Tag: Jack Kirby

“Prisoners of Kurrgo, Master of Planet X!” 

While issue #6 is one of the best early issues of Fantastic Four, issue #7 is one of my least favorites. While the previous issue had a complete and compelling story featuring villains we’ve already met and care about, this was an episodic mish-mosh of old ideas and clichés that doesn’t add up to much. Despite those flaws, it’s not a horrible issue — it just feels like filler. Perhaps this had to do with the series going from a bimonthly to a monthly publication schedule, and Lee and Kirby had to crank this issue out quickly.

This one starts with Kurrgo, who’s the sort of character that populated a lot of the pre-hero Atlas series. An alien whose planet faces destruction from an asteroid on a collision course, he thinks the Fantastic Four can save his people.

Then we cut to the banter-filled intro of our heroes, who this time are quarrelling over a “government dinner” being held in their honor that no one except Reed is interested in attending. The strange reasons they all have for not wanting to go prompt even stuffy ol’ Reed Richards to roll his eyes in one panel. This sequence segues into a scene where Johnny takes a shower and Ben cranks up the hot water as a joke. Johnny flames on and turns the water to steam, setting off alarms. Reed uses his powers to check all the vents before he puts two and two together and realizes the junior members are horsing around again. Finally, they all head off to the dinner in the Fantasti-car, waving at folks on the road below. All this is a kind of fun character bit, though it also feels like definite filler and a scene that goes nowhere. It also lacks the polish similar scenes in the previous issues have.

When Kurrgo’s ship finally arrives, Lee and Kirby have a giant robot emerge using images ripped straight out of the classic movie The Day the Earth Stood Still. The plot gets even more weirdly complicated as the robot sends out a “hostility ray” that turns everyone on Earth against the Fantastic Four. The heroes themselves see the effect take hold in the midst of their “government dinner” with members of Congress and have to escape the Capitol building and get back to the Baxter Building. Kurrgo’s robot awaits them at their HQ and tells them the only way out is for them to go with him to Planet X and help Kurrgo save it. They agree, and head off into space.

Up to this point, Kirby’s art this issue is serviceable but lacking the impact that the previous issue did. The fourth part of this story, however, changes that with a great splash on page 15 with the Fantastic Four floating toward the ground in a futuristic city using and anti-gravity device of some kind. The splash for part 5 of this story is another great one that foreshadows the kinds of compositions and designs that would define Kirby’s amazing work in the late 1960s and 1970s.

The story remains a bit of a mess as the Fantastic Four meet Kurrgo for some exposition about how Planet X only has two spaceships and needs to save its 5 billion inhabitants from the asteroid that’s going to hit in 24 hours. There’s an obligatory and strange fight scene that ends as Reed agrees to help. The solution is a pretty good comic book plot twist, as Reed develops a shrinking ray to reduce the size of Planet X’s inhabitants to the point where they can all fit on a single spaceship, with the Fantastic Four free to return to Earth in the other. This works great for everyone except Kurrgo, who tries to keep a non-existent antidote for himself only as a way to enslave his people only to miss the flight and presumably die in the asteroid collision.

A lot of the ideas in this issue are interesting, but they aren’t well developed because the issue flits from one unrelated idea to the next too quickly to cohere into a solid narrative. The result is a story that’s underwhelming in comparison to the previous issue in particular, but still had some charm and wit for the casual reader.

This was one of the stories adapted with some significant changes for the first Fantastic Four animated series that aired in the late 1960s. I saw this episode of the show in reruns sometime around 1992 or 1993, just before I read the comic book version for the first time in the Marvel Masterworks edition. Based on what I recall of my reaction, that episode did little to improve on the comic book version.

Something really amazing happens this issue, as the book and its characters take over the book in the last half and start to run away with it, leaving behind a pretty pedestrian plot.

But first, there is some interesting stuff to talk about early on in this issue, starting with the cover, which announces the arrival of both the Fantasti-Car and the superhero costumes. It also is the first issue to feature the famous slogan “The Greatest Comic Magazine in the World!!” And for some reason, I’ve always been aware of a major anatomical error in Jack Kirby’s drawing of the Human Torch that was mentioned in the Overstreet guide listing for this issue. Before I had a reprint or chance to look at a copy of this issue, I was always curious what it was and a bit unimpressed when it turned out to be that the Torch has two left hands. I’m sure this was just a mistake on Kirby’s part, not caught by him or Stan Lee due to the speed with which they were cranking out material at the time. 

