iceman: "it was fun! FUN! millar is writing old school silver age awesome-ness, but now!"
Mark me down as another happy camper.
Volume 1: The Fantastic
- this began exactly right, with those two words, and Reed Richards instantly establishing that he's a super-brain and crazy for a blonde. And it's stayed good since, pretty much.
Volume 2: Doom
- very good. I would have liked a nobler, less venomous Doom, but never mind; everything doesn't have to agree exactly with my ideas. It was still a great volume.
Volume 3: N-Zone
- this was really the goods. I don't especially care for the pseudo-science of the Human Torch, but that doesn't matter. I want a good story. I got a good story.
Volume 4: Inhuman
- this was the first wobble. I thought the art was good but out of keeping with the Ultimate Fantastic Four
, and I thought the Think Tank Story was good but the Inhumans story had the Ultimate Fantastic Four being led around like kids being taken on a trip to Disney World more than them adventuring or exploring. And I was frustrated that the crossover story was introduced but it didn't go anywhere. And I wanted a story arc on the Ultimate Fantastic Four becoming famous and coming to terms with that, and I didn't get one.
Volume 5: Crossover
- good again. The art wasn't as hot as it has been, but it was in an appropriate style, and both stories were good, with the zombie world story being the better of the two, but with Doctor Mary Storm being a worthwhile new character. I liked her dialogue. After you see the final page of issue #26, if you go back and read everything she said before in that context, it's even more obnoxiously dishonest and manipulative. The main thing was the sense of wildness and freedom - the writer goes a bit crazy having fun, and expects the reader to go along with that, suspending his or her critical faculties to some extent. Good, I'm up for that.
I don't mind that Atlantis was Egyptian, and "Namor" was in Latin letters. I thought the style of story-telling was such that the writer was asking for a free pass on all that kind of detail work, and I was happy to give it to him.
There's a lot of good stuff in the Ultimate Fantastic Four
idea that's being introduced in a very fast way. The down-side is, we don't get to savour it being built up slowly, which I would have liked, and maybe later writers will find the map already filled in, which would be a pity. But, I like what I'm getting. And if you establish things right, or right enough, early on, then you're not leaving open the unpleasant possibility that someone else will come along and botch them. I think the good far outweighs any bad.
Yesterday, when Crossover
was on the shelves here and I bought it, I felt more confident than ever before that Ultimate Fantastic Four
is on the right track and I was right to start collecting it. I think this is a sustainable level of quality, and weaker issues will be exceptions, not pointers to a downward trend.