Last week I wrote a short tribute to Joe Sinnott, who passed away at 93 years old on June 25th. Sinnott’s career stretched across seven decades. He worked on so many different comic books during his lifetime that I wanted to spotlight some more examples of his work, both doing full art, and as an inker / embellisher. Here are twelve highlights from his career.
1) “Drink Deep, Vampire” is one of Joe Sinnott’s earliest stories. It appeared in Strange Tales #9, published by Atlas Comics with an August 1952 cover date. Decades later Sinnott would cite it as a favorite.
2) Sinnott drew many Western stories for Atlas during the 1950s. Here is a good example of his work in the genre. “The End of the Dakota Kid” appeared in Gunsmoke Western #46 (May 1958).
3) One of the earliest jobs on which Sinnott inked Jack Kirby was the monster story “I Was Trapped By Titano the Monster That Time Forgot!” in Tales to Astonish #10 (July 1960). Right from the start they were doing great work together. They certainly did a superb job depicting Titano, an immense crab.
4) Sinnott did a great deal of work for Treasure Chest of Fun & Fact published by George A. Pflaum. One of his most noteworthy assignments for that educational comic book was “The Story of Pope John XXIII, Who Won Our Hearts,” a 65 page biography serialized over nine issues. Here is the beautifully detailed opening page of the first chapter, published in Treasure Chest vol 18 #1 (September 13, 1962).
5) Journey Into Mystery #91 (April 1963) featuring Thor was one of the very few Marvel Comics superhero stories for which Sinnott did the full art. He did nice work on this one. I especially like the first panel on this page, with the beautiful Valkyries in flowing gowns descending from Asgard to give an imprisoned Thor his belt of strength.
6) Ask who was Jack Kirby’s best inker, and many fans will respond that it was Joe Sinnott. Sinnott did superb work over Kirby at Marvel, especially on Fantastic Four. Issue #72 (March 1968) has one of the most iconic covers from their run, and it doesn’t even feature the FF. Instead we have the Silver Surfer soaring through outer space, with the Watcher in the background, surrounded by a bundle of “Kirby crackle.”
7) Tender Love Stories was a short-lived romance series from Skywald Publications, who were in operation for the first half of the 1970s. The cover of the first issue (February 1971) has the interesting pairing of Don Heck and Joe Sinnott. I’m one of those people who believe Heck was underrated. His style was well-suited to the romance genre. Sinnott’s inking complements Heck’s pencils on this piece.
8) Sinnott remained on Fantastic Four for a decade after Kirby departed. In the early 1970s he was paired with John Buscema. This splash page from FF #137 (August 1973) beautifully showcases Sinnott’s detailed, polished inking. The textures on the castle walls, the forest surrounding it, and the Moon in the sky above are incredibly rendered.
9) Although from the early 1960s on nearly all of Sinnott’s work for Marvel was as an inker / finisher, from time to time he did full art for covers and licensing art. Here is one of his occasional covers, for The Invaders #30 (July 1978) featuring Captain America, Namor the Sub-Mariner and the original Human Torch in battle with a Nazi flying saucer.
10) Sinnott stated a number of times that his favorite character to draw was Ben Grimm, the Thing. In addition to inking the Thing in innumerable issues of the Fantastic Four, Sinnott also did inks / finishes for the character in his solo series published in the 1980s. Sinnott was paired with penciler Ron Wilson, and they made an effective team. Here’s a page from The Thing #24 (June 1985) that has Ben tussling with the Rhino. Just look at the detailed, textured manner in which Sinnott inks the Rhino’s costume.
11) Sinnott did very little work for DC Comics. One of the few jobs he did appeared in the pin-up book Superman: The Man of Steel Gallery (December 1995). Sinnott inked longtime Superman artist Curt Swan, and it was a beautiful collaboration. Looking at this, I really wish Swan & Sinnott could have worked on a few Superman stories together. I got this autographed by Joe at a comic book convention several years ago.
12) Deadbeats is a vampire soap opera written & penciled by Richard Howell and inked by Ricardo Villagran published by Claypool Comics. It ran for 82 issues, and has continued as a web comic. Howell asked a number of different artists to ink the covers throughout the run. The cover to the penultimate installment, Deadbeats #81 (December 2006), was inked by Sinnott, who had previously inked Howell a few times at Marvel. The coloring is by John Heebink.
Originally I was going to show 10 examples of Joe Sinnott’s artwork, but I just could not narrow it down, which is why we have 12…. or 13, if you count Joe’s self-portrait at the top. Even with that I still had to leave out a few examples I really liked! As I said before, Sinnott did so much great artwork over the decades. Please feel free to mention your own favorites in the comments below.
The challenge: Pick a subject and find a different artist every day for that subject. I chose “coffee.” From the work of how many comic book artists can I find examples of people drinking coffee? I post these daily on Facebook, and collect them together here.
31) Rich Buckler & Joe Sinnott
“The Mind of the Monster” from Giant-Size Super-Stars #1, penciled by Rich Buckler, inked by Joe Sinnott, written by Gerry Conway, lettered by Artie Simek, and colored by Petra Goldberg, published by Marvel Comics with a May 1974 cover date.
The Incredible Hulk leaps into Manhattan and passes out in a deserted alley. Transforming back into Bruce Banner, the cursed scientist heads over to the Fantastic Four’s Baxter Building headquarters, hoping Reed Richards can find a cure for his condition. Only Ben Grimm, the Thing, is home, but he welcomes Bruce, telling him “Guy’s like us’ve gotta stick together.”
The Thing asks the frazzled Banner “Ya want some java?” A grateful Banner accepts, and the Thing brews him a cup of coffee using some weird-looking Kirby-tech. “Don’t look at me, Banner — it’s one’a Stretcho’s dohickeys.” Yeah, leave it to Reed Richards to take something as simple as a coffee maker and transform it into a ridiculously complicated device!
The Think lets slip that Reed was recently working on a “psi-amplifier” to restore his lost humanity. An eager Banner decides that with a few modifications the device can cure both of them in one shot. Unfortunately they don’t wait for Reed to return before proceeding with the experiment, and of course something goes wrong. Next thing you know, we have another epic battle between the Hulk and the Thing, but with a twist: the Thing’s mind is in the body of the Hulk, and vise versa. Hilarity ensues… hilarity and several million dollars worth of property damage.
As explained by editor Roy Thomas in a text piece, Giant-Size Super-Stars was a monthly oversized title that would rotate through three features: the Fantastic Four, Spider-Man, and Conan the Barbarian. After this issue was released Marvel changed their plans. Spider-Man and Conan both received their own quarterly Giant-Size series, and Giant-Size Super-Stars also became quarterly, renamed Giant-Size Fantastic Four with issue #2.
