#Review: Fantastic Four by ChineseSpyware (1965 comics)
warm helm
eternal plank
Fantastic Four (1961) #41 - "The Brutal Betrayal of Ben Grimm!"
Fantastic Four #41 is a solid but uneven entry in the Lee/Kirby run, one that works more on concept and character beats than on execution. The return of the Frightful Four makes for an effective mirror to the Fantastic Four themselves. Where Reed’s team bickers playfully, their counterparts are openly hostile, power hungry, and unstable. That contrast remains one of the issue’s greatest strengths.
Ben Grimm’s turn, prompted by insecurity, resentment, and manipulation by the Wizard, is emotionally compelling, even if the mechanics (hypnosis, sudden departures, quick reversals) feel rushed. Evil, cigar chomping Thing is undeniably memorable, and the story reinforces how Ben is consistently the most psychologically complex member of the team. His betrayal lands less as shock value and more as tragedy, especially given how often his contributions go unappreciated.
That said, the writing is clumsy in places. Dialogue can feel forced, character motivations wobble, and the sexism, particularly in how Sue and Medusa are written, has aged poorly. Visually, Vince Colletta’s inking noticeably flattens Jack Kirby’s pencils, especially compared to the dynamism Chic Stone brought to earlier issues.
Despite its flaws, the issue is engaging and important in how it pushes character-driven storytelling forward, even if it doesn’t fully stick the landing.
Final Verdict: 6.95/10
@strong dove @spiral furnace
eternal plank
Fantastic Four (1961) #42 - "To Save You, Why Must I Kill You?"
Fantastic Four #42 is a turning point chapter that’s both exciting and exhausting. On the positive side, this issue fully embraces the serialized “to be continued” momentum that defines the era, pushing the Fantastic Four into open conflict not just with the Frightful Four, but with each other. The brainwashing angle is undeniably hokey, yet it succeeds in keeping the team fractured and constantly on the back foot. Ending on the reveal of an “evil” Human Torch is a strong hook.
That said, the story is clearly being stretched thin. What could have been a tight two issue arc now feels padded with repeated captures, escapes, and increasingly goofy containment plans. Some moments border on absurd, Reed Richards sealed in a metal bottle while Sue Storm faints nearby is particularly rough. The villains are uneven as well: the Wizard and Trapster remain cartoonish, while Sandman and especially Medusa bring genuine menace and personality.
Visually, Jack Kirby delivers heavy action, but the distorted compositions and Vince Colletta’s inks sometimes make the chaos hard to follow. Overall, it’s engaging but overlong, a solid chapter that suffers from saga bloat.
Final Verdict: 6.69/10
@strong dove @spiral furnace
strong dove
Fantastic Four (1961) #42 - "To Save You, Why Must I Kill You?"
Fantastic Four ...
Ah the too be continued shit
Between this and the juggernaut ur really getting into it now
eternal plank
Fantastic Four (1961) #43 - "Lo! There Shall be an Ending!"
This is a hugely important Fantastic Four run, and one that increasingly feels like the engine powering early Marvel’s shared universe. At its best, the Lee and Kirby era represents a real step forward in long-form storytelling and worldbuilding, letting plots sprawl across multiple issues while slowly expanding the scope of the Marvel Universe itself. Milestone stories like Fantastic Four Annual #3 underline just how far the series has come, turning what should be an intimate character moment into a full-blown celebration of everything Marvel had built by the mid-1960s.
The run’s greatest strength remains its emphasis on personality and internal conflict. Villains often function as distorted reflections of the team, reinforcing how unstable their unity really is. Ben Grimm continues to anchor the series emotionally, his resentment and insecurity providing the most consistent throughline. Even when his arcs are stretched thin or resolved too quickly, his turmoil rarely feels unmotivated.
As the series grows bigger, however, its weaknesses become more pronounced. Many arcs still rely on padded conflicts, mind control plots, or abrupt reversals that sidestep deeper consequences, particularly when it comes to Reed Richards’ authoritarian tendencies. Large “event” stories emphasize spectacle over substance, sometimes sidelining the Fantastic Four in favor of guest stars and cameos. Resolutions frequently arrive via convenient resets or literal deus ex machina interventions, allowing the universe to snap back into place without lasting fallout.
Sue Storm is too often reduced to the margins, sexist dialogue persists, and character development can feel secondary to scale. Yet Jack Kirby’s imagination consistently sells the ambition. The cosmic scope, visual excess, and sheer confidence of the series make even its missteps compelling.
Final Verdict: 7.03/10
@strong dove @spiral furnace
eternal plank
Fantastic Four Annual (1963) #3 - "Bedlam at the Baxter Building!"
