About This Piece

I wanted my first depiction of Marvel’s “First Family” to focus on the idea of family itself. From the start, the Fantastic Four always felt different from other superhero teams. Reed and Sue were husband and wife, Johnny was Sue’s younger brother, and Ben was basically family through years of friendship. As their story evolved, Reed and Sue’s children became an integral part of that dynamic, which only made the family aspect stronger.

Dr. Doom, one of their most enduring adversaries, has often sought to exploit that bond—kidnapping the children or attempting to tear the family apart. This piece captures a pivotal moment: the rescue of the children from Doom’s castle in Latveria.

At the center of the composition are the children, shielded by Sue as she uses her powers to protect them. Her gesture is both defensive and maternal—reaching out to hold and comfort them in the midst of danger. Reed extends himself around them as well, embodying both his role as a protector and his unique physical abilities. In their roles as parents, there’s an idea that people stretch beyond their limits to care for their families—something that, for Reed Richards, becomes a literal visual element.

Johnny has ignited into action, while Ben prepares for “Clobberin’ Time!” Together, they complete the protective circle, each expressing their role in their own distinct way.

Visually, I’ve always been drawn to the contrasts within the Fantastic Four. Rendering the Thing’s rocky, textured skin was both a joy and a challenge, while capturing the movement and intensity of Johnny’s flames required careful consideration of how fire wraps and flows around the human form.

In the end, I’m very pleased with how the piece came together—both as a celebration of these iconic characters and as an exploration of the idea that, at its core, the Fantastic Four is a story about family.