When The Fantastic Four: First Steps premieres this week, it will mark the return to prominence of four heroes not just foundational to Marvel and its ever-expanding empire of comics, movies, and television shows, but to modern pop culture and storytelling.
The Fantastic Four, a tight-knit family with strange powers, were created by comic industry veterans Stan Lee and Jack Kirby in 1961. The comic, with its bickering heroes and setting in New York City, defied genre conventions and offered a radically different vision of superheroes than the staid, righteous Superman and Batman. Immediately successful, the Fantastic Four birthed modern Marvel comics and its vast, interrelated web of heroes and villains spanning more than 35,000 issues to date. It also created the template for the modern superhero—irreverent and wise-cracking, but flawed and vulnerable. From the Fantastic Four, the Marvel style of superheroics multiplied, yielding Spider-Man, the Hulk, the X-Men, and Iron Man, among many others.
Inevitably, the Marvel brand of superhero narrative leapt from the printed page to other media, first cartoons, then television and on to the movies. The Fantastic Four didn’t just pave the way for the Marvel Cinematic Universe, a 37-film behemoth that has grossed $31.9 billion, but also seven Superman movies ($2 billion and counting), 13 X-Men movies ($2.49 billion), the Dark Knight Trilogy ($1.12 billion) and dozens of others. Beyond the superhero genre, it’s hard to watch franchises like Star Wars and the Fast & the Furious, with their bickering, misfit heroes, without seeing traces of the Fantastic Four’s DNA.
“The Fantastic Four were always the heart and soul and center of the Marvel universe and the Marvel universe has inspired so many creative people in so many different ways,” says Tom DeFalco, the former editor-in-chief of Marvel who wrote 60 issues of the Fantastic Four comic in the 1990s.
On and off the silver screen
For characters so integral to Marvel and its history, the Fantastic Four has been noticeably absent from its cinematic universe. That’s largely a result of misguided deals made in the 1990s, when a cash-strapped Marvel sold off the movie rights to its top-tier characters, including Spider-Man, the X-Men, and the Fantastic Four. While Spider-Man and the X-Men both enjoyed some success in their early 2000 movies, Fantastic Four fans were not as fortunate, with a pair of joke-heavy movies released in 2005 and 2007 to mostly poor reviews, and a disastrous 2015 reboot that made the first two shine in comparison.
The Fantastic Four comic has also faded in and out. Starting out as Marvel’s flagship comic in the 1960s, it sputtered in the 1970s before taking off again in the 1980s. The comic drew critical acclaim under writer Jonathan Hickman in the early 2010s, before disappearing entirely from 2015 to 2018, allegedly to deny Fox any free publicity for its movie.
Marvel regained the rights to the Fantastic Four (as well as the X-Men) when Disney acquired Fox’s film studio in 2019, and the comic, currently written by Ryan North, has been on a recent upswing.
Despite that checkered history, C.B Cebulski, Marvel’s editor-in-chief, says the company has never wavered in its commitment to the Fantastic Four comic and the title will enjoy extra attention in the wake of the movie release.
“From my point of view, the FFs been the core,” Cebulski says “They’ve been the core in publishing. What’s happened outside of publishing was never really a concern to me. But we’ve always focused our best efforts on making sure those four —Reed, Johnny, Ben, and Sue — were somehow featured in the best possible light every year since I’ve been at Marvel and before.”
The story of the Fantastic Four
It’s hard to imagine now, in this era of superhero ubiquity, but there was a time when costumed crusaders had all but vanished from the cultural landscape.
Modern superheroes were born in comic books in the late 1930s and they headlined dozens of titles throughout the 1940s. Fueled by patriotic stories, circulations soared, with some titles selling more than a million issues annually. But by the mid-1950s, super heroes had all but vanished from newsstands, a result of changing tastes and a paranoid, Cold War-fueled campaign to protect children from harmful influences.
The catalyst was Seduction of the Innocent, a 1954 book by psychiatrist Frederick Wertham that argued American children were being led into juvenile delinquency by lurid and violent comics. Wertham’s book led to a Congressional inquiry, led by Senator Estes Kefauver of Tennessee, best known for his investigations into organized crime, and the blacklisting of dozens of comic creators. It also led the comic book industry to create the Comics Code Authority, a self-regulating body that prohibited titles with the words “Horror” and “Terror,” banned any mention of the occult, and insisted that in comic books, law enforcement must always be treated with respect and crime should never pay.
