Here's Morrison's original statement on the subject of how the topic of Freudian incest influenced his mini-series:
I’ve worked out this whole Freudian shit. The incest thing in The Fantastic Four. What you’ve got is a family. There’s Reed and Sue, the Mom and Dad. Johnny’s the big brother and Ben’s the little crazy baby. But in that situation you’ve got Johnny and Sue — brother and sister! So there’s an incest thing that the Fantastic Four hides.I looked at it and said, okay, Sue actually wants to fuck Johnny and Johnny wants to fuck Sue. So how do you do that? They make Namor, the Sub-Mariner who is always a linked pair with Johnny. The Human Torch and the Sub Mariner have always been together since the ’40s. Namor is the dark, seedy, watery, wet, dirty side of it. And Johnny’s bright, mercurial. So he doesn’t fuck his sister — but Namor does.
To be sure, he doesn't state that he intends to follow Freud as the royal road to truth, only that he uses such a concept to generate his story.
All I’m doing is using that as the basis, then I make a story out of it. The story suddenly has this incredible power because underneath it are these terrible incestuous tensions.It should also be noted that not everything an author says about a project is absolute truth; often authors make statements calculated to "tease" readers into buying the item in question. Still, even before addressing how Freudianism affected the actual story, Morrison's remarks require a little sussing out, both in minor and major respects.
The least problematic portion of Morrison's statement, as it bears on the classic Lee-Kirby FANTASTIC FOUR from 1961-1970, is that the characters of Reed "Mister Fantastic" Richards and Sue ("Invisible Girl") Storm function as the "mom and dad" of this ersatz family, even before the two of them get married in 1965. Usually Reed and Sue fill the role of parents controlling unruly children.
Indeed, Stan Lee occasionally has Sue Storm, or other characters, refer to her as the group's "den mother," and while Reed Richards doesn't get nearly as many paternal references, he's almost always the de facto authoritarian of the "family."
Morrison's quasi-Freudian summation is also odd in that he fails to note that though Johnny Storm never displays any *overt* erotic interest in his sister, Ben "the crazy little baby" openly expresses such forbidden sentiments three times, in issues #1, #3, and #5.
I don't think either Lee or Kirby seriously thought about having Ben pursue Sue as an ongoing subplot. But the basic storytelling trope, that of "best friends fighting over the same woman," must have appealed to the artists enough to work it into three separate stories. Finally, Lee and Kirby solved Ben's romance-problem by introducing in issue #8 his new girlfriend Alicia, who, as I mentioned here, just happens to look almost exactly like Sue Storm. In contrast, the FF feature is so taken up with the conflicts of the Torch and the Thing, or of Reed and Sue, that Sue and Johnny barely interact with one another, aside from basic melodramatic stuff like, "Nobody does that to my sister/brother," etc. Lee and Kirby were simply not that interested in such interactions, though, to be sure, Stan Lee did devote much more space to the siblings' chemistry in the 1962-65 run of the "Human Torch" feature in STRANGE TALES. But even in that series, wherein Sue and Johnny lived together and she often functioned like a bossy mother to the teenager, there were still no *overt* intimations of erotic interest.
Now, I've intentionally emphasized the word *overt* twice here, in order to segue to the standard Freudian argument that repressed desires, particularly involving incestuous impulses, appear not in overt but in *covert* forms. If I were going to pick an example where Johnny manifests some covert consciousness of his sister's charms, I'd probably go with the sequence in FF #43 (1965). Here, for the space of one issue, Johnny becomes slightly enamored of the then-villainous Medusa, who's portrayed as being roughly the same age as Sue Storm, to say nothing of Medusa being the heroine's "evil counterpart" in the Frightful Four.
Grant Morrison, though, rests his case on the idea that the Sub-Mariner is an inverted double of the Torch, the "dark" shadow of the "bright and mercurial" Johnny Storm. Morrison loosely references the interlinked symbolism of the Torch and Sub-Mariner characters in the 1940s, though that doesn't really say anything about the creative propensities of Lee and Kirby in the 1960s. The most one can say is that Stan Lee was aware that the two Golden Age characters had enjoyed great sales in the forties, and that he was trying to find some way to make reworked versions of those characters sell well in the sixties. This included having the new version of the Torch bring the new/old version of the Sub-Mariner into the Marvel Universe.
Morrison does not reference FANTASTIC FOUR #4, but it would be fair to surmise that the Torch's act of unleashing Prince Namor on the world *could,* in Freudian terms, be viewed as a projection of Johnny's hidden urges, given that one of the first things Namor does after his rebirth is to mack on Johnny's sister. During subsequent issues, Johnny doesn't manifest any jealousy of his sister's attraction to the "fish-man," though once or twice he does show some animus...
...though, to be sure, he never shows nearly as much anger toward the sea-prince as do Reed or Ben.
So, how well does the actual Morrison take on the Lee-Kirby "first family" integrate all these Freudian formulations?
To be continued...
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