Last week we were on vacation, enjoying a
very nice vacation house that my wife and her siblings rented in
Hancock, Maine. Anywhere I have to wear a jacket in June is fine by
me! I didn't actually get as much reading done as I intended,
although I did finish Sean Howe's Marvel Comics (see just
previous blog entry, link).
Knowing myself too well, that I tend to be a “binge reader” –
that is, I'll obsess over something in particular for a while – I
knew that reading the somewhat checkered history of Marvel Comics
would send me off into one of my intermittent immersions into that
company's properties, I had gone prepared, carrying along a couple of
collections that I had purchased some time past. I make no secret of
my preference for DC Comics, and to be honest I see little in current
Marvel comics that I'm interested in reading (and their pricing
structure, even in digital, provides further disincentive), but these
two books were perfect for scratching that Marvel Comics itch.
Eye of the Camera
is Kurt Busiek's, along with Roger Stern's, quasi-sequel to the
near-twenty-years-old classic by Busiek and Alex Ross entitled simply
Marvels, which mainly
retold the 1960s “Silver Age” of Marvel Comics from the
perspective of a photojournalist, Phil Sheldon. It was, of course,
Alex Ross's big splash onto the comics scene, beautifully rendered in
his practically trademarked fully painted, photorealistic style, but
the approach to the story as written by Busiek was, I think, an
underappreciated aspect of its success. Between the two of them,
Busiek and Ross made the fantastic seem so very real.
Well, Ross is not along for this later story, although according to
Busiek's afterword he had input into the original idea and gave his
blessing to it being developed, and surprisingly, I think that works.
No question, I love
Ross's work, and I think that it was perfect for the original
Marvels, but this is a
very different story and I think that Ross's clean, ultimately bright
and shiny, often iconic images would be less appropriate for Eye
of the Camera than is artist Jay
Anacleto's and colorist Brian Haberlin's darker, grittier, more
down-to-earth and moody style.
Because whereas Marvels used Phil Sheldon as the Everyman point-of-view character viewing the “marvels” – which has become a Marvel Universe euphemism for “super-heroes” – from street-level, Eye of the Camera focusses on Sheldon himself for a far more intensely personal story. I called it a “quasi-sequel” above because there is a good bit of overlap with the previous story, albeit from a different perspective, in the first of the six issues that comprise this collection, but subsequently the story occurs after the climax to that book and the publication of Sheldon's own in-universe best-selling Marvels, as Sheldon continues to try to make sense of the meaning of the marvels in a changing world. Where there are those who would take the death of Gwen Stacy, the event that shattered Sheldon's faith in the marvels at the end of Marvels, as the end of Marvel Comics' Silver Age, Eye of the Camera for the most part covers the subsequent “Bronze Age,” the early-mid 1970s to roughly the mid-late 1980s, which is more or less the period when I was reading a good portion of Marvel's output for myself. It was, in retrospect, the period when the Marvel Universe began darkening, and as Phil Sheldon himself observes in his inner'logue, a running meditation on the changing world, “it's like things have gone sour, like we can't tell the good guys from the bad anymore...” (quoted on the back of the dust jacket). Carrying on from the end of Marvels, Sheldon struggles to make sense of the meaning of the marvels – and of his own life even as it's ending, because the climax of that first issue has him learning he has advanced lung cancer.
Ultimately
the return of a critical albeit minor character from the earlier
story helps Sheldon to see both the worth of his own life and legacy
and that of the
marvels, even as he loses his valiant battle. I have read Marvels
many times over the years, and the conclusion of Eye of the
Camera literally had me tearing
up as I read it, watching one who seems literally an old friend
decline and ultimately die. It is a very human story, a fitting
companion piece to the original, one which I know I will read again
in the future and that I am proud to stand next to Marvels
on my bookshelf.
The Marvels Project
I've actually had sitting on my bookshelf unread for a couple of
years. 'Way back in 2008, I believe, I took a leap of faith in a
writer whom I've enjoyed since his days at DC writing various things in
the Batman universe –
most notably, in my opinion, Gotham Central,
and purchased the big hardcover “Omnibus” edition of Ed
Brubaker's Captain America,
collecting the first 25 issues of Brubaker's outstanding run that
started in 2005 and culminated with issue #25 (April 2007) where
Captain America was assassinated to great media hoopla. The
subsequent direction that series went, revealing that no,
Cap wasn't killed, but
was rather sent bouncing around “unstuck in time” was not
to my liking and I eventually stopped reading Brubaker's run, but
those first 25 issues (and, to be honest, the next dozen or so where
Cap's old, long-believed-dead sidekick Bucky takes up the shield) are
some of the best comics I've ever read. Then, when the movie Captain
America: The First Avenger came
out in 2011, I thought it might well send me off into a Captain
America binge. As much as I
loved that movie, however, it didn't, and Marvels Project
lay unread until I carried it along with me to Maine. And looped
around directly from Marvels: Eye of the Camera
back to the beginning of the Marvel Age.
Originally
published as eight issues, 2009-2010, The Marvels Project
is a good solid read, as I would have expected from Brubaker, teamed
here with artist Steve Epting from his great issues of Captain
America. Perhaps it suffers a
bit from my reading it immediately subsequent to Busiek's deeply
moving Marvels: Eye of the Camera,
but it is well worth reading on its own merits. If nothing else, it
introduced me to some obscure heroes from the dawn of Marvel Comics –
from ca. 1940 long before the company took that name – that I had
only barely heard of, or maybe never heard of before at all. It's a
straightforward narrative told from the perspective of the original
“Avenging” Angel, about his own exploits as well as those other
masked men of 1939-1941 (Phantom Bullet, Fiery Mask, et al.), that
ultimately concentrates on the creation of the big guns Captain
America and Bucky, the Human Torch and Toro, capably rationalizing
such things as why the Army – and Cap – would allow a kid
to tag along as his sidekick, and the source of Namor the
Sub-Mariner's initial enmity as well as how it is transformed into an
alliance with the American marvels as the Invaders. It's all linked
by a sinister plot of allied Germans, Japanese, and dissident
Atlanteans against America that culminates on 7 December 1941. The
story as a whole is framed by a time-travel device whereby the
Two-Gun Kid is somehow fated to travel from the future back to 1938
where he will inspire the Angel to don his mask as the first of the
mystery men. There's really no metatext that I can perceive, just a
good, solid story that plays on both the fame of Marvels
and Brubaker's great run on Captain America.
From my own personal perspective,
however, reading this now could not have come at a better time. I've
mentioned before that I am slowly reading through and compiling
historical annotations and notes to Roy Thomas's 1980s DC Comics
series, All-Star Squadron, which turned back to the Golden Age
of DC Comics (back when those heroes resided on “Earth 2” before
1985's Crisis on Infinite Earths) and told new stories
interweaving with both the original tales published in the 1940s and
the historical events of World War II. (I intend to start posting
some of those annotations soon, I promise!) Well, before Thomas did
that with the DC stable of 1940s characters in the 1980s, he had done
more or less the same thing with the proto-Marvel or “Timely”
characters in a mid-late 1970s series called The Invaders –
Captain America and Bucky, the Human Torch and Toro, and the
Sub-Mariner. To get a bit of perspective on Thomas's writing of this
type of “retroactive historical comics narrative,” I had been
hankering to scrounge up that previous series, and between my trip to
Comicpalooza a couple of weeks ago and some purchases on-line, I have
just acquired Marvel's four-volume paperback collection of The
Invaders. I think The Marvels Project may well make the
perfect launching point to read that series.
Cheers! – and Thanks for reading!
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