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Marvel’s The United States of Captain America #1 explores Cap’s conflicted view of America with a meditative and somberly self-aware tone.
As a living legend from World War II, who personifies the United States’ hope as he charges into battle wearing stars and stripes, Captain America carries a lot of weight on his shoulders. Just in time for the character’s 80th anniversary, Marvel Comics has launched a new miniseries for the Star-Spangled Avenger. From the creative minds of Christopher Cantwell, Josh Trujillo, Dale Eaglesham and Jan Bazaldua, The United States of Captain America #1 depicts a surprisingly introspective look at Steve Rogers’ perspective on the American Dream.
The debut issues opens with Steve at his New York City home, reflecting on the state of the union in America and his place within it. However, this rare moment of self-meditation is interrupted by an intruder wearing a Captain America costume that targets one of Steve’s signature symbols. This event leads Steve to team up with Sam Wilson to track the culprit down. As Steve and Sam quickly discover that this incident is only the tip of the iceberg on what is developing from sea to shining sea, they are introduced to the new Captain America Aaron Fischer, with the rail-riding hero starring in a backup story by Trujillo and Bazaldua.
Cantwell, who writes the main story, has imbued much of his Marvel work with a wry self-awareness. Although Cantwell’s work on characters like Iron Man and Doctor Doom leans into the sardonic (befitting those titles’ smug protagonists), the proceedings here are more serious. Cantwell’s Steve Rogers provides social commentary on current events and the notion of two Americas. While this messaging can take a backseat once the action kicks in, Cantwell doesn’t shy away from Captain America making observations about the country that feel just as timely today as when Cap was created by Joe Simon and Jack Kirby eight decades ago.
Eaglesham, working with color artist Matt Milla, brings this story to life by evoking the same timeless approach he had while working on Justice Society of America years prior. This is very much a story that takes place in the present but those classic elements of Captain America stand front and center, juxtaposed against the new generation of Captains America. Milla’s darker hues and use of shadows across this nocturnal story help set the atmosphere.
Trujillo and Bazaldua’s backup story, by contrast, is a more sun-baked look at Aaron Fischer. He is inspired by Captain America’s example to fashion his own, unique take on the superhero mantle. Trujillo’s scripting presents a coming-of-age story for Aaron, with the teenager finding himself through his superhero persona, while combatting injustice and oppression presented by a familiar technocracy. Bazaldua’s artwork provides a warmer contrast to the main story, similarly elevated by Milla’s colors, as Aaron fashions his own shield to take a stand for liberty.
There’s a lot to like in the opening issue of The United States of Captain America, with its meditative tone helping set it apart from the rest of Marvel’s current publishing line. Further, each upcoming issue will feature a different creative team handling the backup story of a new Captain America. This sets the series up to compellingly question what it means to defend the American Dream through the multi-perspective prism that has always been the United States.
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