FANTASTIC FOUR: THE WORLD'S GREATEST COMICS MAGAZINE

My son loves his book magazine he says one of a kind has a lot of stories and he likes the colors and the sketchers are on this comic book thanks thanks

This is an homage to the creators of the Fantastic Four, with art and scripting similar to their work. I particularly loved seeing Joe Sinnott contributing. In my eyes, his inking made the FF greater than ever! It should be Kirby/Lee/Sinnott when we talk of the team. Everyone else did a great job, too, showcasing most popular of the iconic characters that debuted in the World's Greatest Comics Magazine, including the Black Panther, Doctor Doom, the Silver Surfer, the Inhumans and more!

Awesome

Warning: may contain spoilers.First, let's talk punctuation. For years, comics basically used either exclamation points or question marks at the end of sentences. In the late 1960s/early 1970s, they tried using periods. Often, they were used too frequently. FF 100 and 101 may have fallen into that time frame. Sadly, this book tries too hard to fit itself into that time frame, with a lot of dialog that basically falls flat.The FF were always a group of humans with human failings. However, Reed rarely bickered as much as Ben and Johnny. Here, that's not the case. Again, Reed was written with a sharper temper in some of Stan's final FF stories - but I'd be hard-pressed to consider those some of the best ones.As to the artwork: I didn't expect the series to be trying so hard to look just like Kirby. Some of it works OK. Other spots don't so much (there's at least one panel where Sue's face looks like a guy's). Other spots look less like an attempt to channel Kirby, than direct steals of his work via light box.And Doom himself. Doom was rarely depicted as being as bloodthirsty as he was shown here. And I've always been pretty sure we were to conclude that Doom wasn't quite as big a genius as Reed, but failing to take full advantage of a device that could have given him everything he wanted halfway through the series seems way too slow for him. And the presence of what I can only assume is the Hulk robot from Kirby's ETERNALS seems horrifically out of place, and absolutely unnecessary. Similarly, the inclusion of Spider-Man, Daredevil, and Dr. Strange for brief cameos involved characters that Stan did create, but with minimal if any involvement by Jack.For me, this was a painful read, and not something I'll feel obligated to slip into its alleged place the next time I go for a full FF reread.Two stars - the story did follow a certain logic, and tried to touch on most of the characters Stan and Jack created in the Fantastic Four, as well as their key other Marvel characters.

Publicado en 2001 a manera de entregas individuales, este comic es hecho por algunos de los fans más grandes de Jack Kirby y Stan Lee que, adecuadamente, también son grandes figuras del medio.Se sitúa en la etapa tardía de la colaboración de Lee y Kirby; una larga lista de profesionales hacen este tributo, emulando el estilo de la mancuerna, dando excelentes resultados.Fantastic Four: The Greatest Comic Magazine, lleva por título el slogan que definió a estw comic durante décadasEn el interior encontrarás 12 capítulos hechos por gente como Erik Larsen, Bruce Timm, Keith Giffen, Ron Frenz, Tom DeFalco, Kurt Busiek, Jeph Loeb, Rick Veitch, Bill Wray, Steve Rude, además del mismo Stan Lee.Y, en el más puro estilo Marvel, este relato está plagado de invitados, desde Spider-Man hasta The Inhumans.En resumen, Fantastic Four: The Greatest Comics Magazine demuestra porqué este cuarteto de aventureros fue el pilar sobre el cuál se construyó la editorial.

Em tempos em que muitas hqs deixam (e muito) a desejar , varios artistas se unem no melhor estilo Lee/Kirby , e prestam uma sincera homenagem a melhor revista de quadrinhos de todos os tempos.

