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Captain America (1968) #193-200
Captain America and The Falcon: Madbomb
Collects Captain America (1968) #193-200.
Captain America and the Falcon embark on a vast, desperate search for the most malignant conspirators in our history - and their insidious creation: the Madbomb! On the 200th anniversary of the United States, America will die - and only Cap and the Falcon can save it! Plus: Captain America stands alone against an army of underground killers! It's cataclysmic Kirby action in the mind-boggling Marvel manner!
Captain America and the Falcon embark on a vast, desperate search for the most malignant conspirators in our history - and their insidious creation: the Madbomb! On the 200th anniversary of the United States, America will die - and only Cap and the Falcon can save it! Plus: Captain America stands alone against an army of underground killers! It's cataclysmic Kirby action in the mind-boggling Marvel manner!
149 pages, Kindle Edition
First published January 10, 1976
11 people are currently reading
176 people want to read
About the author
Jack Kirby
2,802 books473 followersJack Kirby (born Jacob Kurtzberg) was one of the most influential, recognizable, and prolific artists in American comic books, and the co-creator of such enduring characters and popular culture icons as the Fantastic Four, the X-Men, the Hulk, Captain America, and hundreds of others stretching back to the earliest days of the medium. He was also a comic book writer and editor. His most common nickname is "The King."
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Displaying 1 - 25 of 25 reviews
March 30, 2021
RESUMO DA ÓPERA: A elite só leva esse nome pois caminha sobre cadáveres.
É notável na obra de Jack Kirby sua fascinação por conceitos cósmicos, metafísicos e científicos mirabolantes, mas ainda mais notável é seu ódio pelo fascismo. Ao criar seu quarto mundo Kirby teceu sua grande obra sobre o tema, elevando a nível de mito seus personagens, mas ele sabia que o fascismo não tirava férias, e tampouco ele poderia.
Na história A Bomba Enlouquecedora vemos os patrióticos heróis Capitão América e Falcão se depararem com uma sinistra conspiração crescendo sob o solo do semiárido americano. Sob o deserto, um gigantesco complexo abriga uma sociedade secreta, que acredita piamente na divisão de classes na sociedade e busca restaurar a glória dos Estados Unidos quando ainda eram uma colônia britânica. Como fazer isso? Com uma bomba psíquica que afetará todos os cérebros do país (exceto os da elite) reduzindo-os a feras violentas. Criaturas sem vontade, ideais para serem domesticadas e transformadas em bons e obedientes serviçais.
A história é simples, mas Kirby aproveita cada respiro entre as sequências de ação desenfreada para nos lembrar que a bomba enlouquecedora já explodiu. Os líderes da elite deixam claro que são monarquistas reacionários que querem destruir a democracia. Em sua cidade fascista subterrânea, cultivam as boas e velhas práticas como batalhas mortais para entretenimento da população e linchamento de dissidentes “viciados em liberdade.” Kirby em momento algum finge que a população é inocente quando o fascismo se instaura. “Mandar é pra patrão, não pra peão!” esbraveja um cidadão ao ver o rosto fabricado em computador de seu glorioso líder num telão gigantesco. Um führer projetado em laboratório.
A sociedade secreta é obcecada com os velhos costumes, as velhas roupas, os velhos valores. Se consideram uma elite superior, uma aristocracia que nasceu para governar. Não muito diferente de certos grupos não tão secretos que vemos por aí. Eles repetem obsessivamente que vão restaurar o país a velha glória, e que a humanidade foi feita para ser dividida claramente entre os que servem e os servidos. Muito rapidamente a população pode ser convencida disso. Taurey, o líder desse circo maluco, sonha também em vingar seu antepassado, matando o descendente do homem que o matou na guerra da independência. Coincidentemente esse homem era antepassado do Capitão América. Duzentos anos depois e pouca coisa mudou. Dois lados com sangue nas mãos lutam para ver quem manda nessa terra. Em dado momento o Capitão América lembra com orgulho de seu antepassado rebelde, ao que o Falcão rapidamente interrompe, lembrando ao Capitão que esse “heróico” antepassado também tinha escravos. Nisso o autor evidencia com sutileza que o fascismo muitas vezes não vem na forma de fanáticos ensandecidos, mas já estava aqui o tempo todo.
