Gerry Conway got away with murder, back in the day. He was a young kid who got some prestigious writing gigs at Marvel. He’s the guy that wrote Spider-man #121, the death of Gwen Stacy. Must admit, I think I kinda hated him after that for awhile. It wasn’t entirely his fault but that’s another story. This was the early ’70’s and Gerry went on to a stint writing the Fantastic Four, under the editorial eye of Roy Thomas. We’re only going to take a look at one issue from the run though, #137.

Back in the early 1070’s, it was catch as catch can as far as grabbing the latest issues of comics, be it at the grocery store or a 7-11. These businesses got what comics they got when they got ’em. You come in out of the blue or miss an issue, too bad. This was long before there were dedicated comic shops in every town. So I happened upon FF 137 and it was a part two. I had no idea what was going on and this was a crazy, bat-s**t story that I landed in. But I didn’t care, because I opened it up and splash…

Be still, my beating heart. Allow me to unpack all of this because believe it or not, there’s a lot, starting with the artists themselves. John Buscema was the penciler, Joe Sinnott was the inker and Glynis Oliver Wein was the colorist. Buscema was one of the finest illustrators to ever grace the comic book world. He had a graceful style but also delivered power. He was a master at composition, body language, expression, you name it. No one has ever mastered the fluid grace of Reed’s stretching ability like Buscema. Joe Sinnott had been inking the FF for a decade by that point, usually over the pencils of the king himself, Jack Kirby. But Kirby was a very different artist, drawing blocky, powerful figures, a more intense style that often called for a thicker line here and there to suit the power of the king. Sinnott had to adjust to a sometimes more delicate line when Reed was stretching or to accommodate Buscema’s more attractive and refined women. But he did so flawlessly.
This next part is key — the printing process back then was very crude by today’s standards and the comics were printed on cheap pulp newsprint. So it could sometimes be a trial setting down colors knowing what the end product would be. But Glynis Wein laid down some beautiful tones that complimented the scene and the art but looked damn good even on newsprint. I wanted to show you the original look of the comic page because quite often these days, artwork tends to get “cleaned up” digitally and while it may indeed be cleaner, it’s not necessarily better. The newsprint usually aided in giving a slightly muted tone to the proceedings that would often tone down the more garish colors. Here’s a side by side, how the original may have looked when you cracked open the comic and then the digitally cleaned up and modified version. The cleaned up version isn’t bad but I still like the original a little better. Maybe it’s nostalgia.

Those that do the digital remastering and cleaning up– some know what they’re doing, some have no idea. Some techniques they use will actually subtly eat away at the lush linework of the art and some of the life of the line is lost. But of course, there’s always the original black and white art and when you have the opportunity to see the raw artwork on the page, it’s always a treat and always a better end product with absolutely nothing interfering with the art itself, no color to distract from it, no adverse effect from reproduction, etc.

Now, the story itself is whackadoo. The Shaper of Worlds is some alien who looks like an albino Skrull (pointy ears) from the waist up and his torso rests on a type of tank travel machine instead of legs. He can grant someone’s wish and actually reshape the reality in your world. We eventually learn that the Shaper observed some two bit hood named Slugger Johnson, who was really missing the “good old days” of the 1950’s, so he just granted his wish and changed the present day into some ’50’s future hybrid civilization, which the FF had wandered into. But since anything Johnson wants gets whipped up by the Shaper, he grants him a castle and medieval guards with ray-guns for his protection. Also turns him into “The Brain”, an Einstein knock off.

Listen, there’s mind control, with Johnny and fill in member Medusa (from the Inhumans) joining the Wild Ones (Brando type bikers on jet cycles) while Reed and Ben fall under the spell of the Patriots (conservative crew cuts) and when it all hits the fan, the FF start to snap out of it and intervene, Johnson feels threatened and the Shaper creates a creature with the body of King Kong and a Sputnik head (look it up, kids) to fight everybody. At a drive in. (Look it up, kids).

There’s even a spotlight on how the ’50’s weren’t exactly great for the black populace back then, showing how they were disregarded and ignored by the white, clueless Patriots. It was a real Twilight Zone ep wedged into an FF comic but a true case of a kid like me not minding the bizarre elements of the story at all because the art was just so much fun, engaging, powerful. And really, just another day in the lives of the Fantastic Four in the ’70’s because… the Thing IS.













