"Authoritative Action" is everything that a modern Fantastic Four comic should be. It's got the classic characterization and action (and costumes, I might add) that too many modern Marvel books have forgotten, but it comes equipped with modern sensibilities and creative style that includes a touch of political commentary alongside the super-hero action and strong characterization. Waid is exploring a side of Dr. Doom that has usually been taken for granted, and doing so in a way that puts the Fantastic Four into an unusually important role in the geopolitical map of the Marvel Universe, and he's got Howard Porter backing him up with exceptional artwork.
Part of the big strength of "Authoritative Action" is the surprises. Though Reed Richards has absolutely been the lead character for much of Waid's run, ever since the end of "Unthinkable," Waid has deliberately been keeping readers in the dark about Reed's motivation. Instead, we're viewing his actions from the point-of-view of his family, who love him but don't necessarily understand him all the time. Thus we get surprising actions like his use of the Doombots, his reaction to Nick Fury and the finale of this issue, which is clear in general but not in specifics of what's going to happen next. Waid has been doing a great job of hooking me back in with the cliffhanger endings, just like some of my favorite TV shows, like 24 and Alias.
The other strength, and this has been true since the beginning of Waid's run, is the characterization of the Fantastic Four. Though Waid remains true to the core of these character archetypes, he has gone deeper with each one of them. Sue's stong and motherly persona, defined so well in Byrne's run, comes with an undercurrent of uncertainty after what has happened to her children and her husband, and it's an impressive balancing act that she can show some weakness without coming off as weak. Johnny Storm remains the wise-cracking hothead, but thanks to Waid's work earlier on in the series, we know that there's more to him as well. And the Thing retains his temper but also very much comes across as the rock who holds the team together, a role traditionally held by Sue Richards. The family bond between these characters comes across in every page as well, and it's because of this that the deliberate alienation Reed has created comes across so well.
Howard Porter continues to impress with his work on this book as well. He has done a great job with the mixture of high-tech and medieval village that defines Latveria, and I love his take on some of the team members, especially his work on the Thing. In addition, the penchant for weird angles and unnecessary dynamics that I saw in much of his JLA work isn't to be found here, while the bombastic action that was a positive in his JLA work remains. The action here, whether it's the team taking on Doombots or rushing to save Reed from himself, has a terrific sense of speed, power and urgency. There are quibbles, including a strange World War II era look for modern U.S. troops and a take on Reed's ruined face that is a little bit flat at times, but in general the work here is exceptional.
Though the direction Waid is aiming for (judging by solicitations for future issues) is similar to the kind of thing Tom DeFalco did in his run on this title, Waid is doing a much better job so far of maintaining a balance between traditionalism and modernism. This doesn't feel like someone trying to turn the Fantastic Four into the X-Men or the Avengers, a trap too many writers of this tricky bit of Marvel continuity have fallen into. Instead, it feels like great Fantastic Four stories, falling into a rare category with a number of writers you can count on one hand who have captured this team so effectively.
