Planet Of The Apes Verses Fantastic Four #4 - Marvel Comics

PLANET OF THE APES VS. FANTASTIC FOUR No. 4, July 2026

Whilst this twenty-page-periodical probably does provide “Marvel’s first crossover with the Planet of the Apes” with “a stunning and startling conclusion”, perhaps the comic’s biggest shock will actually come in it making its regular readers think they might have somehow missed an instalment of the mini-series somewhere down the line. Indeed, Reed Richards’ miraculous invention of a gauntlet which “should transfer the cosmic energy from the target to the wearer via touch” comes completely out of the blue, and may well cause many a bibliophile to pick up this title’s previous edition to double-check just where the conveniently useful device has mysteriously come from.

Furthermore, some within this publication’s audience may also become a little confused when it’s revealed that the Red Ghost has actually wiped Gaius’ memory of his attack upon the Orangutan's political stronghold, so that the President will rather handily believe his previous confrontation with the super-villain was just a “dream”. This unconvincing plot point was admittedly hinted at towards the end of this limited run’s last issue. But many onlookers will doubtless still point out that Josh Trujillo desperately needs to clarify the ape’s wavering position via both the book’s opening synopsis, as well as Ivan Kragoff’s detailed exposition at the magazine's start.

Lastly, the notion of Doctor Doom providing the Fantastic Four with the very means of their successful return to our modern-day world somewhat grates upon the nerves too. The Monarch of Latveria is well known for using his mechanical Doombots to save him from having to place his own person in physical danger. Yet in this adventure the American author would have his fans believe that the fully-armoured megalomaniac would fit one of his automatons with just the sort of in-built Di-Quantum Stabilizer and co-ordinates needed to get his greatest enemies home.

Far more agreeable than this comic’s writing is therefore the incredibly well pencilled layouts of Andrea Di Vito, which must genuinely have caught some by surprise when the Red Ghost’s Super-Apes suddenly turn upon their human master. Of particular note has to be Mikhlo absolutely socking Kragoff into the next century with a jaw-breaking wallop, as well the nostalgic use of the exercise pen as a background for Johnny Storm’s fight against General Ursus; “Climb up and get me if you want me so badly!”

The regular cover art of "PLANET OF THE APES VS. FANTASTIC FOUR" #4 by Greg Land & Rachelle Rosenberg

Planet Of The Apes Verses Fantastic Four #3 - Marvel Comics

PLANET OF THE APES VS. FANTASTIC FOUR No. 3, June 2026

Considering that this twenty-page-periodical contains plenty of pulse-pounding action, a nicely depicted trip down memory lane for those onlookers familiar with Franklin J. Schaffner’s 1968 motion picture, and a reasonably impressive cliff-hanger, there shouldn't be any doubt that Josh Trujillo’s script for Issue Three of “Planet Of The Apes Verses Fantastic Four” ticks all the boxes. However, for some within this mini-series’ audience the American author’s handling of Doctor Zaius and General Ursus seems somewhat off-key, as if the writer has somehow erroneously swapped the two leading cast members’ personalities around with one another.

For starters it really is hard to believe that the fiery “main antagonist of the 1970 film Beneath the Planet of the Apes” would so willingly obey the orders of two humans, even if one of them was Doctor Doom. Of course, it’s difficult to know what feats of strength the ruler of Latveria may well have shown the Supreme Commander of the gorilla army off-screen so as to bend the senior soldier to his will. But even so, to hear Ursus so timidly agree to the Red Ghost’s plan and then accept Victor placing his hand on his shoulder just doesn’t ring right; “You will serve us, General, and in turn, you will reign as ruler of this accursed planet.”

Likewise, the orangutan politician’s behaviour is a far cry from the member of the Ape National Assembly seen on the silver screen, with Zaius almost suffering an embolism due to his uncontrollable anger when referred to as a “monkey” by Ben Grimm. This insult sets the Minister of Science off into a savage attack against the likes of Cornelius and Zira – who are trying to protect the powerless Fantastic Four – and yet when Taylor previously tied him up and gagged him in the Forbidden Zone, the Chief Defender of the Faith appears uncomfortable at best, and certainly doesn’t have his armed entourage shoot the human down in cold blood when he eventually has the chance.

Far more successful than the writing is therefore arguably Andrea Di Vito’s artwork, which adds plenty of dynamism to the various demonstrations of super-powers this comic’s storyline requires. In addition, the Italian illustrator does a very good job of morphing Ape City’s most recognisable characters into “The Apetastic Four”, as well as suggesting the viciousness of the one-sided struggle taking place within the simians' municipal as President Gaius’ governmental forces are overrun by Ursus’ more numerous farmers.

The regular cover art of "PLANET OF THE APES VS. FANTASTIC FOUR" #3 by Greg Land & Rachelle Rosenberg

Planet Of The Apes Verses Fantastic Four #2 - Marvel Comics

PLANET OF THE APES VS. FANTASTIC FOUR No. 2, May 2026

Whilst there’s arguably little doubt that Issue Two of “Planet Of The Apes Verses Fantastic Four” should provide the vast majority of its readers with an enthralling experience, the sheer number of subplots Josh Trujillo throws into the twenty-page periodical’s narrative suggests that the Los Angeles-born writer was perhaps a little concerned as to whether his story would have the legs to run for an entire “four-issue Marvel comic miniseries.” In fact, towards the middle of the book the whole premise of the title appears to suddenly swing around to following in the footsteps of Michael Wilson and Rod Serling’s screenplay for the 1968 motion picture, rather than anything particularly original; “Based on what Taylor said, I have an idea of where the ship crashed. But not what condition it’s in.”

To make matters even more confusing though, the American author also creates a large, gun-toting population of straw-hat wearing gorilla farmers who rather unconvincingly rise up to assault the soldiers of Ape City simply because a red-hooded stranger informs them over a night-time campfire that their civilisation’s leaders are feeding four humans with their harvest. So bizarre a predicament genuinely smacks of this tale rather desperately needing some sort of threat to draw the likes of General Ursus back to the capital, and debatably appears disappointingly contrived at best.

