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(Call it the proto- Spielberg face.) It’s hard to imagine what it must have been like to come across those panels then. And yet look at the first page of that second issue, when the title characters gaze skyward with a mixture of fear and wonder at a sky torn open by a hungry space god-a sky which we cannot actually see, as the artist has focused our gaze on only the character’s faces.
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Most comic stories before The Fantastic Four had been one-off affairs, so when Kirby and Lee stretched the arrival of the world-eating Galactus across two issues, fans wrote incredulous letters complaining about not getting a full story in each issue. But it took Lee and Kirby’s collaboration here to balance the humanist with the biblical. Comics had toyed with the idea of shared universes and serialized storytelling before, while madcap artists like Fletcher Hanks had pushed the medium to its cosmic limit. Month after month, page after page, from 1961 to 1970, Kirby (at his most effective when accompanied by inker Joe Sinnott) laid the groundwork for the visual, tonal and narrative palettes of not just the modern superhero story, but the modern blockbuster. Stan Lee scripted the stories and supplied the operatic dialogue, and he may have lived to take all the credit and make endless cameos in these Marvel films, but The Fantastic Four always bore the unmistakable fingerprints of artist Jack Kirby. The Fantastic Four were birthed in an unfolding of creative energy deserving canonization in the progression of 20th-century art.
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Without these characters, the modern comic book movie wouldn’t even exist. But maybe the more appropriate metaphor for The Fantastic Four is the matriculated senior still hanging around the high-school parking lot in his letter jacket long after the fading of his relevancy. A crowded genre approaching audience weariness now presents audiences with yet another super team-and all evidence seems to suggest this to be a hobbling property, always second-rate, mascara forever smeared while the popular kids ride limo donuts on their lawn. Meanwhile, in an act of premeditated malice, Marvel recently removed the monthly Fantastic Four comic from circulation for the first time in 50 years. Even Trank claims that his version will owe as little as possible to the source material. “No one should care about this thing getting made,” Film School Rejects’ Andrew Doscas crowed recently at the prospect of Trank’s reboot, presenting decades of supposedly mediocre storytelling as evidence of the property’s deep-rooted inferiority.
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“Is this the road company?” Roger Ebert asked in 2005, bewildered by the childish antics of Tim Story’s absurd film adaptation. But the Fantastic Four have arrived in the age of the superhero event film as battered also-rans. Thousands of years of narrative osmosis have lain the fable of Icarus at our feet as an urtext of Western literature, among the first stories of innovation gone wrong. Unlike Icarus, they return, though Trank claims that his take plays up the horror implicit in finding one’s body suddenly imbued with godlike powers. The Fantastic Four venture too close to the sun as well, originally rocket-bound and exposed to “cosmic rays,” now in Josh Trank’s reboot (here to be referred to, as dictated by its marketing, as Fant4stic) having pierced the barriers of interdimensional space. In the ancient version, a young man gifted with wings bound in wax ignores his father’s warnings about straying too close to the sun and plummets into the sea in a rain of melted wax. The story of the Fantastic Four is essentially the story of Icarus.