The creators behind “The Mind of the Monster” were the regular Fantastic Four team: writer Gerry Conway, penciler Rich Buckler, and inker Joe Sinnott. They all do good work on this entertaining tale of swapped identities and smashed buildings. Buckler does a fine job showing via facial expressions and body language that the Thing and the Hulk have switched bodies. Longtime FF inker Sinnott does his usual great work finishing the art.
32) Rick Burchett
Presenting a double dose of caffeinated cliffhangers starring those two-fisted aviators the Blackhawks! Action Comics Weekly #632 is cover-dated December 1987, and Blackhawk #2 is cover-dated April 1989. Both stories are by the creative team of artist Rick Burchett, writer Martin Pasko, letterer Steve Haynie, and colorist Tom Ziuko, published by DC Comics.
I was sad to hear that longtime comic book writer Martin Pasko had passed away on May 10th at the age of 65. Among the numerous characters Pasko worked on was the revamp of the Blackhawks conceived by Howard Chaykin. Pasko chronicled the aviation adventures of Janos Prohaska and Co in serials published in Action Comics Weekly, and then in an all-too-short lived Blackhawk ongoing series.
Pasko was paired with the great, underrated artist Rick Burchett. I’ve always enjoyed Burchett’s art. His style is simultaneously cartoony yet possessed of a sort of gritty verisimilitude (I hope I’m articulating that in an accurate manner). Pasko & Burchett chronicled the Blackhawk’s post World War II adventures which saw the ace pilots becoming embroiled in the Cold War anti-Communist activities of the newly-formed CIA.
Within the pages of the Action Comics Weekly #632, the Blackhawks have been tasked with transporting chemist Constance Darabont to West Berlin to pick up an experimental batch of LSD. Unfortunately for Prosahka and his team Constance is murdered in Berlin and replaced by Nazi war criminal Gretchen Koblenz. On the flight back the diabolical Gretchen spikes the Blackhawks’ coffee with the LSD, pulling a gun on Olaf Friedriksen when her deadly ruse is discovered!
Blackhawk #2 ends on a much less life-threatening note, but certainly one that is just as dramatic. Over morning coffee Janos and the Blackhawks’ assistant director Mairzey ponder the current whereabouts of the missing Natalie Reed, as well as wondering what will become of Natalie’s infant son. Mairzey tells Janos that she has been considering adopting the baby. Suddenly an unidentified figure enters the room and announces “I was always afraid to tell you this before… but I’m the father of Natalie’s baby…”
The Blackhawk serials written by Grell & Pasko and drawn by Burchett were among the best material to run in Action Comics Weekly. I’m happy they’ve finally been collected together with the excellent Blackhawk miniseries by Chaykin. Hopefully a second collected edition will reprint the ongoing series by Pasko & Burchett.
33) Jack Davis
Today’s art comes from “Dig That Cat… He’s Real Gone” in The Haunt of Fear #21, drawn by Jack Davis, written by Al Feldstein & Bill Gaines, lettered by Jim Wroten, and colored by Marie Severin, published by EC Comics with a Sept-Oct 1953 cover date.
When I was a kid I preferred the sci-fi stories from Weird Science and Weird Fantasy, but as I got older I developed a taste for EC’s horror titles. I guess my dry, offbeat sense of humor came to align more closely with EC’s macabre pun-cracking horror hosts.
“Dig That Cat… He’s Real Gone” is the story of Ulric the Undying, who makes his fortune staging very public, very violent deaths from which he miraculously recovers each time. In a flashback, we see that Ulric was previously a nameless bum on skid row who was approached by Dr. Emil Manfred. Over a cup of coffee, Manfred claimed that he had discovered the secret of a cat’s nine lives, and offered to surgically transplant that ability into the bum, with the end goal of gaining wealth & fame. Manfred is successful and “Ulric the Undying” is created, but this being an EC horror story, of course things eventually take a very nasty turn for all involved.
Jack Davis was a frequent contributor to EC’s horror anthologies, illustrating many of their most famous, or perhaps infamous, stories. Davis was certainly adept at creating moody atmospheres perfectly suited to Al Feldstein’s scripts. His artwork was also appeared regularly in EC’s satirical comic books Mad and Panic. Following the demise of EC’s comic book line he drew trading cards for Topps. From the 1960s onward David, who was renowned for his caricatures, did a great deal of advertising work, movie posters and magazine covers. He passed away in 2016 at the age of 91.
34) Ross Andru & Frank Giacoia
Amazing Spider-Man #184, penciled by Ross Andru, inked by Frank Giacoia, written & edited by Marv Wolfman, lettered by John Costanza, and colored by Glynis Wein, published by Marvel Comics with a September 1978 cover date.
I recently learned of this storyline thanks to Brian Cronin of Comic Book Resources. In the previous issue Peter Parker had asked Mary Jane Watson to marry him, but she turned him down. A despondent Peter returned home, only to discover someone was waiting for him in his apartment! On the splash page of this issue, we discover who: Betty Brant, secretary to Daily Bugle publisher J. Jonah Jameson, and Peter’s girlfriend from way back when. Betty, who is all glammed up, has let herself into Peter’s apartment and made herself a cup of coffee to await his return. Now that he’s home, Betty greets him with a very warm welcome.
There’s just one itsy-bitsy problem here: Betty married Ned Leeds a few weeks earlier, and she is supposed to be in Europe with him on their honeymoon.
Yeah, that’s the old Parker luck at work, all right. You propose to the woman you love but she turns you down, and when you return home you find your recently-married ex-girlfriend has broken into your place, raided your supply of coffee, and is looking to have a fling with you. Oy vey!
The subplot of Betty attempting to hook up with Peter, and Peter being very tempted in spite of that whole “just married” thing, went on for nearly a year. I’m sure it comes as no surprise that it all ends badly for poor Peter.
Penciling this tale of torrid emotions and pilfered caffeine is veteran comic book artist Ross Andru. After two decades of working for DC Comics on such titles as Wonder Woman, G.I. Combat, The Flash and Metal Men (the last which he co-created with writer Robert Kanigher), Andru came to Marvel in 1971. He penciled Amazing Spider-Man for five years, from 1973 to 1978; this was one of his last issues. Andru is paired here with well-regarded inker Frank Giacoia, who had previously embellished ASM during the early part of Andru’s half-decade run.
35) Alex Saviuk & Al Wlliamson
Web of Spider-Man #91, penciled by Alex Saviuk, inked by Al Williamson, written by Howard Mackie, lettered by Rick Parker, and colored by Bob Sharen, published by Marvel Comics with an August 1992 cover date.
Following up on our last entry, it’s another Spider-Man page featuring Peter Parker, Betty Brant, coffee and… oh no, Betty’s throwing herself at Peter again, isn’t she?