Ao fim da história quem desarma a bomba, durante a comemoração do bicentenário dos Estados Unidos, é o herói negro Falcão. Consciente de que essa data pouco significa para aqueles que não são brancos, mas com a esperança de que no futuro isso irá mudar. “É um trabalho sujo para se fazer na mesma hora da celebração do bicentenário dos Estados Unidos… e também é irônico que um negro o faça! Talvez Seja a exata razão pela qual um negro deve fazer esse serviço… pra que a escravidão nunca aconteça novamente! Nem aqui… NEM EM LUGAR ALGUM!” pensa nosso herói reflexivo. Pena que de lá pra cá pouca coisa mudou, e a elite encontrou novas formas de escravidão.
Enquanto isso, o Capitão confronta o líder da sociedade que queria se vingar dele pela honra de seu antepassado. Claro que isso é tudo bravata. O aristocrata se acovarda, mesmo com a oportunidade de consumar sua vingança. Afinal, a elite não consegue nem limpar a bunda sozinha.
É notável na obra de Jack Kirby sua fascinação por conceitos cósmicos, metafísicos e científicos mirabolantes, mas ainda mais notável é seu ódio pelo fascismo. Ao criar seu quarto mundo Kirby teceu sua grande obra sobre o tema, elevando a nível de mito seus personagens, mas ele sabia que o fascismo não tirava férias, e tampouco ele poderia.
Na história A Bomba Enlouquecedora vemos os patrióticos heróis Capitão América e Falcão se depararem com uma sinistra conspiração crescendo sob o solo do semiárido americano. Sob o deserto, um gigantesco complexo abriga uma sociedade secreta, que acredita piamente na divisão de classes na sociedade e busca restaurar a glória dos Estados Unidos quando ainda eram uma colônia britânica. Como fazer isso? Com uma bomba psíquica que afetará todos os cérebros do país (exceto os da elite) reduzindo-os a feras violentas. Criaturas sem vontade, ideais para serem domesticadas e transformadas em bons e obedientes serviçais.
A história é simples, mas Kirby aproveita cada respiro entre as sequências de ação desenfreada para nos lembrar que a bomba enlouquecedora já explodiu. Os líderes da elite deixam claro que são monarquistas reacionários que querem destruir a democracia. Em sua cidade fascista subterrânea, cultivam as boas e velhas práticas como batalhas mortais para entretenimento da população e linchamento de dissidentes “viciados em liberdade.” Kirby em momento algum finge que a população é inocente quando o fascismo se instaura. “Mandar é pra patrão, não pra peão!” esbraveja um cidadão ao ver o rosto fabricado em computador de seu glorioso líder num telão gigantesco. Um führer projetado em laboratório.
A sociedade secreta é obcecada com os velhos costumes, as velhas roupas, os velhos valores. Se consideram uma elite superior, uma aristocracia que nasceu para governar. Não muito diferente de certos grupos não tão secretos que vemos por aí. Eles repetem obsessivamente que vão restaurar o país a velha glória, e que a humanidade foi feita para ser dividida claramente entre os que servem e os servidos. Muito rapidamente a população pode ser convencida disso. Taurey, o líder desse circo maluco, sonha também em vingar seu antepassado, matando o descendente do homem que o matou na guerra da independência. Coincidentemente esse homem era antepassado do Capitão América. Duzentos anos depois e pouca coisa mudou. Dois lados com sangue nas mãos lutam para ver quem manda nessa terra. Em dado momento o Capitão América lembra com orgulho de seu antepassado rebelde, ao que o Falcão rapidamente interrompe, lembrando ao Capitão que esse “heróico” antepassado também tinha escravos. Nisso o autor evidencia com sutileza que o fascismo muitas vezes não vem na forma de fanáticos ensandecidos, mas já estava aqui o tempo todo.
