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Captain America Epic Collection
Captain America Epic Collection, Vol. 4: Hero or Hoax?
When the city's policemen begin to disappear, Captain America takes a job as one of New York's finest -it's a new direction for the red-white-and-blue Avenger! There's also larger-than-life villains - from the Grey Gargoyle to Hydra to the Red Skull, providing plenty of opportunity for Cap to swing that shield! And speaking of S.H.I.E.L.D., Nick Fury's spy shop is here, too - and they'll be fighting both for and against Cap! Meanwhile, the Falcon has a surprise encounter with two familiar - and anything but friendly - faces who will change Captain America's life forever. It's the shock of the year as Cap discovers that while he was frozen in the Arctic, there was a second Captain America and Bucky! Now they're back...and fighting mad! COLLECTING: VOL. 4: CAPTAIN AMERICA (1968) 139-159
472 pages, Paperback
First published July 11, 2018
8 people are currently reading
84 people want to read
About the author
Stan Lee
7,564 books2,340 followersStan Lee (born Stanley Martin Lieber) was an American writer, editor, creator of comic book superheroes, and the former president and chairman of Marvel Comics.
With several artist co-creators, most notably Jack Kirby and Steve Ditko, he co-created Spider-Man, the Fantastic Four, Thor as a superhero, the X-Men, Iron Man, the Hulk, Daredevil, the Silver Surfer, Dr. Strange, Ant-Man and the Wasp, Scarlet Witch, The Inhumans, and many other characters, introducing complex, naturalistic characters and a thoroughly shared universe into superhero comic books. He subsequently led the expansion of Marvel Comics from a small division of a publishing house to a large multimedia corporation.
With several artist co-creators, most notably Jack Kirby and Steve Ditko, he co-created Spider-Man, the Fantastic Four, Thor as a superhero, the X-Men, Iron Man, the Hulk, Daredevil, the Silver Surfer, Dr. Strange, Ant-Man and the Wasp, Scarlet Witch, The Inhumans, and many other characters, introducing complex, naturalistic characters and a thoroughly shared universe into superhero comic books. He subsequently led the expansion of Marvel Comics from a small division of a publishing house to a large multimedia corporation.
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Displaying 1 - 15 of 15 reviews
September 10, 2024
Cap is better with friends, and the Falcon and Sharon Carter are pretty good friends. Nick Fury isn't such a good friend, but, hey--we all need a friend we can punch in the face once in a while.
October 23, 2018
This is probably the first Epic collection I've read in a while where I really wished the next volume was available. I really enjoyed this. It's still a bit silver age, but you can tell that Cap was moving in to the Bronze age of comics. It's mostly all multi-issue story arc's, and none of them are stinkers. It actually flows really nice. The art is fantastic to. I didn't realize that John Romita had an extended run on Cap! Boy, he sure could draw the fuck out of anything! Sal Buscema draws quite a few issue to, and brother, he's no slouch! I really like the issue's where he is inked by John Verpoorten.
Overall, it's a great read. I'm definitely ready for volume 5, and more Cap Epic's!
Overall, it's a great read. I'm definitely ready for volume 5, and more Cap Epic's!
January 13, 2023
Feel free to skip over all the overwrought love triangle nonsense that goes nowhere. Gloss over Cap's sudden commitment to being a police officer. Don't ignore, but definitely don't enjoy, the strained expressions of race relations and well-meaning but stereotyped depictions of life in Harlem by yet another clueless white writer. This collection is essential for the arc running from issue 153 to 156, in which first the Falcon, and them Cap himself, come face to face with the twisted id of what it means to be Captain America: an unhinged, overpowered, fascistic brute, complete with a youthful ward whose mind he's poisoned.
