Fantastic Four #29 Review- The Infectious Nature of DOOM
From Marvel Comics
Written by Ryan North
Art by Cory Smith
Before I jump properly into this review, I want to highlight that this review is going to inherently contain spoilers for the first issue of the One World Under Doom event title also written by Ryan North with art from R.B. Silva, that is intrinsically tied to the events of this issue of Fantastic Four. That being said, I do want to provide some spoiler free commentary regarding this current, iconic run of Fantastic Four for the uninitiated, as this new event is actually a convenient and relatively easy time to jump into the series.
Fantastic Four by Ryan North has been, and continues to be, one of the most consistently excellent books from Marvel Comics the last few years in terms of narrative quality. Perhaps this is due in large part to North’s choice to keep the saga of the Fantastic Four family largely separate from the continuity of the greater Marvel Comics Universe (until recently, of course) with distinct, anthology adventure issues that have famously been compared to episodes of The Twilight Zone.
However, the most essential quality present in Ryan North’s excellent direction of this beloved series, that is especially present in issue #29, is an unwavering attention to character traits and, of course, character development. While reading North’s Fantastic Four, fans are continually reminded of the grounded humanity of each of our titular characters in a way that doesn’t come across as effortlessly in some major superhero titles. Instead of the more typical experience of reading about the latest titanic escapades of the “Ever Loving Blue Eyed Thing,” readers are continually reminded by North of the gentle and intelligent character of- Benjamin Grimm. That is to say that each of these characters feel as though they have a rich, complex, emotionally diverse life that readers are encouraged to care for and learn about. This familiarity and vulnerability is a primary element of what keeps die hard comics fans so invested in the medium, and speaks to the ever-winding, expansive overarching narrative for these characters that only a legacy institution like Marvel Comics can deliver. Comics may “break your heart,” but I’ll be damned if they aren’t the greatest Soap Opera on Earth, amiright true believers?
Moreover, another key factor that makes Fantastic Four such a prolific modern title is its poignant social relevance, which is put on abundant display in issue #29. To date, this series has practically offered the full gambit of human experience for the Fantastic Four Family in one ingenious scenario after the next, with a clear scientific and sociological focus like the Marvel Comics equivalent of “Schoolhouse Rock.” Yet, North manages to craft the tone of his “Fantastic” series with a much less saccharine and gilded age sheen, allowing for the Fantastic Four to be as entertaining and epic as it is soberingly realistic and genuinely informative and reflective of relevant cultural conversations.
If you are looking for a modern comic book series that makes you believe again, even for a moment, in the increasingly valuable concept of hope in justice and truth in the universe, then look no further than the Fantastic Four by Ryan North.
Let’s talk more specifically about Issue #29 of this series, our follow up to the shocking events of One World Under Doom, which means,
WARNING! SPOILERS AHEAD!
Our issue begins with the reflective narration of the Invisible Woman, Susan Storm, as she muses about the “increasingly normal” world overthrown by a supremely powerful Doctor Doom. We also get a definitive timeline from the narration, with Susan revealing that it has been a singular week since Doom announced his control of the world, and yet society seems disturbingly unchanged. In order to remedy the anxiety and malaise of Doctor Doom’s self appointed stewardship of all nations, Ben and Susan take a trip back to New York to have brunch with their superhero compatriot, and former Fantastic Four member, She-Hulk.
As I stated earlier, this issue is a quaint reminder of the individuals behind the iconic masks of superherodom that we know and love. While it might not be the most sensational or electrifying set piece, the notion of taking dedicated time for these three heroic individuals to sit down in a familiar locale and simply catch up with one another, makes for a really beautiful moment.
This setup isn’t entirely thematic by the way, because we immediately gain perspective from She-Hulk about the tenuous legality of Doctor Doom’s ascension, and a glimpse into the societal perspective of Doctor Doom’s newly claimed power from the waitress who views Doctor Doom as a disgrace, but supports his anti-vampire policies in the wake of the Blood Hunt event that kicked off this whole mess.
