The first few splashes are various shades of swirling blues and whites-broiling clouds of rocket smoke against an idealized sky-that retell the cosmic ray origin of Marvel’s first family from the perspective of Sue Storm.
Ignoring the superlative cover, Ross appears to be sticking to his tried-and-true gouache paints in Full Circle’s early goings. Following a speedy analysis-while the rest of the team clean up the mess-Reed resolves to take the fight to the source of this outrage: the Negative Zone. Subjected to Richards’ pop-art probes, this phantom cracks the intruder is revealed as a mindless hollow chrysalis, containing all manner of writhing alien creatures.
Full Circle returns the doomed doppelganger to the topside of the Marvel universe as an anti-matter specter who interrupts Grimm’s failing attempts to rustle up a midnight snack in a fully stocked, retro-futurist Baxter Building. Jack Kirby’s and Stan Lee’s story ends with this envious inventor stranded in a collapsing alien dimension, having redeemed himself, facing imminent death. This book’s story is, in part, a follow-up to the classic Fantastic Four installment “This Man… This Monster!”, a depressive interlude from June 1966 in which Ben Grimm describes himself as "an orange-skinned freak" before being drugged and having his physical identity stolen by a stocky scientist who is jealous of Reed Richards’ universe-shaking achievements. The first release from MarvelArts-a presumably ongoing collaboration between Marvel Comics and Abrams ComicArts (an imprint of Abrams Books, which is a subsidiary of the French publishing house La Martinière Groupe)-Alex Ross’ Fantastic Four: Full Circle is a glossy hardcover platform for the writer-illustrator to reinvent his own wheel. Alex Ross, with Josh Johnson & Ariana Maher
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