This is important stuff by Steve Englehart, clearly controversial for its time, and sadly relevant for today. I've always appreciated that Steve Rogers-as-Captain America has been consistently portrayed as a conscientious, idealistic avatar for the United States, a man capable of self-doubt and able to question the nation and the systems he himself represents, one who has always and unquestionably been a friend to the downtrodden and the marginalized. But the fact is that, as lovely and important it is for these features to define his character, it would be an unlikely and unrealistic outcome from a "real world" perspective. The Cap of the 1950s is the jingoistic antihero we would probably have to deal with if superheroes were a thing, as has been explored in more "mature" comics through characters like the Comedian, Peacemaker, and Homelander. Remarkably, Marvel got there before all those others, and did a fairly great job at telling a pointed, impactful story about the dangers of untrammeled patriotism and the ways that authoritarian tendencies can lurk beneath the surface of a dedication to democracy.
I'll allow you to read and appreciate the details for yourself; some are appropriately wacky, since this is still mainstream comics in the 1970s, and there are some plot holes big enough that Cap wouldn't even have to try too hard to get his shield through them. (My biggest beef: if the United States trotted out a "new" Captain America, who was thought to be the original, in the 1950s, why was it such a big deal when the authentic item was rediscovered in the Silver Age? When and how did Cap's status get restored to "missing, presumed dead at Zemo's hand" after 50s Cap went away? And how did they explain Bucky, who was known to have died in 1945? Obviously the actual answer is "because this is a retcon and no one has thought to answer those questions yet," but I would have liked to have seen some care given to those inconsistencies in the moment.) Oh, and in classic "how can we tell our identical antagonists apart?" style, the battles between OurCap and NuCap hinge on Steve having taken a tropical holiday recently, and his sunburned skin is noticeably pink. Hah. It's cute.
The Falcon's character continues to develop in interesting ways that can read as problematic to our modern eyes, but which i have no doubt were revolutionary at the time. His title billing with Cap appears not to be mere tokenism, as each issue does spend significant time with his, his adventures, and his interior life. Much is made of his status "in between" in these issues, with numerous Black characters lobbing the "Uncle Tom" label at his civilian identity; as a social worker, he's seen as "working for the man" and not truly advancing the interests of "his people." I wonder how well or poorly this tracks with how real people in Harlem would have reacted to people in Sam Wilson's position in the 1970s. It smacks a bit of an exaggerated conflict between a safe establishment figure and more revolutionary types. Notably, the neighborhood's youth seem to respect and trust Sam, possibly thanks to the presence of his nephew among them. And in one of those classic superhero ironies, after an initial period of uncertainty, much of the public in Harlem begins to warm to the Falcon as their resident hero, particularly Sam's on-again off-again love interest, Leila. There sems to be greater appreciation of those who are perceived as directly addressing the people's ills over those who are seen to be trying to work "within the system," a system that has not often served them well. It's a fairly complex portrayal, I guess, marred mainly by heavy-handed use of "jive talk." At least there are zero stories in this collection where a masked villain stokes racial resentment, only to be revealed as a Black guy in the end.
Falc also gets a much-improved costume design, which makes its debut in a backup feature with some beautiful art that I wish appeared anywhere else in Marvel at the time. (That was by Gray Morrow, who I hadn't heard of by name, but who is apparently the co-creator of Man-Thing.) That's not to knock Sal Buscema! I still really like his muscular, just-cartoony-enough style, and the really SAL style peeks through in these pages at times.
I'd also like to point out that Cap is depicted as a great white ally in the same issue where Falcon's new look debuts (#144); after unthinkingly trying to butt in on a case in Harlem that Falcon needs to address himself first, Cap says, "Sorry I tried to butt in! Guess it's just force of habit! When there's trouble brewing...I just naturally jump! Looks like I'll sit this one out, though! Good luck!" And offers Sam a sweet red-gloved low-five. See how he acknowledged his wrong, changed his tune, and offered well wishes? Be like Cap, well-meaning white folks!
This is important stuff by Steve Englehart, clearly controversial for its time, and sadly relevant for today. I've always appreciated that Steve Rogers-as-Captain America has been consistently portrayed as a conscientious, idealistic avatar for the United States, a man capable of self-doubt and able to question the nation and the systems he himself represents, one who has always and unquestionably been a friend to the downtrodden and the marginalized. But the fact is that, as lovely and important it is for these features to define his character, it would be an unlikely and unrealistic outcome from a "real world" perspective. The Cap of the 1950s is the jingoistic antihero we would probably have to deal with if superheroes were a thing, as has been explored in more "mature" comics through characters like the Comedian, Peacemaker, and Homelander. Remarkably, Marvel got there before all those others, and did a fairly great job at telling a pointed, impactful story about the dangers of untrammeled patriotism and the ways that authoritarian tendencies can lurk beneath the surface of a dedication to democracy.
