Chip Zdarsky’s Captain America run is taking some wild swings in its latest run, namely by dragging Steve Rogers to Hell and having him forge an alliance with Doctor Doom. It’s working far better than readers might expect, as Captain America #14 starts to explore the hierarchy of Hell. On their quest, Steve and Doom encounter the demonic preacher Torvoz, who has a vision of a Hell liberated from Mephisto’s reign – and Steve might play a key role in that liberation. But little does the Sentinel of Liberty know that his archnemesis, the Red Skull, is also in the bowels of Hell and has been tasked to bring him to Mephisto.
I’ve found that the best Captain America stories tend to lean into the “Man Out of Time” aspect surrounding Steve. Whether it’s being pulled out of ice by the Avengers or pulled into an alternate dimension by Arnim Zola, watching Steve acclimate to a new world while still keeping his sense of right and wrong has made for some great stories. Captain America #13 is no exception, as it shows that Hell, despite all the fire and torture, has people and demons who want better lives for themselves. Torvoz’s presence also shows that they have faith in something higher than themselves, which further prompts Steve to question his purpose.
The appearance of the Red Skull also heightens the danger, but Zdarsky also gets to take the air out of his sails by having Mephisto confirm that he’s right where he belongs. It turns out the Skull isn’t the only danger in store, as a mysterious woman is also tasked with bringing Steve back. We don’t learn much about this woman, aside from the fact that she’s encased in a praying mantis-style suit of armor, until the very last page of the issue. That page is a whammy, complicating Steve and Doom’s already complicated alliance and showing that Zdarsky’s knowledge of Marvel stories runs deep.
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If there’s one problem I have with Captain America #13, it’s a minor one: there’s once again been a change in artists. It was an issue that came up in the last arc, and I hope this arc handles it more smoothly. That being said, Ton Lima’s art is definitely eye-catching, both in its depiction of Hell and its various creatures, as well as in its action sequences. Anyone who says that Steve Rogers can’t fight without his shield will immediately take it back upon seeing how Lima draws him dropping demons with haymakers. Romulo Fajardo Jr. remains a constant, giving each character their distinct colors: blue for Steve, green for Doom, and a blood-red hue to the Red Skull’s signature visage.
The best part of Captain America #13 doesn’t involve hellfire or fisticuffs, but rather a moment where Sharon Carter and Spider-Man connect while watching over Steve Rogers. Spidey is still shaken up by the events of Avengers: Armageddon, and in a heartfelt scene, he confesses to Steve that the world needs him. Zdarsky’s work on Spidey is some of the best the web-slinger’s ever gotten, as he captures Peter Parker’s snark and heart; the fact that we also get a reminder of how much Steve and Sharon love each other is heartwarming.
Captain America #13 continues its latest story arc with heart and hellfire to spare, as the Red Skull’s presence amps up the danger. Given how this issue ends, the nefarious Nazi might be the least of Steve Rogers’s worries.
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