This is where the issue really takes shape, as we learn more directly about the fate of vampires in the Marvel Comics Universe, now able to walk freely in daylight, who have become second class citizens and the obvious scapegoats for the horrors of the “Blood Hunt” that they were equally the victims of. As Sue, Jennifer, and Ben leave brunch they watch a vampire family stalked by an angry New York mob who witnessed the family feeding on the blood of a pigeon in the park. Sue intervenes as the family members plead for their lives, having been turned away from the blood bank in hopes of feeding their starving children.
It’s really interesting to see how much lore and content Marvel is devoting to the routine existence of vampires within the greater Marvel Comics society these days, after many years of a narrow, nondescript perspective on the subject. The same is true on the subject of Symbiotes within Marvel society at the moment, which is indicative of the level of social commentary that Marvel Comics is earnestly investing in, utilizing foundational groups of diverse peoples within their canon as representations of the marginalized, and oppressed “other” that reflects the kind of news you see far too much of in this day and age.
On a more contextual level, North depicts the fearful, xenophobic sentiment of New Yorkers against Vampires as poignant commentary on the manipulative tactics of ignorant, totalitarian rulers like Doctor Doom who label entire groups of people as “the enemy” in order to distract from their own self serving and harmful maneuverings.
However, what really sets this thematic device apart in this issue is North’s “upping of the ante” by showing us the repercussions of this ignorant, racist ideology rather than merely preaching to us on the subject, as Sue, Jennifer, and Ben watch in horror as a particularly dogmatic member of the angry mob descends on the Vampire parents with stakes and kills them in front of their children. The trio of heroes manage to escape with the vampire children under their protection, as She-Hulk and The Thing remark that they can’t battle against the mob of citizens without doing serious injury.
As the group returns to the Fantastic Four’s lodgings in Arizona, Ben’s Aunt Petunia’s House, we see one of the vampire children appeal to Reed for help in finding a cure for her and her brother, as their hunger grows to unstable levels. Ben and Jennifer ultimately have to lock themselves behind protective glass with the children in order to prevent them from attacking anyone else or themselves as Reed toils away, inventing a remedy for vampirism itself. Ultimately, Mister Fantastic is able to synthesize a novel solution to the children’s hunger, a plant based protein bar of sorts that mimics hemoglobin, the thing that drives the vampire's classic hunger. Sue remarks that unlike the sociological and ideological problem of Doctor Doom, this practical solution is more achievable, a step in the right direction towards fighting back at Doom’s public image and scapegoating propaganda.
I really enjoy the self-contained, holistic nature of all of North’s Fantastic Four issues, but I do have to share the popular sentiment that I have seen floating around that the fact that Reed literally cured the harmful effects of vampirism is a groundbreaking moment in the history of Marvel Comics and seemingly undercuts the sociological build up of Blood Hunt, Blade, and other comics that have so prominently featured vampire content of late.
In the final pages of the issue, we see Sue and the rest of the Fantastic Four family seemingly returning to their normal “before school” routine until they are all halted by the sight of their neighbors home, covered in pro-Doctor Doom regalia and signage.
This final sequence is arguably the most memorable and haunting imagery from the entire issue as the members of the Fantastic Four ensemble, and we the faithful reader, attempt to rationalize how and why anyone would align themselves with the sociopathic morality of a man like Victor Von Doom.
It is a welcome reminder of the transcendent power of even such historically fanciful entertainment genres like comic books to reflect and give a new perspective on lived circumstances, even uncomfortable, complex sociological subjects such as this. What’s more, this social commentary is achieved through logical and entertaining means rather than coming across as overly moralistic or bleak as could be the fear for comic fans looking for a brief distraction from the modern world. It speaks volumes of the storied legacy of Fantastic Four comics and of Ryan North as a writer that this reflective issue feels as impactful as it does, in our world that so often dismisses such attempts from creators as pandering or trite. I for one feel that Ryan North and company have cemented the legacy of this historic Fantastic Four run even more with this issue, reminding readers of the all too essential activism that the comic book medium can and should represent for its audience.
Please support your local comic book stores and this powerful ongoing series by reading Fantastic Four #29 on shelves now!
-Nicholas Aaron Hodge