Okay, what’s actually going on here is that Betty has been working undercover on a story for the Daily Bugle. She’s investigating the organization belonging to the international assassin the Foreigner, the man behind the murder of her husband Ned Leeds. When Betty happens to run into Peter in the street she locks lips with him and drags him into a nearby diner so that she can give him the information she’s been collecting to pass on to Daily Bugle publisher J. Jonah Jameson. Unfortunately the people who are following Betty see through her ruse and attack the coffee shop. What follows is Spider-Man spending the rest of the issue trading blows with a pair of the Foreigner’s armored goons in the java joint, which of course gets demolished. I hope the owners had their insurance premiums paid up!
Betty had spent a long time after her husband’s death traumatized & vulnerable. This was the beginning of a new direction for her, as she quit being Jonah’s secretary, became more assertive, and began a career as an investigative journalist for the Bugle.
The pencils are by Alex Saviuk, a really good artist who had a long run on Web of Spider-Man, from 1988 to 1994. I think Saviuk’s seven year stint on often gets overlooked because this was at the same time McFarlane, Larsen and Bagley were also drawing the character, and with their more dynamic, flashy styles they consequently receiving more attention. That is a shame, because Saviuk turned in solid, quality work on Web of Spider-Man. I enjoyed his depiction of the character.
As we can see from this page, Saviuk was also really good at rendering the soap opera and non-costumed sequences that are part-and-parcel of Peter Parker’s tumultuous personal life.
On the Facebook group Comic Book Historians, moderator Jim Thompson issued a “Call to Arms” to occupy and cheer up those of us who are working from home or unemployed due to the coronavirus pandemic. The challenge: Pick a subject and find a different artist every day for that subject until May 1st (if not longer).
Jim had already been posting his 1000 Horses series for the past three years, each day showcasing artwork featuring a horse drawn by a different artist. Group member Mitchell Brown has done several shorter themes, most recently “My Enemy, Myself” featuring “evil twin” stories.
Mitchell sometimes collects together some of these FB posts on his entertaining & informative blog, the appropriately named A Dispensable List of Comic Book Lists. That inspired me to do the same with my blog. Here is the first installment in the Hopefully Almost Daily Comic Book Coffee. From the work of how many different artists can I find examples of people drinking coffee? I guess we will just have to see.
1) Shannon Wheeler
Let’s start off with the obvious choice: Too Much Coffee Man by Shannon Wheeler. Too Much Coffee Man first appeared as a self-published mini comic in 1991. In a 2011 interview with The New Yorker, Wheeler explained the origins of the series:
“In 1991, I drew an autobiographical cartoon for The Daily Texan with themes of alienation and loneliness. When I described it, people’s eyes glazed over. As a cheap gag, I started “Too Much Coffee Man.” I still address the same themes, except now there’s coffee. People like coffee.”
That’s certainly true. I’m drinking coffee at this very moment, right as I’m typing this sentence.
From such humble beginnings, Too Much Coffee Man has been in near-continuous publication for almost three decades. The series has enabled Wheeler to humorously explore existential angst, the lunacy of American society, and the dangers of overindulging in caffeine.
This artwork is from Common Grounds #5 from Image Comics, cover-dated June 2004. Script is by Troy Hickman, pencils by Dan Jurgens, inks by Al Vey, letters by the Dreamer’s Design team, and colors by Guy Major. I’m going to quote from my own previous blog post about Common Grounds…
Published by the Top Cow imprint of Image Comics in 2004, Common Grounds was a six issue miniseries written by Troy Hickman, with contributions from a number of extremely talented artists. It initially began life as a mini comic titled Holey Crullers that Hickman had worked on with Jerry Smith a few years before. Common Grounds was set around a nationwide chain of coffee shops that were frequented by costumed heroes & villains, a sort of Starbucks or Dunkin Donuts for super-humans. The various Common Grounds stores serve as “neutral territory” where both crime-fighters and criminals can gather peaceably to enjoy a cup of joe and some doughnuts.
Hickman and his artistic collaborators introduce a cast who, on the surface, are expies for famous DC and Marvel characters. Hickman utilizes these to both pay homage to and deconstruct various storytelling structures and devices of the superhero genre. What I like about how Hickman goes about this is that he does so with a surprising lack of sarcasm or mockery. All of his jibes are of the good-natured sort, and he takes equal aim at the implausible silliness of the early Silver Age and the grim & gritty trappings of more recent decades. Common Grounds is simultaneously extremely funny and very poignant & serious.
I’m fairly confident I’ll be featuring work from some of the other Common Grounds art teams in future installments! It’s definitely due for another re-read.
3) Jack Kirby & Joe Sinnott
If you’re going to talk comic books, sooner or later (probably sooner) you’re going to have to discuss Stan Lee and Jack Kirby. Whatever the specific division of labor was (and all these decades it’s almost impossible to determine that precisely) the two of them working together in the 1960s created the majority of the Marvel Universe.
It all started in August 1961 with the Fantastic Four, a group who right from the start were characterized as much by their all-too-human disagreements as their super-powers. And no one was more dysfunctional than the gruff Ben Grimm, aka the Thing, who had been transformed by cosmic radiation into a monster.
Early on Ben Grimm very much straddled the line between hero and villain, and in those first few issues the rest of the FF found themselves wondering if the Thing, consumed by anger & self-loathing, might violently turn on them. However, the Thing gradually evolved into a character who was both gruff & comedic. We see one of the first hints of that here, in this scene from Fantastic Four #5, cover-dated July 1962. Ben is attempting to enjoy a cup of coffee, only to get razzed by literal hothead the Human Torch.
This is one of those pages that really makes me appreciate Kirby. I love the panel with the Thing holding the cup of coffee. This was when he still looked like orange oatmeal, very much a horribly disfigured individual, before he evolved into the almost cartoony orange brick form we are all familiar with. There’s this simultaneous humor and tragedy in that panel, as Ben Grimm, now this huge, grotesque figure, is almost daintily holding that coffee cup & saucer, a very human gesture, and a reminder of what he once was, and longs to be again.
Inks are by Joe Sinnott, his first time working on FF. Lee wanted Sinnott to become the regular inker, but soon after Sinnott received the assignment of drawing the biography of Pope John XXIII for Treasure Chest. Sinnott had inked about half a page of Kirby’s pencils for the next issue when he got the Treasure Chest job, and so had to mail the art back to Lee, who then assigned it to Dick Ayers. Sinnott fortunately got another opportunity work on the series in 1965, commencing with issue #44, and for the rest of the 1960s did a superb job inking Kirby. Sinnott remained on FF for the 15 years, inking / embellishing over several pencilers.
In a case of Early Installment Weirdness, we see the Torch reading an issue of The Incredible Hulk #1, which in the real world had come out two months earlier. It seems at this point in time Lee & Kirby had not quite decided if the Hulk occupied the same fictional universe as the FF.
4) Werner Roth & John Tartaglione
X-Men #31, cover-dated April 1967, was penciled by Werner Roth and inked by John Tartaglione. “We Must Destroy… the Cobalt Man!” was written by Roy Thomas.