I'll allow you to read and appreciate the details for yourself; some are appropriately wacky, since this is still mainstream comics in the 1970s, and there are some plot holes big enough that Cap wouldn't even have to try too hard to get his shield through them. (My biggest beef: if the United States trotted out a "new" Captain America, who was thought to be the original, in the 1950s, why was it such a big deal when the authentic item was rediscovered in the Silver Age? When and how did Cap's status get restored to "missing, presumed dead at Zemo's hand" after 50s Cap went away? And how did they explain Bucky, who was known to have died in 1945? Obviously the actual answer is "because this is a retcon and no one has thought to answer those questions yet," but I would have liked to have seen some care given to those inconsistencies in the moment.) Oh, and in classic "how can we tell our identical antagonists apart?" style, the battles between OurCap and NuCap hinge on Steve having taken a tropical holiday recently, and his sunburned skin is noticeably pink. Hah. It's cute.
The Falcon's character continues to develop in interesting ways that can read as problematic to our modern eyes, but which i have no doubt were revolutionary at the time. His title billing with Cap appears not to be mere tokenism, as each issue does spend significant time with his, his adventures, and his interior life. Much is made of his status "in between" in these issues, with numerous Black characters lobbing the "Uncle Tom" label at his civilian identity; as a social worker, he's seen as "working for the man" and not truly advancing the interests of "his people." I wonder how well or poorly this tracks with how real people in Harlem would have reacted to people in Sam Wilson's position in the 1970s. It smacks a bit of an exaggerated conflict between a safe establishment figure and more revolutionary types. Notably, the neighborhood's youth seem to respect and trust Sam, possibly thanks to the presence of his nephew among them. And in one of those classic superhero ironies, after an initial period of uncertainty, much of the public in Harlem begins to warm to the Falcon as their resident hero, particularly Sam's on-again off-again love interest, Leila. There sems to be greater appreciation of those who are perceived as directly addressing the people's ills over those who are seen to be trying to work "within the system," a system that has not often served them well. It's a fairly complex portrayal, I guess, marred mainly by heavy-handed use of "jive talk." At least there are zero stories in this collection where a masked villain stokes racial resentment, only to be revealed as a Black guy in the end.
Falc also gets a much-improved costume design, which makes its debut in a backup feature with some beautiful art that I wish appeared anywhere else in Marvel at the time. (That was by Gray Morrow, who I hadn't heard of by name, but who is apparently the co-creator of Man-Thing.) That's not to knock Sal Buscema! I still really like his muscular, just-cartoony-enough style, and the really SAL style peeks through in these pages at times.
I'd also like to point out that Cap is depicted as a great white ally in the same issue where Falcon's new look debuts (#144); after unthinkingly trying to butt in on a case in Harlem that Falcon needs to address himself first, Cap says, "Sorry I tried to butt in! Guess it's just force of habit! When there's trouble brewing...I just naturally jump! Looks like I'll sit this one out, though! Good luck!" And offers Sam a sweet red-gloved low-five. See how he acknowledged his wrong, changed his tune, and offered well wishes? Be like Cap, well-meaning white folks!
July 3, 2023
One of the greatest contributions to the Captain America title was the introduction of Sam Wilson/Falcon by Stan Lee & Gene Colan in Captain America #117 published in 1969. Starting with issue #134, the title was renamed "Captain America and the Falcon" which brilliantly played off the "Captain America and Bucky" duo that had been a popular staple of the early Golden Age run. Switching partners from Bucky to the Falcon was a change in sensibilities in comic storytelling - Bucky represented a child's fawning admiration for superheroes, while the Falcon presented a challenge as to what a superhero really meant. And by the time we get to the '70s, the meaning of Captain America really began to take shape.