It’s also interesting to note that this was not the original cover. The rejected one — reproduced in a lot of places, including the second Marvel Masterworks volume of Fantastic Four — was more in line with the monster-hunters, investigators of the unknown vibe of the first two issues. There also are original, inked pages that show Sue and Reed wearing masks as part of their costumes, which sported a different logo with a stylized “FF” instead of the numeral 4. (You can see those images here.) These images make it clear that there was a lot of back and forth going on about how far to take Fantastic Four into superhero territory.

I have to say, regardless of whose idea it was or how last minute it was made, that abandoning the traditional secret identity was the right way to go because it really set Marvel apart from the DC comics of the era. Looking back at DCs from the late 1950s and early 1960s, it’s amazing how many stories centered on the hero’s fear of losing his secret identity. Superman in particular was less scared of any alien threat or supervillain plot as he was of Lois possibly finding out he was and — choke! — maybe even tricking him into marrying her! The absurd lengths to which DC often took this gimmick seems to have inspired Stan Lee in particular to just chuck it out the window with not just the Fantastic Four. Given Lee’s “circus ringmaster” public persona, it should surprise no one that he frequently says that if he were a superhero he would want to tell everyone. Outside of a character like Spider-Man, who was the first young hero, and the X-Men, who as mutants face threats from a prejudiced public, the need for a secret identity is very dubious. Iron Man is a good example of a character who in many ways benefits in terms of reputation and interest in his businesses by being in the public eye as a superhero.

Of course, Stan also may have just realized that the team ran around their first two issues with no masks and their identities known to all and decided it was too hard or silly to try to ret-con that out.

On to the story itself, which immediately introduces The Miracle Man as the villain of the piece. Of all the early villains, Miracle Man made the worst impression. It took until Fantastic Four #138 for him to reappear, and he met his eventual end at the hands of Scourge, who killed a ton of deadweight villains in the mid-1980s.

What’s unusual in retrospect is how obviously bad a villain he is and how unimportant a role he ends up playing in this issue. He starts off by using his magic act to embarrass the Fantastic Four, especially Thing, as he shows the audience he can transform into a giant, a gas cloud and a wielder lightning. Even such acts, meant to terrify and astonish, mean nothing to the reader when compared to the interesting dynamic between the members of the Fantastic Four.

The Fantasti-Car gets a pretty low-key debut, as Kirby just integrates into a scene featuring the heroes returning home from the theater. In today’s comics, it would get not just a splash page but also some fancy display lettering.

Comparatively, the Baxter Building gets a huge introduction, complete with cutaway diagram that includes a great caption in which Lee urges fans to clip and save the panel “for future reference.”

The second chapter opens with more Miracle Man, but even on page 6 of this issue, he’s becoming irrelevant to the story. Where the developments with the heroes are convincing and real, the plot in which the Miracle Man threatens a televised movie premiere (did they ever really do that?) by bringing a display of a giant monster to life is pointless. What Miracle Man hopes to gain from this is never made really clear. You would think having a snazzy and impressive stage show would be enough. But no, he’s going to throw away his already successful show biz career in an ill-conceived criminal plot that has no chance of succeeding.

Anyway, the cool stuff is all happening back at the Baxter Building as Sue unveils the groups costumes, though they are better described as uniforms. I think this was another rebellion against the superhero status quo. Lee has recalled that fans really wanted the costumes and the secret headquarters, so he delivered. But giving the team uniforms rather than individual costumes just makes a bit more sense considering that these outfits are functional and practical for people with the Fantastic Four’s abilities as much as anything.

When the group jumps into action to stop the Miracle Man’s rampaging “monster,” it’s again the heroes that seize the imagination of the moment with the inventive splitting up of the Fantasti-Car into four smaller cars that can operate independently. The battle ends with Susan stowing away on the Monster Man’s getaway vehicle, prompting lots of anxiety and blame laying among the others.

In these early issues, Sue is actually a slightly stronger character and integrated into the action better and more convincingly than she is later on. It’s long been a problem with the character that she’s defined pretty much solely by her relationships with the others (Reed’s girlfriend-fiancee-wife, Johnny’s sister, crushing on Namor, etc.). Throw in that her power is to become invisible while the other members of the group are so flashy and she becomes a very easy character for creators and fans to ignore. But a lot of those relationships hadn’t yet been nailed down by this point, and Susan is put again to good effect her using her power for the obvious purpose of stealth.

Sue’s disappearance is a great plot point because it brings out and highlights the emotions of Reed, Johnny and Ben. It’s a lot like the original Star Trek episode “The Naked Time,” which was a key one in that series for exposing the inner conflicts of the series characters.

In the end, defeating the Miracle Man is pretty easy for the group. The final sequence in which the guys jump on an old racing car to chase after Miracle Man and a flat forces Reed to become a tire is padding and not very good padding at that. It seems as though Kirby hadn’t quite figured out yet how to set these characters apart.