Ao fim da história quem desarma a bomba, durante a comemoração do bicentenário dos Estados Unidos, é o herói negro Falcão. Consciente de que essa data pouco significa para aqueles que não são brancos, mas com a esperança de que no futuro isso irá mudar. “É um trabalho sujo para se fazer na mesma hora da celebração do bicentenário dos Estados Unidos… e também é irônico que um negro o faça! Talvez Seja a exata razão pela qual um negro deve fazer esse serviço… pra que a escravidão nunca aconteça novamente! Nem aqui… NEM EM LUGAR ALGUM!” pensa nosso herói reflexivo. Pena que de lá pra cá pouca coisa mudou, e a elite encontrou novas formas de escravidão.
Enquanto isso, o Capitão confronta o líder da sociedade que queria se vingar dele pela honra de seu antepassado. Claro que isso é tudo bravata. O aristocrata se acovarda, mesmo com a oportunidade de consumar sua vingança. Afinal, a elite não consegue nem limpar a bunda sozinha.
April 28, 2024
Kirby’s 70s Marvel work has its ups and downs - it generally starts well then either he gets bored, the editors piss him off, or both. Madbomb is up with the first half dozen Eternals issues as his best of the era - boiling double page spreads and ultra stylised fight scenes as cities go wild under the influence of the Madbomb and Cap and Falcon take to the desert to smoke out a secret society of Royalists hoping to reconquer America on its bicentennial.
It goes extremely hard, and while it’s not quite Englehart making Nixon the villain Kirby is pretty no-bullshit about not just current America but the founders’ country - as the Falcon points out when the mission is revealed, Cap’s ancestors would probably have owned his.
But the main reason for the comic to exist is fighting: about halfway through I realised one reason I was enjoying it so much is that it’s the American comic I’ve seen that’s closest to early 2000AD. Kirby’s odd, dramatic dialogue is very Pat Mills, who is also the only other writer of the era who understood that sometimes you have to interrupt your plot to do a two issue Rollerball riff called KILL-DERBY
It goes extremely hard, and while it’s not quite Englehart making Nixon the villain Kirby is pretty no-bullshit about not just current America but the founders’ country - as the Falcon points out when the mission is revealed, Cap’s ancestors would probably have owned his.
But the main reason for the comic to exist is fighting: about halfway through I realised one reason I was enjoying it so much is that it’s the American comic I’ve seen that’s closest to early 2000AD. Kirby’s odd, dramatic dialogue is very Pat Mills, who is also the only other writer of the era who understood that sometimes you have to interrupt your plot to do a two issue Rollerball riff called KILL-DERBY
May 30, 2019
Violence! Explosions! Love! Henry Kissinger! Underground societies! Bloodsport! Powdered wigs! Poison Gas!
The earliest of Jack Kirby's 70s Captain America stories, written as well as drawn by his creator. The story is an ongoing adventure story culminating in a terrorist attack on the bicentennial, with some basic concepts recycled from his earlier run on Jimmy Olsen for DC. While I'm a huge fan of Kirby's 70s work, this volume and his work on Machine Man are probably his weakest work from the period. The love interest is contrived and disappears ridiculously quickly, the plot is based on more than a few mind boggling coincidences, even for a superhero comic, and even some of the art is a little subpar for Kirby.
Overall, it's an enjoyable if flawed and slight portion of Kirby's run. My dad used to say "Shakespeare's crap is better than most playwrights' best," and in comics, that role is filled by Kirby. It's good, it's fun, it is NOT great, but if you enjoy Kirby's work at all, you should read it.
The earliest of Jack Kirby's 70s Captain America stories, written as well as drawn by his creator. The story is an ongoing adventure story culminating in a terrorist attack on the bicentennial, with some basic concepts recycled from his earlier run on Jimmy Olsen for DC. While I'm a huge fan of Kirby's 70s work, this volume and his work on Machine Man are probably his weakest work from the period. The love interest is contrived and disappears ridiculously quickly, the plot is based on more than a few mind boggling coincidences, even for a superhero comic, and even some of the art is a little subpar for Kirby.
