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Fantastic Four: Life Story #1-6
Fantastic Four: Life Story
An incredible exploration of the fabulous foursome's lives if they aged in real time across the decades! Amid the backdrop of the Space Race, an accident gives the Fantastic Four great powers and entangles them in the history of their planet. But as the years pass, the four heroes struggle to find their role in a rapidly changing world. As Sue continues to fight for social causes, Reed becomes increasingly obsessed with preparing for the prophesied arrival of Galactus! And in the end, after six decades of triumphs and tragedies, love and loss, can the aging heroes make a final stand against the implacable might of Doctor Doom? Collects Fantastic Four: Life Story #1-6.
200 pages, Paperback
Published December 20, 2022
About the author
Mark Russell
431 books355 followersMark Russell is the author of God Is Disappointed in You and Apocrypha Now. He also writes the comic book series Prez and The Flintstones for DC Comics. He lives and works in Portland, Oregon.
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Displaying 1 - 30 of 98 reviews
August 26, 2022
“It may have been a tragedy that brought us all together, but with time...the tragedy fades and what you are left with are the people who helped you survive it.”
Oh boy, I already know this is gonna be a controversial one.
Mark Russell & Sean Izaakse team up for the second Life Story book to come out of the imprint, this one starring Marvel’s First Family. And it's only similar to the Spider-Man one in the sense that we see the Fantastic Four age in real-time, from the 1960s to 2010s.
Spider-Man: Life Story, which while set in an Alternate Universe, was still pretty much a retelling of the character's history in the main 616-Marvel timeline, with changes & liberties taken were needed. But it had real-world events playing out within the Marvel Universe, all while Spidey aged in real-time.
This Life Story, however, is an entirely new rendition of the Fantastic Four’s history, choosing instead to focus more on the aspect of the Marvel Universe playing out alongside our world history and how the Fantastic Four and Marvel Universe as a whole would impact that. There is basically no reference to any of the team's big 616 exploits. It’s a pretty bold choice for Russell to just straight-up scrap the blueprint that Zdarsky laid out with Spidey, but I personally think it paid off.
There is just something about seeing the Fantastic Four interacting with our world history and aging in real-time that really works for me. We follow them through this entirely new history, from getting their powers during the space race, to showing how they and the rest of the Marvel universe would react to the rising tensions between the US and Soviet Union, and even to how Reed Richards proposes a space defense program from Galactus to all the different presidents over the years.
The story itself is angsty, depressing as hell, and not a light read at all, which is where I believe the aforementioned controversy will set in. Most people I've talked to about it see Life Story as the imprint that is supposed to be a love letter to the histories of these characters, and this story just ends up feeling to them like a “hate letter” to the First Family instead. I don’t really blame people for feeling this way or like this book is “misery porn”, but I disagree and loved the absolute hell out of this story. But just be aware of that, because everyone I've talked to about this book has had a completely different opinion on its quality than me. Not a single one enjoyed it as much as I did.
There are moments here that are frustrating, tragic, and even touching, which is what makes this work for me: All the characters here are still human beings first and foremost, even if they are these larger-than-life heroes. They do what people would do: act emotionally, hold grudges, and make rash decisions that end up leading to mistakes or far worse. All this ends up making the drama in this superhero world feel all the more real. Everything feels like it happens for the purpose of driving this story forward, and not just thrown in for the hell of it. There’s also a genuinely shocking moment about halfway through that I didn't see coming at all.
Galactus himself is also worth discussing briefly too, as he is written as this Lovecraftian, larger-than-life horror, which is my favorite interpretation of the character ever. Ever. An impending apocalypse that can swallow galaxies whole with an intake of breath, he is a ghastly and horrifying being on every single page he shows up on, and the art gets across just how massively terrifying and awe-inspiring he is. Just look how creepy that art makes him look:
Speaking of the art, Sean Izaakse’s art is jaw-droppingly gorgeous. Each issue has at least one page that blew me away, with issues 3 & 6 having some of my favorite art in any Fantastic Four series ever. Ever. Seriously, it’s that damn good. Could have used some more room to breathe, but this is still such great work that only elevates Russell’s already stellar script. Every action scene is epic in scope with wide angles giving us a sense of space during these massive battles, while the more quiet moments are personal and intimate with tighter angles getting across all the emotions of the characters perfectly. Izaakse is just as much of a component to making this book work as well as it does just as much as Russell is.
Fantastic Four: Life Story was one hell of a trip. Not a trip I’ll go back on for a while, but definitely one I will make time to return to again in the future since the road it took me down is one I will never forget. A story about learning to properly process regret so one can begin to move on from the mistakes of their past instead of dwelling on the could’ve, should’ve, and would’ve of it. It's about realizing that maturing is just the process of coming to terms with our limitations and mistakes. This is one of the best comic books Mark Russell has ever put out, and I loved reading every single page of it. I pray this gets the annual & deluxe hardcover treatment that Spider-Man: Life Story got.
Oh boy, I already know this is gonna be a controversial one.
Mark Russell & Sean Izaakse team up for the second Life Story book to come out of the imprint, this one starring Marvel’s First Family. And it's only similar to the Spider-Man one in the sense that we see the Fantastic Four age in real-time, from the 1960s to 2010s.
Spider-Man: Life Story, which while set in an Alternate Universe, was still pretty much a retelling of the character's history in the main 616-Marvel timeline, with changes & liberties taken were needed. But it had real-world events playing out within the Marvel Universe, all while Spidey aged in real-time.
This Life Story, however, is an entirely new rendition of the Fantastic Four’s history, choosing instead to focus more on the aspect of the Marvel Universe playing out alongside our world history and how the Fantastic Four and Marvel Universe as a whole would impact that. There is basically no reference to any of the team's big 616 exploits. It’s a pretty bold choice for Russell to just straight-up scrap the blueprint that Zdarsky laid out with Spidey, but I personally think it paid off.
There is just something about seeing the Fantastic Four interacting with our world history and aging in real-time that really works for me. We follow them through this entirely new history, from getting their powers during the space race, to showing how they and the rest of the Marvel universe would react to the rising tensions between the US and Soviet Union, and even to how Reed Richards proposes a space defense program from Galactus to all the different presidents over the years.
The story itself is angsty, depressing as hell, and not a light read at all, which is where I believe the aforementioned controversy will set in. Most people I've talked to about it see Life Story as the imprint that is supposed to be a love letter to the histories of these characters, and this story just ends up feeling to them like a “hate letter” to the First Family instead. I don’t really blame people for feeling this way or like this book is “misery porn”, but I disagree and loved the absolute hell out of this story. But just be aware of that, because everyone I've talked to about this book has had a completely different opinion on its quality than me. Not a single one enjoyed it as much as I did.
There are moments here that are frustrating, tragic, and even touching, which is what makes this work for me: All the characters here are still human beings first and foremost, even if they are these larger-than-life heroes. They do what people would do: act emotionally, hold grudges, and make rash decisions that end up leading to mistakes or far worse. All this ends up making the drama in this superhero world feel all the more real. Everything feels like it happens for the purpose of driving this story forward, and not just thrown in for the hell of it. There’s also a genuinely shocking moment about halfway through that I didn't see coming at all.
