by Jonathan Hickman (writer), Neil Edwards (pencils), Andrew Currie (inks), Paul Mounts (colors), and Rus Wooton (letters)
The Story: Tired of self-limitation among the scientific community, Reed looks to prepare the next generation of thinkers.
What’s Good: This is one of those issues of Fantastic Four that demonstrates why the title is perfect for Hickman, linked as it is with ideas he’s had since Transhuman. That is, specifically, the refusal to accept limitations and glass ceilings and a simultaneously idealist and escapist belief in infinite potential and boundless possibility.
This is laid out in the book’s strongest scene, an extended speech by Reed at a conference scientists, where he condemns them for their inertia and self-limiting. It’s a beautiful fusion of Romanticism and scientific thought, and a bold, exciting message of hope. It’s also highly relevant to our world as well, with Reed actually calling out the decision to suspend manned space missions. Reed’s speech is some of the finest writing I’ve ever read from Hickman particularly because it’s so pertinent to the human condition and contemporary society in its ideas and sentiment. It’s also, of course, perfect for the Heroic Age. Simply put, the sky is the limit but, in Reed’s eyes, we’ve stopped looking up.
This idea of “no limits” extends to a conversation between Reed and the Wizard. The Wizard is wonderfully written by Hickman, stark raving mad and spewing just barely incomprehensible pseudo-science babble. Reed’s explanation for his reasons behind taking in the Wizard’s clone is very well linked to the speech with which he opened the issue, almost as though Reed is putting his own words into practice. He will raise the boy in order to prove that there are no limits to human potential; genetics, destiny, and predestination are bunk in the face of a nurturing environment.
Beyond this ongoing theme, Hickman also makes some very disquieting hints as to where all of this is going. Links are being drawn between all of the one-shots we’ve been getting that suggested a conspiracy that is absolutely massive in scope. It’s certainly enough to intrigue. The issue is one that focuses on the future, providing an epic scope and a bright horizon.
What’s Not So Good: For all the awesome ideas put forth, the issue’s structure is a bit ramshackle. Scene-to-scene transitions are at times questionable, at other times non-existent. There’s an interlude that is nearly incomprehensible, a one-page scene with Sue in Old Atlantis that comes seemingly from nowhere, and few scenes seem related. Then there’s a scene with Franklin practicing kung-fu, or something, that’s so bizarre that it feels unpleasantly surreal, as if the characters had stumbled onto Star Trek’s holodeck.
Then there’s the increasing question of what exactly the plot, or general conflict, actually is for the Fantastic Four. We’re getting hits of something very bad from the Wizard, we’re getting hints of those links I mentioned, but ultimately, that’s all we’re getting: hints and teases. I couldn’t imagine a comic moving anymore glacially, let alone without decompression.
Then there’s Neil Edwards’ art, which is best described as being a poor man’s Dale Eaglesham. That’s not to say that it’s bad, but Edwards definitely struggles with his characters faces. At times, their faces are tremendous (Reed’s expressions of determination, the Wizard’s insane leers), but at other times, they just look painfully goofy. Edwards has particular trouble with smiling characters, who often feel creepy and artificial.
Conclusion: This is miles better than the last two issues and a return to form. Despite my criticisms, landmark ideas do trump the small-scale stumbles.
Grade: B
-Alex Evans
Grade
Conclusion