to the Marvel Universe
circa 1970 care of Erik Larsen, Eric Stephenson, Bruce Timm,
Kieth Giffen, Al Gordon, Jorge Lucas and Joe Sinnott 

With the conclusion of James Robinson's "The End is Fourever" storyline in May's Fantastic Four (issue #15 of Volume 5 or #645 in the continuous numbering), for the first time in a long time, Marvel is not publishing a comic book with the phrase "Fantastic Four" in it. As a long time fan (my first issue was Volume 1, #202 with the second part of the "There's One Iron Man Too Many!",  written by Marv Wolfman and with pencils by John Buscema when I was ten years old), it is the very real end of an era. Though with little more finality than any of the many previous "End of the FF" arcs, this one feels a tad more permanent (though nothing is fourever forever in comic books, right, Bucky Barnes and Gwen Stacey?) as far as "official" comic book endings go.

FF: WGCM #4 cover by
Bruce Timm. 

Like many fans, I will, however, continue to have copies of the FF on my reading table thanks to multiple longboxes of back issues, including many of the mini-series and one-shots that have been published in the past 40+ years. One such series that I recently completed purchasing the entire run of was the 12-issue miniseries from 2001, Fantastic Four: The World's Greatest Comic Magazine. Published during one my my hiatuses from collecting, it was only in the last week that I was able to purchase the final three issues of the series, and reread the whole run in it's entirety.

Interestingly, despite being published in 2001,  Fantastic Four: The World's Greatest Comic Magazine fits canonically between issues #100 (July, 1970) and #101 (August, 1970) of the original Fantastic Four, Volume 1.

Because legendary penciler Jack Kirby's run was unceremoniously halted after issue #102, modern superstar comic book artist Erik Larsen enlisted others to produce what Stan Lee and Jack Kirby might have put together had there run continued for 12 more issues.  While this can be seen as Larsen's formal tribute to the original World's Greatest Comic Magazine, one can rightly argue that his work as creator, writer and artist of the Savage Dragon series stands as its own homage to the Kirby aesthetic. In essence, the miniseries is one possible answer to the question of "What if Stan Lee and Jack Kirby concluded their historic run on FF with one last wild adventure?"

From FF:WGCM #5, written
by Kurt Busiek with art by
Gordon Purcell and Bruce Timm.

With Larsen's FF miniseries, the original title's iconic banner line takes center stage. As if to emphasize the prominence of the characters' and title within the Marvel Universe, the series' traditional "The World's Greatest Comic Magazine" moves from the area above the title, into the title proper.  Great effort is taken to suggest the comic books of the time with attention to details such as titling of each issue and use of time appropriate costumes for certain characters such as The Falcon's green and gold tights.

Each issue's story title also reflects Stan Lee's own penchant for alliterative names: for example issue #1 "The Baxter Building Besieged!", Issue #4's "The Merciless Menace Of MODOK!", and issue #9s "Nightmare In The Negative Zone!" I've written previously about the impact my childhood fandom had on early vocabulary development feel, especially the professorial dialogue written for Mr. Fantastic. It was wonderful to see nods to this in the editorial captions provided throughout such as in the lower right hand corner of the panel to the right declaring a "Special Note to lovers of Onomatopoeia."

It's not an FF saga without
an appearance from the Big G.

The conceit of the series is that it's firmly planted in the Fantastic Four timeline of the Lee-Kirby years, but that does not dissuade from the using certain popularized characters, most notably the X-Men and the Sentinels, in a way different than if published in the early Seventies. The inclusion of such characters is made to seem common, though in the true historical context, such drop-ins by popular characters would probably have been promoted on comic book covers as "Special Guest Appearances!" This is not a complaint, but an observation, as the fun manner in which all are used make their inclusion seem "event" worthy. Never fear, True Believers, as those characters once strongly associated with the FF, such as Galactus, the Sub-Mariner and the Black Panther, also join in the proceedings. It is also unusual that the conflict is developed through the use of the Cosmic Cube, an artifact never as connected to the FF as Captain America.