X-Men in the 1960s was a title of, um, variable quality. Series creators Lee & Kirby both left fairly early on, and newcomer Roy Thomas sometimes struggled to find a successful direction for the book. Thomas was paired with penciler Werner Roth, who did good, solid work… but regrettably did not possess a certain dynamic quality necessary for Marvel-style superheroes. Also, I’m not sure if Tartaglione’s inks were an especially good fit for Roth’s pencils.
Roth was, however very well-suited to drawing romance, war and Westerns comic books. He certainly was adept at rendering lovely ladies, as seen in his exquisite art on Lorna the Jungle Queen in the 1950s, which he inked himself. So it’s not surprising that some of Roth’s best work on X-Men was when the main cast was in their civilian identities, and the soap-operatic melodrama was flying fast & furious. Witness the following…
Here we have two different coffee-drinking scenes on one page. At the top, Scott Summers, Warren Worthington and Jean Grey are hanging out with Ted Roberts and his older brother Ralph at a greasy spoon known as the Never-Say-Diner… really, Roy?!? Ted was a short-lived rival to Scott for Jean’s affections, and Ralph was (spoilers!) a short-lived villain named the Cobalt Man. Elsewhere, Hank McCoy and Bobby Drake have taken their dates Vera and Zelda to their semi-regular Greenwich Village hangout, Coffee A Go-Go, where Bernard the Poet is, ahem, “reciting his latest masterpiece.” The scene closes with Bobby creating the world’s first iced espresso.
5) Joe Staton
This entry is drawn by one of my all-time favorite artists, the amazing Joe Staton. “Vamfire” is a short story featuring E-Man and Nova Kane, the awesome characters created by Nicola “Nick” Cuti & Joe Staton at Charlton Comics in 1973. This story was originally planned for Charlton Bullseye in 1976. It did not see print until a decade later, in The Original E-Man and Michael Mauser #7 (April 1986) published by First Comics, who had the E-Man rights in the 1980s.
I’ve blogged at length about E-Manon several occasions. Suffice it to say, it’s an amazing series, with brilliantly humorous & heartfelt writing by Cuti and wonderfully imaginative artwork by Staton. This six page story introduces E-Man’s negative energy sister Vamfire, a sort of proto bad girl anti-hero who would reappear in later stories. “Vamfire” also introduces Nick and Joe’s Café, and Staton draws himself and Cuti as the proprietors. Nick and Joe’s Café would also return in later stories, with the running gag that their coffee was always terrible. Nevertheless they somehow managed to stay in business, no doubt due to being strategically located near Xanadu Universe in Manhattan, where innumerable sleep-deprived college & graduate students were desperate for a caffeine fix to keep them awake during the school’s interminable lectures.
This year Marvel Comics is celebrating their 80th anniversary with the release of Marvel Comics #1000 and a number of specials reuniting older creative teams. The occasion prompted me to take a look back at 1986 in general, and at Fantastic Four #296 in particular, when Marvel celebrated their 25th anniversary.
I’m sure at least a few people are wondering “How in the name of Irving Forbush could Marvel have celebrated their 25th anniversary in 1986 and then only 33 years later be celebrating their 80th?!?”
The fact is Marvel Comics actually has two anniversaries. The first is for late August 1939 when Timely Comics, the company that would one day be known as Marvel, released their very first comic book, Marvel Comics #1 (with an October cover date). The second is for early August 1961 when the first issue of Fantastic Four was published (with a November cover date) ushering in what is now known as the “Marvel era” or the “modern Marvel universe” that has been in continuous publication to the present day.
This, of course, is very convenient for Marvel Comics, as it gives them not one but two historic anniversaries to celebrate every few years with high-profile specials and reprints, as well as the accompanying publicity.
In any case, back in 1986 it was the 25th anniversary of the debut of Fantastic Four #1 by Stan Lee & Jack Kirby. Marvel made a fairly big deal of it, with Marvel Saga and The Official Handbook of the Marvel Universe Deluxe Edition offering in-depth explorations of the characters’ histories (in the days before trade paperbacks and the internet both of these titles were invaluable resources to young fans such as myself). Marvel’s then editor-in-chief Jim Shooter also launched the New Universe with much fanfare, but due to various behind-the-scenes events that line ultimately did not last long.
Another part of the celebration was that all of Marvel’s comics released in August 1986 featured cover portraits of their lead characters, surrounded by a border of character illustrations, the latter of which were drawn by longtime Marvel artist John Romita. A gallery of these covers can be viewed on Sean Kleefeld’s blog.
This finally brings us to the main subject of this post, namely Fantastic Four #296, the big 25th anniversary issue commemorating the birth of the Marvel era. This 64 page story was plotted by Jim Shooter, scripted by Stan Lee, lettered by John Workman, colored by Glynis Oliver, and edited by Mike Carlin. It was drawn by a very impressive roster of artists: Barry Windsor-Smith, Kerry Gammill, Vince Colletta, Ron Frenz, Bob Wiacek, Al Milgrom, Klaus Janson, John Buscema, Steve Leialoha, Marc Silvestri, Josef Rubinstein, Jerry Ordway & Joe Sinnott.
The set-up for “Homecoming” is a bit on the convoluted side. A couple of years earlier, during the lengthy run by John Byrne that immediately preceded it, Ben Grimm aka the Thing had been written out of the book, and She-Hulk had come onboard the fill his spot. In recent issues the Thing had been lurking at the periphery, as Byrne was setting the stage for him to finally return to the team in their 25th anniversary story. But then Byrne abruptly departed Marvel, going over to DC Comics to do a high-profile reboot of Superman. This left Shooter and Lee sort of scrambling to pick up the pieces, to tell a story that makes sense with what Byrne had recently been doing.
As FF #296 opens, the Thing is despondent. His ex-girlfriend Alicia Masters is now dating Johnny Storm, the Human Torch. The Thing, who resembles a large pile of orange rocks, feels more disconnected from humanity than ever. After brooding in the rain at the site where Reed Richards’ rocket ship crashed years before, and the team all first gained their powers, Ben decides to exile himself to Monster Isle, home to the FF’s very first foe, the Mole Man, who himself has been ostracized by humanity.
Days later the rest of the team learn from pilot Hopper Hertnecky where their friend & teammate has gotten off to. Hopper reiterates to them the Thing’s longtime frustration that while Reed, Sue and Johnny all gained amazing powers from the cosmic rays that bombarded their spaceflight, Ben was horrifically mutated. Reed once again begins to beat himself up over his role in his best friend Ben becoming a monster. However this time Sue bluntly states that this time Ben is unfairly taking out his frustrations on Reed, that whatever Reed did or did not do, he has attempted on numerous occasions over the years to help Ben, to find a permanent cure for him.
Motivated by Sue’s words, Reed decides he needs to see Ben one last time, to settle their argument once and for all. Sue and Johnny insist on accompanying him. She-Hulk and Wyatt Wingfoot, however, choose to remain behind, realizing that this is a family matter, and as close to the team as both of them are, they haven’t been there since the very beginning.