The first two thirds of this Epic Collection contains issues written by Stan Lee and Gary Friedrich, with pencils by John Romita Sr. and later Sal Buscema. Though these issues have the level of camp expected of Bronze Age superhero comics, they were developing a bit of an edge to them. Instead of Cap solely taking on fascists and communists (Marvel still was slowly taking its time to shake off the Red Scare), the '70s Captain America was much more embroiled in domestic issues. Threats like Grey Gargoyle, Kingpin and Red Skull make up many of the early issues, but it's very clear that the title is making a turn towards more seriously questioning why Captain America even exists. Most of these questions are challenged by the Falcon, who points Cap towards more homegrown issues like racial tensions and inequalities. Falcon himself is a forced to question his own positions as he gets more romantically involved with a political activist named Leila, whose interests bounce between Wilson and a more radical activist named Rafe. Falcon worries that he is forgetting about communal issues in favor of the bigger scope missions he undertakes alongside Cap, Nick Fury, Sharon Carter and SHIELD, which adds an interesting undertone to the series.
But it's really the brilliance of Steve Englehart's take on the character that really rejuvenates this title. Englehart picks up the title in the last third of this volume (issue #153) with the iconic "Hero or Hoax?" storyline which carries out one of the most iconic comic retcons of all time. In this four issue arc, Englehart fixes a long standing continuity issue by creating a second version of "Captain America and Bucky" who operated in the 1950's, thus fixing the divergent timeline of Marvel Comics' continuity at that point. This version of Cap and Bucky are darker, presenting a more violent and bigoted modus operandi. The take is brilliant since it exposes the incongruence of views on patriotism so handily. The idea that Captain America can be a lens into an idealized vision of America's ideals vs. what it currently is has never been as apparent as it was during Englehart's early stretch on the title, and having original Cap duke it out with this more terrifyingly overzealous Captain America was just very well done. Englehart goes on to have a fantastic three year run on the character, though "Hero or Hoax?" remains one of the most iconic parts of that run.
However, beyond the four issues that make up the apex of this volume, the rest is rather forgettable stuff. There's a lot of fun concepts explored with the Steve and Sam relationship being the strongest aspect of this Epic Collection. Female character unfortunately are very underwritten at this point, with Sharon Carter and Leila Taylor being more plot devices and cutouts of real characters. There's also a flimsy subplot of Steve Rogers serving as an undercover police officer that does get resolved by the end of this volume, but doesn't make all that much sense. If one distills down this stretch of Captain America, they'll really only walk away with issues #153-156 in mind, which while near perfection for this title, also only constitutes ~20% of this volume. Art wise, we get a decent stretch by John Romita Sr., who does phenomenal work. Sal Buscema, ever reliable, follows up on Romita's work and does a great job as well, though it is clear how much stronger of an artist Romita was when presented side by side like this. That isn't meant to be a dig at Buscema who clearly handled tight deadlines better than most artists in Marvel's offices at the time, since he does do a solid job with making the action surrounding Cap and Falcon feel explosive and inventive.
The first two thirds of this Epic Collection contains issues written by Stan Lee and Gary Friedrich, with pencils by John Romita Sr. and later Sal Buscema. Though these issues have the level of camp expected of Bronze Age superhero comics, they were developing a bit of an edge to them. Instead of Cap solely taking on fascists and communists (Marvel still was slowly taking its time to shake off the Red Scare), the '70s Captain America was much more embroiled in domestic issues. Threats like Grey Gargoyle, Kingpin and Red Skull make up many of the early issues, but it's very clear that the title is making a turn towards more seriously questioning why Captain America even exists. Most of these questions are challenged by the Falcon, who points Cap towards more homegrown issues like racial tensions and inequalities. Falcon himself is a forced to question his own positions as he gets more romantically involved with a political activist named Leila, whose interests bounce between Wilson and a more radical activist named Rafe. Falcon worries that he is forgetting about communal issues in favor of the bigger scope missions he undertakes alongside Cap, Nick Fury, Sharon Carter and SHIELD, which adds an interesting undertone to the series.