While this trip back to the 1970's Marvel Universe is co-plotted by Larsen and Eric Stephenson, the list of scripters reads like a who's who of late-Nineties stars including Chuck Dixon, Jeph Loeb, Tom DeFalco, Kurt Busiek, and Bruce Timm. Even Fantastic Four co-creator Stan "The Man" Lee receives a story credit for the final issue of the series (Issue 12, "Victor Von Doom: Emperor of Earth"). The art is suitably bright, vibrant with clean lines and a clear effort being made by the many pencillers (including Keith Giffen, Erik Larsen, Ron Frenz, and Rick Veitch) to recapture that Kirby Krackle magic.

Fantastic Four: The World's Greatest Comic Magazine was originally envisioned as a kick-off to the 2001 40th anniversary of Marvel's First Family, but it also serves as an entertaining and worthy re-read suitable for the one-time flagship title's recent cancellation.

Emperor Doom versus Fin Fang Foom in issue #12 is almost worth the price of
admission alone!

Getting Mod with Cataloguing Comics

The Collecterz.com software is very easy to manage.

Last Sunday, I took the next step in my 30+ years of collecting comic books, by finally purchasing software to assist in the tracking and logging of the comic books in my collection. Though I have always endeavored to maintain a running list of the titles I own, including those I have discontinued reading, it was always in a way that required my entering the most basic data (title, volume and issue number) by hand.

Twenty years ago it was using a spiral bound notebook and listing the issues I had. Two years ago, I began periodically updating a Word file with roughly the same information. Needless to say, I was way behind the times, and (despite having read comic books for so many years) having always thought of myself as a casual collector, I never really felt that I needed a software system to keep these things in order. I have often marveled at the weekly "collection porn" on Comic Book Resources, but rarely envisioned myself taking it to that level. I figured I did not need to as long as I bought, boarded and bagged my books regularly. After a week of beginning to enter those titles I still add to on Collectorz.com, I am prepared to admit I was wrong.

After previewing a number of free and pay comic book collecting software, I settled on Collecterz.com comic book option due to both its reasonable cost and the ease with which one could enter the information. With older titles from the pre-variant Nineties (a fad that really never faded from the comic book shop collecting scene) it was very simple. More recent titles from publisher such as Dynamite and Dark Horse who regularly publish issues with both A and B titles, it has taken a little longer. I am oddly okay with this as it requires me physically engaging with each issue. Thus far I am happy with the software and with the opportunity to organize that which I have spent so much time acquiring, reading and re-reading.

While I still have a long way to go to get through all of the titles I've been accruing over many years, there is time. This disgustingly cold winter should continue to provide plenty of opportunity to stay inside to methodically plug ahead long-box by long-box through my collection before too long.

The cloud interface allows for checking on titles on a
tablet or phone.

Comic Book Beard: Fantastic Four's Reed Richards?!?

Beard + long, unkempt hair + torn uniform = Bearded Reed!

In the past, I've mentioned that Reed Richards, Mr. Fantastic, was one character I have dressed up as in the past, and lamented that he did not have a a beard so I could continue a form of low-budget cosplay--I failed to recall the Tom DeFalco scripted and Paul Ryan drawn Fantastic Four run of the mid-1990's. Though not too fondly thought of by fanboys today, I rather enjoyed the run as it was took narrative chances and really played with the explorer/family dynamic of the team. During this time, following a short period being "dead," Reed turned up in the distant past (FF #407) much worse for the experience. The chief indicators of this descent into madness were his long hair, beard, and (naturally) a shattered psyche.

The worst part about Reed's sporting a very fashionable beard is that is appears to be symbolic of the character's emasculation; it is during this series of issues that Mr. Fantastic, mentally weakened from his experience, cedes leadership of the team to the newly independent(ish) Invisible Woman. Issues later, when he finally does shave, his character reverts back to his confident, egotistical, totally in control self. So while Reed does briefly sport a rockin' beard, it does come at a price, his sanity, a startlingly common plot device you'll notice when consistently presented baby-face heroes get hairy in comics.

Can Reed really be expected to build a time machine when he can't even cut his hair?

Quest for Comic Book Beards

The first of November provides me with the quick opportunity to combine two of my favorite "activities" (or activity and non-activity) , collecting comic books and not shaving. With both No Shave November and Movember upon us, it is time to offer tribute to some comic book icons who (despite no longer living in a Sixties day-glow world) currently, or in the past, have rocked facial hair.

Based on this pic, the last 9 years have been
much harder on me than I thought!

