Fifty Essentials in Fifty Days 42: Essential Fantastic Four Vol. 06

cover of Fantastic Four Vol. 06


Essential Fantastic Four Vol. 06
Stan Lee, Archie Goodwin, Roy Thomas, John Buscema and friends
Reprints: Fantastic Four #111-137 (June 1971 – August 1973)
Get this for: The Fantastic Four within Kirby or Lee — three stars

Curse my luck! Just as with the Essential X-Men yesterday, I never managed to get volume five of Essential Fantastic Four either, which means I missed the end of the Lee-Kirby run. Instead volume six offers Big John Buscema on art duties, with Stan Lee, Archie Goodwin, then Lee again and finally Roy Thomas handling the writing. Good though these gents are, their work can’t compare to what Jack Kirby brought to The Fantastic Four. Even though Stan Lee himself is still around for a while here, the chemistry he had with Kirby is gone. Kirby and Lee could always spark ideas of each other, now Lee had to do it all himself.

It’s not all bad though. For a start, this volume contains the first Fantastic Four comic I ever read, #113, translated in Dutch as Vier Verdedigers Classics #59 which an uncle had in his collection — and I have now. That issue was the start of the Overmind saga and its cover is burned in my memory. It was not just the first FF comic I read, but must have been one of the earliest superhero comics I ever saw and it fascinated me. It’s a typical late Silver Age Marvel issue, continuing directly from the previous issue, with cameos from the Hulk and Agatha Harkness and a guest star appearance by the Watcher, while the action never stops, all drawn in that wonderful expressive, larger than life John Buscema style and it’s just crack to a certain kind of geek boy (or girl) like me. It may not have been half as good as what Lee and Kirby had been up to before, but I didn’t know anything about that.

The whole Overmind story showed that some of the creativity of that earlier run was still present in The Fanastic Four, as the Overmind turned out to be the last living survivor of an ancient alien race, the Eternals, scource of the cosmos, who had conquored all before them until they reached the planet Gigantus, which dwarved Galaxies and was their doom. As the Eternals’ own planet died beneath them, they put all their mental power into the Overmind and send him into the universe to sleep and wait until the time was right for the Overmind to come from beyond the stars and crush the universe! The Fantastic Four are helpless before him, even need to teamup with Doctor Doom to fight him but even that is not enough, though Doom does get his crowning moment of awesome as he fights an unequal battle with the Overmind but keeps standing for he is … DOOM! In the end though it’s the Stranger, revealed to be the combined might of the people from Gigantus who tames the Overmind.

The Overmind is however the only original villain to fight the Fantastic Four this volume, as for the most part they fight old enemies and even menaces originally introduced in other series. Diablo and Galactus return for rematches, they get involved with the Inhumans again, the Frightful Four come back with a new member, and so on. There are other changes in the status quo though. Roy Thomas lets Sue Richards quit the FF and makes Medusa of the Inhumans her replacement, while the relationship of Johnny Storm and Crystal also ends, as the latter falls for Quicksilver, the mutant Avenger. On the whole The Fantastic Four is much more soap opera orientated then before, less interested in exploration as well, more going for fighting “conventional” villains. It’s not as wild as the Lee-Kirby runs, but it’s far from bad either.

As for the art, John Buscema is as great as Kirby in his own right and I do like the grandeur he gives a character like the Watcher, as well as the body language he gives his characters. A more conventional artist than Kirby perhaps, but you can hardly fault him for that. I love how he poses his characters, the stances he gives them which betray their emotions and character. Every now and again, often in just some small throwaway panel I just have to stop and study his art, bask in it.

A letdown after the sheer mastery of the first four Essential Fantastic Four volumes? Perhaps, but Buscema’s art and the efforts of Lee, Goodwin and Thomas make up for a lot.

Fifty Essentials in Fifty Days 28: Essential Iron Man 03

cover of Essential Iron Man vol 3


Essential Iron Man Vol. 3
Archie Goodwin, George Tuska, Don Heck and friends
Reprints: Iron Man #12-38 and Daredevil #73 (April 1969 – June 1971)
Get this for: solid but not outstanding superheroics — Three stars

The trouble with getting your Essentials from a remainders shop is that sometimes you miss a volume. In this case, they had Essential Iron Man Vol. 1 and 3, but not 2. Which means that I got to read the first half of Iron Man’s stint in Tales of Suspense, but missed the second half or the first eleven issues of his solo title. Oh well.

Essential Iron Man Vol. 3 opens with Iron Man #12 and the aftermath of a conflict I never got to see. While Iron Man/Tony Stark is trying to clear up the wreckage of that fight, we are introduced to a new villain: the Controller. This is one of the classic Iron Man villains, somebody I’ve always liked, especially the design of him. For some reason I thought he was a Jim Starlin creation, but instead it turns out Archie Goodwin and George Tuska were responsible for him. Here Basil Sandhurst is an archetypal mad scientist made an invalid by a lab accident and using his research into mental powers to enslave people and used their strength. Old shellhead is at a bit of a disadvantage with him, not as strong and having to hold back for fear of hurting the controller’s victims as well. It all seems hopeless for Iron Man, but he manages to defeat the Controller in the nick of time, just as the issue ends, in what seems to become a pattern over the volume. Villain is introduced, fights shellhead, stalemates or even defeats him, Iron Man returns to fight again, has some trouble still and then overtly quick resolution.

It’s typical for the stories in this volume, these rushed endings. The writing is a bit sloppy, whether it’s Archie Goodwin, Allyn Brodsky or Gerry Conway at the helm, none of the stories really stand out, not even the ones introducing villains like Midas or Spymaster and there’s no way of escaping the fact that this is a rather mediocre run of issues in general. All titles have periods like that, when even good writers like Goodwin can’t make them come alive. The central irony of the series is that Tony Stark’s weak heart means he has to be Iron Man; because he has to wear a heart regulating iron chest plate all the time he’s just as safe in his armour, maybe even safer, as he is behind his desk. It’s a good concept, but it’s played out by now and the drama it causes feels tired.

You also get the feeling that neither Goodwin, nor Brodsky or Conway quite knows what to do with Iron Man. So you get offbeat stories as in #26, in which the Collector forces Iron Man to travel to another dimension to steal a Solar Sword, or #32 in which black skinned emissarry from the starts crossed paths with shellhead or even the second part of the Spymaster saga, in which old Avengers villains the Zodiac turns up and the climax sees them, Iron Man and his allies Daredevil and SHIELD agents Nick Fury and Jasper Sitwell transported to another world to fight their duel there. There is also a lot of late sixties/early seventies ecological concern creeping into the series, several stories dealing with pollution and the like and the suspicion a big conglomerate like Stark Enterprise is held in, though Tony Stark is of course on the side of the righteous.

There’s no great political sophistication in these stories. Eco protestors are shown as basically good people, if sometimes naive or misguided, when pollution occurs at a Stark plant it’s caused by criminal underlings, not deliberate policy and while the protesters make good points, they should give the system (and Tony Stark) a chance to set things right. The usual vague liberal stew in other words, where problems are always caused by bad people rather than have more systemic causes.

The artwork in this volume is mostly by George Tuska, with fillins by Johnny Craig and Don Heck. To be honest, it’s difficult to know who draws which issue were it not for the credits; their style is very similar. It’s decent, not very exciting, somewhat bland but does what it has to do.

So yeah, not quite an essential volume of Iron Man.