1602 the Fantastick Four

One of the most creative ideas in comics in recent years, 1602 is Neil Gaiman's brilliant work, setting the familiar superheroes of the Marvel Comics in the Year of Our Lord, 1602, at the end of the reign of Good Queen Bess, and at the beginning of Bad Queen James. This comic was so successful, it was sure to spawn offshoots.

This is one.

Written by Peter David, (X-Factor.) the story sets the crew of the Good Ship Fantastick across the seas in search of the ship of Baron Otto Von Doom. Why? Because he has kidnapped William Shakespeare, a playwright to create a masterpiece that will help legitimize some of Otto's more colourful schemes.

Otto has several minions in his employ, the Wizard, Marko, the Sandman, and the mysterious Madame Medusa, who has snakes for hair, and whose glance can turn flesh to stone. But the fight between the four Fantasticks and the crew of Doom's gas ship must wait, as the Fantastick sails over the edge of the world into the below sea realm of Bensaylum, City of the Gods, and her emperor Numenor. Numenor desires Susan Storm, and his cousin Rita desires John, her brother. Doom desires Numenor's trident, the force that holds back the waters, and he desires healing for his face. Numenor agrees to heal him, if he will help eliminate Richards, clearing a path for him.

I was rather disappointed in Peter David. This script offered vast possibility, and while he realized much of it, I was, based on his past performance, hoping for more.

The art is a vast disappointment. Khoi Pham did some of the art, and while I do not like his overly simplified style, it is a vast improvement from the sketchy flat, broad faced scribblings of Pascal Alixe. He has butchered other titles in the past with his numerous shading/character lines turning the moon faces of his heroes into road maps. And his concept of clothes, how they fall, how they drape, it is all atrocious. The only thing worse is the monstrous disfigurements of the elongated Reed Richards. He looks more like Skin, the old New Mutant. At any rate, the art gets two stars, and that is generous.

This rather uninspired tale, along with what ever pencil monkey they can find show me that Marvel is just milking the franchise while they think the Iron is hot. I have to say, I can feel it cooling rapidly.

Together, the writer's sub par performance, and the Neolithic scribbling of the artist, I'm afraid three stars are the best I can manage. I was sorely disappointed.