Mister Fantastic, the Invisible Woman and the Human Torch journey to Monster Isle. They are quickly attacked by the Mole Man’s army of strange monsters. They are brought before the Thing, who has taken to dressing like the Mole Man. Ben tells the others they shouldn’t have come, this is his home now. He tells them that he is going to help the Mole Man create a safe haven for outcasts of society.
Ben is convinced of the Mole Man’s altruism, but he begins to experience doubts when Alicia unexpectedly arrives. The blind woman coerced Hopper into flying her to Monster Isle, so that she can make her peace with Ben. Learning that Alicia has broken up with Ben, and that Ben has been showing the rest of the team around the subterranean domain, the Mole Man’s bitterness & paranoia inflame. He has his servants kidnap & disfigure the Human Torch as punishment for Johnny “stealing” Alicia from Ben.
As upset as Ben is about Alicia being with Johnny, this nevertheless shocks & disturbs the Thing’s confidence in the Mole Man. Ben’s faith is further shaken when Reed explains that the earth-moving device the Mole Man intends to use to create an island refuge for humanity’s freaks & outsiders will cause devastating damage to the mainland.
At long last Ben realizes that no matter how noble Mole Man’s motives might be, he is nevertheless a disturbed, dangerous fanatic. The Thing joins with the others to wreck the Mole Man’s machines, and to restore Johnny to normal. As the subterranean headquarters beneath Monster Isle crumble, they make a break for it. The issue ends as they are rescued by Hopper in a rubber raft. A grumbling Ben reluctantly admits that his place is with the team, and at long last the Fantastic Four are reunited.
The plot by Jim Shooter is a solid one, in that it achieves two primary goals: It commemorates the anniversary & history of the Fantastic Four, and it gets the original line-up back together for the first time in two and a half years. Perhaps it’s not the best FF issue I’ve ever read, or the most imaginative, but it’s entertaining.
The script by Fantastic Four co-creator Stan Lee is also good. In later decades Lee sometimes became almost a parody of himself, with his whole “Face front, true believers!” bombastic, tongue-in-cheek style of prose and promotion. Some of that is certainly on display here. However, as the editor and the main writer / scripter at Marvel throughout the 1960s, Lee was largely responsible for giving most of the company’s characters their distinctive voices & personalities. Looking at this story it is apparent that he had remained capable of poignant, dramatic writing, especially if paired up with a talented artist / collaborator. Lee’s opening narration and dialogue for FF #296 is very effective and combined with the art by Barry Windsor-Smith results in a genuinely moody, atmospheric scene.
Speaking of the artists, there are some distinctive choices on display in FF #296. The aforementioned work by Windsor-Smith immediately set the tone. On several pages the story cuts back & forth between his art and a flashback of the FF’s origin drawn by Kerry Gammill & Vince Colletta. It definitely offers an interesting contrast.
In general I am not overly fond of Colletta’s inking. Nevertheless, back in the mid 1960s he did ink several of the Lee & Kirby FF issues, and his work on this story in conjunction with Gammill’s pencils evokes a Silver Age feel that is very well suited to a retelling of the events of the team’s first story.
There are several pages by the team of Ron Frenz & Bob Wiacek. Frenz is a very solid, effective storyteller, so he is certainly well-suited to dramatically render scenes that feature a significant amount of exposition and character moments. Wiacek is one of the best inkers in the biz, and his finishes complement Frenz’s pencils.
I also enjoyed the pages by Al Milgrom & Klaus Janson. They are two artists with very different styles, yet the combination works very well. Milgrom’s super-hero oriented penciling is very effective for rendering the team fighting the Mole Man’s weird, wacky monsters, and Janson’s inking gives it a darker, gritty feel.
The next pairing, John Buscema inked by Steve Leialoha, is a bit odd. Both are incredibly talented artists, to be certain. In addition, Buscema was the first regular penciler on FF after Kirby left the title, doing really good work during the early 1970s, so he’s an appropriate choice to contribute to this issue. Nevertheless, I do feel Leialoha’s inks sort of subsume Buscema’s characteristic style. Of course, it is possible that Big John was only contributing layouts, something that became more prevalent for him in the 1980s, leaving it up to Leialoha to do the lion’s share, and resulting in more of his style coming through.
I think that under any other circumstances the team of Buscema & Leialoha would have been very effective. It’s just that here, on this particular story, a somewhat more traditional inker might have been a better fit for Big John. But that’s purely an emotional, sentimental judgment on my part. At the very least, this does demonstrate once again just how significant an impact the inker can have on the finished artwork.
The next segment is by then up-and-coming penciler Marc Silvestri and established inker Josef Rubinstein. This was a year before Silvestri would begin his well-received run on Uncanny X-Men, but there’s definitely a lot of potential on display, with solid action & effective storytelling, and it’s apparent why he soon became a hot artist. Rubinstein’s inking ably supports the young penciler.
Rounding out the issue is Jerry Ordway on pencils and Bob Wiacek & Joe Sinnott on inks. It was certainly very appropriate to have Sinnott involved in this issue. He had a long, acclaimed association with the Fantastic Four series. Sinnott inked the second half of Lee & Kirby’s long FF run, and is generally regarded as one of the best inkers ever paired with Kirby. After Kirby left Marvel, Sinnott continued as the book’s inker for over a decade, working over John Buscema and several other pencilers, right up until the beginning of Byrne’s run.
That said, in my mind Ordway inked by Sinnott was another unusual choice. Sinnott is an inker whose work is almost always recognizable, no matter who he inks. Ordway, however, is one of those pencilers whose style is so strong & distinctive that, no matter who inks his pencils, the finished artwork basically looks the same. To my untrained eyes Ordway inked by Sinnott does not look much different that Ordway inking himself, or Ordway inked by Wiacek or Al Gordon or Dennis Janke or anyone else.
Oh, well… I’m probably quibbling. The pages by Ordway, Wiacek & Sinnott look great, and that’s the important thing. Ordway has stated that growing up in the 1960s he was a huge Marvel fan, so it must have been a thrill for him to work on several issues of Fantastic Four around this time, especially this anniversary story.
In any case, the back cover artwork is by John Buscema & Joe Sinnott. It’s a really nice image that showcases both artists’ styles, and really evokes the early Bronze Age era of the title. So that gives us a really good example of “traditional” FF artwork.
However, there are two individuals who were not involved with Fantastic Four #296. The first is Jack Kirby. The second is John Byrne.
Kirby is, of course, the co-creator of Fantastic Four. He co-plotted & penciled the first 102 regular issues of the series, as well as the first six annuals. Kirby’s role in the creation & development of the Marvel universe cannot possible be overstated.