The issue ends on a really strong note as the Human Torch gets fed up with all the squabbling and quits the group. In their 1985 book The Comic-Book Heroes, Gerard Jones and Will Jacobs write that this was unconvincing because Lee failed to set it up well enough with foreshadowing. I get the point, but don’t really agree. The Torch is already well established as a hothead and the constant squabbling establishes the tensions that make this point work. Sure, Lee and Kirby could have given it a little more space, but I still think it works.

This is an issue that looked at strictly from a modern critical standpoint comes up as something of a disappointment. But it also is clear that this issue is a major turning point in the series and that somehow the whole is really starting to add up to something much greater than the sum of its parts.

“The Fantastic Four
Meet the Skrulls From Outer Space!”
Script by Stan Lee 

Pencils by Jack Kirby 

Inks by George Klein (again, that’s the best guess from Mark Evanier, whose opinion in such matters is eminently trustworthy) 

Letters by John Duffy 

The second issue picks up pretty much where the first left off, developing and adding certain themes and motifs the series would repeat endlessly. It’s also a wildly uneven story, but one whose highs outweigh the lulls.

The Fantastic Four continue to be anti-superheroes in this issue — eschewing costumes and hanging out in everyday settings such as Reed’s apartment and a hunting lodge. Apparently, they are already quite famous by this point — the cops all know the FF on a first-name basis and, in an early scene, Sue is given high celebrity status by a jeweler who, frankly, should have known better than to let the Invisible Girl see his famous jewels. But at the same time, they’re also freaks that people are quick to turn against at the slightest provocation. (Apparently, the polarized opinions of 1960s Marvel Universe foreshadowed the current political discourse in the United States.) This dichotomy more than any other has come to define the Marvel style, from these early years through the present day.

But the opening sequence does its job of making the reader wonder what’s going on. The reveal of the Skrulls is a bit clumsy, but it works and is actually quite creepy. And is it just me, or do I see a somewhat familiar face in the Skrull’s transformation?

It’s kind of easy to forget that these stories that are now so familiar to comics fans were meant to be contemporary entertainment for children in 1961. These days it’d be hard to imagine Reed and the gang wearing plaid, smoking pipes and hanging out in a hunting lodge, with Johnny checking out a rifle and Ben throwing a mounted bear’s head through the window in one of his tantrums. I’m glad the tantrum, the squabbling and the sudden make up are the precedent-setting part of this scene, because 500-plus issues of Reed and Johnny going hunting while Ben and Sue dressed the kill would not be much fun.

The next segment of this story sees the U.S. Army locate the hunting lodge and demand the FF surrender. And this is the first spot where the issue goes off the rails. Rather than a really cool scene of the FF resisting the Army’s attacks, repelling bullets, melting missiles, etc., the FF just go ahead and surrender. The Army sticks them in special cells designed to resist their powers, but it was all for naught as the FF escapes in the most obvious fashion possible in about five minutes. A scene like this makes me think that Lee and Kirby were avoiding a potential conflict with the Comics Code Authority, which required that “(p)olicemen, judges, Government officials and respected institutions shall never be presented in such a way as to create disrespect for established authority.” Either way, it’s the first sequence in the series that interrupts the build up of credibility and believability the series is really aiming for.

That the first scene after the escape sees the FF reconvening and picking up their argument where they lift off only confirms the filler nature of the escape. But it doesn’t necessarily get better as Johnny suggests they smoke out the imposters by attacking a rocket launch and hoping it’s confusing enough to allow the real FF to infiltrate the alien group. It only makes sense if the Skrulls are completely random in their attacks, i.e., they have no set plan whatsoever and don’t even know what they are doing.
Still, this being comics, it works – and Johnny infiltrates and exposes the alien group. The flare gun that creates the flaming “4” in the sky returns from issue #1.

And while I doubt Johnny Cash read Fantastic Four comics, I do like the idea that this panel might have influences the writing of his classic 1963 tune. Maybe in the Marvel Universe, Cash’s “Ring of Flame” was a major hit.

As we move into part three, the comic recreates the cover image inside the story again as the battle gets going. Sue and Thing obviously contribute less here than in the first issue. I do like the moody coloring in the panels of some of these early Marvels, such as this one, in which Reed and Sue look like Martin Landau and Barbara Bain from Mission: Impossible or Space: 1999.

The story goes a bit crazy again as the FF find the Skrull ship (in a water tower!) and go into space to bluff the aliens into not invading Earth. Reed does this by presenting comic book images as real, thereby proving that alien species can be dumb as rocks and still master interplanetary travel. It’s also one of the first signs of Stan Lee putting plugs for his other comics directly in the story — something that was common in some of the earliest Marvels before continuity, footnotes and Bullpen Bulletins pages kicked in and took line-wide promotion to the next level.

