REVIEW: ‘Captain America’ Issue 17

Captain America Issue 17 is published by Marvel Comics. Written by Chip Zdarsky, art by Ton Lima, colors by Rod Fernandes and letters by Joe Caramagna.

In Captain America Issue 17, Captain America wakes up in a changed world, where the heroes are the hunted. Captain America has been separated from the rest of the world, literally battling in the depths of Hell with Doctor Doom. But when he wakes up, he witnesses the ramifications of Avengers: Armageddon. Attitudes toward heroes have changed entirely, with powers banned in every country except the US. There is a lot for him to learn, and a lot of tragedy that he has missed.

The story’s structure is fantastic because it seems like there’s a time gap. While Steve meets with allies and gets acquainted with the shift, a second plotline inside Captain America Issue 17 shows Cap helping Victor, a clone of Doom, settle in America. These stories seem connected, just taking place at separate points in time. But the truth is something much more sinister.

Cap is in a precarious position, a consistent theme across Zdarsky’s run. His relationship with the new S.H.I.E.L.D. is fractious, and the aggression almost immediately leads to action. It infuses the comic with pace, sudden energy, and a moment that forces Cap to duck behind the parapets.

Steve is unsettled in Captain America Issue 17. He receives all the news about Armageddon at once, from the changes in the world’s attitude to Bucky’s apparent demise. Captain America is an incredibly strong figure, and more than that, he’s defiant. No matter who steps in front of him, he is willing to stand up and fight back. He and Nick Fury Jr. aren’t traditionally enemies, but trying to get Cap to toe the line will always backfire. He isn’t a loyal lapdog.

It’s also surprising to see Steve shrink at the start of Captain America Issue 17. He seems lonely, and that’s a choice made by him. This is a man who always has to inspire others, but he’s shell-shocked and struggling to communicate with those he cares about the most. The dialogue throughout the issue is constantly reinforcing Steve’s values, and the fact that he is a protector of America, not American Governments.

The art is fantastic, merging the grounded elements and the more comic book facets of Captain America Issue 17. Steve spends almost the entire issue out of costume, which is symbolic given the changing world. He’s in hoodies or baseball caps that keep his identity hidden. Around him, the settings of New York or America feel natural and recognizable.

Then the action kicks in, and the drama escalates. Lima does a terrific job of showing bodies crumpling and faces bending under fists. It is a significant sign of just how powerful Cap is compared to a regular person. He’s the finest of soldiers, and it shows. If the Sentinel of Liberty chooses to be intimidating, he really can be.

An important feature of Captain America Issue 17 is how cohesive the two stories are when put together, and the look of Cap is pivotal to that goal. He looks identical in both moments, and each shows Steve with a forlorn, serious look on his face.

The colors are fantastic. When Captain America Issue 17 opens, the hospital has become stifling and oppressive. So when Captain America leaves and enters the greenery of Central Park, it’s refreshing for him and us to get such natural colors. But as the tone shifts, the pages get darker and gloomier. The lettering is very clear and easy to read.

Captain America Issue 17 really rocks its central character. He may be back among the living, but Steve is dragged into a haunting, mournful atmosphere as well. He can’t be a beacon of hope because he’s shattered by all of the revelations. And the world is so different from the one he left. Zdarsky brilliantly uses Cap as the basis for the new status quo because he is perhaps the most iconic figure, and his struggle should warn all the superheroes.

Captain America Issue 17 is available where comics are sold.