As for Byrne, he is often credited with the revitalization of the Fantastic Four title. The writing on FF throughout the 1970s is generally regarded as uneven. Byrne came onboard as writer & artist with issue #232 in 1981, and very quickly made the FF into an exciting, popular series. His time on the book is frequently compared to the original Lee & Kirby run.
However, once again real-world events intruded. By 1986 Byrne and Shooter were not on good terms and, as previously mentioned, this led to Byrne abruptly leaving Fantastic Four. His last full issue was #293, released just three months earlier.
I doubt that back in late 1986 any of this impacted on my reading of Fantastic Four #296 in the slightest way. As I said before, this was pre-internet, so I had no way of easily finding out about all of these events.
Nowadays, though, I have a much greater knowledge of the history of the Fantastic Four series, and an awareness of what was going on at Marvel in the mid 1980s. So when I re-read this issue a couple of weeks ago, the absences of Jack Kirby, who co-created the first decade of the book, and John Byrne, who had just come off a five year run that saw a creative renaissance, felt especially conspicuous, as well as exceedingly unfortunate.
Not to jump on an anti-Marvel bandwagon, but I certainly understand why over the past three decades so many artists & writers have chosen to go the creator-owned route. After all, if Marvel can screw over Kirby, the guy who created many of their characters, well, they’re certainly not going to hesitate to kick anyone else to the curb, either. Far better to retain ownership of your characters and benefit fully from their success, no matter how modest, than to create a runaway hit for Marvel (or DC Comics, for that matter) and see other people make millions of dollars off your creativity.
Having said all that, I do still enjoy a few Marvel and DC books, such as Fantastic Four (the current run written by Dan Slott is the best the book has been in a long time). I just believe that it’s absolutely crucial for anyone who wants to work for the Big Two to go in with their eyes open, to know exactly what their rights are, and to be fully aware of the history of the industry, so that they do not find themselves in the same position that Kirby and so many others unfortunately did.
One other note: Back in 1986, I was 10 years old, and the idea that Marvel was celebrating its 25th anniversary was a little difficult to comprehend. To me 1961 seemed so incredibly far in the past.
Contrast this to a couple of years ago, when Image Comics celebrated their 25th anniversary. My first reaction was that there was absolutely no way Image could be 25 years old, and it was impossible for 1992 to have been a quarter of a century ago.
I guess it’s just one of those matters of personal perspective. Anything that happened before you were born is automatically ancient history, and anything that happened during your lifetime, even if it was decades ago, still feels like the recent past because you were there and experienced it firsthand.
For a brief moment it appeared that 2018 was to be the Year of Super-Hero Weddings. Batman and Catwoman were all set to tie the knot, and Colossus and Shadowcat were also ready for wedded bliss. Unfortunately, Selina Kyle left Bruce Wayne at the altar, and Kitty also backed out at the last sec, much to Peter’s consternation. In that case longtime on-again, off-again couple Rogue and Gambit decided to take advantage of the occasion to impulsively leap into holy matrimony, so at least somebody got hitched in the X-Men books.
Third time was the charm, though, and as 2018 came to a close we finally got a scheduled wedding go through as planned: Benjamin Jacob Grimm, aka the Thing, married his longtime girlfriend, blind sculptress Alicia Reiss Masters.
The blessed event took place in the pages of Fantastic Four #650, or if you prefer issue #5 of the current volume. Setting up the event is the Fantastic Four Wedding Special. Dan Slott was the main writer, with Gail Simone stopping by to give us Alicia’s bachelorette party.
(What volume of Fantastic Four is Marvel up to, anyway? I honestly don’t know! With all the renumbering and rebooting that Marvel keeps doing, who can keep track?)
Of course, as soon as the news broke about Ben and Alicia’s impending nuptials, alarm bells immediately began blaring in the heads of longtime readers, myself included. After all, back in FF #300, Johnny Storm, the Human Torch, had married Alicia, only for this to later be retconned away when Alicia was revealed to have been replaced by a Skrull imposter named Lyja.
Dan Slott swore up & down on social media that there would be no Skrulls involved. The house ad for FF #650 even boldly proclaimed…
“No bait. No switch. Not a dream. Not a hoax. And we swear, not a single Skrull around. This is really happening!”
Of course, that still leaves shape-shifters, and evil other-dimensional duplicates, and Space Phantoms, and LMDs, and clones… hey, Dan Slott spent a decade writing Amazing Spider-Man, so at this point he probably has clones on the brain!
*Ahem!* Actually, there was a moment towards the end of FF #650 where it briefly appeared the wedding was going to be called off, and I literally considered throwing my copy of the issue across the room in frustration. Fortunately, though, Ben and Alicia did go through with the ceremony. So it seems that this is really, truly supposed to be the real, permanent marriage of Ben and Alicia… at least for the present. Keep your fingers crossed!
Whatever the case, unlike a lot of super-hero weddings, which come across as sales events, this actually does feel like a natural progression. Alicia was first introduced waaaaay back in Fantastic Four #8 (1962) by Stan Lee, Jack Kirby & Dick Ayers. Alicia was manipulated into disguising herself as the Invisible Girl as part of a cockamamie plot by her stepfather, the diabolical Puppet Master, to destroy the FF. There was an immediate attraction between the Thing and the sensitive young woman, and the very next issue they were already dating.
The Wedding Special contains a humorous back-up by the great Fred Hembeck. Narrated by the Puppet Master, this vignette touches on how her introduction prompted a crucial turning point in the Thing’s early development. If you read the first few FF stories by Lee & Kirby, the Thing was very much depicted as a dangerous character, a being whose rage and self-loathing at his horrific mutation threatened to lead him to villainy.
And then the Thing met Alicia, who sensed the kind, sensitive soul underneath Ben’s anger and depression. From this point forward the Thing was written as alternately tragic and comedic, a heroic and loyal figure who masked his pain at being trapped in a monstrous form with a gruff, irreverent persona.
It has often been observed that the Fantastic Four is not so much a super-hero team as it is a family, one that is often dysfunctional, but which at the end of the day will stick together through hell & high water. Slott has only been the regular FF writer for a few issues, but he’s scripted the characters several times in the past, including on the Thing’s short-lived solo series in 2006. So I find that he already has a really good grasp on them. Slott’s stories are the perfect mix of soap opera dramatics and irreverent humor. He was definitely well-suited to write the wedding of Ben and Alicia.
Over the past couple of decades, I have gravitated away from mainstream super-hero books. My interests are much more on books that are character-driven. I am a huge fan of Love and Rockets by Jaime & Gilbert Hernandez.
I think that’s why I appreciate Slott’s work on FF so much. He isn’t writing a book that centers on super-powered beings slugging it out, but on the family dynamics of Reed, Sue, Ben, Johnny, Franklin, Valeria, Alicia and the rest of the extended FF family.
