Superhero Times: a service of Action Online
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The idea of revisiting the early years of a comic book company’s run is nothing new. Marvel had, in a sense, already done this with the ultimate universe that they created in the late 90s, and DC is in the process of doing a similar overhaul now. However, revisiting a comic universe’s original stories with a new perspective, rather than a re-working, is fresh. Marvels, the 5-part miniseries by Kurt Busiek and Alex Ross does just this. It looks at Marvel’s most iconic early tales, not by re-telling them, but simply watching them from a distance. Instead of following Reed Richards as he fights Galactus, we follow those watching Reed Richards fight Galactus—a concept which may seem mundane at first but allows for one of the best-written and important graphic novels in recent history. Unlink typical Superhero stories, Marvels is the tale of the ordinary folks, those civilians screaming at the site of a supervillain or running from debris. Marvels is their story; in fact, it is our story, the public’s story.
The story of Marvels is not about the heroes and villains of the Marvel Universe. It is the story of those documenting them. It’s a slice-of-life piece about idealistic photographer, Philip Sheldon, whose life-plans are forever altered by the arrival and onslaught of powerful beings. As Phil captures the vivid events of Marvel’s early years, so too, do we, as readers. He survives the heralding of the original Human Torch, the emergence of mutants, the arrival of Galactus, and the death of Gwen Stacy—but unlike readers who engage these events at a distance, Sheldon experiences them from ground zero, and his reactions show readers not “what to feel” but “how to feel”.
The most fascinating aspect of Marvel is, of course, Sheldon himself. He is an undeniable professional, objectively and calmly collecting the facts and dispelling them through pictures with a skillful, self-restrained eye for composition and objectivity. He is contrasted against the like of J. Jonah Jameson and the masses, whose support of super-powered beings is turned to condemnation as quickly as a coin flips from head-to-tails. What is most interesting about this, of course, is that Sheldon’s relationship to the masses is fully realized. The old adage that “a person is smart, but people are stupid” has never been more clearly explored in the pages of superhero books as we see the ever-calm and reserved Sheldon join the fray of the mob one minute only to regret it the next.
In a way, Marvels is a disconcerting read. It asks the reader specific, pointed questions about his or her own ability to reconcile the events of the world. It points a finger at the culture of disposable heroism and truly explores ideas of personal interaction with the world as it changes around us. The simplistic style with which Busiek writes creates a direct feeling meant to address ideas and concepts with a frank seriousness, and the breathtaking art from Alex Ross makes every panel and event both dynamic and vivid.
Whether or not it was intended, Busiek and Ross have crafted a skillfully poignant and incisive commentary on celebrity culture, simply by showing it for the frivolous, shallow, and cruel society it is. Just as the masses long for stories of their favorite singers, wait at Comic-con for a glimpse of their favorite actors, or stand in line for a chance to meet their favorite writer—so too, do those masses turn on these so-called “heroes” when they fail or deliver product other than what is expected. The creators of Marvels understand the consumer culture and point a finger at it unlike any comic has done to the present, making the miniseries not only a fantastic re-telling of Marvel’s golden age but also a commentary on the culture of those engaging it now, 50 years after it happened.