Fantastic Four #7: The Junior Fantastic Four

North sets up a potentially big story in Fantastic Four #7 only to shelve its wider implications for a lighter entry in the arc. Starting from the premise that while the Fantastic Four are off in space dealing with Galactus they will also be needed on Earth, North centers the issue on Alicia and all the kids–the Junior Fantastic Four.

A major advantage of Fantastic Four’s extended cast (beyond simply the charm that their inclusion brings to the series) is that Franklin and Valeria’s intellect make it reasonable to see them as potential heroes, unpowered though they are. Jo and Nicki bring a measure of physical strength to the group. That said, North is smart enough to point out within Fantastic Four #7 how crazy this plan is despite its in-universe plausibility.

Plot nuts and bolts aside, Fantastic Four #7’s larger theme is centered squarely on the importance of family and friends. To make sure that the kids aren’t completely overwhelmed by a threat to Earth while the team is in space, each member of the Fantastic Four hands out teleporters to a friend willing to help the kids if the need arises. The teleporter distribution scenes are typical wholesome family drama moments. In addition, a larger very on-the-nose message comes into play later in the issue. These scenes are all a bit treacly but honestly written.

Black Cat makes another guest appearance in Fantastic Four #7, and Ramos does a little better job visually distinguishing her and Sue’s expressions in their shared scene than was the case in Fantastic Four #5. A lot of this comes through more rounded eyes on Black Cat as compared to Sue’s which are more angular, and a slightly rounder head where Sue’s is more oblong. The differences, however minor, are welcome because overall Ramos’s female characters’ faces are not overly lined and high in detail.

The action sequences late in the issue generally feel high in energy. Much of this comes from the physicality of Ramos’s characters. Poses, often leaning slightly or with limbs bent even when characters are made to seem standing still, frequently have a sense of movement to them. A particular example is Franklin who never participates in the action but looks on the verge of doing so every time he is in a panel.

Delgado’s coloring is very restrained throughout the issue. The color scheme still leans toward the brighter side, but there is limited contrast between different characters and between characters and backgrounds. Nothing gets lost, but nothing leaps off the page, either. In some ways it’s sedate.

The heavier ink outlines courtesy of Ramos and Olazaba are quite welcome as a result of this coloring. Several characters involved in a melee late in the issue wear costumes of similar shades of green. The thicker lines help differentiate each one.

Caramagna does a good job organizing dialogue in several text heavy sequences, keeping it largely out of the way of characters in what are frequently crowded panels. He also picks a good shade of orange for Ben’s inner monologue caption boxes. The issue is from Ben’s point of view, and the orange connects nicely with his character while never getting lost among other background coloring.