What does land well however, has to be Johnny Storm’s discovery of a submerged ANSA space vessel at the bottom of the Forbidden Zone’s lake. This sequence should bring back a wave of nostalgia to any bibliophile who has watched Franklin J. Schaffner’s original science fiction flick, and also muse the ramifications of poor Stewart’s demise when the meta human spots the dead astronaut’s rapidly aged corpse still inside her compromised hibernation pod.

Perhaps therefore the most consistent thing about this publication are the pencils of Andrea Di Vito and Erick Archiniega’s colours. Together the artists do an absolutely first-rate job of depicting this crossover comic’s considerably-sized cast, with the rather imaginatively rock-covered Doctor Zaius proving especially memorable. Furthermore, Urus’ brush with one of the Red Ghost’s super-apes really brings home just how physically strong gorillas are – whether it be the General or Miklho.

The regular cover art of "PLANET OF THE APES VS. FANTASTIC FOUR" #2 by Greg Land & Rachelle Rosenberg

Planet Of The Apes Verses Fantastic Four #1 - Marvel Comics

PLANET OF THE APES VS. FANTASTIC FOUR No. 1, April 2026

Described by its New York City based publisher as “an exciting new chapter in Marvel Comics’ storied history with Planet of the Apes” when it was first announced in November 2025, Josh Trujillo’s plot for this four-part mini-series’ opening instalment probably caught quite a few of its readers off-guard by stripping Reed Richards’ famous super-team of their special powers. Indeed, for those bibliophiles expecting to witness the Fantastic Four dynamically going toe-to-toe against the gorilla soldiers of human-hating General Ursus, this particular twenty-five page publication will undoubtedly strike them as being rather sedentary in its storytelling; “Your quality remains undetermined, but you leave this tribunal with many questions.”

True, the American author’s narrative isn’t entirely confined to being a dialogue-driven courtroom drama, and does – courtesy of an adrenalin-fuelled flashback sequence – provide a genuinely scintillating bout of fisticuffs between Stan Lee’s co-creations and the Red Ghost. However, just how Ivan Kragoff managed to penetrate the well-documented security systems of the Baxter Building with his Super-Apes, let alone activated Mister Fantastic’s Di-Quantum Stabilizer is never explained, and may well resultantly strike some in the audience as simply providing this comic with some much-needed “Thok!” before the book gets too bogged down with a seemingly never ending carousel of conversations.

Perhaps this publication’s best moment therefore occurs just after a de-powered Fantastic Four miraculously arrive in one of the large crop fields belonging to Ape City, and are quickly captured by a handful of soldiers. This sequence does a good job of acknowledging one of the defining scenes in Franklin J. Schaffner’s 1968 movie “Planet of the Apes”, and certainly brings back memories of actor Charlton Heston deftly dodging one of the gorillas’ nets as they unsuccessfully tried to ensnare his silver screen alter-ego.

Likewise, Andrea Di Vito does a first-rate job in capturing all of Twentieth Century Studio’s science fiction characters – such as “Cornelius, Zira, Ursus, and of course Dr. Zaius!” Furthermore, the illustrator's backgrounds make it is very easy to imagine the increasing roar of a hostile crowd as the leading member of the Ape National Assembly, Minister of Science and also Chief Defender of the Faith desperately attempts to “follow the rules set forth by the Lawgiver” so as to ascertain just who these (new) talking humans actually are.

The regular cover art of "PLANET OF THE APES VS. FANTASTIC FOUR" #1 by Greg Land & Rachelle Rosenberg

Fantastic Four #12 - Marvel Comics

FANTASTIC FOUR (FACSIMILE EDITION) No. 12, February 2026

“Arguably one of the first Marvel Crossovers between titles”, Stan Lee’s script for Issue Twelve of “Fantastic Four” clearly contains a number of mesmerising moments – not least of which is the eventual battle between the titular characters and Bruce Banner’s gamma green alter-ego. However, the twenty-three page long narrative does seem to take an eternity to reach so cataclysmic a confrontation, and also features a fair few eye-raising scenes which make it very much of its time; “Miss Storm, a pretty young lady can always be of help -- just by keeping the men’s morale up!”

Foremost of these early Sixties setbacks has to be the treatment of Invisible Girl and her inability to even stay visible whilst watching recorded footage of the Incredible Hulk. Sue’s entire development arc throughout the comic is simply to stand on the side-lines and only step in when either a befuddled armed soldier gets close to shooting at anything which moves, or an utterly oblivious Russian spy is about to blow away Aunt Petunia's ever-loving blue eyed nephew with a handy "atomic-powered weapon". Indeed, Mister Fantastic’s eventual wife doesn’t even fight the founding Avenger, preferring instead to impotently run away from the behemoth whenever she gets within arm's reach.

Similarly as disconcerting has to be the American author’s depiction of the Thing and Human Torch – both of which debatably come across as being disagreeable and dislikeable. Admittedly, Ben Grimm's hot-headed attitude to show-off his great strength does result in him rather enjoyably duking it out with “a company of infantrymen” directly outside the City Symphony Auditorium. But this clash is soon resolved courtesy of a lungful of sleeping gas, and quickly gets swallowed up amidst a series of increasingly dialogue-driven scenes featuring General “Thunderbolt” Ross.

Luckily Jack Kirby appears to be desperate to imbue as much of this “book-length epic” with his legendary, pulse-pounding pencils as his panels can take. The aforementioned punch-ups between the super-group and Hulk, as well as the Thing’s bout against the American military are packed full of adrenalin-fuelled action. Furthermore, the prolific artist does a first-rate job in depicting the mental aspirations of Reed Richards’ team-mates once they meet their formidably-strong adversary, and even manages to make the re-designed Fantasti-Car appear as “impressive-looking” as Captain Nelson’s superior officer suggests.