My goal, in addition to this quickie intro, is to attempt to identify as many mustachioed or bearded characters from "mainstream" comic books  in my collection. Some choices may be sort of obvious (at least to comic book fans) such as Marvel's Thor or DC's Chief of Doom Patrol. Having never really given it much thought in the past, it occurs to me that there just may be 30 panels with (fairly) significant characters to choose from... though as evidenced by my most of my previous past truncated "count downs," whether I have the time is another matter.

In addition to simply digging through long boxes for epic facial hairiness, I continue my search for an alter-ego. There was a time when I fancied the idea of trying cosplay at comic conventions (very cool, I know), but despite occasionally dressing up in a homemade Mister Fantastic costume for some Halloween 5k fun runs, such as the 2006 Johnny's Run Like Hell (pictured above), I could not commit to a hero/persona because of my disdain for shaving--which often results in an on-again/off-again stated of beardedeness. (Note: In recent years, however, Reed Richards, a.k.a.Mister Fantastic, has been featured with  beard in the "regualr" Marvel comics universe. Let me further refine my previous statement  by suggesting that rather than hoping for an appropriate alter ego, I would like to find an accessible alter ego--is it really an alter ego if no one but the geekiest of fanboys can recognize who one is dressing as... even one as well known as a member of Marvel's First Family?

So it is with my razor firmly secured in the medicine cabinet, and my comic book long boxes at the ready, that I jump into Movember/No Shave November on a quest for Superfriends with a propensity for facial hair...

Great Issues: Superman (Vol 2) #50 (1987)

Superman versus Mr. Mxyzptlk with an assist from Lex Luthor's fat cells!

With the past weekend's release of the Zack Snyder's Man of Steel, the Internet is abuzz with Superman related stories and reminiscences. One solid retrospective is the article The Greatest Superman Stories, According to Our Readers by Russ Burlingame on Comicbook.com. Always looking for opportunities to offer my two cents, I thought I'd troll through my own long boxes (composed primarily of 80's and 90's Superman, Action Comics, Adventures of Superman, and Superman: Man of Steel) for a favorite story (or two).

Cover by Jerry Ordway.

My first choice was an easy one as it is an anniversary issue that features pencils from some of the definitive Superman artists of the past while telling a story with significant ramifications for the future, Superman (Second Series) #50 from 1987. Issue 50 is the final installment of a four-part story arc entitled "Krisis of the Krimnson Kyrptonite," during which Superman has been rendered powerless due to Lex Luthor's use of the dreaded red kryptonite. Art is provided by a who's-who of Superman artists including the legendary Curt Swan, John Byrne, and one of my all-time favorite creators, Jerry Ordway, who also serves as the story's writer.

During his lengthy run with the character, Ordway always seemed to balance the heroics and humanity necessary to tell a compelling Super-story, and this issue, "The Human Factor" shows him firing on all cylinders. This is an historic issue in Superman-lore as it concludes with Clark Kent's proposal of marriage to Lois Lane, who (of course) accepts.



Seriously, how could she resist?

This issue provides the perfect comic book palette cleanser for a fanboy such as myself after having seen the new Superman movie, Man of Steel (2013). Superman (Vol. 2) #50 demonstrates all the great qualities of a Superman story excluded from the film: a balance of humor, heart, action, and character development. More than anything, given Superman's diminished super powers, this is a Clark Kent story, depicting how the most powerful person in the world struggles with the fear of being rejected by the woman he loves.

Don't be fooled though, this is after all a superhero comic book, and Clark Kent/Superman ultimately goes toe-to-toe with not one, but two super-villains: egomaniac Lex Luthor and interdimensional imp, Mister Mxyzptlk. Additionally, this issue all features an uncredited special cameo by Marvel's First Family who also battle Mr. Mxyzplk, who it is suggested interacts in the Marvel Universe as a Man whose identify is not Impossible to guess.

An excellent example of comic book storytelling, heroics and characterization, Superman (Vol.2 ) #50 is available as a single (back) issue online for a very small mark up from the original cover price of $1.50 or, better yet, as part of the Superman: Krisis of the Krimson Kryptonite trade paperback.

Evil Reed Returns!

Evil Reed returns care of writer Josh Fialkov and penciller Carmine Di Giandomenico
in issue #25 of Ultimate Comics The Ultimates.