Reading Fantastic Four Annual #3 feels like hitting a major milestone in early Marvel. This is less a traditional story and more a full blown celebration of the universe Stan Lee and Jack Kirby had built throughout the 1960s. Reed Richards and Sue Storm’s wedding should be the emotional core, but instead it becomes the excuse for an enormous crossover where nearly every hero and villain introduced so far crashes the party.
At the center of the chaos is Doctor Doom, whose petty, obsessive hatred reaches new heights as he manipulates a legion of villains into attacking the ceremony. What follows is pure Silver Age excess: rapid fire battles, endless cameos, and a sense of joyful overload. Thor clashes with cosmic threats, Spider-Man swings in for brief but memorable moments, the X-Men appear, SHIELD intervenes, and the Marvel Universe briefly feels like one interconnected playground. It’s messy, unfocused, and undeniably fun.
The issue’s biggest weakness is also its defining trait. With so many guest stars, the Fantastic Four themselves sometimes feel sidelined in their own annual, and the story races so quickly that the wedding, the supposed main event, barely has time to breathe. The ending leans hard into a literal deus ex machina, with Watcher interfering without “interfering,” neatly resetting the board and robbing the conflict of lasting consequences.
Still, it’s hard not to admire the ambition. This comic works because of everything that came before it; every appearance lands thanks to shared history and familiarity. The final touch, Stan Lee and Jack Kirby cameoing themselves, cements the playful, self aware charm.
Flawed, overcrowded, and wonderfully indulgent, this annual stands as an early Marvel “event”: more spectacle than substance, but unforgettable in spirit.
Final verdict: 7.81/10.
@strong dove @spiral furnace
eternal plank
Fantastic Four (1961) #44 - "The Gentleman's Name is Gorgon!"
Re-Introducing…
This issue feels like a turning point, even when it stumbles. Medusa’s return is the clear highlight: she’s no longer just a generic antagonist, but a character in transition, drifting toward the more complex role she’ll eventually occupy in Fantastic Four lore. That evolution is genuinely engaging, especially as it hints at a larger mythology waiting just off-panel.
The real visual upgrade comes from Joe Sinnott taking over as inker. With Kirby’s workload reduced, the art suddenly breathes, cleaner lines, stronger compositions, and a confidence that makes the book feel sharper almost instantly. You can feel Marvel edging away from its clunkier Silver Age excesses here.
Story-wise, it’s messier. Gorgon is introduced as a major threat, but his cloven-hoofed brute routine lacks subtlety, and Dragon Man’s return, complete with his awkward fixation on Sue, feels more distracting than dramatic. The honeymoon era dynamics between Reed, Sue, Ben, and Johnny are occasionally charming, especially Johnny’s irritation at being sidelined, but they’re undercut by moments that haven’t aged well. Sue in an apron and maid outfit is painfully of the era, and it’s hard not to cringe at how casually sexist some of the framing still is.
Still, there’s momentum here. The mystery surrounding Medusa’s past, the suggestion of a hidden race, and the escalating scale of destruction all signal that something bigger is coming. Even when the plotting wobbles, the issue succeeds as setup, planting seeds that will soon pay off in a much grander way.
And while it is flawed and evendated in spots, it is still undeniably important and visually revitalized.
Final verdict: 7.05/10
@strong dove @spiral furnace
eternal plank
Fantastic Four (1961) #45 - "Among Us Hide... The Inhumans"
This issue really feels like Marvel stepping across a threshold. You can sense the shift from late Silver Age stiffness toward something closer to the Bronze Age: sharper characterization, more emotional awareness, and a wider, more interconnected world. Medusa’s repositioning continues smoothly, but the real glow-up belongs to Sue Storm. She’s no longer framed as passive or ornamental, she thinks, reflects, and empathizes, particularly in how she treats Dragon Man and how that compassion mirrors Ben Grimm’s own insecurities. Ben’s quiet self loathing here is some of the strongest character work in the book so far.
That said, Dragon Man remains the weakest element. His presence muddies the pacing and feels like leftover Silver Age excess intruding on what is otherwise a clean narrative handoff to something new. Without him, this issue might genuinely rank among the series’ best to date.
Johnny Storm, meanwhile, is both hilarious and deeply flawed. His instant infatuation with Crystal, casual dishonesty, and willingness to emotionally bulldoze his current girlfriend are peak early-Marvel Torch: reckless, charming, and painfully immature. Yet his plotline is undeniably compelling, because it introduces the Inhumans, Crystal, Karnak, Triton, Gorgon, Medusa, Lockjaw, and culminates in a fantastic final-page reveal of Black Bolt. The mystery around this hidden race feels fresh and genuinely exciting, even knowing what’s coming.
Visually, Kirby with Sinnott inks is a revelation. The art is cleaner, bolder, and more confident than it’s been in a while, reinforcing the sense that Marvel is entering a creative hot streak.
Final verdict: 7.68/10
@strong dove @spiral furnace @sudden lion
sudden lion
eternal plank
oh shit i posted my review in the wrong