Review by Karl Verhoven

Despite the credits noting so many writers, this volume continues the alternating of Gerry Conway and Roy Thomas, with the latter responsible for half the book and continuing into Volume 16. Likewise, the majority of the art is by Rich Buckler.

However, the opener has Marv Wolfman pit the FF against the Four Horsemen of the Apocalypse. In his introduction Thomas mentions Wolfman considers it a poor story, and the writer’s right. However, equally average is Conway’s ham-fisted extrapolation of Thundra’s female empowerment by introducing her male counterpart. “I’ll break your neck for that yearling! No-one injures Mahkizmo… least of all an effeminate like you!” Ooh-er! Just check out what a brute he is on the sample page. On one splash page Buckler infamously draws Reed Richards with an extra hand instead of a foot. This is three parts of repetitive filler leading to an unintentionally hilarious solution. Neither is Len Wein’s framing sequence for a reprint issue anything to cheer.

Continuing from Volume 14, Medusa is replacing Sue Storm, and Wein is better when collaborating with Chris Claremont and John Buscema on the introduction of Jamie Madrox, Multiple Man. This is still fun, as is the following three-parter, which Wein and Thomas co-write. Wein conceives a clever reason why the Silver Surfer has to serve Doctor Doom, whose gloating dialogue is ramped to the max, and Thomas finishing everything off provides a bittersweet solution.

Buckler’s art is problematical, proved by the Panelocity site to have been extensively swiped from Jack Kirby, fifteen different panels in the opening story alone. By the time Bucker drew these stories he was no novice still learning from others, but several years into a reasonably well paid career, and the expectation should have been that he drew his own poses.

John Buscema does, and he’s responsible for the art opening the best of this volume. In 1975 a superhero story occupying four issues was still a relative rarity, but Thomas comes up with an intriguing plot that’s not at all over-stretched. Beginning with the return of Arkon, a favourite character of his from Avengers days, he involves the FF with a shady businessman and a tour of alternate universes while investing the entirety with a respectable pace that never slows. The return of Invisible Woman is welcome, but after giving her a team-saving moment before this story, Thomas writes her as someone needing protection. Even allowing for a less enlightened era it’s awkward reading. Still, on the bright side Panelocity only notes the single Kirby swipe from Buckler over the three parts he draws.

Surprise follows surprise here in a complex plot that rolls out satisfyingly. Allow for Thomas’ stylistic quirks and it still reads very well. It’s the longer stories that are the best of this collection, but be warned there’s considerable filler also. These stories are also available in black and white as Essential Fantastic Four Vol. 7.