A new era of Captain America launches today with a brand spanking new #1 on the cover. Headlining the project are Chip Zdarsky and Valerio Schiti, two creators who have tackled some of comics’ biggest characters from Batman to summer events. It’s a story set immediately after Captain America was discovered in the ice, and so he’s yet to establish superhero relationships and find his niche in the world. It’s also a world reeling from a modern war far different from World War II.
Captain America #1 opens with a red-haired boy witnessing what looks like the World Trade Centers burning, with one collapsing before his eyes. Zdarsky narrates this boy’s perspective from some time in the future. In this opening page, it delves into what it means to kill someone and how one can respond, pondering if they’re worth saving after taking a life. Anyone who grew up living through 9/11 will find this opening scene and the motivations of this character hits close to home.
In a sense, this subplot appears to modernize the reader’s perspective on war and Captain America’s role within it. This book isn’t strictly about this boy, but he’s undoubtedly the B-plot, with the reader following his journey of enlisting, joining the army, and being bullied throughout. Compare that origin story up against Captain America, who was bullied before enlisting and became a super soldier – there may be a divergence to explore.
Captain America and motorcycles go together like peanut butter and jelly.
Credit: Marvel
It’s hard to say where Zdarsky is going with the B-plot, as the big twist isn’t revealed in this issue. One might make some guesses, but as it stands, we’ll need to come back for issue #2 to see who this boy becomes.
As far as the A-plot, we’ve got our meat and potatoes Captain America action in droves. His story starts in a bar in New York, and soon he’s chasing down a terrorist with a bomb strapped to his chest. The action is intense and kinetic, and Schiti makes you feel every motorcycle jump or fling of the shield.
This leads to a meeting with Iron Man, which is one of the only indicators that this story takes place in the past. It’s a scene that establishes Cap hasn’t joined the Avengers, yet. Surprisingly, nothing seems dated, nor does the comic mention the year. I imagine this is to ensure the story remains timeless, but frankly, this story could easily be set in a modern era and nobody would know the difference.
That said, Steve Rogers does come off as a bit younger than usual, and maybe a bit more hopeful and less worn down. He hasn’t faced every supervillain under the sun, so it does read as if there are new character wrinkles to explore.
The second half of the issue takes this story to where Captain America feels most at home: the government. It’s a step that sets him on a new mission, targeting a very familiar and currently popular supervillain. Yes, we’ve seen this character more than ever, as he’s typically relegated to limited use, but this is a different era to see him in action. It gives the story a proper high level of stakes. Add in a new team for Captain America to manage, again, he’s a bit newer to superheroing, which sets up an interesting angle.
Captain America #1 launches a grounded yet action-packed new arc that reintroduces Steve Rogers at a pivotal moment, balancing superhero spectacle with timely reflections on war and identity, though the story’s full potential remains just over the horizon. It sets the stage for a powerful clash of ideals, as Cap’s classic worldview may soon collide with that of a new post-9/11 hero shaped by a darker, more complicated era.
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