Galactus himself is also worth discussing briefly too, as he is written as this Lovecraftian, larger-than-life horror, which is my favorite interpretation of the character ever. Ever. An impending apocalypse that can swallow galaxies whole with an intake of breath, he is a ghastly and horrifying being on every single page he shows up on, and the art gets across just how massively terrifying and awe-inspiring he is. Just look how creepy that art makes him look:
Speaking of the art, Sean Izaakse’s art is jaw-droppingly gorgeous. Each issue has at least one page that blew me away, with issues 3 & 6 having some of my favorite art in any Fantastic Four series ever. Ever. Seriously, it’s that damn good. Could have used some more room to breathe, but this is still such great work that only elevates Russell’s already stellar script. Every action scene is epic in scope with wide angles giving us a sense of space during these massive battles, while the more quiet moments are personal and intimate with tighter angles getting across all the emotions of the characters perfectly. Izaakse is just as much of a component to making this book work as well as it does just as much as Russell is.
Fantastic Four: Life Story was one hell of a trip. Not a trip I’ll go back on for a while, but definitely one I will make time to return to again in the future since the road it took me down is one I will never forget. A story about learning to properly process regret so one can begin to move on from the mistakes of their past instead of dwelling on the could’ve, should’ve, and would’ve of it. It's about realizing that maturing is just the process of coming to terms with our limitations and mistakes. This is one of the best comic books Mark Russell has ever put out, and I loved reading every single page of it. I pray this gets the annual & deluxe hardcover treatment that Spider-Man: Life Story got.
March 9, 2023
Much like Spider-Man: Life Story, Fantastic Four: Life Story chronicles the Fantastic Four decade by decade, from their debut in the 1960s to some serious shit in 2000 to the end of the tale in 2018.
So I dug this. Mark Russell is my favorite currently active comic writer. While this wasn't dark satire like his other stuff, it had some good comedic moments and dark insights. There were some emotional moments and overall, I liked how everything came together. The art by Sean Izaakse wasn't overdone and overcolored like I find a lot of comic art these days.
Telling a story that spans 60 years and encompasses the FF's greatest hits is bound to have some bumps. I didn't like the changes to Reed and Doom's relationship or Reed and Ben's, either. Cameos by the Inhumans and some of the FF's rogues gallery also would have been nice. I also didn't think the Silver Surfer's personality rang true.
Other than that, this was a pretty big story and I think Mark Russell and company stuck the landing. Four out of five stars.
So I dug this. Mark Russell is my favorite currently active comic writer. While this wasn't dark satire like his other stuff, it had some good comedic moments and dark insights. There were some emotional moments and overall, I liked how everything came together. The art by Sean Izaakse wasn't overdone and overcolored like I find a lot of comic art these days.
Telling a story that spans 60 years and encompasses the FF's greatest hits is bound to have some bumps. I didn't like the changes to Reed and Doom's relationship or Reed and Ben's, either. Cameos by the Inhumans and some of the FF's rogues gallery also would have been nice. I also didn't think the Silver Surfer's personality rang true.
Other than that, this was a pretty big story and I think Mark Russell and company stuck the landing. Four out of five stars.
May 9, 2024
I am not the biggest Fantastic Four fan to start with, but I liked the Spider-man version of Life Story, so I gave this a try.
One thing I have always liked about the Fantastic Four is that they seem like the perfect family unit. However, from the first issue, I am given a unit that is more dysfunctional to the point of resentment. Again, points to the writing of a family are people who are there when you need them most and come back to you. Each issue is narrated by a different member of the family.
Part of what ket this book down for me was the superhero parts were just glossed over or snapshots (till the end), I understand to show more of the characters, but I think more could be done here as this was the part that really bonded them.
The book had a lot of pages and panels it still seemed a bit rushed in places. It seemed like there were too many things to cover. I like the real-time feel, and the political psrts were a bit too realistic. I did like the count being part of the story. I think one that that hurt the book is in the Spider-man version they had one character to cover and six large issues were plenty here with more than four times the number of character (the main Four and a voupke of others) dix issues were not enough a lot had yo be cut down or rushed.
One thing I have always liked about the Fantastic Four is that they seem like the perfect family unit. However, from the first issue, I am given a unit that is more dysfunctional to the point of resentment. Again, points to the writing of a family are people who are there when you need them most and come back to you. Each issue is narrated by a different member of the family.
Part of what ket this book down for me was the superhero parts were just glossed over or snapshots (till the end), I understand to show more of the characters, but I think more could be done here as this was the part that really bonded them.
The book had a lot of pages and panels it still seemed a bit rushed in places. It seemed like there were too many things to cover. I like the real-time feel, and the political psrts were a bit too realistic. I did like the count being part of the story. I think one that that hurt the book is in the Spider-man version they had one character to cover and six large issues were plenty here with more than four times the number of character (the main Four and a voupke of others) dix issues were not enough a lot had yo be cut down or rushed.
April 11, 2024
3.5 stars. Man, this was sad as hell but also pretty cool. Just like Spider-man Life Story, we get to watch the Fantastic Four grow up over 6 decades. I like the subtle spins Russel put on the FF’s lore. Like how and why they went to space and got their powers and how Reed discovered Galactus. It was interesting watching Reed try and convince different presidents that Galactus was coming and they needed to do something. However, It was tragic watching him get so caught up in his work that he neglected his wife and Franklin. Also devastating to see what happened to Johnny Storm along the way and what happened to Reed in the end. But again very cool how they treated the coming of Galactus and how Doctor Doom pursued world domination. Sean Izaakse did the heavy lifting on art and it was pretty great throughout. I’d definitely read more of these Life Story books if they made more.
February 8, 2024
This was unexpectedly great! Similar to Piskor’s X-Men Grand Design it touches on all the key story beats of canon FF lore but also isn’t afraid to make key changes and take big risks. I will definitely read the Spider-Man version now, and hopefully Marvel will release more titles like this (I’ve learned a Hulk one was rumoured, for one).
August 26, 2022
Compared to Spider-Man: Life Story and Mark Russell's other works, this one is a bit of a disappointment, but in peculiar ways. Most Marvel comics that don't have much effort put into are basically average, without much coming out of the lot. This, however, is not average in the slightest, attempts to develop many ideas, but falls under its main concept and half-realized execution. I'll keep the Spider-Man comparisons only when compelling, but I recognize that Mark Russell at least didn't try to copy Chip Zdarsky's treatment.
To start off, the homage aspect is quite lacking. Propelled as an anniversary for the team's 60th year of publication, the comic didn't quite honor that legacy. The FF are probably Marvel's most important characters from an editorial standpoint: they single-handedly revitalized the company, united Stan Lee and Jack Kirby to build the rest of the universe, brought a new wave of crazier sci-fi stories while keeping a human heart, and introduced so many other concepts to Marvel. Their role has faded from time to time, and they may not have that many classic story arcs throughout the decades, but they have such a rich history. The problem is that most of their most prominent stories are concentrated in peculiar runs and years, and Russell couldn't stretch those six decades. As an example, he can't do the Inhumans, Galactus, Black Panther and Namor storylines in the same issues, and postponing some to later years wouldn't make any sense anymore.So, instead of portraying their catalog and numerous adventures, he focused on a few characters, no matter the year, even though some ones' roles had to be exaggerated. The Mad Thinker was omnipresent, while Mole Man was barely present. The comic shouldn't be limited to an exposition of the team's greatest feats, SM:LS already had that, but the comic showed maybe a bit too much restraint on the universe, only caring about the team and Doom. Namor himself was just a guest star for two issues. The earlier days weren't even that important, as by the end of the second issue, they already accomplished most of their adventures and have their titles as heroes, which the reader wasn't properly presented to.
