The circumstantial evidence for the Dalekness of Orikal includes- its speech pattern, identical to comic book versions and some book version of how-Daleks-talk; it is from another universe; the reference to the eternal time stream, the pattenr on its indistinct arms is somewhat like the globular hemispheres on a Dalek casing, and indeed reducing the body to its simplest outline it is less a crouching figure and much more distinctly pepper pot shaped…
1966 saw the release of a Dalek movie in America, and Kirby was a voracious consumer of media, especially off the wall media. Also this was the period when Marvel tried to set up a British base, and in the course of that exchange it is virtually impossible to think that no Doctor Who information appeared on their radar. It was the summer of not just the Beatles but also Dalekmania!
2010-2025: The Great Reboot
FF570-600 FF587 to volume 4 FF volume 4 FF volume 5
Summary: from 570 to the present
The Great Reboot, 2010-2025
The final chapters of the Great American Novel (see FF323) refer to a time bubble between 2005 and 2020:
The next year this bubble moved back to 2010-2025, where it stuck. This was probably the last slippage of Marvel Time before it broke that year. this is from FF340 in 1990:
The 1990 story gives the full details: novody could see into those years because the entire universe being rebooted. This is the Great Reboot, a reflection of Marvel Comics rebooting in the real world.
It is the biggest story in all Marvel history. The covers proclaim it as such: they declare it to be, progressively, “THE BIG ONE”, “THE BIGGER ONE” AND “THE BIGGEST ONE”. This is Walt Simonson at his cosmic best, a story of the Avengers and Fantastic Four discovering that the future ends in the year 2010 (that is, “20 years” after publication). Until the year 2025 (that is, 15 years) all is a mystery: time and space then reboot, and nothing from the previous universe can travel into the new one. It is, in short, a complete reboot of Marvel. What makes this especially interesting is that when 2010 came, the same story was repeated in different ways in different books, and the event really happened: what was left of the Marvel Universe began a fifteen year reboot.
Go and read the whole site and prepare to have your mind blown.
DC comics never had continuity, despite their pretences to the contrary.
With the end of Marvel paper universe, and in the context of its recent convulsions to try and reflect the popular elements of the movie universe, we’re seeing the genuine end of Marvel comicbooks. They will drift on for a few years, but this is the last ten year period of their existence. After that they will be as cosmically irrelevant to the characters they birthed as ancient Scrooge McDuck comics are to the older Disney properties.
Which is not to say comicbooks themselves are dead; people still listen to opera and it really is the poster child for a dead artform. Likewise many other forms of expression which were once mainstream and then slid into obliquity.
On the other hand the Marvel Movie Universe has taken over the continuity and the central conceit of Lee’s Marvel Universe, that of a shared universe where over the top fantasy coexists with the humblest and most moving elements of human existence. Soaper Heroes.
Fantastic Four: The Great American Novel is a passionate, erudite and exhaustively annotated site that not only provides synopses of every plotline from the original authentic run of Fantastic Four but also lays out the author’s detailed solution to the woes of print comics in general, Marvel more particularly and specifically the Fantastic Four.
It is pungently timely given the hackery at work at “Marvel” and the current shutdown of Fantastic Four.
The author also accurately predicted the current endgame of print comicbooks… eight years ago…
People in my field have long understood that when an artist creates a piece of work, that work no longer belongs to them. That might seem contrary to commonsense (not to mention intellectual property rights). But in reality, art is communication. It takes two to tango, as the old saw goes. For true communication to exist, there must be both a sender and receiver.
Most texts contain a combination of conscious and unconscious intent. The receivers of these messages (for our purposes here, let’s just refer to them as ‘audiences’) will usually pick up on most of the conscious meaning, and to varying degrees some of the unconscious meaning that the sender didn’t intended to convey, but nevertheless did. We often describe this as the blindness or self-delusion of speakers, especially those we see as pompous, cocksure, egotistical, ignorant, and so forth. As illustrated in Johari Window diagrams, we have sides to ourselves that we never see, but others do. So, when we express, what lies hidden to us becomes visible to everyone else.*
Figure 1. Johari Window
Consequently, when an artist produces a text, he or she can still deny that it has an unintentional meaning specified by others, and be quite sincere about that belief. Moreover, the artist might attempt to control perception of the unintended meaning either by vehement denials or ridicule, public relations, or in rare cases finding some way to silence the observation. But, as stated earlier, the artist no longer has total control of the message once its disseminated.
This has enormous impact on both the validity of Steve Ditko’s genius and his attitude to art and comics, and more directly relevantly for current matters the Death of Marvel and the Fantastic Four as the Great American Novel
This analysis above clearly shows how Stan Lee and Jack Kirby can genuinely validly produce something so much greater than the sum of its parts.