Script: Stan Lee, Art: Jack Kirby, Inking Dick Ayers, and Lettering: Art Simek

The Thing [2025] #5 - Marvel Comics

THE THING No. 5, November 2025

For those fans looking forward to the much-anticipated “Ben Grimm verses Wilson Fisk” fist-fight promised by this comic’s New York City-based publisher’s solicitation, Issue Five of “The Thing” was probably a major disappointment. In fact, the notorious Kingpin doesn’t even make an appearance in this twenty page periodical until its very end, when an enraged founding member of the Fantastic Four unceremoniously deposits a trussed up Marty Flynn inside the super-villain’s personal office; “Heard you wuz lookin’ fer me. Do I get the $10 million bounty fer bringin’ myself in?”

Instead, Tony Fleecs attempts to pen a pulse-pounding finale between this mini-series’ titular character and a somewhat suped-up Hammerhead – which largely falls flat on its face when its revealed that throughout the adventure Aunt Petunia's favourite nephew has been holding back his super-strength, but won’t be during this particular confrontation. To make matters even worse though, the so-called punch-up doesn’t even last half a dozen panels, and unsurprisingly concludes with the Maggia crime boss flat out on the street.

Debatably this book’s best moment therefore comes when it is revealed that the man who “used to beat up a little kid twenty years ago” was actually behind poor Sara’s abduction in the first place, and only contacted Grimm for help when it became clear he realised he wasn’t going to be an important player in Fisk’s scheme to “scrape people’s powers and use it to make other guys stronger.” This revelation makes Flynn all the more loathsome, and assists the Thing later on in showing his fiery ward just how utterly pathetic bullies are compared to those who genuinely know when it’s “Clobberin’ Time!!!”

Lastly, Justin Mason’s layouts do a fairly sound job of supporting Fleecs with his storytelling – albeit the artist’s somewhat cartoony, ofttimes irregularly angled figures can be a little too jarring for so serious a theme as child kidnapping. In addition, whether intentional or not, the illustrator appears to pencil Ben as being as wide-eyed and circular as possible. Such a style may well suit someone smooth-skinned like the Blob or Volstagg the Voluminous. However, this technique debatably doesn’t work when applied to a meta-human who is supposed to be covered in rock-like armour plates as the lead protagonist is.

The regular cover art of "THE THING" #5 by Nick Bradshaw & Rachelel Rosenberg

The Thing [2025] #4 - Marvel Comics

THE THING No. 4, October 2025

There’s a distinct atmosphere of sheer zaniness to Issue Four of “The Thing” that may well please many fans of the Fantastic Four's founding member. Indeed, whether it be the members of the Serpent Society all wisely agreeing that ten million dollars isn’t anywhere near enough cash to tackle Ben Grimm head-on, or the rock-covered Yancy Streeter running as fast as he can from the Red Ghost and his nefarious apes, everything within Tony Fleecs’ twenty-page long narrative appears to have been penned for laughs; “Nope. Absolutely not! I ain’t punchin’ monkeys today.”

However, such a humorous tone also wrecks any solemnity to the titular character’s dilemma of desperately needing to return a seemingly vulnerable, kidnapped child to her home, whilst simultaneously fending off a seriously long roster of the Marvel Universe’s most notorious super-villains. Poor little Sara is clearly becoming increasingly traumatised by the entire ordeal. Yet due the sheer number of slap-stick scenes crammed into this comic, the child’s terror arguably just doesn’t appear all that convincing, and resultantly therefore loses much of the drama it ordinarily would have had.

Easily this book’s biggest disappointment though surely comes with the Thing’s abrupt ability to stop the mighty Juggernaut mid-charge with a single hand, and then end the pair’s highly anticipated confrontation after just a few panels. Such a titanic, highly promising punch-up – which even garners the attention of cover artists Nick Bradshaw and Rachelle Rosenberg - probably had a high number of this mini-series’ readers drooling at the prospect of some top tier fisticuffs. But instead Grimm doesn’t do much of anything except toss Black Tom across Lower Manhattan, so the supposedly unstoppable Cain Marko has to regrettably rush off to find him.

Also rather disappointing is Justin Mason’s pencilling, which just seems to be slightly off-kilter when it comes to him depicting this publication’s considerably-sized cast. The illustrator's goofy facial expressions and awkward-looking poses particularly jar with the seriousness of Ben's perilous predicament, and such a sketching style resultantly detracts from some of the more adrenalin-fuelled moments - like when the Thing and Moonstone momentarily stand toe-to-toe so as to exchange punches on a street corner.

The regular cover art of "THE THING" #4 by Nick Bradshaw & Rachelel Rosenberg

The Thing [2025] #3 - Marvel Comics

THE THING No. 3, September 2025

Simply pairing sweet Aunt Petunia's favourite nephew up with a little girl for the vast majority of a twenty-page publication packed full of gun-happy triggermen and super-powered villains might have struck some within this comic’s audience as an odd choice for Tony Fleecs; especially when Ben Grimm has so many notable New York City-based allies with which he can ordinarily turn to in times of trouble. But in doing so, the author rather surprisingly generates a palpable sense of danger throughout this narrative, which genuinely should make most readers uneasy as to whether the faint-hearted adolescent is actually going to survive the book intact.

Indeed, just as soon as Mary’s niece makes a shocking appearance amidst the burning ruins of a dockland warehouse, it arguably seems almost certain that a stray bullet from one of Hammerhead’s goons, or a projectile thrown by the deadly Bullseye, may well end her young life before this mini-series’ titular character has had the chance to rescue her. Such a concern really does stick to the storytelling throughout too, and even increases once the vicious gangster’s threat has been replaced by that of the crowbar-wielding Dirk Garthwaite and his murderous Wrecking Crew; “You four are about to find out that it’s a bad idea to pick on little kids when I’m around.”

Adding to this growing sense of Grimm’s inability to protect the understandably distressed child is Fleecs’ knack to also imbue one of the founding members of the Fantastic Four with his own physical vulnerabilities – such as being completely exhausted from not having slept in days. This fragility is debatably seldom shown in one of the Marvel Universe’s most popular power-houses, and helps highlight that despite all the slugger’s extraordinary strength, he is in reality just one man fighting off a veritable army of criminals – all of which desperately want to claim the ten million dollar bounty on his head.