The single issues therefore don't stand as much on their own, as the plot mostly waits for Galactus' arrival later on (whose late arrival had a thematic purpose, I'll get to it later). That's why, if the passage of time doesn't bring anything more than lasting tension and superficial growing up, then the Life Story decade isn't properly used. That was one of the main strengths of SM:LS. It could force itself to adapt some arcs (the Clone Saga bit is probably the weakest part), but they were all part of an ongoing storyline: of Peter going through them one after another, while facing his problems with growing old at the same time. That "everything is canon" approach was both a great homage to Spidey's rich history, while granting each decade defining moments. Russell's treatment was more of an elseworld tale, retconning in little diverging ways some origins (Doom's one was pointless), and in that case, the Life Story was more a constraint than a core concept. What carried throughout the years was the threat of Galactus, the message of still trying to be happy in front of Doom, and Mad Thinker's robots, which were a predictable Chekhov's gun.
We could argue that the core of the comic is instead the four heroes, as they age together and their bonds evolve throughout time. Sadly, it's not even that much the case. It's the opposite of SM:LS, in which the protagonist was the best part, with the story just accompanying him. They still evolve and age, but it's not substantial enough for six decades. Most of all, it's their dynamics that don't change, so the core of the story, their bonds as a family, isn't that interesting. Some perturbations arrive here and there, but are quickly solved by the next issue, or happens behind the scenes. So many storylines are seemingly abandoned: Thing's resentment to Reed, the main couple's marital issues, Franklin being neglected (where was Valeria ?), and their eventual retirement. Whereas Spider-Man became an adult and began to slow down later on, trying to keep his morals still, the FF start as adults, so instead they should be portrayed as already getting old. It's not only physically, but also personally, that they remain their 30/40-year-old versions. Those changes also apply to their bonds. They're Marvel's First Family, yet their personal links are the same as in the usual continuity, and never change past half the comic.
The most frustrating case is of Franklin, probably the most overlooked character. Once past his thirties, he only serves for the plot, and doesn't have any peculiar relationships with the family members. He's as basic as possible, like Russell didn't know what he would become with time. On the contrary, Peter Parker's children had a specific role in his journey, as another challenge of adulthood, while being complete creations from Zdarsky. One of the appeals of the Life Story concept is that the characters will actually age, something that could never happen in the main continuity. The Fantastic Four are personally static, with Sue being content with her life past the 80s, or The Thing even earlier, once past the first issue. Considering that, the comic could have taken place during only 20-30 years, as they don't even experience old age and its toll on the persona (which SM:LS totally nailed). Their inner melodramatic narrations are fine to develop them a bit further, especially since they don't shine in scenes together, but they remain superficial, as some overall thoughts about life. Their thoughts mention and explain their learnings, while never applying themselves in the context of the story. It's just too poor character-wise, which would have been fine in a usual Marvel story, with not under the Life Story umbrella.
To stray from the writing for a minute, Sean Izaakse serves quite well as the main artist. His style both improved the bombastic, dare I say, fantastic action, and the intimate scenes within the team. That last part particularly matters, and another artist without those emotional facial expressions couldn't have sold the feelings of the most important scenes. Meanwhile, with the FF must come experimental pieces of technology that emit bold and colorful Kirby crackle. Galactus’ appearances notably stand out, and Izaakse puts onto the page his imposing, immense dimension. His threat is utterly sold to the reader and the protagonists in ways that hardly other Marvel comics do. A bit that could be criticized is the too-often repetition of panels, which is usual for comics nowadays. Where it’s less excusable is when they appear during dramatic scenes. The reader is more distraught by the familiarity of the panel, which distracts from the expected emotional response. The art style is still better than Mark Bagley’s in SP:LS, which suffered from lack of personality and originality. Izaakse puts each character’s peculiarities well on page, which benefits a muli-protagonist story.
Here’s the part that most intrigued me before reading this: the political commentary. It’s the main reason of why I read Russell, for his poignant one-liners that perfectly summarize humankind, and his social metaphors that couldn’t be more relevant. Whether he’s properly able to tell those messages in a creative-owned comic, I doubted Marvel let him in a large-public, crowd-pleasing anniversary project, and I was kind of right. The political and social implications are thankfully present, but in a lesser dose than expected from him, which isn’t wrong per se. It allows him to give more space and importance to the characters’ journey and the plot, even if those didn’t come out spectacular. What I want to focus on instead is what Russell tries to tell underneath it, and the missed potential of the concept.
Galactus obviously serves as a parabola for climate change, which, in my opinion, is one of the comic’s best ideas, in many aspects. The devouring god always had that aspect of an impending doom, where we know that he’s coming someday, and there’s no way to stop it. In that area, the decade-spanning plot gains a lot more relevance. By warning the population of his arrival since the 60s, the author criticizes how no matter the decade and political situation, we seem to be helpless against it, in part because of the government. This one is more preoccupied by funding wars and avoiding the question of directly addressing it, totally tying with our world’s response to it. It’s that response that marks the most frustration in the story. Most countries recognize the upcoming apocalypse, and apparently care about the subject, but it’s the research and actual action that’s missing. Humans won’t change, even in the face of Armageddon. Like the momentary truce at the end of Watchmen didn’t last long, even with the threat of Galactus in mind, political leaders just couldn’t help each other and avoided the problem as much as possible. That’s where the execution is far better and more pertinent that some work like Don’t Look Up. Instead of overly satirizing some figures, implying that other presidents or companies would have helped the team of astronauts better, FF:LS presents the danger of climate change as a long-game. We don’t know when it will strike, but we can’t deny its arrival, and we should prepare to avoid the most casualties and damage while we have time. Russell writes a far more realistic depiction of politics and human nature than most comic-book authors do, even if he doesn’t reach as far as in other instances.
This is where my praise for the message ends. Before developing on more substantial aspects, I want to address the messages of issue #2, centered on Sue Storm. Except for Galactus’ metaphor, it may be the only other bold social critique from Russell. It’s an obvious critique of the patriarchy and the mental load. The Invisible Woman has been one of the most invisibilized (no pun intended) superheroines from the Big Two, and possibly the less central one in the FF’s stories. She serves as a companion to Reed, having to bear his absence and disdain of familial life, while constantly protecting others with her field force. Superhero comics have a negative history of abusive and toxic male partners (Hank Pym suffered so many times of character assassination), which too often aren’t addressed as they should. Russell, for a change, presents Sue’s response to the situation, where her feminist ideals and combats are abandoned and cast aside for her family’s well-being, while not even getting noted. All of that is great and changes from the usual, the problem is what comes afterwards. Sue’s arc is dropped, she gently returns to her family, and she’s never under the spotlight again, while Reed heroically saves everyone (in the opposing message of SM:LS). She already had her moments, but that’s not a reason to forget about her and the progress she advocated for. That bit was frustrating, especially considering how well her issue was. The intention is still there. By the way, Namor could have served far better to critique another facade of toxic masculinity or anything else, if only he was more used.
About what the comic doesn’t decide on, it’s its messy timeline. The word isn’t for the chronology of the events, but how they impact the following ones. FF:LS falls under the “elseworld” umbrella, where some events change certain defining moments in heroes’ lives and, therefore, how the world evolves from that point. Being so rooted in our world’s history, considering how the plot begins in the 60s and continues for decades, the story should feel more cohesive for its runtime. Actions should have long-lasting consequences that severely impact history, especially since superheroes are meddling with it. Though SM:LS was centered on Peter Parker, other characters had behind-the-scenes arcs that they didn’t necessarily live through in the main continuity. Perhaps they conform themselves to a certain status quo for classic stories to happen, but their journeys are coherent, impact each other and overall history. Russell is quite restricted in his scope, focusing only on the FF and ignoring any other superhero, which isn’t a bad thing in itself, it’s another treatment of the concept. What bothers me is when history doesn’t change for the most part, or when an important event that could disrupt it happens, it’s too quickly forgotten. Black Panther solves the AIDS crisis and Russia and the US almost go to war, but those moments are meaningless. They just decorate the background, while they could tell so much more.