Overall, it's an enjoyable if flawed and slight portion of Kirby's run. My dad used to say "Shakespeare's crap is better than most playwrights' best," and in comics, that role is filled by Kirby. It's good, it's fun, it is NOT great, but if you enjoy Kirby's work at all, you should read it.
April 1, 2025
Read for Cap & Falcon vs ‘70s MAGA
June 17, 2019
Este encadernado marca o retorno de Jack "O Rei" Kirby para as páginas da Marvel e de Capitão América (e Falcão). Neste arco de histórias nos deparamos com a bomba elouquecedora, um artefato do crime que ao explodir, envia ondar mentais capazes de reverter a mente da população a níveis bestiais e instintivos. Em sua busca para impedir a explosão de uma bomba ainda maior que pode enlouquecer o mundo inteiro chamada "A Mãe de Todas", Steve Rogers e Sam Wilson partem para um investigação. Mas acabam viajando para o "longíquo" ano de 1984 onde as pessoas precisam competir em um derby da morte e enfrentar seres humanos deformados. Esse é o futuro onde a "mãe de todas" foi detonada. Essa parte do encadernado é bastante enfadonha. A segunda parte, que se passa nos dias "atuais" e conta s história de amor de Rogers por uma mulher destinada a morrer é mais interessante. Cabe que essa mulher é filha do inventor da Bomba Enlouquecedora e a relação de compaixão e companheirismo do Capitão América por essa mulher vai ser crucial para definir o destino dos Estados Unidos. A nação patriótica está sendo ameaçada por uma corja de malfeitores que se autointitula "A Elite", e quer reverter os EUA a uma monarquia inglesa. Cabe a Rogers e Wilson impedir. Eu esperava um pouco mais desse encadernado. As histórias são bem mornas e os desenhos são bem burocráticos, não chegando a me empolgar, não.
May 3, 2012
Aqui veo el vaso medio lleno. Jack Kirby no es perfecto, pero con todos sus defectos, que los tiene, es el Rey.
Esta saga es fiel ejemplo de ello. Aquí Kirby es guionista, dibujante y editor, todo al mismo tiempo. No hay quien le ponga freno ni cuestione nada. Rompe, de hecho, con patrones de la continuidad del personaje, como su etapa congelado tras la segunda guerra mundial y no le preocupa justificar nada. Hay ideas puestas a la fuerza que no funcionan y hay posturas que rondan lo retorcido.
Sin embargo, estos "defectos" son esperables en una fuerza de la naturaleza como puede ser el viejo Jack. Es un cómic lleno de fuerza, sin concesiones, casi punk en su actitud si no fuese tan comprometido con sus propia postura. No hay disimulo en su reflexión, no oculta sus colores y así como ensalza valores anticuados, critica el relativismo de otros. No tiene nada de realista, pero por todo lo sagrado, no hay mejor alimento para el alma que una lectura de éstas. Ni para reseñas objetivas. Qué diablos, ES KIRBY!!
Esta saga es fiel ejemplo de ello. Aquí Kirby es guionista, dibujante y editor, todo al mismo tiempo. No hay quien le ponga freno ni cuestione nada. Rompe, de hecho, con patrones de la continuidad del personaje, como su etapa congelado tras la segunda guerra mundial y no le preocupa justificar nada. Hay ideas puestas a la fuerza que no funcionan y hay posturas que rondan lo retorcido.
Sin embargo, estos "defectos" son esperables en una fuerza de la naturaleza como puede ser el viejo Jack. Es un cómic lleno de fuerza, sin concesiones, casi punk en su actitud si no fuese tan comprometido con sus propia postura. No hay disimulo en su reflexión, no oculta sus colores y así como ensalza valores anticuados, critica el relativismo de otros. No tiene nada de realista, pero por todo lo sagrado, no hay mejor alimento para el alma que una lectura de éstas. Ni para reseñas objetivas. Qué diablos, ES KIRBY!!
May 22, 2022
Not Kirby's best art, his typical dialogue and script, which is to say not good. I didn't connect with the characters. The story left me bored. I began to gloss over the mass amounts of text and dialogue; unfortunately, the art wasn't worth even the flipping of pages. The weakest Kirby I've experienced so far.
