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In Batman v. Superman: Dawn of Justice , the latter is brought to court to account for the destruction of Metropolis brought about by his battle with General Zod.

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He becomes a controversial figure as people are torn between supporting him and heroes like him for the good they do or condemning them for their unchecked powers and the havoc they wreak. The theme of the conflicted citizen is a very valid one. Superhero movies or comics have often overlooked the impact that superheroes have on the cities they fight to save.


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  • Marvels: Eye of the Camera #1 (of 6).

The plot implications of buildings being leveled and lives ruined are ignored for the sake of big special effects budgets. But in Captain America: Civil War and the movies mentioned earlier, citizens living amongst superheroes has become a key plot point. Marvels: Eye of the Camera is a sequel to the original Marvels , a four-issue comic series written by Kurt Busiek and released in After finally reading the first issue of Marvels: Eye of the Camera, I guess I still don't see the point.

This issue is interesting enough, but it treads territory that feels all too familiar now.

Marvels: Eye of the Camera #2 (of 6) - Comics by comiXology

Like the first mini-series, Eye of the Camera follows the career of photojournalist Phil Sheldon. Sheldon made his career during WWII photographing such diverse subjects as the fall of Berlin and the emergence of the original Human Torch. In the original Marvels, we saw the entire scope of Marvel's '60s-era comics through Sheldon's eyes. Ostensibly, this comic moves forward to focus on the '70s, a comparatively darker period.

This offers a reasonable amount of storytelling potential, as I expect a guy like Sheldon - weaned on the classic Avengers and fantastic Four - wouldn't know what to make of anti-heroes like Wolverine and Ghost Rider. This may very well be the overall crux of the story, but this issue gives little indication of that.

Marvels: Eye of the Camera #4 (of 6)

Busiek makes a rather questionable pacing decision by having all but the last two pages of the book take place firmly in the era of the original. This issue feels so darned familiar because Busiek is retreading material we already saw. That aside, there's more than enough going on in every panel of every page that you can appreciate why this series took so long to get drawn; certainly you can't accuse Anacleto of doing things by halves. His near-photorealistic pencils challenge Ross' painted work on several occasions.

Where the series really shines, though, is in Busiek's writing. There's little meat to the first issue, plot-wise, until the final pages of the issue, but the bulk of the book spends its time crafting such a compelling, three-dimensional portrait of Sheldon that you won't worry that, on the surface, it could be considered something of a glorified recap. By the end of the issue, readers are left in no doubt that this series will be far more about Sheldon himself than the events he witnesses.

If you buy this issue simply expecting to see him photographing the events of "Inferno" or "Secret Wars" then you may be disappointed -- indeed, only events from the 60s get a look in here. It's certain that any Marvel fan will be engaged by Busiek's studied portrayal of life inside the Marvel Universe, but, as with any good comic, it's the characters that make it worth reading. We and our trusted partners use cookies and tracking technologies to create custom content for your enjoyment and to provide advertising in line with your interests.

Marvel Hotline: Marvels: Eye of the Camera #5

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