The Life Story concept is still novel, only explored once beforehand, so we don’t know its entire magnitude. I really hope that it doesn’t turn into a recurring format, as it would diminish SM:LS’s uniqueness. If Marvel decided to return to it for the FF, then there should have been a more propelling reason than just the anniversary. If they don’t have Spidey’s decades-long emotional journey, nor as many cult arcs, then what they had left to employ was the familial and technological aspect, as well as Russell’s social satire. Like we’ve discussed, the family isn’t as developed as it could have been, and the social critique is quite restricted.
What frustrates me is how the author could have gone so much further on explaining today’s inequalities with the format. By diverging from the main timeline since the 60s, he could have displayed a social decay since then, and explain how many actual problems (mainly climate change) can be rooted back at that era. Another inherently interesting part of the Life Story concept is how few of each decade is told, only a few days between years. The comic seemed to benefit from that, where no matter the decade and political climate, the threat of Galactus isn’t taken seriously. With the upholding Cold Wars planning on the leaders’ heads, they ignored Reed Richards’ headings to concentrate on their pointless mind games, whose repercussions are still felt.
Those repercussions are so central to explaining modern situations, as Russell once did with The Flintstones. He linked our society’s problems and humankind’s misdemeanors to the birth of civilization, putting our worldview under another light. This FF comic, except for how countries react in front of a global crisis, didn’t inspect further on our relationship with technology or how we avoid any introspection as a society. It’s only a Fantastic Four comic, that is true, but Mark Russell proved so many times his finesse in analyzing our society, it’s a shame that the tools in his disposition weren’t used as well as they could. Possible explanations are that he was less inspired in this instance, or that Marvel watered down his writing to fit better with the rest of the line.
Despite all that, we can’t remove the comic’s emotional core. I’m not referring to what the characters live through and how they interact, but a more global, universal message about how us humans should live through so much social drama. Instead of falling into predictable cynicism about the irrecoverable mess that the world has become, Russell reminds us to enjoy it while it lasts. It may be contradictory to his manifestations towards social change, but his message isn’t to ignore the outside. We shouldn’t dive and drown under science or meaningless inventions, as single people against everyone else, but connect more with each other. Though the main team’s members don’t have that many important or marking interactions, as the apocalypse approaches, they grow closer and closer, forgiving their superficial conflicts to recognize that they’re family, and they never stay away from each other. As our planet rapidly appears to get unlivable for so many reasons, the writing and narration connect us back to what truly matters, which is enjoying each other’s presence. It doesn’t mean that we have to justify and pardon others errors, but more to reflect on what we desire, who we want to be and how to love others. The message beautifully resonates with the reader, no matter the political ideas, and that ultimately gives the book its meaning. That is something that, for a change, Spider-Man: Life Story didn’t have.
To start off, the homage aspect is quite lacking. Propelled as an anniversary for the team's 60th year of publication, the comic didn't quite honor that legacy. The FF are probably Marvel's most important characters from an editorial standpoint: they single-handedly revitalized the company, united Stan Lee and Jack Kirby to build the rest of the universe, brought a new wave of crazier sci-fi stories while keeping a human heart, and introduced so many other concepts to Marvel. Their role has faded from time to time, and they may not have that many classic story arcs throughout the decades, but they have such a rich history. The problem is that most of their most prominent stories are concentrated in peculiar runs and years, and Russell couldn't stretch those six decades. As an example, he can't do the Inhumans, Galactus, Black Panther and Namor storylines in the same issues, and postponing some to later years wouldn't make any sense anymore.So, instead of portraying their catalog and numerous adventures, he focused on a few characters, no matter the year, even though some ones' roles had to be exaggerated. The Mad Thinker was omnipresent, while Mole Man was barely present. The comic shouldn't be limited to an exposition of the team's greatest feats, SM:LS already had that, but the comic showed maybe a bit too much restraint on the universe, only caring about the team and Doom. Namor himself was just a guest star for two issues. The earlier days weren't even that important, as by the end of the second issue, they already accomplished most of their adventures and have their titles as heroes, which the reader wasn't properly presented to.
The single issues therefore don't stand as much on their own, as the plot mostly waits for Galactus' arrival later on (whose late arrival had a thematic purpose, I'll get to it later). That's why, if the passage of time doesn't bring anything more than lasting tension and superficial growing up, then the Life Story decade isn't properly used. That was one of the main strengths of SM:LS. It could force itself to adapt some arcs (the Clone Saga bit is probably the weakest part), but they were all part of an ongoing storyline: of Peter going through them one after another, while facing his problems with growing old at the same time. That "everything is canon" approach was both a great homage to Spidey's rich history, while granting each decade defining moments. Russell's treatment was more of an elseworld tale, retconning in little diverging ways some origins (Doom's one was pointless), and in that case, the Life Story was more a constraint than a core concept. What carried throughout the years was the threat of Galactus, the message of still trying to be happy in front of Doom, and Mad Thinker's robots, which were a predictable Chekhov's gun.
We could argue that the core of the comic is instead the four heroes, as they age together and their bonds evolve throughout time. Sadly, it's not even that much the case. It's the opposite of SM:LS, in which the protagonist was the best part, with the story just accompanying him. They still evolve and age, but it's not substantial enough for six decades. Most of all, it's their dynamics that don't change, so the core of the story, their bonds as a family, isn't that interesting. Some perturbations arrive here and there, but are quickly solved by the next issue, or happens behind the scenes. So many storylines are seemingly abandoned: Thing's resentment to Reed, the main couple's marital issues, Franklin being neglected (where was Valeria ?), and their eventual retirement. Whereas Spider-Man became an adult and began to slow down later on, trying to keep his morals still, the FF start as adults, so instead they should be portrayed as already getting old. It's not only physically, but also personally, that they remain their 30/40-year-old versions. Those changes also apply to their bonds. They're Marvel's First Family, yet their personal links are the same as in the usual continuity, and never change past half the comic.
The most frustrating case is of Franklin, probably the most overlooked character. Once past his thirties, he only serves for the plot, and doesn't have any peculiar relationships with the family members. He's as basic as possible, like Russell didn't know what he would become with time. On the contrary, Peter Parker's children had a specific role in his journey, as another challenge of adulthood, while being complete creations from Zdarsky. One of the appeals of the Life Story concept is that the characters will actually age, something that could never happen in the main continuity. The Fantastic Four are personally static, with Sue being content with her life past the 80s, or The Thing even earlier, once past the first issue. Considering that, the comic could have taken place during only 20-30 years, as they don't even experience old age and its toll on the persona (which SM:LS totally nailed). Their inner melodramatic narrations are fine to develop them a bit further, especially since they don't shine in scenes together, but they remain superficial, as some overall thoughts about life. Their thoughts mention and explain their learnings, while never applying themselves in the context of the story. It's just too poor character-wise, which would have been fine in a usual Marvel story, with not under the Life Story umbrella.
To stray from the writing for a minute, Sean Izaakse serves quite well as the main artist. His style both improved the bombastic, dare I say, fantastic action, and the intimate scenes within the team. That last part particularly matters, and another artist without those emotional facial expressions couldn't have sold the feelings of the most important scenes. Meanwhile, with the FF must come experimental pieces of technology that emit bold and colorful Kirby crackle. Galactus’ appearances notably stand out, and Izaakse puts onto the page his imposing, immense dimension. His threat is utterly sold to the reader and the protagonists in ways that hardly other Marvel comics do. A bit that could be criticized is the too-often repetition of panels, which is usual for comics nowadays. Where it’s less excusable is when they appear during dramatic scenes. The reader is more distraught by the familiarity of the panel, which distracts from the expected emotional response. The art style is still better than Mark Bagley’s in SP:LS, which suffered from lack of personality and originality. Izaakse puts each character’s peculiarities well on page, which benefits a muli-protagonist story.