Sadly, what does slightly let this comic down though is some of Justin Mason’s pencilling, which every now and then depicts the Thing as being disconcertingly smooth and circular in appearance. Obviously such a drawing technique is well-known to help artists work out the composition of their panels, and the location of any figures within it. However, the illustrator seems to incorporate this technique into his actual finished work, and resultantly presents Ben as an unnervingly fluid, ball-headed bruiser, as opposed to his much more irregular, chitinous-covered appearance.

Writer: Tony Fleecs. Artist: Justin Mason & Color Artist: Alex Sinclair

The Thing [2025] #2 - Marvel Comics

THE THING No. 2, August 2025

Whilst on paper a street-level scrap between a certain super-strong “idol of millions” and “the world’s deadliest assassin” might not appear all that appealing to many readers – on account of Benjamin Grimm’s unbreakable skin being imperious to even the most deadly of throwing stars, Tony Fleecs still arguably manages to make the potentially one-sided skirmish work inside Issue Two of “The Thing”. Sure, the author ‘magically’ imbues Bullseye with the sort of super-strength needed to stand toe-to-toe with the Fantastic Four’s founding member. But this contrivance doesn’t surprisingly prove all that integral to the enthralling flow of the fight. 

Indeed, much of the entertainment to be gained from this quite lengthy confrontation is due to the writer permeating the punch-up with plenty of tongue-in-cheek moments, such as when Lester catches Grimm in the mouth with a razor blade and causes the former “scrawny kid from Yancy Street” to momentarily babble incomprehensively due to the minor injury. Furthermore, despite the final result never really being in any doubt, the possibility of Daredevil’s arch-nemesis identifying the crime boss he is working for persistently hangs in the balance, and thus keeps the audience interested in the struggle’s ultimate outcome; “That guy was taking orders. He’s somebody’s guy…”

Fleecs also seems to do a good job in highlighting Ben’s savviness when it comes to him investigating the disappearance of Marty’s niece. Many other writers may well have simply penned the titular character mindlessly smacking his way through countless minions, hit men and super-villains before simply rescuing the young girl. However, in this mini-series, the “ever-lovin' blue-eyed Thing" is shown rather impressively utilising his experience, local knowledge and fame to track the kidnappers down to “some shady waterfront warehouses”.

Possibly the only element to this twenty-page periodical which therefore does slightly let the storytelling down is some of Justin Mason’s artwork. The illustrator is clearly able to proficiently pencil the vast majority of this comic’s sense-shattering shenanigans. Yet every now and then also appears to have rushed sketching a figure, such as some stiff-looking panels of an arrogant Bullseye stood high atop a street sign-post, or a possibly overworked splash of Hammerhead, which somewhat strangely appears as if it was a much smaller picture which has subsequently been ‘blown up’ so as to help fill out the book.

Writer: Tony Fleecs. Artist: Justin Mason & Color Artist: Alex Sinclair

The Thing [2025] #1 - Marvel Comics

THE THING No. 1, July 2025

Described by “Marvel Worldwide” as being “perfect for newcomers and True Believers alike”, Issue One of “The Thing” certainly starts out rather well – thanks largely to Tony Fleec’s script almost immediately transporting the reader to the Negative Zone so they can witness the Fantastic Four battle a gigantic, multi-tentacled space squid. In fact, the only slightly disconcerting element to so sense-shattering a shenanigan is the “critically acclaimed” comic book creator’s decision to suggest that Ben Grimm isn’t really giving the punch-up his very best effort on account of suffering with some serious self-doubts.

Happily however, the titular character’s rather puzzling lack of confidence in his formidable super-strength doesn’t last terribly long, and once the former Yancy Street gang member has showered/slept the American author wastes absolutely no time in getting him neck-deep into this mini-series’ central storyline; “I wouldn’t even be here if it wasn’t for -- It’s my sister Shelly’s kid… We can’t find her.” Such succinctness really does help maintain this twenty-five page periodical’s impressive pace, and also adds an extra element of determination to Benjy’s investigation as he wastes absolutely no time in visiting Josie’s drinking bar for a lead.

Also well worthy of mentioning has to be the multiple Eisner Award-nominee’s ability to surprise his audience with the presence of Melvin Potter’s villainous alter-ego. Initially penned as being unconscious with drink, this classic Daredevil foe doesn’t at first appear to be any sort of threat to one of the world’s biggest hitters. However, despite the Gladiator not even wearing his trademark “wrist-blade thingies”, he’s still sure to make many a bibliophile sit up in shock when the Thing unwisely wakes him from the man's drunken stupor.

Infuriatingly though, what does rather let this publication down is some of Justin Mason’s pencilling. Now there should be little doubt that the Kentucky-born illustrator’s drawing style contains all the ‘raw energy’ which Stan Lee would apparently always look for in his artists. Indeed, many an onlooker will undoubtedly wince whenever a combatant throws a punch in this book. However, some of the panels debatably seem to have been rather rushed, with figures’ faces and expressions appearing awkwardly angular, and Potter in particular appearing far less defined than Grimm’s highly-detailed countenance.

Writer: Tony Fleecs. Artist: Justin Mason & Color Artist: Alex Sinclair

What If...? Dark: Venom #1 - Marvel Comics

WHAT IF...? DARK: VENOM No. 1, October 2023

For those readers able to overlook the unconvincing manner in which Ben Grimm momentarily becomes Venom, along with a few other bemusing contrivances, this thirty-page periodical’s plot probably proved pretty pulse-pounding in August 2023. True, the comic arguably focuses more upon the Lizard’s truly savage merger with Spider-Man’s infamous symbiote than it does the titular character. But it still manages to deliver a wonderfully gratuitous conclusion which is genuinely not for the faint-hearted; “You thought I wassss nothing more than a creature. You thought you were the ssssmartest man around when we were sssstuck on Battleworld…”

In fact, such is Stephanie Phillip’s portrayal of Reed Richards as the very worst kind of self-opinionated, holier-than-thou scientist – who at one point quite literally cuts his wife’s sound protestations short with a terse command - that a fair few bibliophiles may well have disconcertingly felt that Mister Fantastic receives his ‘just deserts’ in the murderous maw of Curt Conner’s ferocious alter-ego when artist Jethro Morales prodigiously pencils the large reptile bloodily biting off his head.