August 23, 2023
As the United States of America nears its bi-centennial celebrations, a ruthless faction arises intent on overthrowing the democracy. With the 'madbombs' of this secretive elite poised to cause chaos among the population, only Steve Rogers and Sam Wilson stand in their way.
Jack Kirby is, rightly, considered a legend in the field of comics and he either created or co-created some of the most famous characters in the canons of both Marvel and DC Comics. This story marked his return to working on Captain America, the character that he helped to create more than three decades earlier.
It is a real shame then that I absolutely hated this book.
By the mid-70s comic book story telling was finally moving towards more serious and complex stories, beginning to develop a maturity that would fully flower in the 1980s. Unfortunately, Kirby's writing and art here is firmly rooted in the storytelling style of the 50s and 60s, making it feel deeply anachronistic.
There's a very real and somewhat sad sense of the creator being totally out of touch with what comics had become and instead just churning out the staid and silly stuff that was the norm when he originally worked on the character. In fact, the inclusion of white supremacists and Cap working directly for the military/SHIELD make this feel like, with a few very minor cosmetic changes, this would in fact be a Captain America story from the WWII years.
Had this just been an of-its-time Captain America story it would've just been bland, but the fact that it's actually regressive for its time (not in its politics, you understand; just in its storytelling) pushes this book into actively bad.
* More reviews here: https://fsfh-book-review2.webnode.page *
Jack Kirby is, rightly, considered a legend in the field of comics and he either created or co-created some of the most famous characters in the canons of both Marvel and DC Comics. This story marked his return to working on Captain America, the character that he helped to create more than three decades earlier.
It is a real shame then that I absolutely hated this book.
By the mid-70s comic book story telling was finally moving towards more serious and complex stories, beginning to develop a maturity that would fully flower in the 1980s. Unfortunately, Kirby's writing and art here is firmly rooted in the storytelling style of the 50s and 60s, making it feel deeply anachronistic.
There's a very real and somewhat sad sense of the creator being totally out of touch with what comics had become and instead just churning out the staid and silly stuff that was the norm when he originally worked on the character. In fact, the inclusion of white supremacists and Cap working directly for the military/SHIELD make this feel like, with a few very minor cosmetic changes, this would in fact be a Captain America story from the WWII years.
Had this just been an of-its-time Captain America story it would've just been bland, but the fact that it's actually regressive for its time (not in its politics, you understand; just in its storytelling) pushes this book into actively bad.
* More reviews here: https://fsfh-book-review2.webnode.page *
June 10, 2025
Un poco bluff el inicio de esta etapa que comienza bien, con una idea un poco estúpida (una bombra que produce la locura a quien está bajo sus efectos), pero con Kirby muy político, convirtiendo en villanos de opereta a una elite económica que anhela atar más en corto al gobierno del país. Una vez plantada la base, no sabe qué hacer con eso más que historietas del Capitán América haciendo de Kamandi, enfrentándose a diferentes sicarios de esa elite en compañía de un Halcón que parece Black Hercules y con un trasunto del general Patton y su tropa de apoyo XD. La sucesión de correrías del grupo carece de la imaginación que le daba vuelo a otras historias de la época, hasta el punto que llega a prescindir al menos en dos ocasiones de su tradicional viñeta a doble página de apertura porque no tiene nada espectacular que poner ahí (y que, por sí sola, suele justificar cualquier número de Los Eternos; cosa que no ocurre con las que se pueden ver aquí). Creo que esto lo dice todo.
March 31, 2021
Amazing what a quarter would get you back in the good old days.
Back in the good old days, men were men, women were women, the world made sense. Jack Kirby took over and illustrated the hell out out of the 8 book run up to cap 200. Now Jack Kirby wasn't like modern artists, no blank panels to cut costs or for limited artist expression. Jack Kirby gave you double page explosions of a single panel, more effort than some modern guys put into their entire 21 page "special offerings". And the plot on this one, Captain America and the Falcon save America on the Bi-centennial, cripes its so good, compared to the lackluster writing of today. Ah, they don't make them like this anymore......