Here’s the part that most intrigued me before reading this: the political commentary. It’s the main reason of why I read Russell, for his poignant one-liners that perfectly summarize humankind, and his social metaphors that couldn’t be more relevant. Whether he’s properly able to tell those messages in a creative-owned comic, I doubted Marvel let him in a large-public, crowd-pleasing anniversary project, and I was kind of right. The political and social implications are thankfully present, but in a lesser dose than expected from him, which isn’t wrong per se. It allows him to give more space and importance to the characters’ journey and the plot, even if those didn’t come out spectacular. What I want to focus on instead is what Russell tries to tell underneath it, and the missed potential of the concept.
Galactus obviously serves as a parabola for climate change, which, in my opinion, is one of the comic’s best ideas, in many aspects. The devouring god always had that aspect of an impending doom, where we know that he’s coming someday, and there’s no way to stop it. In that area, the decade-spanning plot gains a lot more relevance. By warning the population of his arrival since the 60s, the author criticizes how no matter the decade and political situation, we seem to be helpless against it, in part because of the government. This one is more preoccupied by funding wars and avoiding the question of directly addressing it, totally tying with our world’s response to it. It’s that response that marks the most frustration in the story. Most countries recognize the upcoming apocalypse, and apparently care about the subject, but it’s the research and actual action that’s missing. Humans won’t change, even in the face of Armageddon. Like the momentary truce at the end of Watchmen didn’t last long, even with the threat of Galactus in mind, political leaders just couldn’t help each other and avoided the problem as much as possible. That’s where the execution is far better and more pertinent that some work like Don’t Look Up. Instead of overly satirizing some figures, implying that other presidents or companies would have helped the team of astronauts better, FF:LS presents the danger of climate change as a long-game. We don’t know when it will strike, but we can’t deny its arrival, and we should prepare to avoid the most casualties and damage while we have time. Russell writes a far more realistic depiction of politics and human nature than most comic-book authors do, even if he doesn’t reach as far as in other instances.
This is where my praise for the message ends. Before developing on more substantial aspects, I want to address the messages of issue #2, centered on Sue Storm. Except for Galactus’ metaphor, it may be the only other bold social critique from Russell. It’s an obvious critique of the patriarchy and the mental load. The Invisible Woman has been one of the most invisibilized (no pun intended) superheroines from the Big Two, and possibly the less central one in the FF’s stories. She serves as a companion to Reed, having to bear his absence and disdain of familial life, while constantly protecting others with her field force. Superhero comics have a negative history of abusive and toxic male partners (Hank Pym suffered so many times of character assassination), which too often aren’t addressed as they should. Russell, for a change, presents Sue’s response to the situation, where her feminist ideals and combats are abandoned and cast aside for her family’s well-being, while not even getting noted. All of that is great and changes from the usual, the problem is what comes afterwards. Sue’s arc is dropped, she gently returns to her family, and she’s never under the spotlight again, while Reed heroically saves everyone (in the opposing message of SM:LS). She already had her moments, but that’s not a reason to forget about her and the progress she advocated for. That bit was frustrating, especially considering how well her issue was. The intention is still there. By the way, Namor could have served far better to critique another facade of toxic masculinity or anything else, if only he was more used.
About what the comic doesn’t decide on, it’s its messy timeline. The word isn’t for the chronology of the events, but how they impact the following ones. FF:LS falls under the “elseworld” umbrella, where some events change certain defining moments in heroes’ lives and, therefore, how the world evolves from that point. Being so rooted in our world’s history, considering how the plot begins in the 60s and continues for decades, the story should feel more cohesive for its runtime. Actions should have long-lasting consequences that severely impact history, especially since superheroes are meddling with it. Though SM:LS was centered on Peter Parker, other characters had behind-the-scenes arcs that they didn’t necessarily live through in the main continuity. Perhaps they conform themselves to a certain status quo for classic stories to happen, but their journeys are coherent, impact each other and overall history. Russell is quite restricted in his scope, focusing only on the FF and ignoring any other superhero, which isn’t a bad thing in itself, it’s another treatment of the concept. What bothers me is when history doesn’t change for the most part, or when an important event that could disrupt it happens, it’s too quickly forgotten. Black Panther solves the AIDS crisis and Russia and the US almost go to war, but those moments are meaningless. They just decorate the background, while they could tell so much more.
The Life Story concept is still novel, only explored once beforehand, so we don’t know its entire magnitude. I really hope that it doesn’t turn into a recurring format, as it would diminish SM:LS’s uniqueness. If Marvel decided to return to it for the FF, then there should have been a more propelling reason than just the anniversary. If they don’t have Spidey’s decades-long emotional journey, nor as many cult arcs, then what they had left to employ was the familial and technological aspect, as well as Russell’s social satire. Like we’ve discussed, the family isn’t as developed as it could have been, and the social critique is quite restricted.
What frustrates me is how the author could have gone so much further on explaining today’s inequalities with the format. By diverging from the main timeline since the 60s, he could have displayed a social decay since then, and explain how many actual problems (mainly climate change) can be rooted back at that era. Another inherently interesting part of the Life Story concept is how few of each decade is told, only a few days between years. The comic seemed to benefit from that, where no matter the decade and political climate, the threat of Galactus isn’t taken seriously. With the upholding Cold Wars planning on the leaders’ heads, they ignored Reed Richards’ headings to concentrate on their pointless mind games, whose repercussions are still felt.
Those repercussions are so central to explaining modern situations, as Russell once did with The Flintstones. He linked our society’s problems and humankind’s misdemeanors to the birth of civilization, putting our worldview under another light. This FF comic, except for how countries react in front of a global crisis, didn’t inspect further on our relationship with technology or how we avoid any introspection as a society. It’s only a Fantastic Four comic, that is true, but Mark Russell proved so many times his finesse in analyzing our society, it’s a shame that the tools in his disposition weren’t used as well as they could. Possible explanations are that he was less inspired in this instance, or that Marvel watered down his writing to fit better with the rest of the line.
Despite all that, we can’t remove the comic’s emotional core. I’m not referring to what the characters live through and how they interact, but a more global, universal message about how us humans should live through so much social drama. Instead of falling into predictable cynicism about the irrecoverable mess that the world has become, Russell reminds us to enjoy it while it lasts. It may be contradictory to his manifestations towards social change, but his message isn’t to ignore the outside. We shouldn’t dive and drown under science or meaningless inventions, as single people against everyone else, but connect more with each other. Though the main team’s members don’t have that many important or marking interactions, as the apocalypse approaches, they grow closer and closer, forgiving their superficial conflicts to recognize that they’re family, and they never stay away from each other. As our planet rapidly appears to get unlivable for so many reasons, the writing and narration connect us back to what truly matters, which is enjoying each other’s presence. It doesn’t mean that we have to justify and pardon others errors, but more to reflect on what we desire, who we want to be and how to love others. The message beautifully resonates with the reader, no matter the political ideas, and that ultimately gives the book its meaning. That is something that, for a change, Spider-Man: Life Story didn’t have.
February 5, 2022
(Read as single issues)
That was really great, I enjoyed it much more than Spider-Man: Life Story.