Disappointingly though, the actual storyline leading up to the death of the Fantastic Four’s ordinarily super-supple leader is somewhat head-scratching, courtesy of the author turning Grimm into a strangely disagreeable dullard. Of course, many within this book’s audience will doubtless point to the Yancy Streeter’s desperate desire to look human again as being one of the protagonist’s main drives. Yet so experienced an inter-dimensional traveller would surely never simply release the deadly Venom symbiotic simply because it pitifully taps on its glass container when he approaches it..?

To further compound the problem however, the writer would then also have any looker believe that Ben would subsequently turn to the Lizard for help in retaining his new-found good looks in an underground sewer-based scientific facility, and simply allow one of Peter Parker’s most prominent arch-villain’s to surreptitiously snatch the sentient alien from him. This entire scene sadly smacks of Phillip’s just wanting to replicate a similar situation seen in Tim Story’s 2005 “Fantastic Four” movie where the Thing, housed inside a giant glass chamber, desperately needs to revert to his ‘monster self’ before the antagonist defeats both Invisible Woman and her husband, and resultantly begs the question as to just why she didn’t pen for Connors to become Venom in the first place..?

Writer: Stephanie Phillips, Artist: Jethro Morales, and Colorist: Israel Silva

Fantastic Four #605 - Marvel Comics

FANTASTIC FOUR No. 605, June 2012

Despite its New York City-based publisher’s attempt to imbue this book with some semblance of pulse-pounding speed, courtesy of a disingenuous solicitation synopsis which sensationally declares “the team must literally fight to save their future”, Jonathan Hickman’s plot to Issue Six Hundred And Five of “Fantastic Four” is pleasingly slow-paced and simply uses good penmanship to enthral its audience rather than action-packed fireworks. Indeed, considering that this twenty-page periodical contains nothing more than a series of dialogue-driven, sedentary set-pieces, many of this comic’s readers probably still felt somewhat emotional once its storyline concluded; “I’ve missed you too, Stretch.”

To begin with the American author depicts a genuinely caring Reed Richards, who whilst delighted that the Thing is finally able to revert “to his normal human form for approximately one week every year”, is clearly still worried about his friend’s future, and therefore devises a plan to travel forwards one thousand years. Ordinarily such a plot thread could lead to all sorts of unbelievable flights of technobabble-fuelled fancy. But on this occasion the writer simply settles for penning Ben Grimm’s increasingly solitary existence, where even the immortal Franklin Richards eventually leaves the super-team “to run with the Gods.”

This decline is genuinely touching, as the Fantastic Four’s former powerhouse wearily wanders through an age where there are quite literally hundreds of Future Foundation graduates willing to put any unruly villain back in their place without a moment’s notice. As a result, Benjamin becomes increasingly mournful that the original roster are long dead, and, with typical Yancy Street humour, that the former astronaut hasn’t even “had a hamburger in fifteen hundred years.”

Much of this pathos is generated by the prodigious pencilling of Ron Garney, whose ability to sketch the Thing with an increasingly long beard, really helps sell the eternity which has passed in between Reed Richards’ time skips. Interestingly however, the artist doesn’t seem to be quite on his best game at the book’s start, when strangely both Mister Fantastic and his father seem to be lacking in facial detail – at least until the narrative has them arriving in the Big Apple in 3012 A.D. aboard an invisible observation platform.

Writer: Jonathan Hickman, Artist: Ron Garney, and Color Artist: Jason Keith

The Immortal Hulk #41 - Marvel Comics

IMMORTAL HULK No. 41, February 2021

Promising that artist Joe Bennett would be pencilling a stonkingly good rematch against the titular character’s long-time rival, Benjamin Grimm, Al Ewing’s script for Issue Forty One of “Immortal Hulk” must have proved something of a disappointment to the majority of its readers with its predominantly sedentary storyline. True, Bruce Banner’s alter-ego does manage to swap a few punches with the Fantastic Four’s strongest member, but the jade giant’s “puny” physical condition makes this confrontation so absurdly one-sided that it arguably comes as something of a relief when the duo set aside their differences and tuck into a hot meal at a local diner; “Big beef dog and all the extras. Made with my own rocky hands.”

In addition, the usually kind-hearted Thing is disappointingly penned as being a bit of a dislikeable bully in “The Man Downstairs”, who having quickly realised that something is badly amiss with his opponent’s famous formidable super-strength, appears to take great delight in laying down a significant smackdown upon his surprisingly fragile foe. Such a disconcertingly dark version of “Aunt Petunia's favourite nephew” is explained away by the British writer as being payback for when the Hulk “beat me into a coma on my honeymoon”. However, it is still debatably difficult to reconcile a deeply religious hero who had his Bar Mitzvah “thirteen years since the Cosmic Rays” with this comic’s incarnation who seemingly revels in the stark terror of a clearly surrendering adversary.

Sadly, the former “2000 A.D.” author’s narrative also seems to rely far too heavily upon a few illogical plot points to push this twenty-page periodical along. For starters, having established in this ongoing book’s previous instalment that in order to change back into his human guise Joe Fixit’s persona has to literally tear himself out from inside the Hulk’s body, Ewing suddenly reverts back to the green Goliath’s old transformation process simply so he can pen for the Thing to punch an utterly defenceless ‘Bruce Banner’. This inconsistency is then followed up by the authorities, who have been desperate to incarcerate the founding Avenger since the Iowa massacre, impotently standing outside a cordoned-off funfair, whilst Mister Fantastic allows his team-mate to enjoy a cold beer with their ‘detainee’ and ultimately let the man go scot-free.