That’s certainly the case with the Wedding Special and issue #650. Slott does a superb job at exploring new sides to characters who have been in print for decades. I appreciated Slott’s look at the friendship between Susan Storm and Ben Grimm, and the examination of how Sue feels about what happened to Ben, the sense of responsibility she feels, as she was the one who pushed him to pilot Reed Richards’ ill-fated spaceship. Slott reveals that in the early days of the team, in an effort to help the Thing find some happiness, Sue played matchmaker, encouraging him to pursue a relationship with Alicia.
The interaction between Ben and Johnny during the bachelor party is also well done. It’s one of the best scenes between these friendly rivals that I’ve seen in the series’ entire history.
The actual wedding was beautifully written by Slott. It’s a lovely scene. I was especially moved when Slott revealed Reed’s wedding present to Ben and Alicia. It actually made me a bit misty-eyed.
I was also happy that Ben and Alicia had a Jewish ceremony. After all, the Thing is Jewish. At the same time, I appreciate that Slott didn’t make it a huge deal. It was just one detail in the story. As I’ve said before, I like that Ben Grimm is Jewish, but I certainly do not think that should be his defining characteristic. In other words, he is a character who, among other things, happens to be Jewish.
By the way, I am curious if Alicia might also be of Jewish ancestry, as her late biological father was named Jacob Reiss.
Among the close family members who attend the wedding are Ben’s Uncle Jake and Aunt Petunia. It was nice to see them again after so many years.
A few readers were upset that Aunt Petunia was depicted as being in her 40s or 50s here. After all, when we first met Petunia in FF #238, she was shown to be both young and attractive. I realize that John Byrne did this to humorously subvert reader expectations, since before that, whenever the Thing mentioned Petunia, the implication that she was a tough, feisty old lady. However, I don’t know if in the long run that was such a good idea. Maybe it wasn’t such an issue back in 1982 when Byrne wrote that story, but nowadays the idea that Uncle Jake, a senior citizen, married a woman who was young enough to be his daughter is sort of weird & uncomfortable. It’s probably a good idea to nowadays depict Petunia as being somewhat closer in age to Jake.
Anyway, I really did enjoy Slott’s work on these stories. I like the idea of Ben and Alicia as a married couple. I just hope that Galactus doesn’t end up eating the Earth before we get to see Ben and Alicia go on their honeymoon!
Gail Simone also does good work with the characters in her segment for the Wedding Special, penning a tale that is both humorous and poignant. I hope she has another opportunity to write the FF again in the future.
The artwork on these two issues was also great. Laura Braga does sexy, humorous work on the bachelorette party story in the Wedding Special, while Mark Buckingham & Mark Farmer turn in some effective art on the second tale, evoking the style of Kirby as the Thing has a surprising encounter with the Puppet Master.
The framing sequences of FF #650 are illustrated by Aaron Kuder, culminating is his gorgeous depiction of Ben & Alicia’s wedding. In places Kuder’s art here brings to mind the work of John Romita Jr and Frank Quitely.
Mike Allred & Laura Allred contribute the moving flashbacks to the couple’s early days. The Allreds possess a style that is distinctively “indy” while nevertheless evoking the wacky, offbeat elements of Silver Age stories.
It was a pleasure to see Adam Hughes illustrating the bachelor party sequence in #650. Hughes is very well known for his cover artwork, and for his depiction of sexy women. As a result, it is often forgotten that he is also a good storyteller who knows how to lay out pages. He certainly does good work here, both on the humorous sequences and in the quieter character driven moments.
The reason why Hughes mainly works on covers is because he is not an especially fast artist who is capable of drawing a monthly series. That’s unfortunate, because as he demonstrates here, he knows how to do solid interior work.
Providing the letters for both issues is VC’s Joe Caramagna.
Topping off these two comics, quite literally, are covers by Carlos Pacheco & Romulo Fajardo Jr and Esad Ribic. Pacheco’s cover is my favorite of the pair, but I certainly like both.
Let’s raise a toast to Ben and Alicia. Long may they be a happy couple. What God has joined together, let no man (or Skrull) put asunder!
One hundred years ago today, on August 28, 1917, Jacob Kurtzberg was born in the Lower East Side slums of New York City. Kurtzberg would grow up to become Jack Kirby, one of the most innovative, creative, prolific individuals to ever work within the comic book industry.
There is absolutely no way that I can do justice to the memory of Jack “King” Kirby, to the literal legion of amazing characters he created over the decades, in a single blog post. Entire books can, and have, been written about the man and his works. The Jack Kirby Collector, published by TwoMorrows, is a magazine devoted entirely to the life, work & legacy of Kirby, and it has been in continuous publication since 1994. If you do a Google search, you will find numerous other tributes to Kirby that have been prepared to commemorate the 100th anniversary of his birth.
If I had to pick one piece to which I would want to direct your attention, it would be “Kirby at 100” by Mark Evanier. A comic book writer & historian, Evanier worked as Kirby’s assistant in the early 1970s, and is one of the definitive authorities on the man.
It is very difficult to imagine what comic books would be like without Kirby, or even IF there would have been a comic book industry today without him. That is how incredibly important and influential he was.
Or, to put it another way, recently commenting on Facebook about Jack Kirby’s importance to the comic book biz, writer / artist Howard Chaykin bluntly stated “He’s why all of us have jobs, for fuck’s sake.”
To celebrate Kirby’s 100th birthday, I’ve begun re-reading (for the upteenth time) his astonishing “Fourth World” saga, beginning with New Gods. These stories were originally published by DC Comics in the early 1970s, and they are among my all-time favorite works by Kirby. Issue #7 of New Gods, “The Pact,” was once cited by Kirby himself as his favorite single issue that he ever created. It is indeed a magnum opus, at once both epic in scope and intimate in it’s tragedy, an examination of the terrible losses war inflicts, the corrupting influence of conflict upon even the best among us. The artwork by Kirby and inker Mike Royer is both breathtaking and heartbreaking.
Tonight I expect that I’ll dig out my copy of Essential Fantastic Four Vol. 3 and re-read the classic tale “This Man… This Monster!” Kirby, working with co-writer / editor Stan Lee and inker Joe Sinnott, produced Fantastic Four #51, one of the finest single issues of that series. One can endlessly debate “who did what” in the Lee/Kirby collaborations at Marvel Comics, but whatever the division of labor, there is no doubt that together the two men crafted some wonderful stories, including this one. That first page splash from FF #51 by Kirby & Sinnott of Ben Grimm, the Thing, standing forlornly in the pouring rain, is one of the most iconic images in the history of comic books.
Jack Kirby was a genius. As longtime comic book writer Roy Tomas observed today, “We’ll never see his like again. But then again why should we think we would? After all, we never saw his like BEFORE, either!”
The Jewish holiday of Chanukah is coming up, which makes this a good time to look at one of the most famous Jewish heroes in comic books: Benjamin Jacob Grimm, the orange super-strong rock-like Thing from the Fantastic Four.