That was really great, I enjoyed it much more than Spider-Man: Life Story.
May 14, 2022
3.75
This was ok. Nowhere near as good a the Spider-Man Life Story.
This was ok. Nowhere near as good a the Spider-Man Life Story.
May 17, 2022
I remember reading some issues of Fantastic Four as a kid, but it never really caught on for me. It always felt a little too pat, adhering a little too much to the status quo. A little bit lifeless, one might say.
I think "Life Story" is the FF tale I wish I'd been reading, shaking up the "super family" formula and playing it out across history, with real characters and real consequences.
And while I very much enjoyed Spider-Man's "Life Story" series from a few years ago, this Fantastic Four "Life Story" has the benefit of several characters. Each issue tells the story of a particular decade, but each is also told from a different character's viewpoint and in their voice. The end result, from beginning to end, is a full-bodied and fully realized story of a family of heroes who didn't always get along, but who came together when it mattered. And how they made a difference, to the world and to one another.
I'm sure there are plenty of quibbles to be made about canon and how "Life Story" plays fast and loose with the established FF storyline, but I'm not here to argue those. The exciting thing that this book does is give one of the oldest super-families a new resonance and relevance.
Ultimately, for me, this is a story that gives the Fantastic Four a new life.
I think "Life Story" is the FF tale I wish I'd been reading, shaking up the "super family" formula and playing it out across history, with real characters and real consequences.
And while I very much enjoyed Spider-Man's "Life Story" series from a few years ago, this Fantastic Four "Life Story" has the benefit of several characters. Each issue tells the story of a particular decade, but each is also told from a different character's viewpoint and in their voice. The end result, from beginning to end, is a full-bodied and fully realized story of a family of heroes who didn't always get along, but who came together when it mattered. And how they made a difference, to the world and to one another.
I'm sure there are plenty of quibbles to be made about canon and how "Life Story" plays fast and loose with the established FF storyline, but I'm not here to argue those. The exciting thing that this book does is give one of the oldest super-families a new resonance and relevance.
Ultimately, for me, this is a story that gives the Fantastic Four a new life.
October 4, 2023
Interesting alternate timeline in which FF age up through the decades in realistic terms.
It's a different timeline...so the story differs from the traditional telling in many ways..
Very intriguing.
Love the idea of the FF reacting to political events as well as their supervillain goes.
It's a different timeline...so the story differs from the traditional telling in many ways..
Very intriguing.
Love the idea of the FF reacting to political events as well as their supervillain goes.
March 28, 2023
After the wonderful Spider-Man: Life Story, I knew I had to read this one. It did not disappoint.
Most of it revolves around Reed's visions of Galactus and preparing for his arrival. Some things change (Johnny dies, Reed and Sue breakup for a while, Sue gets with Namor, No Valeria, Doom doesn't get mutilated, and Franklin marries a Wakandan woman, etc) but ultimately, the Fantastic Four do what they always do: save the world, no matter the cost.
I really hope there are more of these "Life Story"s. Would love to see more.
Strong recommend.
Most of it revolves around Reed's visions of Galactus and preparing for his arrival. Some things change (Johnny dies, Reed and Sue breakup for a while, Sue gets with Namor, No Valeria, Doom doesn't get mutilated, and Franklin marries a Wakandan woman, etc) but ultimately, the Fantastic Four do what they always do: save the world, no matter the cost.
I really hope there are more of these "Life Story"s. Would love to see more.
Strong recommend.
January 31, 2024
2.5 estrellas
Para un amante de los héroes más grandes de Marvel como yo, la lectura de esta obra resulta de una nostalgia y romanticismo gozosos.
A medida que iban avanzando los capítulos, lo primero que noté fue que toda la historia estaba enmarcada en un realismo vivo, se sentía como la narración realista de lo que pudiera ser la vida de nuestros héroes en nuestro mundo normal, donde las amenazas que pueden destruir el mundo no se presentan cada año como en los cómics, sino quizá una vez en la vida. Lo mismo el enfrentamiento con un villano mundial como el Dr. Doom.
Este realismo también se siente en lo que pasa con Jhonny y con el matrimonio de Susan y Reed, pero...
Por desgracia hay algunas cosas negativas en esta historia y son graves.
Para empezar Russell es uno más de los que se van con la finta esa de que Reed nunca pela a Susan y ella no se siente valorada. Se me hace una lectura estúpida de la relación de amor más profunda y fuerte y duradera de Marvel.
En segundo lugar el tratamiento de Galactus como una amenaza que pende sobre el mundo durante décadas y cuando al final llega, es derrotado de una manera simplista y nada clara.
Y peor que eso, el tratamiento de Víctor von Doom, el cual es retratado como un político ambicioso antes que como el súper genio que debe ser, y al cual sólo lo iguala Reed Richards, el cual también está pesimamente retratado en su faceta de genio, la cual brilla por su ausencia en el imaginario elegido por Russell. Si a Galactus lo derrotan de manera brevísima y poco clara, a Doom lo derrotan (dos veces!) aún peor, de forma aún más tonta y de forma aún más rápida. Al ver esas escenas con Doom no se puede pensar otra cosa además de que son ridículas, Doom jamás habría sido vencido tan fácil en las dos veces que lo enfrentaron.
Y por esto mismo, también se pierde en esta historia la rivalidad y reflejo que existe entre los dos seres más inteligentes del Universo Marvel. Aquí brilla por su ausencia.
Así que tendrá 2.5 estrellas por la única razón de que la parte emocional de la familia (Aunque no del matrimonio) y el dibujo me parecieron geniales, en especial el dibujo de La Mole es entrañable.
Espero que Fantastic Four Grand Design haga un tratamiento mucho mejor de la Primera Familia de Marvel.
Para un amante de los héroes más grandes de Marvel como yo, la lectura de esta obra resulta de una nostalgia y romanticismo gozosos.
A medida que iban avanzando los capítulos, lo primero que noté fue que toda la historia estaba enmarcada en un realismo vivo, se sentía como la narración realista de lo que pudiera ser la vida de nuestros héroes en nuestro mundo normal, donde las amenazas que pueden destruir el mundo no se presentan cada año como en los cómics, sino quizá una vez en la vida. Lo mismo el enfrentamiento con un villano mundial como el Dr. Doom.
Este realismo también se siente en lo que pasa con Jhonny y con el matrimonio de Susan y Reed, pero...
Por desgracia hay algunas cosas negativas en esta historia y son graves.
Para empezar Russell es uno más de los que se van con la finta esa de que Reed nunca pela a Susan y ella no se siente valorada. Se me hace una lectura estúpida de la relación de amor más profunda y fuerte y duradera de Marvel.
En segundo lugar el tratamiento de Galactus como una amenaza que pende sobre el mundo durante décadas y cuando al final llega, es derrotado de una manera simplista y nada clara.
Y peor que eso, el tratamiento de Víctor von Doom, el cual es retratado como un político ambicioso antes que como el súper genio que debe ser, y al cual sólo lo iguala Reed Richards, el cual también está pesimamente retratado en su faceta de genio, la cual brilla por su ausencia en el imaginario elegido por Russell. Si a Galactus lo derrotan de manera brevísima y poco clara, a Doom lo derrotan (dos veces!) aún peor, de forma aún más tonta y de forma aún más rápida. Al ver esas escenas con Doom no se puede pensar otra cosa además de que son ridículas, Doom jamás habría sido vencido tan fácil en las dos veces que lo enfrentaron.
Y por esto mismo, también se pierde en esta historia la rivalidad y reflejo que existe entre los dos seres más inteligentes del Universo Marvel. Aquí brilla por su ausencia.
