My Journey with the Marvelous Four
I've been associated with the Fantastic Four for nearly four decades, all thanks to some childhood doodles I did testing out my drawing skills with these characters. My first purchase of a Fantastic Four comic was likely a Power Records reissue of the team's origin, revamped by Roy Thomas and John Buscema in a tale called "The Way It Began!" (originally from Fantastic Four issue 126, September 1972). This book and record from 1974 played a significant role in introducing me to Marvel's top-tier group, captivating me with their distinctive personality traits and their never-ending squabbles.
Occasionally, I'd manage to get my hands on issues from the series as a kid. My only regular source of comics was begging my parents for a single book at the grocery store, a practice I engaged in for around five years before being granted a weekly allowance of $1 when I turned ten. Adjusted for inflation, that wasn't much in the grand scheme of things. My parents, who were born in the 1920s, hadn't quite caught up with the pace of rising costs.
My initial understanding of the Fantastic Four stemmed from comics illustrations by artists such as John Buscema, Rich Buckler, George Pérez, and Keith Pollard, with Joe Sinnott's skillful inking ensuring consistency in the characters' appearance and the overall feel of the book. It was Jack Kirby's interpretation of the Fantastic Four that truly left an indelible mark on me, which I familiarized myself with through numerous reprints, including Marvel's Greatest Comics, and historical texts like Comix: A History of Comic Books in America by Les Daniels and Origins of Marvel Comics by Stan Lee.
Kirby's unique artistic style and character interpretations really resonated with me, and I became an avid fan of his work around the age of five, as I started regularly collecting comics at the beginning of 1975 when Kirby was returning to Marvel Comics after a brief stint at DC. Kirby's distinctive style and characterization were prevalent in the covers of many Marvel Comics published during that period, including the Fantastic Four, even though he wasn't directly involved in their interiors.
As I developed my own artistic approach, I experimented with various styles, including Kirby's, but I never saw it as my primary focus. Instead, I appreciated how Kirby's work influenced the lively nature of superhero art and character development.
Fast forward to my entry into the comic book industry in 1989, I aspired to create painted storytelling, much like the work being produced in the 80s, specifically at DC Comics. I believed that I could contribute to Marvel Comics by bringing this style to their characters, given that it was a rarity in their world. Within my first year in the industry, I received a call from Marvel, and by the beginning of 1990, I started working on a proposal that would eventually evolve into the series Marvels.
My pitch for this series included portraits of Marvel characters I admired, such as a study of the Thing titled "Grimm," where I attempted to capture the ruggedness of Jack Kirby's features within his design. A portrait named "Etc." was a collection of Kirby creations, including Galactus, Hulk, Asgard, and a focus on Invisible Girl/Woman Susan Richards and her son, Franklin. Other portraits of Fantastic Four-introduced characters like Namor, Black Panther, and Doctor Doom highlighted my fondness for this aspect of the Marvel Universe.
Given this fascination, it's no surprise that Kurt Busiek incorporated a substantial Fantastic Four storyline into MarveLs.
In issue no. 3 of Marvels (released in January 1993), Kurt and I fully utilized the Prestige Format series to explore the gripping story of a deity-like being attempting to destroy Earth, only to be thwarted by extraordinary individuals and a fallen angel. Kirby's intended symbolism between his characters, Galactus and the Silver Surfer, was evident to readers, and we aimed to enhance the impact of the story by incorporating a casual perspective from everyday people, along with dramatic visuals. Creating this issue of Marvels that centered around the Fantastic Four was one of the most rewarding experiences of my career, as I had the opportunity to work with talented models who brought authenticity and realism to my art. This issue garnered the strongest reaction within the entire series.
At about the same period, I was tasked to recreate a poster for Marvel, emulating the cover of the legendary first issue of the illustrious Fantastic Four. This was another significant achievement in my career within that domain. In due course, I seized every chance to depict the FF within broader Marvel ensembles, such as a compilation cover or a press image in Wizard magazine. As I juggled various projects for different publishers, I encountered numerous opportunities to revisit the FF and broader Kirby concepts. There are countless such concepts to explore, including the inheritance from his kin's estate and concepts I've conceived based directly on his inspiration. With Marvel, I collaborated with Jim Krueger to create a series set in the future called Earth X (1999–2000), which depicted the fate of almost every significant Marvel superhero. The Fantastic Four were pivotal characters in this series, leading to a series of tie-in comics and sequels, including the straightforwardly titled 4, which was one of our most passionately driven projects. We revived the FF team and confronted the devastating predicament we had crafted for them. The cover for that comic was my inaugural work for a Fantastic Four-specific publication.
Quite a few years would pass before I'd have another chance to portray these characters, particularly with ample room to fully showcase my skills. I must confess, I was unaware of the intensity of my longing for more involvement with them, and I was probably motivated by the exceptional work I saw from many of the top creators in the comic book industry with them.
The extended version of Fantastic Four: Full Circle will hit the shelves next week on October 29, 2024. This new edition contains the original 64-page graphic novel alongside nearly 300 additional pages of content, the majority of which is being published for the first time–including Ross's essay discussed above, as well as early sketches and concept art depicting his vision for the Fantastic Four. Click here to find out where you can pre-order the book!
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In the future, I'm excited to see how technology will influence the storytelling in comic books, potentially enhancing the reader's experience. Rodriguez's extended version of Fantastic Four: Full Circle, with its additional content, is a testament to the enduring appeal of classic comic book characters and their potential adaptation in the digital age.
As a passionate fan of the Fantastic Four, I often visit io9 for updates on the latest Marvel news, including potential advancements in technology that could impact the comics I love.
