When Captain America #12 begins, Steve Rogers is in hell. I mean that quite literally. The Sentinel of Liberty is at death’s door following his battle against the Red Hulk, but while his body is slowly healing, his soul has been pulled into Hell by none other than Doctor Doom. The former Lord of Latveria managed to spirit himself to the infernal realm following his fall from grace in One World Under Doom, and he needs Steve’s help in battling the demonic Mephisto. Can Steve help liberate Hell itself, or is this the one battle he won’t be able to win?
Shifting from a political thriller to a supernatural story should cause immense whiplash, yet Chip Zdarsky manages to make the transition feel relatively smooth. The events of this arc were built up in the previous storyline, and anyone who knows Doom’s history knows that he and Mephisto have plenty of bad blood, as Doom has battled the crimson conqueror for his mother’s soul. Zdarsky also continues to build on the connection between Doom and Steve, as Steve knows that Doom rarely does anything that isn’t for his own self-benefit. Surprising no one, Steve continues to hold onto his beliefs to protect the innocent despite being in a place designed to crush hope.
This is prominent during a scene where Steve finds a man being subjected to unspeakable torture. Without an ounce of hesitation, he proceeds to free the man and then lays a beatdown upon the demon tormenting him. It’s not just a great action beat, but a perfect demonstration of how Steve will throw himself between evil and the innocent. The mix of character moments and fighting through Hell provides the perfect complement to the events of Avengers: Armageddon #1, which Zdarsky also pens, and explains why Steve isn’t a part of that storyline.
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A shift in scenery doesn’t dampen Valerio Schiti’s artwork, as he goes full horror; after all, this is Hell we’re talking about. Massive demons lumber about, some of them having massive multi-fingered hands for legs…and those hands being lined with razor sharp teeth. Mephisto sits on a throne shaped like a massive skull, blood pouring from its eyes and mouth. Winged goats and cackling insects soar through the air, while lumbering colossi stare with burning eyes into the distance. Amid all this nightmare fuel, Steve stands out for the bright blue and red robes he’s wearing in lieu of his Captain America uniform. So does Doom, whose bright green cloak and metallic mask are instantly recognizable. Romulo Fajardo Jr. does an excellent job of making sure that Hell is full of different shades of blood red, while Joe Caramaga’s colors make each demon sound like something that crawled out of your worst nightmares.
The best moments in Captain America #12 don’t involve demons or Doom, but rather the quiet despair as Steve’s loved ones gather by his side. Tony Stark is desperate to get his friend up and running, despite others telling him this isn’t like fixing one of his multiple Iron Man suits. Sam Wlison hangs onto faith that Steve will make a recovery. It’s Sharon Carter’s reactions, though, that hit the hardest; she’s been one of the few constants in Steve’s life, and either of them losing each other would be a blow that neither of them could recover from.
Captain America #12 launches a new story arc that veers into the supernatural, as Steve Rogers is dragged to Hell on the behest of Doctor Doom. It doesn’t drag down the deeper themes that Chip Zdarsky is working with, or the momentum of previous arcs, which is a small but significant miracle.
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