The regular cover art of "IMMORTAL HULK" #41 by Alex Ross

Marvel Two-In-One #3 - Marvel Comics

MARVEL TWO-IN-ONE No. 3, May 1974

Featuring a Gil Kane cover illustration which would actually go on to serve “as the template for Daredevil’s 1975 Slurpee” cup, as well as promising a sense-shattering shoot-out involving the Man Without Fear and a gang of well-armed Black Spectre soldiers, Steve Gerber’s narrative for Issue Three of “Marvel Two-In-One” probably ended up deeply frustrating the vast majority of its readers in May 1974. Indeed, with the bi-monthly’s repeated references to the storylines of other “Marvel Comics”, such as “Shanna, The She-Devil” and “Ka-Zar”, as well as the book’s unfinished plot disagreeably continuing straight into the next edition of “Daredevil”, it must have been difficult for this nineteen-page periodical’s audience not to see this publication as anything other than a blatant advertisement for some of editor Roy Thomas’ other titles.

To make matters worse, even the half-realised insight into “Daredevil’s ongoing battle with Nekra and the Mandrill” which this comic does depict isn’t arguably all that satisfying, courtesy of the Missouri-born author’s insistence to predominantly focus the opening third of “Inside Black Spectre!” on Reed Richards’ experiments upon the child-like Wundarr in order to design the super-powered alien a brand new costume. True, this sequence does lead to an enjoyable acrobatic display from Matt Murdock’s alter-ego, but it’s then rather trivialised by depicting the blind crime-fighter having to ask the Fantastic Four for his baton back like he was some hapless child who had inadvertently kicked their ball over into someone’s back garden; "Listen… I need your help. I, eh, left my billy club up on your roof, and…”

Adding to this book’s choppiness is an utterly whacky theatre date Murdock ‘enjoys’ with Foggy Nelson’s mysterious sister Candace. Featuring an actor dressed as Captain America who is then brutally gunned down by a suicidal Adolf Hitler lookalike, this farcical fuss seems to have been solely manufactured as a contrivance to have Matt chase after the Black Widow’s “bizarre aircraft” across New York’s skyline, and makes as much sense as Daredevil subsequently attempting to drop-kick Ben Grimm into submission so as to steal the Fantasticar from the top of the Baxter Building.

Resultantly, perhaps this comic’s one saving grace are Sal Buscema’s layouts, which together with Joe Sinnott’s inking, incredibly manage to bring many of the aforementioned oddities to dynamic life. The heroic duo’s fisticuffs against Nekra and her goon squad appear especially well-pencilled, with an enraged Ben Grimm tossing around his would-be attackers like they were skittles, and completely ignoring the best efforts of Natasha Romanova to bring the Thing down with her famous Widow’s Sting.

Writer: Steve Gerber, Artist: Sal Buscema, and Inker: Joe Sinnott

Marvel Two-In-One #2 - Marvel Comics

MARVEL TWO-IN-ONE No. 2, March 1974

Considering that many readers of Steve Gerber’s narrative for Issue Two of “Marvel Two-In-One” most likely bought the comic based upon its cover illustration’s very specific claim to feature a story with “Namor and Ben Grimm -- side by side in battle for a man’s life”, this nineteen-page periodical’s actual plot probably came as something of a disappointment to its audience in March 1974. For whilst The Thing and the Sub-Mariner do eventually “work in tandem for the nonce - - [to] defeat what seems to be a mutual foe”, the pair are portrayed as predominantly going about their separate day-to-day business until Namorita’s desire to protect the child-like minded Wundarr brings them together towards the very end of the book.

In fact, the Missouri-born writer seems infinitely more interested in penning some additional background for his co-creation from Beta Rigel, than he does pitting this publication’s lead characters against the extra-terrestrial robot assassin known as a Mortoid. And rather disconcertingly, the Will Eisner Comic Book Hall of Famer seems to have been scratching around for inspiration even for that, at least until he appears to have sought inspiration from Jerry Siegel and Joe Shuster’s origin story for Superman; “Hektu was our world’s greatest astronomer until that fateful day he went mad, insisting that our planet Dakkam was doomed - - That our sun would go nova, reducing our sphere to a cinder… He built a rocketship to take himself and his family away…”

Mercifully however, none of these quibbles stop “Manhunters From The Stars” from being a darn good yarn, with Namor in particular providing plenty of amusement on account of his infuriating pomposity. Believing panic “is but proof of his guilt” and that none may harm any person “under the protection of Namor and Atlantis” no matter where within New York City they may be, the human hybrid lurches from one misunderstanding to the next, perhaps inevitably ending up trading blows with the Fantastic Four’s strongest member in Times Square.

Providing plenty of prodigiously pencilled panels, not to mention an incredible amount of Namorita’s bare flesh, is Gil Kane, whose instantly recognisable style provides Ben Grimm with some phenomenally powerful punches as he batters away against the likes of Wundarr and the Sub-Mariner. Indeed, in some ways it is a pity that Gerber didn’t allow for this comic’s two central attractions to slug it out against one another for a while longer, rather than cut their violent hostilities short by depicting the pair siding together against a common alien foe.

Writer: Steve Gerber, Penciller: Gil Kane, and Inker: Joe Sinnott

Marvel Two-In-One #31 - Marvel Comics

MARVEL TWO-IN-ONE No. 31, September 1977

It is genuinely hard to reconcile the fact that Issue Thirty One of “Marvel Two-In-One” was penned by the same man who would later go on to spearhead “DC Comics” Eighties revival of “The New Teen Titans” with George Perez. For whilst Marv Wolfman’s seventeen-page long narrative occasionally proves an entertaining experience, such as when the Thing battles a couple of impressively drawn HYDRA-Foils in the Thames and makes them “go boom”, the vast majority of it contains so many ludicrous plot devices that it is little wonder the former “Marvel Comics Group” Editor-in-Chief purportedly described this ‘Spider-Woman’ story-arc as “poor” and “hideous” in “a late 1978 interview”.