Maybe a return to form for DC Comics iconic Superman is not the only hope for rekindling my romance with superhero comic books. The return of "evil" Reed Richards as part of Ultimate Comics has already got me picking up the few recent back issues since his last appearance.


Cover of Ultimate
Fantastic Four # 15 (2004).

If there is one I enjoy about comic books its the well-written heel turn of heroes. This is especially so when it appears as though a forced or trite redemption is not in the future. One great example of this is the recent evolution of former super-hero Mr. Fantastic (Reed Richards) in the Ultimate Universe line of comic books published by Marvel.


Launched in 2000 as a hard reboot of the traditional Marvel characters (in geek-speak referred to as the "Marvel 616 Universe"), the line-up of titles had changed periodically, but the continuity (for the most part) has been consistent. My entre into the Ultimate Universe was the 2004 publication of Ultimate Fantastic Four #1, written by Brian Michael Bendis and Mark Millar with art by Adam Kubert. As a longtime collector of the original Fantastic Four (through numerous soft reboots past and present) I looked forward to being able to jump on with a legit first issue, and to follow my childhood favorites as updated, modern characters.



Cover of Ultimate Comics:
The Ultimates #9 featuring
the return of Reed Richards.

The key tact used by the creators to reinvigorate the team was to present them as teens rather than older men (and woman), in an effort to make them more relatable to the teens they had hoped would buy the comics. The younger Reed was here characterized as an idealistic, socially awkward super-genius who, rather than grabbing the mantle of leadership over the team, sat back as Susan Storm (now his age and intellectual equal--or better) asserted herself.

Over the course of the Ultimate lines history, and beginning with the Ultimate Enemy (2010) mini-series (the first of three four-issue miniseries eventually rebranded in total as Ultimate Doomsday)that teased the reveal of the "true face of evil" in the Ultimate Universe. The final issue of the third miniseries, Ultimate Doom, sees the full reveal of Reed Richards as this universes version of Doctor Doom, an individual who while not necessarily overtly "evil" does see the end (a perfected world) justifying the means (destruction and death). Eventually, Reed is defeated by the heroes and further spurned by Susan Storm, left to drift away in the N-Zone.

Ultimate Reed Richards.

 

Reed eventually returns (naturally) and his plan are further enacted in the revamped team book Ultimate Comics: The Ultimates (2011) written by  Jonathan Hickman and penciled by Esad Ribic. Oddly, while Hickman was developing the evil Reed in the Ultimate Universe, he is also scripting a respected run on the 616's Fantastic Four and, eventually, it's spinoff sister-title, FF.

Following Reed's defeat by the Ultimates nearly six months ago, and the books subsequent spiral off of my pull-list, I was glad to see that this week's The Ultimates #25 revealed that Reed was once again freed to work with BFF Ultimate Hulk and some new powerful allies. The fact that writer Josh Fialkov is at the reins is a positive sign too. I had dropped the book prior to the previous arc, having lost interest in the story which, despite promise, had crumbled under the weight of its own ideas and (in my mind) poor execution. As a fan of his work on DCs New 52 (and cancelled) title I, Vampire, Failkov and Reed have my dollars for at least a few more issues to see where this arc goes.

Here's hoping that The Ultimates continues to improve and that Reed's characterization does not result in his being simply a lackey... a dangerously boring heel-progression that the introduction of the new "big bad" suggests might be in the cards. The 616 Doctor Doom wouldn't settle for that, so let's hope the Ultimate Universe's doesn't either!

NBIM Day 22: Fantastic Four Chronicles (1982)

Parodies by both Fred Hembeck and Don Martinec (above) pepper Chronicles.

As National (Comic Book) Back Issue  Month  (NBIM) rolls on, and I reflect back on the titles I have thus far shared, it is more than a little surprising that I have yet to have posted about anything with the Fantastic Four (FF) or written and/or drawn by John Byrne--two of my all-time industry favorites. Like many, Byrne's run (starting first with breakdowns with issue #209 in 1979 and ending with issue #293 in 1986) on FF was both a gateway to comic book collecting and a high point. 

This cover, if net yet hanging
 in a museum, shoudl be.