The material gathered here originally appeared as a 12-issue maxi-series from Marvel back in 2001, and was published to celebrate the 40th anniversary of the FF’s first appearance in 1961. Conceived and plotted by Erik Larsen and Eric Stephenson, it’s a wholly charming and entirely convincing attempt to capture the look, feel and spirit of the original Kirby-Lee series. Which, considering that was the most significant series in the history of superhero comics, is no mean feat (that, by the way, is a fact, not an opinion: just like all philosophy is essentially an extended footnote to Plato, all superhero comics since 1961 are essentially an extended footnote to the Kirby-Lee FF).The story here takes place between issues 100 and 101 of the original series (the Kirby-Lee run ended with 102), and its recreation of the visual and verbal style – and the feel – of Marvel Comics in 1970 is quite remarkable. I was reading them at the time and trust me, you can’t see the join. It’s uncanny. To add to the fun, most of the other Marvel characters of the era put in appearances (the only notable absentees, apart from those whose adventures took place in the past or the future, are the Pyms, the Black Widow, the Black Knight, and Ka-Zar). Larsen and Stephenson get the details right, too. There’s Clint Barton as Goliath. Captain Marvel still has white hair. The Falcon’s in his original green duds. And Dr. Strange is in his short-lived superhero suit (technically, Doc was in temporary retirement at the time FF 101 was published, but I think that’s a forgivable oversight). There’s an even an incidental reference to “Chamber of Darkness”. Now THERE’S an Easter Egg for connoizers.The story, which is continuous though almost all the chapters are self-contained, concerns a scavenger hunt by Doc Doom in order to capture a set of super-technological doohickies with which he can seize the cosmic power of Galactus and, in the process, do away with the FF and anyone else who might oppose him. The two Erik/Erics were correct to opt for an FF story set in the latter days of the Lee-Kirby run. For all the greatness of the original run, it started to tail off from its peak by mid-1967 and the final few issues are notably uninspired (the last really good one is #94). This joyous tale gives it the big finish it never had. In fact, Kirby and Lee probably couldn’t have given it a finish quite like this. The plot is complex and draws quite deeply on continuity. A year or two later, the likes of Roy Thomas and Steve Englehart could have come up with something like this, but Jack was so spontaneously imaginative he wouldn’t have had the discipline to create and stick with such a tightly structured, carefully-paced story, while Stan, whose forte was dialogue and not plotting, wouldn’t have had the imagination.The really remarkable thing here is the verisimilitude to the original material. A big factor in this must be the fact that Larsen, one of (relatively) modern comics’ greatest Kirby acolytes, does the layouts for 9 of the 12 chapters, and the layouts for the other three are by Keith Giffen, one of his few peers in this regard. Other fine artists working in the Kirby tradition here include Bruce Timm, Ron Frenz, Tom Scioli and Steve Rude. There are some other, less obviously Kirby-based artists here, too, including big names like John Romita Sr and Rick Veitch. In fact, there are so many artists present, the visual consistency with the original material is quite something. It’s partly the layouts, of course, and it’s partly because everyone is trying really hard. One thing that makes a huge difference is the presence in all but one chapter of inker Joe Sinnott, who inked the majority of the original run. He inks a few pages in each issue, and his clean but dynamic work provides both class and a genuine connection with the original material, and sets the tone for all the other inkers.The scripting is also handled by various writers, including but not limited to Stephenson, Timm, Jeph Loeb and Kurt Busiek. They all do a fine job in capturing the Stan Lee voice. Stan himself scripts the final chapter. And whatever you think of Stan Lee – my own views are decidedly mixed – no-one can write a Stan Lee script quite like Stan Lee. Readers of a certain age are however warned the scripts contain things that give them the screaming abdabs, such as thought balloons and narrative captions (entirely acceptable parts of comics grammar which a couple of generations of fans object to because they don’t realise comics aren’t movies).I got a solid five stars of entertainment out of this book but I’ve rated it four overall. This is because much of its appeal to me is down to nostalgia, and how effectively the many creators worked together to make me feel like I was back in junior school. Readers who are in junior school now might also enjoy its energy, clarity and punchy narrative drive. It’s the people in the middle I’m not so sure about. So I’d say it’s a book which can be enjoyed by young and old, but anyone inbetween may struggle to see why the rest of us are having so, so, much fun.