Así que tendrá 2.5 estrellas por la única razón de que la parte emocional de la familia (Aunque no del matrimonio) y el dibujo me parecieron geniales, en especial el dibujo de La Mole es entrañable.
Espero que Fantastic Four Grand Design haga un tratamiento mucho mejor de la Primera Familia de Marvel.
July 5, 2024
This is a retelling of the Fantastic Four that takes place in the 60s and slowly progresses to the modern time. There are tons of changes to the lore, not all of them friendly to the legacy of Fantastic Four.
It lacks the emotional depth it's trying to convey, falling short of the beauty of family that everyone associates the team of characters with.
I would not go as far to call this book an absolute failure, for it also delivers some nice twists and wonderful art, but if we are to search for an epic and emotional journey of Superheroes, then we would not find it here.
It lacks the emotional depth it's trying to convey, falling short of the beauty of family that everyone associates the team of characters with.
I would not go as far to call this book an absolute failure, for it also delivers some nice twists and wonderful art, but if we are to search for an epic and emotional journey of Superheroes, then we would not find it here.
May 11, 2022
More fun than the Spider-Man LIFE STORY series, whilst maintaining the pathos.
August 30, 2024
A few years ago, Marvel Comics published a six-issue miniseries called Spider-Man: Life Story. Written by Chip Zdarsky and illustrated by Mark Bagley – both of which have done great things with the wall-crawler – the title’s premise was simple, which is to age up Peter Parker in real time, showing how his world (including the Marvel universe itself) has changed over the course of six decades. Those six issues (as well as an annual that got published later) were so successful that surely Marvel could apply this approach to a whole bunch of their characters.
The next Life Story is of the Fantastic Four, which makes sense, considering we wouldn’t have Marvel as we know it if not for their First Family. However, despite showing how the four superheroes have grown throughout the six decades, writer Mark Russell and artist Sean Izaakse do something different with the Life Story formula. Whereas the Spider-Man one put its own spin on iconic Spidey stories from over the decades, as well as some of the Marvel event storylines, Russell takes some of the familiar elements from the Fantastic Four lore and constructs a whole new story that spans through sixty-plus years, with some interesting liberties.
Whereas real-world politics was there in the backdrop of the previous Life Story, they are front and centre from the very first page, featuring Reed Richards being approached by President John Kennedy to construct a spaceship to compete in the Space Race during the ‘60s. Although the Fantastic Four’s origin story isn’t that important, despite being adapted twice for the big screen, Life Story does open the door for a fresh and compelling take on that story that would be interesting to see on film. From the aforementioned politics to the eponymous team’s mission to get into space, where upon getting hit by cosmic rays that grants them superpowers, Reed receives a glimpse of the Earth’s impending doom that is Galactus.
In classic Marvel fashion, the threat of Galactus looms large as Reed is preparing for this threat, which will actually take years arriving, despite the disbelief from political leaders. But the real conflict is within the Fantastic Four itself and can that family survive. Each issue is narrated by one of the Fantastic Four, giving their own perspective on their lives, from Sue Storm who becomes more independent, to her brother Johnny tries to sustain that youthful energy despite getting older and becoming an uncle. The one recurring theme, which has always driven the Fantastic Four from their inception, is that they are a family and there are many touching moments throughout to cement that theme, even if there is a sense of dread from our world coming to an end.
No doubt some hardcore FF fans will not appreciate the changes that the creators have done, such as Doctor Doom, who doesn’t really have that personal hatred towards Reed that drives his villainy, though he still thinks the world would be a better world if he rules it. Perhaps the most controversial change is the characterisation of Ben Grimm, who is introduced not as a friend of Reed and the Storm siblings, but as a jobless guy who finds himself in an extraordinary circumstance, which ultimately alters his body. Initially disgusted by Reed due to his change, and although he goes along with being a part of the Fantastic Four, which almost feels like a facade to please the public, Ben finds his place in the family and eventually love when he goes on a date with Alicia Masters.
With each of the six issues being densely packed, Sean Izaakse’s art is sharp and modern, whilst nicely evoking the Silver Age imagery that defined the Fantastic Four. Whilst we do get some other Marvel characters popping up, the focus is on known FF characters, such as Galactus, who has one of the best character designs in all of comics and his brief appearances here are illustrated to grand and terrifying effect. There are some guest artists to draw some pages throughout and whilst the transition from one artist to the next isn’t that glaring, it makes you wonder why Izaakse didn’t draw everything.
Whilst this isn’t quite the homerun that Spider-Man: Life Story was, Fantastic Four: Life Story puts its own spin on the familiar lore with surprising and mostly successful elements, whilst cementing what makes these characters special.
The next Life Story is of the Fantastic Four, which makes sense, considering we wouldn’t have Marvel as we know it if not for their First Family. However, despite showing how the four superheroes have grown throughout the six decades, writer Mark Russell and artist Sean Izaakse do something different with the Life Story formula. Whereas the Spider-Man one put its own spin on iconic Spidey stories from over the decades, as well as some of the Marvel event storylines, Russell takes some of the familiar elements from the Fantastic Four lore and constructs a whole new story that spans through sixty-plus years, with some interesting liberties.
Whereas real-world politics was there in the backdrop of the previous Life Story, they are front and centre from the very first page, featuring Reed Richards being approached by President John Kennedy to construct a spaceship to compete in the Space Race during the ‘60s. Although the Fantastic Four’s origin story isn’t that important, despite being adapted twice for the big screen, Life Story does open the door for a fresh and compelling take on that story that would be interesting to see on film. From the aforementioned politics to the eponymous team’s mission to get into space, where upon getting hit by cosmic rays that grants them superpowers, Reed receives a glimpse of the Earth’s impending doom that is Galactus.
In classic Marvel fashion, the threat of Galactus looms large as Reed is preparing for this threat, which will actually take years arriving, despite the disbelief from political leaders. But the real conflict is within the Fantastic Four itself and can that family survive. Each issue is narrated by one of the Fantastic Four, giving their own perspective on their lives, from Sue Storm who becomes more independent, to her brother Johnny tries to sustain that youthful energy despite getting older and becoming an uncle. The one recurring theme, which has always driven the Fantastic Four from their inception, is that they are a family and there are many touching moments throughout to cement that theme, even if there is a sense of dread from our world coming to an end.
No doubt some hardcore FF fans will not appreciate the changes that the creators have done, such as Doctor Doom, who doesn’t really have that personal hatred towards Reed that drives his villainy, though he still thinks the world would be a better world if he rules it. Perhaps the most controversial change is the characterisation of Ben Grimm, who is introduced not as a friend of Reed and the Storm siblings, but as a jobless guy who finds himself in an extraordinary circumstance, which ultimately alters his body. Initially disgusted by Reed due to his change, and although he goes along with being a part of the Fantastic Four, which almost feels like a facade to please the public, Ben finds his place in the family and eventually love when he goes on a date with Alicia Masters.
With each of the six issues being densely packed, Sean Izaakse’s art is sharp and modern, whilst nicely evoking the Silver Age imagery that defined the Fantastic Four. Whilst we do get some other Marvel characters popping up, the focus is on known FF characters, such as Galactus, who has one of the best character designs in all of comics and his brief appearances here are illustrated to grand and terrifying effect. There are some guest artists to draw some pages throughout and whilst the transition from one artist to the next isn’t that glaring, it makes you wonder why Izaakse didn’t draw everything.
Whilst this isn’t quite the homerun that Spider-Man: Life Story was, Fantastic Four: Life Story puts its own spin on the familiar lore with surprising and mostly successful elements, whilst cementing what makes these characters special.