To begin with “My Sweetheart.. My Killer!” features an almost schizophrenic Benjamin Grimm, whose cover illustration depicting him with five toes on one foot and four on the other is genuinely the least of the human mutate’s problems, as he desperately searches the depths of the River Thames for “the Spider-broad… ‘cause only she knows where [the abducted] Alicia is.” Grief-stricken, distraught at the prospect of “my gal” being dead, and threatening to “re-arrange yer face… [as] my Alicia’s too important ta me ta not take off the kid gloves” Bashful Benjy then incomprehensibly lets his foe go simply because the hypnotised HYDRA agent explains “the explosion must have cleared my mind”, yet made her memories as to where she took Masters “vague in my mind.”; “Awright, Lady, gimme yer hand… an’ let’s go sit down fer awhile. Mebbe, if ya rest up a bit, you’ll start rememberin’.” 

Such a total change of heart for the series’ main protagonist is as convincing as HYDRA selecting a blind sculptress to be the first of the terrorist organisation’s “invincible warriors”, especially when the Inkpot Award-winner describes the Thing as being “mad, perhaps madder than he has ever been before in his life.” Little wonder Ron Wilson subsequently pencils the rock-skinned powerhouse rather disconcertingly gnawing some metal tubing apart with his bare teeth…

Equally as poorly conceived is Wolfman’s revelation that the middle-aged heavily-moustached criminal Chauncy is in reality a Dutch “specially trained” Nazi agent who during the war buried a treasure worth “untold millions” somewhere in the House of Commons. Admittedly it’s not too hard to believe that a German spy may well return to the location of his wealth after the political institution had been rebuilt, and subsequently become confused as to precisely where he concealed his fortune. But just why would Heinrich Buerer create a map by carefully etching “the exact location of the treasure on” five pieces of “valuable merchandise” so he would decades later have to locate all of the “separated” artefacts first? 

Writer/Editor: Marv Wolfman, Pencils: Ron Wilson, and Inks: Irv Watanabe

Marvel Two-In-One #30 - Marvel Comics

MARVEL TWO-IN-ONE No. 30, August 1977

Arguably little more than a vehicle to firmly establish then-publisher Stan Lee’s copyright to the name Spider-Woman, following the character’s “Marvel Spotlight” debut in February 1977, this rather inconsistent Marv Wolfman narrative is made all the more inaccessible by the Editor’s disconcertingly bizarre attempt to imbue all of his English locals with a stereotypical ‘Limey’ dialect that causes armed robbers to repeatedly refer to one another as “mate” and “lad” as they go about their nefarious business, and has London’s truncheon-armed “blinkin’ Bobbies” commenting “It’s like the ruddy Blitz all over again!” whenever an explosion occurs. Indeed the irritation caused by the American author’s obsession for his characters’ persistent (and inaccurate) verbalisation of “‘ave, ‘old and ‘ey!” is only bested throughout the seventeen-page periodical’s dialogue by his insistence on having every Policeman and Queen’s Guard yelling “bloody” profanities whenever trouble occurs.

Blade’s co-creator also seems to have tried to cram Issue Thirty of “Marvel Two-In-One” with as many coincidental contrivances as possible. The biggest being Ben Grimm just “‘appenin’” to hear a “muffled explosion” whilst nonchalantly passing Westminster Abbey “on his way back to his London hotel” and then subsequently literally bumping into the two self-same thieves responsible for the blast inside the Tower of London. Indeed The Thing’s early observation that “everywhere I go, problems!” Problems!” is a major understatement considering the numerous unlucky happenstances which befall the “ever-lovin’ blue-eyed Benjamin J.” within this magazine; “Y’Got that, Creepy?”

Quibbles as to Wolfman’s manufactured plot development and annoying clichéd colloquialisms aside, the biggest disappointment of the “Battle Atop Big Ben!” has to be the Shazam Award-winner’s ineffective use of Jessica Drew. For although the HYDRA agent features rather prominently throughout the adventure, Spider-Woman’s subjugation to the worldwide subversive organisation’s “superior hypnosis techniques” provides the colourfully-costumed “dame” with scant opportunity to display any sort of personality and instead disappointingly restricts “Web-Head’s sister” to such banal statements as “Impossible” My spider venom-blast didn’t stun you? But it could kill a raging rhinoceros” and “H-He’s stronger than they told me. I can’t destroy him… not yet. Better retreat… Return for further instructions.”

Fortunately John Buscema’s well-detailed breakdowns still helps make this Bronze Age “battle over London for the life of Alicia Masters!” a rather entertaining experience, courtesy of the Port Jefferson-born artist’s animated illustrations of the comic’s “orange monster” battling the brightly garbed, gracefully gliding anti-heroine, and the machinations of characterful criminals Chauncy and Trevor.

Writer/Editor: Marv Wolfman, Pencils: John Buscema, and Inks: Pablo Marcos

Marvel Two-In-One #29 - Marvel Comics

MARVEL TWO-IN-ONE No. 29, July 1977

One of Marv Wolfman’s earliest issues as writer for “Marvel Two-In-One”, “Two Against Hydra” disappointingly demonstrates just how badly manufactured the two-time Jack Kirby Award-winner’s narratives could be during the Bronze Age of Comics. For whilst Benjamin Grimm and his girlfriend Alicia Masters vacation to London England isn't overly contrived, even if it includes them having to finish “Reed’s mission… [to] dig up Doctor Louis Kort…[and] get ‘im ta fix up Deathlok ‘fore corpse-face dies!” The Brooklyn-born author’s attempt to explain Shang Chi’s presence within this tome by co-incidentally just happening to be gloomily cogitating outside an address within which the blind sculptress screams as she unluckily slips “to the floor” and ‘felt something horrible there’ is positively preposterous.

Indeed the entire ludicrous situation was clearly penned simply to ‘force’ “Davy Carridine’s stand-in” to mistake “the ever-lovin’, blue-eyed idol o’millions” as a threatening monster and subsequently tackle The Thing in one of the most out-matched confrontations of the former MI-6 employee's career. Certainly it is increasingly incredulous to believe that the Master of Kung Fu somehow bests the super-strong rocky human mutate for a staggering fourteen panels until “Skinny” realises “you are not the enemy I thought you to be.”

