After the Thing’s lookalike travels back to Reed Richards’ lab in our universe, all hell breaks loose - out of the guy’s mouth. In anticipation of Fantastic Four: Full Circle’s publication, Polygon presents a set of new interior pages from the book. The result has Roy Lichtenstein flair while still being uniquely Ross. To nod to the print style of Lee and Kirby’s day, Ross also shook up his painting process, opting for flat coloring, swapping watercolor for black ink, shading in a whole new style, and adding a digital dot screen effect. The 64-page Fantastic Four: Full Circle finds Ross as both artist and writer for the first time, returning to a number of Stan Lee/Jack Kirby plot lines from the 1960s, specifically Fantastic Four #51, which sam Ben Grimm meet his doppelganger in the antimatter universe. But in his new graphic novel, he steps outside his comfort zone into the Negative Zone to imbue Marvel’s first family with mind-melting psychedelic energy. From his acclaimed work in the graphic novel Kingdom Come to countless iconic covers (including a recent run on Immortal Hulk) and illustrations that gave Sam Raimi’s Spider-Man trilogy a soul, Ross’ style ties the past, present, and future of comic characters through works that could easily fit alongside fine art. Over the last 30 years, comic artist Alex Ross has redefined the Marvel and DC hero pantheon through hyperrealistic painting.
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