May 2, 2022
Dopo l'esperimento con Spider-man, ottimo anche questo questo volume dedicato ai F4.
Ogni capitolo è narrato da uno dei protagonisti, che fa luce sui propri pensieri, preoccupazioni e obiettivi.
Molto realistico e a tratti emozionante, l'autore ha saputo evidenziare l'amore tra i membri della "famiglia" al di sopra di tutte le vicende della storia, anche le più drammatiche che hanno spezzato legami profondi.
Consigliato.
Ogni capitolo è narrato da uno dei protagonisti, che fa luce sui propri pensieri, preoccupazioni e obiettivi.
Molto realistico e a tratti emozionante, l'autore ha saputo evidenziare l'amore tra i membri della "famiglia" al di sopra di tutte le vicende della storia, anche le più drammatiche che hanno spezzato legami profondi.
Consigliato.
February 9, 2022
Angst-ier than spiderman life story. Was a fun was to revisit the fantastic four, but definitely some heavier messaging than anticipated. Overall a great read
June 18, 2022
Erfrischend. Anders. Klug. Detailverliebt. Durchdacht. Einfach wundervoll von Anfang bis Ende. Eine in vielerlei Hinsicht besondere Geschichte.
December 24, 2022
Loved everything about it.
January 26, 2023
Really is a fun read, as well as give one the message to appreciate the moments in life.
October 9, 2024
This is quite good. A very powerful story. And it resonates in a lot of ways for long time readers of The Fantastic Four. Unfortunately, it’s also pretty freaking depressing. This is NOT the Fantastic Four I grew up reading. This is not the fun-filled and exciting adventures of the first family of Marvel as conceived by Jack Kirby and Stan Lee. Nor is it the wild and wacky adventures of the team of imaginauts. This is dark. This is soberingly rational and it is not a fun-filled read. But it is an excellent story, when taken on its own. And it that respect it has a lot in common with stuff like Watchmen, Marvels, and Astro City, Vol. 1: Life in the Big City, and even Batman: The Dark Knight Returns. This story may not be as bleak as some of these others, but it is just as dark.
April 10, 2024
Pretty good!
Spider-man Life Story really created a winning formula in telling superhero stories as if happening in real time.
This lives up to Spider-man Life Story in many ways.
Some parts feel very rushed, like this book was trying to cram a lot into a relatively short book but it didn't detract too much from my enjoyment of the story.
I really enjoyed the impending threat of Galactus mixed with The Fantastic Four's day to day lives. Though I wish I could have gotten a bit more of other baddies than just Galactus and Doctor Doom.
All in all, would totally reccomend!
It's brisk, fun and heavy at times, and the artwork is very good!
I hope Marvel keeps making Life Stories for other heroes (or villains), I would be interested in:
X:Men (So much shit happens to the X-Men through the years, it would be nuts!)
Captain America (Though we have gotten a lot of him in both Life Stories, But I'd enjoy it)
Thor (It would be interesting seeing as he's a god who live for thousands or millions of years, and Norse mythology do be crazy!)
Spider-man Life Story really created a winning formula in telling superhero stories as if happening in real time.
This lives up to Spider-man Life Story in many ways.
Some parts feel very rushed, like this book was trying to cram a lot into a relatively short book but it didn't detract too much from my enjoyment of the story.
I really enjoyed the impending threat of Galactus mixed with The Fantastic Four's day to day lives. Though I wish I could have gotten a bit more of other baddies than just Galactus and Doctor Doom.
All in all, would totally reccomend!
It's brisk, fun and heavy at times, and the artwork is very good!
I hope Marvel keeps making Life Stories for other heroes (or villains), I would be interested in:
X:Men (So much shit happens to the X-Men through the years, it would be nuts!)
Captain America (Though we have gotten a lot of him in both Life Stories, But I'd enjoy it)
Thor (It would be interesting seeing as he's a god who live for thousands or millions of years, and Norse mythology do be crazy!)
November 15, 2023
Mark Russell is probably the best satirical writer working in comics at the moment. His books Not All Robots, and the Flintstones are equal parts hilarious, heartbreaking, and thoughtful. But, he can also be earnest and heartfelt when he wants to be. FF: Life Story never quite reaches the heights of Zdarsky's Spider-man: Life Story (which this book is a pseudo companion piece to), but,it also isn't as beholden to comic book continuity, or using Easter eggs as plot points as much that work. What Russell has done instead is he has managed to weave the past 60 + years of American history/mythology in with bits of The Lee Kirby run of Fantastic Four to make something pretty heart felt and surprisingly earnest.
August 13, 2024
Goddamn, this one hits hard. I’ve been a fan of all of Mark Russell’s “let’s explore superheroes moving through history” stories, a la Superman Space Age, but this may be my favorite of the bunch. Mostly it’s because the story stays so grounded in the real human dynamics and tensions between the FF in ways that the Superman and Batman books don’t. Russell doesn’t shy away from a difficult story, either. This feels like the story of a real family, full of heartbreak, imperfection, and love.
February 19, 2023
An absolute delight. The FF throw out Marvel time and get older. Hell, we even get a good reason for why Johnny was on the rocket (blackmail. It was blackmail). The rest of the MU gets kind of sidelined but it’s fine. I like how every LS has decided that Cap wouldn’t be down with the police action in Vietnam.
June 20, 2024
It stumbles toward the end, but all in all a brilliant interpretation of the first family of Marvel. The harsh reality of the Fantastic Four is mingled with sensationalism and heartache. There's pain and yearning throughout, but it all feels worth it much like any proper family. A solid read even if you have no base knowledge of these characters.
May 2, 2022
At times grim, others grimmer - this look at the lives of the Fantastic Four in “real time” doesn’t hesitate to bring tragedy with the victories. Moving and heartfelt, and Ben Grimm comes out truly happy at last … recommended for long time fans.
February 27, 2024
unnecessary changes like Spider-Man LS but none of the positives
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July 10, 2023The Life Story series has a gimmick so obvious that, in most contexts other than corporate superhero comics, it would just be the default: characters are introduced when they were introduced, and then age normally over the subsequent decades, instead of staying pretty much the same age forever in a perpetual second act. Now, with the first recipient of the treatment, Spider-Man, that was a perfect fit; regret has always been key to the character, and even coming of age to a degree - he's one of the few core Marvel characters who has appreciably aged within the core continuity. But for the FF, you're taking characters who are all about possibility, exploration, every problem ultimately having a solution - and then shackling them to the inevitability of loss, the gradual closing off of options. And given the decades over which the story is set, that's paralleled with something similar happening to the world, the optimism of the sixties gradually corroding down the years. True, things run slightly differently here; the nineties' burst of renewed optimism bears concrete fruit, Wakanda curing AIDS while Stark strangles the threat of global warming in its infancy ("Awkward analogy, but cool!"). But that's set against a backdrop where Reed knows for decades in advance that Galactus is coming, yet is initially dismissed as a crank or simply a downer, neglecting his family to desperately prepare while the world ignores him. Mark Russell has always been good at finding resonant metaphors for our ills in the most unlikely places, but the black comedy with which the unpalatable truths were seasoned in Billionaire Island or his Hanna-Barbera books is in short supply here; mainly the outlook is just black, for all that he strives to find a tragic grandeur and even hope on the other side of that. Still, even if it's not a fun read, or an approach I'd want to see brought to these characters too often, it's impressive. Sadly the same cannot be said of the art, where more era-appropriate looks for each issue might have worked better than a single artist with a fairly fixed style, even if said artist weren't sometimes prone to outright wonky anatomy.
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