Fortunately the second half of this seventeen-page periodical provides far more entertainment once the heroes discover the hidden entrance to Hydra’s experimental laboratory beneath “a small, almost disused restaurant catering the most uninspired Italian food one can imagine” located on the Victoria Embankment, and the two protagonists find themselves waist-deep in armed green-garbed goons; “You are our prisoners, fools. Prisoners of immortal Hydra!” In fact a good deal of Wolfman’s former poor scripting can quite easily be forgiven as he depicts Shang Chi at the height of his martial art powers, karate-chopping the “costumed ones… [with] no inner strength” all over the place and ensuring Doctor Kort’s retreat courtesy of “the sting of my nunchaka!”

Disconcertingly however artist Ron Wilson also seems to take the best part of this publication to warm to the son of Fu Manchu. There’s little doubt that the American illustrator can draw an incredibly expressive Thing, as his wonderful pencilling of a thoughtful-faced Grimm feeding the tame pigeons at Trafalgar Square ably demonstrates. But when it comes to the facial expressions of the wushu-styled warrior, his work for the most part appears flat, awkwardly angular and inauspiciously amateurish.

Writer/Editor: Marv Wolfman, Pencils: Ron Wilson, and Inks: Sam Grainger

Marvel Two-In-One #1 - Marvel Comics

MARVEL TWO-IN-ONE No. 1, January 1974

It seems quite evident that Steve Gerber clearly had little concern as to just how contrived he needed to make the narrative for this first issue of “Marvel Two-In-One” in order to pair Benjamin Grimm and the Man-Thing up together. Why else would the Will Eisner Comic Book Hall of Famer have penned the Thing enduring “a day-an’-a half ride ta the Everglades” on a bus simply because “that swamp-rat” purportedly committed “plagiarism” by having a magazine ‘rip off his name” and steal his “moniker”? Indeed the founding member of the Fantastic Four’s oversensitivity to the Florida swamp creature “trying ta hog my glory” is ludicrous in the extreme and certainly doesn’t do justice to a Jack Kirby co-creation as famous for his selfless ‘heart of gold’ attitude as he is his orange rocky hide.

Equally as bizarre however has to be the Missouri-born writer’s creation of a second Molecule Man, who having vowed revenge upon Reed Richards' super-team for causing his father’s ignoble death on “a nameless world in a cosmos other than our own”, purposely exposes himself to “a shower of atomic particles” in order to be transformed into “the Monarch of the Universe!” Worryingly under-dressed in just an ornate thong, and armed with a metal wand capable of reversing an accelerated aging process that would actually see the villain “reduced to ashes” within seconds, Owen Reece’s bald-headed ‘successor’ proves a remarkably underwhelming foe for “the ever-lovin’ blue-eyed” Grimm and Ted Sallis’ alter-ego; especially when the manipulator of molecules is depicted impotently tapping his supposedly malfunctioning wand simply because “it won’t teleport me past the edge of this swamp.”

Gerber’s script for “Vengeance Of The Molecule Man!” does however still contain some noteworthy moments, such as its early nod to the lead character’s previous ‘team-ups’ alongside the Hulk and Iron Man in the final two issues of “Marvel Feature”, as well as a rare opportunity to see “the chemist who had been the Man-Thing” in action. In fact even “Flash-face” is eventually imbued with some chillingly cold-blooded gravitas as he quite horribly transforms a hapless resident of Citrusville into a duplicate of Mister Fantastic and promptly then stretches the screaming individual until his elastic body grotesquely snaps…

Arguably just as inconsistent as the storyline is Gil Kane’s disappointing artwork. It’s evident that the Shazam Award-winner was clearly capable of pencilling an impressively thick-set powerful-looking “orange-skinned buffoon”. But the American artist’s drawings of Molecule Man, Grimm and Sallis are actually all disconcertingly similar in appearance and, with the exception of the Yancy Streeter, seem astoundingly sinewy.

Writer: Steve Gerber, Penciller: Gil Kane, and Inker: Joe Sinnott

Future Imperfect #5 - Marvel Comics

FUTURE IMPERFECT No. 5, November 2015

It is relatively easy to see why according to “Diamond Comic Distributors” this fifth and final issue of Peter David’s “Secret Wars” tie-in didn’t manage to make the Top Fifty selling titles of September 2015, and actually saw itself being significantly outsold by the likes of “Invader Zim” by independent publisher “Oni Press”. For whilst this twenty-page periodical’s narrative does (eventually) focus upon a titanic confrontation between the “version of the Hulk from a distant future who has become corrupted by power” and Battleworld’s God Emperor, its eventual conclusion doubtless had the vast majority of the book’s 32,926 strong audience feeling the American author’s plot had disappointingly badly cheated them.

Indeed it is hard to fathom just precisely what the Huxtur Award-winner must have been thinking when he decided to pen an elderly chair-bound Rick Jones as “the ‘Ancient One’ guarding the Destroyer” and have the Maestro easily defeat Victor von Doom courtesy of the additional energy George Perez’s co-creation attained by donning the enchanted armour. Presumably the Maryland-born writer later felt likewise, as having had Dystopia’s Baron obliterate his opponent with “a rather powerful disintegration beam” in order to become “the new ruler of the world” and “god”, the magazine’s final few panels dwell upon the fact the entire battle had actually been nothing more than an illusion and that a suddenly human-sized Bruce Banner will now simply stand before the Asgardian super-weapon “until he dies.”

Admittedly David’s ‘punch-up’ between two of the Marvel Universe’s greatest villains genuinely provides some memorable moments as the two megalomaniacs exchange a series of breathtakingly punishing blows. But whilst this brawl is as impressively paced as cheering on Doctor Doom is disconcerting, there is a palpable sense of betrayal when the comic reveals the events to all be nothing more than a grand deception; “He wished to defeat Doom. It gave him that wish.”

Mercifully however, Greg Land’s awesome artwork does make good on his cover illustration’s promise that the Maestro’s highly anticipated conflict with his “true overlord” will be sensationally drawn. In fact it is hard to find fault with any of the “Uncanny X-Men” penciller’s drawings within this comic book, especially once battle commences and both combatants set upon one another with all the fury which they can muster.

Writer: Peter David, Artist: Greg Land, and Inker Jay Leisten