The poor Thing has had next to nothing to do in this story until the return to Earth causes him to revert to human form. This comes out of nowhere and is surprisingly touching — easily the best part of the book. Kirby does a great job of framing the transformation slightly off center and then of giving Ben a look of pure joy that turns to misery as he reverts in short order to the rocky Thing. This stuff is really good and the first sign that Lee, Kirby and Marvel were on to something substantial. Panel 7 on page 21 is particularly good, with the Thing’s head slumped in resignation as beautiful Sue and Johnny try to comfort him.

The story gets weird again as the Army trusts Reed enough to go back to his apartment and fight the three remaining Skrulls held there. It’s explained in the copy that one of the Skrulls went with the FF into space and is returning with the rest of the Skrulls, but none of this is actually seen. I suspect some much later issues found a way to explain this more fully. 

The issue again gets back on track just in time for a good twist ending in the EC tradition, as Reed hypnotizes the Skrulls into becoming cows and forgetting who they were. The word play, with the Skrulls asking for a “contented” existence should be lamer than it is. But somehow it works and gives the issue a good, upbeat finish

The issue wraps up with a pin-up of The Thing, who at this point had yet to develop his chiseled features and was more of a lumpy, scaly looking character.

I really like the pacing of these older issues and the breaking down of the story into chapters that run 5 or so pages each. Today, each chapter in this story would be an issue unto itself.

Again, there’s something very cool about the idea of doing the Fantastic Four less like superheroes and more like conventional adventurers. This was the last non-superhero story, as fans’ demands prompted Stan Lee to go in a more conventional and more commercial direction. I wonder if this was the first instance of superhero fans’ outcries altering the direction of a series. It certainly was not the last, but going for a more conventional superhero premise certainly was a major one for Marvel in particular and comic books in general.

This issue really is divided up into chunks — all of them quite good. The first chunk introduces the characters, starting with Susan Storm. Sue, often given short shrift in later issues, gets a lengthy intro here. She’s also pretty aggressive in testing her powers by making sure the cab driver really can’t see her at all.

The origin sequence is told in a no-nonsense manner. I think Kirby draws a particularly pretty Sue in panel 2 on page 9, even as Lee has her accusing Ben of not loving America enough to beat the Commies into space. This sort of thing was pretty normal back in 1961, but out of date even at the time as Yuri Gagarin of the Soviet Union became the first man in orbit on April 12, 1961, a good four months before this comic came out.

The scene on page 10 in which the cosmic rays begin to penetrate the space ship is surprisingly well done. Kirby’s depiction of the rays as some kind of bolts combined with the “RAK TAC TAC TAC” sound effect similar to the noise a Geiger counter makes was a great start. But the coloring also was great, with pinks, yellows and blues – it just looks great. The crash on the next page? Not as great, but panel 3 on page 11 is again a really nice mix of image, copy and color.

So after 13 pages, the story shifts yet again to the Mole Man story, starting with a splash panel that is a slightly different version of the cover.

There’s also mention of the Monster Island’s position that references Australia, South America and French Africa, setting the story in a wider world than DC’s were. Yes, the FF are based in this issue and next in “Central City,” but that quickly becomes Manhattan. A lot of Silver Age DC stories often tried to set themselves in the kinds of normal, suburban settings most kids of the times would be familiar with. (Don’t get me wrong, there were plenty of other dimensions and alien planets in Silver Age DC stuff, but when they did Earth, they usually did Earth-Bland. Is that one of the 52 Earths in the new multiverse? If not, it really should be … )

The opening of the Mole Man bit, with the monster rising out of the Sahara to attack the French Legionnaires is exactly the sort of thing Lee and Kirby had been doing in the monster books Atlas had been doing at the time. That might be one reason why this sequence works well; another would be that it was drawn well and the coloring was excellent.

One of my favorite bits is the throwaway concept of the Valley of the Diamonds, which just shows up for a few panels and, aside from looking and sounding cool, plays no real role in the story.

The Mole Man’s origin, told in a single page, is full of themes that Marvel would later exploit to much better effect. Mole Man is told he’s ugly, he can’t get the girl, he’s laughed at and ostracized by society until he finds his own kingdom to rule and is condemned to never leave it due to a strange accident.

The end sees the FF returning home, and a caption promising more in the next great issue.

Looking at the issue as a whole, it really is a terrific story. I can’t help but wonder what might have happened with this series and Marvel had Lee and Kirby resisted the demands to turn the group into more obvious superheroes. As it is, this concept could fly as a TV series (an expensive one sure, but sticking to a kind of X-Files or Fringe style approach would have made this possible long before CG VFX were around.)