Review by Karl Verhoven
When issued in 2013 this seemed very much a random collection of a comics run from almost forty years previously, especially as most of the content would appear again a year later in Marvel Masterworks: Fantastic Four Volume 16. It’s usually the more expensive hardcover that precedes the paperback.
The introduction to the hardcover is enlightening, though, for Roy Thomas revealing he was having personal problems at the time he wrote most of this material. It perhaps accounts for some uncharacteristic sloppiness from a writer whose plots at this state in his career were generally tight and made sense. Here we have the Thing turning against his colleagues for barely any reason at all and a menace returned from the 1950s who outclasses the Fantastic Four, yet is felled by the convenience of absorbing too much energy. Thomas, however, should be credited for later using that solution far more effectively (and amusingly).
Better moments include Thomas attempting to move Invisible Woman forward into a more self-sufficient personality via considering the possibilities of an invisible force field, and good use of the Thing. As noted, this doesn’t start well, but Thomas always gives Ben Grimm an authentic voice – “awright jerks, the gloves are off. You asked for this and Brother Benjy’s gonna see you get it!” – and comes up with an interesting story arc for him. We know losing his powers isn’t going to last, but as a diversion it works. Luke Cage, on the other hand, is wasted potential. The best here is kept until last. Able to transform into almost anything or anyone while remaining green and purple, the Impossible Man is a divisive character, but Thomas and George Pérez having him plague the Marvel offices is still funny as he imitates assorted heroes.
Pérez draws much of this collection as an artist finding his individuality, and certainly benefiting from Joe Sinnott’s inking. He brings, power, dynamism and elegance to his work, and the progress from the first story to the last a year later is visible. By the end he’s a far more confident artist. Most remaining art is by John Buscema, while for once Rich Buckler leans more into Buscema’s style than that of Jack Kirby.
The most ambitious story sags for packing in too much with a needless diversion to return a surprise character from the past, but has scenes to cherish, such as the Thing taking on Galactus, the High Evolutionary facing off against the same, and the FF versus a golden gorilla. The ending also works, both in solving the threat and providing a laugh. It suffers, though, from a problem throughout of Thomas being unable to curtail the dialogue. Even the smallest panels are packed, and so much of it is unnecessary. It’s going to put people off.
Beyond the Marvel Masterworks edition, these stories are also found spread across The Crusader Syndrome and Counter-Earth Must Die, and in black and white as Essential Fantastic Four Vol. 8.