The Fantastic Four, who made their debut in August 1961, were created by two Jews, writer/editor Stan Lee (born Stanley Lieber) and co-plotter/penciler Jack Kirby (born Jacob Kurtzberg). The Thing was never identified as any particular religion by Lee & Kirby. However, the personality & background of Ben Grimm, a gruff-taking, street-smart, working-class Joe who grew up on the rough & tumble streets of the Lower East Side during the Great Depression, was similar to Kirby. It was often suggested that Ben Grimm was a semi-autobiographical creation. Interviewed in 1987, Kirby acknowledged the similarities…
“Yes, everybody I’ve talked to has compared me to Ben Grimm and perhaps I’ve got his temperament, I’ve got his stubbornness, probably, and I suppose if I had his strength, I’d be conservative with it. Ben Grimm is that way… If he uses his strength, he’ll use it in a justifiable manner– to save somebody, or to help somebody, or to see that fairness grows and evolves and helps people.”
In a 1976 Chanukah card Kirby drew the Thing as Jewish. It’s unknown if this meant that Kirby actually saw Ben Grimm as Jewish, or if it was just a humorous bit he did for a card he was sending to his family & friends. Nonetheless, for years this fueled speculation among both comic book fans and creators that the Thing could be Jewish.
The Thing’s faith was finally identified in Fantastic Four volume 3 #56 (August 2002). “Remembrance of Things Past” was written by Karl Kesel and drawn by Stuart Immonen & Scott Koblish. A brooding Thing finds himself back on Yancy Street, where he grew up decades earlier. He runs into Hiram Sheckerberg, a curmudgeonly pawn shop owner who knows Ben Grimm from way back when. The still-cranky Sheckerberg at first mistakenly believes the Thing is part of an extortion racket that is threatening him. However the true culprit soon turns up at the pawn shop: Powderkeg, aka “the man with the explosive aura,” a super-powered thug whose shtick is that he literally sweats nitroglycerine.
The Thing defeats Powderkeg, but during the fight Sheckerberg is knocked out. Believing the old man is dead or dying, the Thing begins say the Mourner’s Kaddish. It turns out Sheckerberg was only stunned. After getting to his feet, the crabby pawn shop owner addresses the Thing…
Sheckerberg: It’s good, too, to see you haven’t forgotten what you learned at Temple, Benjamin. All these years in the news, they never mentioned you’re Jewish. I thought maybe you were ashamed of it a little?
The Thing: Nah, that ain’t it. Anyone on the internet can find out, if they want. It’s just… I don’t talk it up, is all. Figure there’s enough trouble in this world without people thinkin’ Jews are all monsters like me.
Sheckerberg disagrees with the Thing’s assessment that he is a monster, reminding him of the legend of the Golem…
“He was a being made of clay — but he wasn’t a monster. He was a protector.”
The police and paramedics soon arrive. The Thing, having wrapped up Powderkeg in a lamppost, is ready to hand over the thug to the authorities. But first we get this little exchange…
Powderkeg: And you’re really Jewish?
The Thing: There a problem with that?
Powderkeg: No! No, it’s just… you don’t look Jewish.
In the decade and a half since that story, the Thing’s faith has been addressed by subsequent writers, usually in passing. I feel this is the best way to handle it, showing him as a super-hero who happens to be Jewish, rather than making his faith the central, defining aspect of his character.
Nevertheless, on occasion Ben Grimm’s religion has been addressed head-on, such as in the story “Last Hand” written by Dan Slott and drawn by Kieron Dwyer, in The Thing #8 (August 2006).
Sheckerberg and Rabbi Lowenthal approach Grimm about having a Bar Mitzvah. The Thing is confused, pointing out that he is much older than 13. Sheckerberg observes that it has been 13 years since Grimm was reborn as the Thing. A reluctant Grimm agrees, spending the next month studying with Sheckerberg and Lowenthal. Finally the big day comes.
It’s worth nothing that Ben’s Haftorah is from the Book of Job, which is not part of the Jewish Old Testament. However this nevertheless in an appropriate choice on Slott’s part, given the struggles that Ben has been forced to endure since his transformation.
The Thing’s faith has also been mentioned in a few Holiday Specials, with Ben being shown observing Chanukah instead of Christmas.
Truthfully, Chanukah is not a major Jewish holiday, not like Passover, Rosh Hashanah and Yom Kippur. However, Chanukah typically falls in the month of December, around the time of Christmas. The exact dates vary from year to year, since the Jewish faith is based around a lunar calendar rather than a solar one. (Yeah, that’s Jews for you; we just have to be different!) Because of its close proximity to Christmas, often Jews will exchange gifts.
“Chinese Food for Christmas” written by Jamie S. Rich and drawn by Paco Diaz appeared in the Marvel Holiday Special 2011. Playing on the idea that Jews go out for Chinese food on Christmas, the Thing is planning to attend a big Chinese buffet organized by Kitty Pryde, aka Shadowcat of the X-Men, Marvel’s other significant Jewish hero.
En route to dinner, the Thing encounters an odd creature that has been stealing Christmas decorations. It turns out the creature was trying to put together a Christmas party for the orphans at the Yancy Street Children’s Home, which ran out of money. Ben Grimm invites the kids and their odd benefactor to the buffet dinner, where we see Shadowcat, as well as several other Jewish heroes, namely Moon Knight, Songbird, Sasquatch and Wiccan.
Casting my mind back to 2002, I recall that I was genuinely thrilled to find out that the Thing was Jewish. When I was a kid, I was definitely shy & insecure. In general I didn’t feel like I fit in. The fact that I was Jewish added to that, giving me one more thing about which to feel different. This was especially true in December, when everywhere you turned it was Christmas all the time.
It’s worth noting that I felt this way even though I lived in New York, which has a significant Jewish population. I can only imagine how much more of an outsider I would have felt if I had grown up in a different part of the country.
My experiences when I was younger definitely led me to appreciate the importance of representation in pop culture. When I was a kid there were very few Jewish characters in movies, television or comic books. This left me with almost no one to identify with, which exacerbated my feelings of being different. I was already in my mid-twenties when the Thing was revealed to be Jewish, but it nevertheless felt really significant to me that one of the most iconic Marvel Comics characters was revealed to be Jewish.
There was an excellent piece written last year by Mordechai Luchins, “That Time My Four Year-Old Schooled Me on Representation.” I definitely agree with the sentiments expressed by the author. It is crucial to have diversity in pop culture. Just as I really wanted, and needed, for there to be Jewish heroes in the stories I read and watched, so too do women, blacks, Hispanics, Muslims, the LGBT community and other groups want and need the same thing.
I think it is very easy for some white Christian males to take for granted that the majority of the characters in movies and television and comic books and other media look & sound like them. I really hope that these people will eventually come to understand the importance of diversity, and to realize that pop culture is big enough for all of us.
Whoever you are, whatever you celebrate, I hope that you all have a very happy holiday season.