Back in the good old days, men were men, women were women, the world made sense. Jack Kirby took over and illustrated the hell out out of the 8 book run up to cap 200. Now Jack Kirby wasn't like modern artists, no blank panels to cut costs or for limited artist expression. Jack Kirby gave you double page explosions of a single panel, more effort than some modern guys put into their entire 21 page "special offerings". And the plot on this one, Captain America and the Falcon save America on the Bi-centennial, cripes its so good, compared to the lackluster writing of today. Ah, they don't make them like this anymore......
November 21, 2016
King Kirby back with a fun ride with Cap and Falcon as they battle bad guys in the search for a bomb that can turn the country crazy.
Cleverly leaning towards the American bicentennial plus Captain America's own 200th issue Kirby shows that he still has the making of creating a good story.
Granted some of the dialogue especially with Falcon and some of the extras may seem dated but sometimes I believe that adds to the fun if you read old and new comics.
Cleverly leaning towards the American bicentennial plus Captain America's own 200th issue Kirby shows that he still has the making of creating a good story.
Granted some of the dialogue especially with Falcon and some of the extras may seem dated but sometimes I believe that adds to the fun if you read old and new comics.
March 24, 2022
Paranoid. Pulpy.
A huge madbomb has been constructed to destroy America on its 200th birthday. Captain America and Falcon are enlisted by Kissinger to find and destroy it. They go through an underground laboratory fortress with it's own slave labor camp and rollerball arena. Some wild stuff here, especially the beginning where a smaller madbomb goes off.
A huge madbomb has been constructed to destroy America on its 200th birthday. Captain America and Falcon are enlisted by Kissinger to find and destroy it. They go through an underground laboratory fortress with it's own slave labor camp and rollerball arena. Some wild stuff here, especially the beginning where a smaller madbomb goes off.
June 16, 2017
This had its good and bad points.
I'm not a great fan of Kirby's artwork, and I had some issues with the concept of the bad guys being so all pervasive and still being secret, but there were some redeeming subplots, which makes me give this book three solid stars.
Your mileage may differ.
I'm not a great fan of Kirby's artwork, and I had some issues with the concept of the bad guys being so all pervasive and still being secret, but there were some redeeming subplots, which makes me give this book three solid stars.
Your mileage may differ.
August 20, 2019
Přestávám mít rád retra.
This entire review has been hidden because of spoilers.
September 21, 2022
A story that celebrated Jack Kirby's return to Marvel in 1976 and also America's bicentennial.
A tad cheesy in the patriotic stakes but a great tale nevertheless
A tad cheesy in the patriotic stakes but a great tale nevertheless
June 10, 2023
Classic '75 Marvel Kirby
March 19, 2025
(2.5 Stars really)
Goes on a bit long and a bit jingoistic at times, but fun at times as well and the action was right for it's time so no complaints really
Goes on a bit long and a bit jingoistic at times, but fun at times as well and the action was right for it's time so no complaints really
September 26, 2021
Traduce Captain America #193 a #200, con introducción y textos exclusivos de esta edición.
January 31, 2011
Wow! The Bicentennial run of Jack 'King' Kirby on Captain America (with Falcon): MADBOMB has some completely off-the wall bonkers patriotism and comic book fun!
Great extras from Marvel in this book. A/B Kirby's pencils with fully produced art for most of the covers! John Romita inks the cover of ish #193.
Jim (my good pal lending me all of this bat-koo-koo Kirby stuff) left me a note, "Here is Vol. 1 of Kirby Cap from the 70s - it's insane".
Hmmm..let me count the ways...
A powdered wig aristocrat plotting to bring back nobility to power (what?), small machines with mind control capability, a BIG-ASS version of those machines, Falcon using the word 'dude' every other panel...and a 200 year old ancestral grudge over a pistol duel!
To say I enjoyed this book after trying to make sense of the Fourth World stuff is an understatement. I can connect with Kirby's Marvel work a bit easier, and this was one story arc with two main heroes.
