How Marvel’s Fantastic Four discovered the human in the superhuman

The Fantastic Four: First Steps is the second cinematic reboot of the Fantastic Four franchise, and there’s a lot riding on this film.

While cinema-goers have responded enthusiastically to many of the films in the Marvel Cinematic Universe, the history of the Fantastic Four on the silver screen is less heralded.

All the previous Fantastic Four films have been “commercial and critical failures,” with the 2015 film being an infamous box office bomb.

Yet in comics history, the Fantastic Four have been up to the challenge of driving a popular media enterprise forward — something that the film producers and Marvel fans alike are both now hoping for.

In the 1960s — the era in which Fantastic Four: First Steps, is notably set — the comics presented a new class of superhero.

From their 1961 debut, Reed Richards/Mr. Fantastic, Sue Storm/the Invisible Girl, Johnny Storm/the Human Torch and Ben Grimm/the Thing were celebrities who rented office space in a Manhattan highrise and found themselves variously beloved and reviled by both the public and the government.

The team also rejected secret identities. Until the third issue of their series, they even eschewed superhero costumes (in part because of a restriction imposed by the owner of Marvel’s then-distributor, DC Comics).

Pushed representational boundaries

The Fantastic Four comics of the 1960s also pushed boundaries in a number of significant ways. They featured the first pair of married superheroes (Reed and Sue wed in 1965) and the first superhero pregnancy (Sue gave birth to her son Franklin in 1968).

In 1966, Fantastic Four No. 52 introduced the Black Panther, who is widely recognized as the first high-profile Black superhero.

Read more: *Black Panther* roars. Are we listening?

And though not canonical until 2002, it has been suggested by scholars that Ben Grimm was always envisioned as a Jewish superhero by Stan Lee and Jack Kirby, offering another milestone in representation (at least for those readers attuned to the character’s Jewish coding).

These milestones emphasize a dedicated concern for the human aspects of superheroes.

A family with relatable issues

Set amid fittingly fantastic science-fiction landscapes inspired by Space Age optimism was a story about a family who “fought among themselves, sometimes over petty jealousies and insults,” in the words of Christopher Pizzino, an American scholar of contemporary literature, film and television.

This approach of building character dynamics out of internal conflict proved deeply influential.

Famed comics writer Grant Morrison argues that through the example of Fantastic Four, “the Marvel superhero was born: a hero who tussled not only with monsters and mad scientists but also with relatable personal issues.”

In his bestselling book All the Marvels, comics critic and historian Douglas Wolk concurs that the “first hundred issues of Fantastic Four are Marvel’s Bible and manual,” establishing the style, theme, genre and approach of the company’s comics for decades to come.

Defining personal conflicts

In contrast to moral paragons such as Superman, Batman and Wonder Woman (all published by rival DC Comics), each member of Marvel’s Fantastic Four had defining personal conflicts.

Reed Richards, the team’s patriarch, was a world-altering genius who often fell victim to his own hubristic ambition.

Two years before American feminist author Betty Friedan identified “the problem that has no name” in The Feminine Mystique (that post-war suburban housewives faced social expectations of being fully fulfilled as wives and mothers, the Fantastic Four gave audiences Sue Storm, with the superpower to render herself — and others — invisible at will.

Storm, according to scholar Ramzi Fawaz, “made the concept of women’s social invisibility an object of visual critique by making invisible bodies and objects conspicuous on the comic book page.”

Her younger brother, Johnny Storm, a playboy and showboat, had a lot of growing up to do, a journey that was frustrated by his flashy powers.

Ben Grimm, Reed’s college roommate turned best friend turned rock monster, oscillated between childlike rage and world-weary depression, his rocky hide granting him super-strength and invulnerability while burdening him with social isolation.

While none of us are likely to acquire superpowers through exposure to cosmic rays like the Four, we’ve all dealt with anxiety and grief like these heroes.

Origin of the Marvel universe

The world of the Fantastic Four didn’t just feel unusually human. It also felt unusually lived in, partly because the Fantastic Four comics of the 1960s weren’t just the origin of the Marvel style of storytelling — they were also the origin of the Marvel universe.

Fantastic Four began and became the model for Marvel’s shared continuity universe, in which dozens of superheroes passed in and out of each other’s stories and occasionally intersected long enough for whole crossover story arcs and events. For a time, Marvel’s superheroes even aged alongside their readers, with teenage characters like Johnny Storm graduating high school and enrolling in college.

Previous superhero comics hadn’t embraced this shared continuity in a meaningful way, tending to prioritize discrete stories that had no effect on future tales. But Fantastic Four pitched what comics scholar Charles Hatfield calls “intertitle continuity,” which quickly became “Marvel’s main selling tool.”

Case in point, the Fantastic Four shared the cover of 1963’s Amazing Spider-Man No. 1, helping sell the newly created wall-crawler to their adoring readers.

Voluminous, chaotic universe

The 1965 wedding of Reed and Sue in Fantastic Four Annual No. 3 showcased how quickly the Marvel comics universe became vibrantly voluminous and charmingly chaotic.

This event featured at least 19 superheroes fighting 28 supervillains and foregrounded the Fantastic Four’s symbolic mother and father as the progenitors of an extended super-family.

It also featured a cameo by the Fantastic Four’s creators, Stan Lee and Jack Kirby, previously introduced in 1963’s Fantastic Four No. 10 as the official creators of imaginary adventures starring the “real” Fantastic Four, further blurring the boundary between fiction and reality.

Decades later, this sprawling comics universe would become a sprawling cinematic universe. This informs the pressure facing the latest Fantastic Four adaptation.

Phase 6 of universe

Fantastic Four: First Steps marks the start of what Marvel calls “Phase Six” of the Marvel Cinematic Universe, which began in 2008 with the first Marvel Studios film, Iron Man.

Essentially, Fantastic Four: First Steps is meant to launch a new cluster of shared universe stories, just as Fantastic Four No. 1 did for Marvel Comics in the 1960s.

This cluster will culminate in the release of Avengers: Secret Wars in December 2027. Will Marvel’s first family deliver?

This article is co-authored by Anna Peppard, an independent scholar and editor of ‘Supersex: Sexuality, Fantasy, and the Superhero.’

J. Andrew Deman does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.