During (and after) his FF work, I followed Byrne wherever he went wheter with Alpha Flight Volume 1 or to DC Comics Superman: Man of Steel reboot. I also stayed with the FF's various through various lurching starts, stops and start-up agains. I still collect FF, mostly out of affection for the past, and despite it's (to me) surprising recent success, have managed to be marginally engaged with the Hickman run. Maybe it's just that no one for me will ever create Fantastic Four adventures like John Byrne.

The Fantastic Four Chronicles, released in 1982 by FantaCo Enterprises (with the permission of Marvel Comics), is a collection of articles, interviews and recollections by many of the key contributors to the Fantastic Four mythos up through FF issue #241. John Byrne's essay "The Fantastic Four: A Personal Recollection" is one of a number of high points, written during the middle of his legendary run.

In 1982, the $1.50 cover price was something of an investment for a 13 year-old but one I made for two reasons: it was about the FF, so why wouldn't I buy it? and the beautifully realized cover by Byrne which, to my childhood eyes, appeared to have been painted in way that dictated it's hanging in a museum. After purchasing it, I enjoyed the pictures (especially the series spanning centerfold by Byrne) and read different parts of each interview and article before placing it into a comic book bag for safe keeping.

Eventually, many years later, I returned to the issue and read it, as a college student, for what it was: an interesting exploration into the creative and editorial process, and further evidence that those involved with comic books do (and should) love comic books. Fantastic Four Chronicles also includes interviews with Marv Wolfman, Len Wein, and others, while also offering a tribute to FF co-creator Jack "The King" Kirby. Toward the back, there is a cool "Fantastic Four Checklist" with to-date information about all things FF Marvel had published to date that surely fueled my collector fever by presenting comic books as archivable, lasting "things" to be savored, stored and shared.

While Fantastic Four Chronicles is out of print, and may be difficult to come by (that is part of the fun, isn't it?), copies (and collections of FantaCo's Marvel "Chronicles" series (including Daredevil and The Avengers) are out there for the finding, and worth the effort if you are a fan.

NBIM, Day 4: Franklin Richards, Son of a Genius (2006)

Cover to Franklin Richards, Son of a Genius #1 by Chris Eliopoulos and Marc Sumerak.

A Fantastic Four fan since childhood, there were periods of time where I would purchase nearly any book even remotely associated with the cast. Among those myriad, miniseries, one-shots and team-ups were more than a few "misses" when it came to quality. Fantastic Four Presents: Franklin Richards, Son of a Genius Everybody Loves Franklin, despite it's somewhat cumbersome title, however stands as one of the most pleasant surprises. The second in a series of one-shots devoted to Chris Eliopoulos and Marc Sumerak's Calvin and Hobbes-esque interpretation of Mr. Fantastic and the Invisible Woman's youngest child, Everybody Loves Franklin sets the character loose in a less-than-dangerous Marvel Universe.

The one-shot includes three stories, "Christmas Time Warp", "My Dinner with Doom(bots)", "Frankie, My Dear...", and "Now You See Me..." With a surprisingly cool iteration of H.E.R.B.I.E. the robot playing babysitter and straight man, Franklin travels through time, interacts with the evil Doctor Doom and, worst of all, needs to deal with Katie Power--who has a hu-u-u-ge crush on him.

The Calvin and Hobbes comparisons are easy to see in these panels from page 5.

This issue strikes me as a great back issue buy for a number of reasons. First, it is the rare true one-shot which requires no previous reading of the character to gain maximum enjoyment from the reading experience. Though the "real" Franklin has decades of complex back story, Eliopoulos and Sumerak's clean slate approach winks and nods at canon, but offers storytelling that appeals to even the uninitiated. Secondly, it is the (unfortunately) rare all-ages book that will have appeal to youngsters (and adults) who, unaware of Fantastic Four continuity, will enjoy the goofy action and wonderful visuals. It may also serve as a gateway comic to some of Marvel's recent, more common all-ages books tied into their film universe.

Fantastic Four Presents: Franklin Richards, Son of a Genius Everybody Loves Franklin is very likely available among the stacks at your local comic store at the $2.99 original cover price, or for much less in reduced price bins and longboxes.

Weekly Reading: "Darn You, Hickman!"

Slightly out of focus fresh (albeit small) pile o' comics!