The production of the coloring in this book and the two Kirby Black Panther books are really nice 'remasters' of the original plates and the Kirby crackle pops on the glossy pages.
Thanks, Cap! Make my Kirby Marvel!
Great extras from Marvel in this book. A/B Kirby's pencils with fully produced art for most of the covers! John Romita inks the cover of ish #193.
Jim (my good pal lending me all of this bat-koo-koo Kirby stuff) left me a note, "Here is Vol. 1 of Kirby Cap from the 70s - it's insane".
Hmmm..let me count the ways...
A powdered wig aristocrat plotting to bring back nobility to power (what?), small machines with mind control capability, a BIG-ASS version of those machines, Falcon using the word 'dude' every other panel...and a 200 year old ancestral grudge over a pistol duel!
To say I enjoyed this book after trying to make sense of the Fourth World stuff is an understatement. I can connect with Kirby's Marvel work a bit easier, and this was one story arc with two main heroes.
The production of the coloring in this book and the two Kirby Black Panther books are really nice 'remasters' of the original plates and the Kirby crackle pops on the glossy pages.
Thanks, Cap! Make my Kirby Marvel!
March 4, 2014
I can't tell you how many times I've read these eight issues written and drawn by Jack Kirby. It never gets old.
When these stories were first published, I prowled the drug stores every week waiting for Kirby's first new Captain America story in six years. It was everything I'd hoped for and more. Kirby was
completely engaged with the material, a bicentennial-themed epic about Tory aristocrats plotting the overthrow of America.
Except for the airbrushed-looking cover colors, the coloring for this trade edition is perfect: a glossy, candy-hued comic book lover's dream, a pop masterpiece Kirby would undoubtedly have appreciated.
I'm also rereading the stories as reference for a Captain America story I'm writing.
When these stories were first published, I prowled the drug stores every week waiting for Kirby's first new Captain America story in six years. It was everything I'd hoped for and more. Kirby was
completely engaged with the material, a bicentennial-themed epic about Tory aristocrats plotting the overthrow of America.
Except for the airbrushed-looking cover colors, the coloring for this trade edition is perfect: a glossy, candy-hued comic book lover's dream, a pop masterpiece Kirby would undoubtedly have appreciated.
I'm also rereading the stories as reference for a Captain America story I'm writing.
May 24, 2012
Sigo pensando que ni Stan Lee ni Jack Kirby llegaron a hacer cada uno por su lado las joyitas que consiguieron juntos- Aun así, este relato del Capi sobre el bicentenario de su nación tiene un ritmo y una garra (sobre todo a nivel dibujo) que lo vuelven una lectura muy entretenida, patriotadas al margen.
March 17, 2014
Il ritorno di Kirby nel 1975 alla Marvel non fu qualitativamente all'altezza del suo decennio 1961-70, specialmente perchè le trame e i dialoghi era completamente suoi.
Bomba di Follia risente parecchio di queste pecche, ma i disegni e la costruzione delle tavole restano esplosivi di loro. La colorazione digitale rifatta, purtroppo, impoverisce la resa invece di esaltarla.
Bomba di Follia risente parecchio di queste pecche, ma i disegni e la costruzione delle tavole restano esplosivi di loro. La colorazione digitale rifatta, purtroppo, impoverisce la resa invece di esaltarla.
September 28, 2017
Jack Kirby è stato un grande. Ce lo ripetono sempre. E' stato un faro per la sua generazione di autori. Questa storia di Cap è semplicemente troppo vecchia, troppo piena di stupidaggini. E' quello che, dopo anni di evoluzione del medium fumetto, si potrebbe mostrare a degli ignoranti per mantenerli nella propria ignoranza per i fumetti. Magari all'epoca è stata fichissima. Adesso, no.
April 9, 2016
The Madbomb story arc is Jack Kirby's return to Captain America. As usual, The King's artwork is superb. The story is fair. Even though the story was published during the mid 70's it plays out with goofiness of a Silver Age story. While this isn't Kirby's best work, it is worth a look.
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