As part of this self-censoring regime, comic publishers purged their lines of most superheroes, leaving western, romance, and humor comics. A handful of heroes remained, mostly stalwarts like Superman and Batman, but their stories were wan and gimmicky, far from the action-packed tales of the previous decades.
Out of this parched environment, came the Fantastic Four.
Unlike their relatively simple origin in the comic—a brilliant scientist, his best friend, his girlfriend and her kid brother go into space and are bombarded by cosmic rays—the creation of the Fantastic Four title is shrouded in mystery, controversy, and litigation.
One version says Marvel’s publisher, inspired by the success of rival DC’s newly launched team book, the Justice League of America, demanded his own version. Another says Stan Lee, frustrated by years of toil churning out uninspiring comics, was prompted by his wife to try something new that would excite him. Another version assigns all the creative credit to Jack Kirby, a brilliant artist and storyteller who shunned the spotlight as much as Lee craved it. Most industry observers agree both Lee and Kirby made important contributions, but precisely who did what remains unknown. But for the next 101 issues, the two would work together, with Kirby largely coming up with plots and drawing the stories, while Lee added his distinctive dialogue and feverishly marketed the title. The eventual addition of legendary inker Joe Sinnott completed the package.
For all that was revolutionary about the Fantastic Four, there is little about the characters’ powers that is original. Mr. Fantastic’s stretching ability mimicked Plastic Man, the Human Torch was a retread of a 1940s character with the same name, the powers of the Invisible Girl (as she was first known) date at least to H.G. Wells, and the Thing resembles any number of monsters. And collectively, as a team of uniformed adventurers with cool sci-fi gizmos, they looked a lot like the Challengers of the Unknown, a team created by Kirby for DC in 1957.
Instead, the inventiveness came from the characters and their interactions. In the first issue, the Thing, (understandably) dismayed at becoming a monster, lashes out at the others. By issue three, the teenaged Human Torch quits the team in a huff. In issue eight, it’s the Thing who quits. There’s also humor, pop-culture references, and lots of action. For young comic readers, this was a radical departure from what they were reading elsewhere.
“The DC characters embraced authority, they were do-gooders, like the police who would come to your school and give a lecture,” says Jim Salicrup, who edited the title in the 1980s. “There was a certain primal quality to Marvel characters.”
Making the Fantastic Four unique among super teams is their family dynamic. While the members of other teams come and go, the Fantastic Four are, for better or worse, stuck with each other.
“They all are really closely tied together, by the original events that conspired to make them into the Fantastic Four. And they all went through it and they all got handed different cards in the deck,” says Walter Simonson, who wrote and drew the comic in the early 1990s. “They’re not people or characters from different origins and different places that get together and say, ‘Hey, let’s fight crime.’”
According to Hickman, who wrote the Fantastic Four from 2009 and 2012, early drafts of the First Steps script missed that critical element. “One of the notes I gave the studio was, ‘This is excellent. It’s very cool. I love this story, but here’s the problem: It’s about a superhero team and not a family.’” (He says subsequent drafts fixed it).
After the initial success of the Fantastic Four comic, Lee quickly began adding new superheroes to the Marvel lineup, often working with Kirby, and busily cross-pollinating the titles. A year after the Fantastic Four debuted, they appeared on the cover of Amazing Spider-Man No. 1. The Hulk appeared in Fantastic Four 12. The Avengers brought five heroes together. The comics all contained letter pages, where fans debated the finer points of plots and characters, while Lee’s monthly columns relentlessly promoted the lineup. A fan club soon followed. Readers ate it up. “It was like joining a benevolent cult,” Salicrup says.
By the end of the 1960s, the Marvel style of storytelling had spread to DC, whose heroes began to wrestle with real-world issues like racism and drug addiction. And Lee and Kirby continued to crank out their stories, introducing characters as varied and memorable as the Black Panther, Dr. Doom, Nick Fury, and Thor.
That sustained decade of creativity is unmatched in comics, and was the result of the alchemy between Lee and Kirby, says Hickman.
“There are people who believe that you should swing for the fence every time,” Hickman says. “That ideas are not a non-renewable resource, that it’s a self perpetuating machine, that the more that you add to it, the more you get out of it. And I think people like that are prone to be able to do massive sprawling works of art. Those guys just happen to be those kinds of creators at the origin of what is a North American superhero industry. And we are so fortunate that we had those guys at the helm of the ship.”