It seems as tough each week, one book is concluded either via cancellation or simply conclusion, and another rears it's attractive head to be picked up and collected. Such is the burden of the fanboy... this week saw the conclusion of the initial "chapter" of Dark Horse's sci-fi book Dark Matters. Though additional "chapters" are suggested, one never knows when (or if) these plans will ever reach fruition as that call is likely dependent on sales--a factor I haven't tracked since reading the now defunct Wizard magazine back in the Nineties.

Taking Dark Matters' place on my pull sheet is yet another zombie book, '68 Scars from Image. Set during (and in) the Vietnam War, this book is actually the third miniseries of  larger story about the presence of zombies as part of the Vietnam conflict. I asked fro it to be pulled (and the trade paperback leading up to it) sight unseen in hopes of a new and interesting twist on the zombie genre. I haven't had a chance to read it yet, but a quick perusal reveals satisfactory art and ... you guessed it, zombies.

The third notable inclusion was the intended exclusion of the most recent Fantastic Four. About two months ago, I gave up on both this book and its sister series, FF, after throwing my figurative hands in the air following the recent (very well received) epic by writer Jonathan Hickman. I have even gone so far as to have both titles taken of my regular pull sheet. But, 30+years of purchasing makes one develop a strong appreciation (or habit) and after leafing through this week's issue #605, I did reluctantly purchase it.

Darn you, Jonathan Hickman! After resolving to discontinue this run of the Fantastic Four, you come up with, what is in effect, a pretty solid Reed and Ben story--a dynamic which has in the past brought out the best in many writers. As the panel to the left suggests (it's not spoilery in nature), this is a melancholy story of sorts that extends a previously established (new) aspect of Ben's "condition" while revealing potential future for many of the series' characters. This may be the best issue of the run and while I won't be adding the title back to my list just yet, you've likely bought my (apprehensive) interest for another issue or two.

This week's rather smallish list of purchases consists of:

'68 Scars #1 (Image)
Conan the Barbarian #3 (Dark Horse)
Dark Matter #4 (Dark Horse)
Frankenstein: Agent of S.H.A.D.E. #8 (DC)
Fantastic Four #605 (Marvel)
Halo: Fall of Reach #3 (Marvel)

Weekly Reading or "Why I Give Up On The Fantastic Four"

Despite negative commentary below, really, not a bad week, if I do say so myself!

Week-long school recesses are always a great time to catch up on light reading--or long runs of missed comic book series. In addition to the aforementioned The Walking Dead, Volume 3 trade paperback, I picked up a number of titles this week I had been looking forward to. After last week's uninspiring haul, and one that quite honestly had me questioning my commitment to more than one title, this week's issues seem to hold much more promise.

The only instant analysis I can offer is that a very quick read through of both Fantastic Four #603 and Uncanny X-Force #22 has only served to (unfortunately) reinforce my suspicions that I may be completely done with monthly Marvel Comics.

This is a disappointing turn of events, as I have been buying Fantastic Four for the better part of 35 years, and despite a lauded run by Marvel's latest "go-to" guy Jonathan Hickman, I am at the point where I have to confess to just not "getting it." Online reviews would lead you to believe that Fantastic Four (I can't even properly use the term "FF" as it has been co-opted by Hickman for use with a sister-comic entitled FF) is in the midst of a genre defining run. While I am glad that some like the stories (but would question how many are "new" readers), I find Hickman's big-thinking pseudo-science cold and unfeeling--just because the two character's who comprise the heart of the team--Sue and Ben--are always tearing up doesn't mean the proper emotional connection has been made with the reader. Well, this reader anyway.

Here's what I took home from the shop this week:

Uncanny X-Force #22 (Marvel)
Fantastic Four #603 (Marvel)
Prophet # 22 (Image)
American Vampire #24 (Vertigo)
The Sixth Gun #19 (Oni)
The Walking Dead #89, 90 , 93
The Transformers: Robots in Disguise #2 (IDW)
All Star Western #36 (DC)
I, Vampire #6 (DC)

The great news pertains to my latest fixation creating a pleasant challenge: resisting the urge to spoil events between issues 18 and 90 of The Walking Dead, as I am going to try my best to read them in order so that the narrative flow of the storyline remains intact. Over the next few months I hope to fill the gaps with trades, but the wait will not be easy. With any luck, next week's pull list will be short enough that I can pick up the fourth trade, too.