But it's really the brilliance of Steve Englehart's take on the character that really rejuvenates this title. Englehart picks up the title in the last third of this volume (issue #153) with the iconic "Hero or Hoax?" storyline which carries out one of the most iconic comic retcons of all time. In this four issue arc, Englehart fixes a long standing continuity issue by creating a second version of "Captain America and Bucky" who operated in the 1950's, thus fixing the divergent timeline of Marvel Comics' continuity at that point. This version of Cap and Bucky are darker, presenting a more violent and bigoted modus operandi. The take is brilliant since it exposes the incongruence of views on patriotism so handily. The idea that Captain America can be a lens into an idealized vision of America's ideals vs. what it currently is has never been as apparent as it was during Englehart's early stretch on the title, and having original Cap duke it out with this more terrifyingly overzealous Captain America was just very well done. Englehart goes on to have a fantastic three year run on the character, though "Hero or Hoax?" remains one of the most iconic parts of that run.
However, beyond the four issues that make up the apex of this volume, the rest is rather forgettable stuff. There's a lot of fun concepts explored with the Steve and Sam relationship being the strongest aspect of this Epic Collection. Female character unfortunately are very underwritten at this point, with Sharon Carter and Leila Taylor being more plot devices and cutouts of real characters. There's also a flimsy subplot of Steve Rogers serving as an undercover police officer that does get resolved by the end of this volume, but doesn't make all that much sense. If one distills down this stretch of Captain America, they'll really only walk away with issues #153-156 in mind, which while near perfection for this title, also only constitutes ~20% of this volume. Art wise, we get a decent stretch by John Romita Sr., who does phenomenal work. Sal Buscema, ever reliable, follows up on Romita's work and does a great job as well, though it is clear how much stronger of an artist Romita was when presented side by side like this. That isn't meant to be a dig at Buscema who clearly handled tight deadlines better than most artists in Marvel's offices at the time, since he does do a solid job with making the action surrounding Cap and Falcon feel explosive and inventive.
February 7, 2025
This was pretty great. Probably the best run of Captain America so far. This ends the Stan Lee/Conway era which was good, but not great. Then moves into the Steve Englehart era that, quite frankly, is phenomenal.
In here we get some major things added to Captain America's history that will stick around for a long time, and more contemporarily, since this entire volume is techinically "Captain America and the Falcon" we get a lot of stories that have to do with race. Some of them are clumsy, but over all I enjoyed them.
Falcon finally looses his awful green/orange costume and switches to his red and white. However he doesn't get his wings yet. We are still just a street level hero, swinging around with a grappling hook.
Lots of SHIELD and HYDRA stuff in here. Guest starring Richard Nixon at one point.
Over all, I would say this is a phenomenal collection and if you want to get into Cap, I might could say, just start here.
In here we get some major things added to Captain America's history that will stick around for a long time, and more contemporarily, since this entire volume is techinically "Captain America and the Falcon" we get a lot of stories that have to do with race. Some of them are clumsy, but over all I enjoyed them.
Falcon finally looses his awful green/orange costume and switches to his red and white. However he doesn't get his wings yet. We are still just a street level hero, swinging around with a grappling hook.
Lots of SHIELD and HYDRA stuff in here. Guest starring Richard Nixon at one point.
Over all, I would say this is a phenomenal collection and if you want to get into Cap, I might could say, just start here.
August 8, 2023
Excellent mid 70's run of Captain America. Loved this whole volume. I like that Captain America had a bit of character during this run. It felt like Marvel was trying to give him some personality. It also felt like they couldn't decide if Cap was going to be a NY cop, a Shield agent or just plain old superhero. The art by John Romita, Gil Kane, Alan Weiss and Sal Buscema is great. The stories were fun. I really enjoyed the Cap/Bucky from the 50's vs. Cap, Falcon and Sharon story. If you want to read a fun era of Cap this one is for you.
July 1, 2024
I would have given this a 5 star, but again because of the time it was written boggles my mind how far we've come in terms of what we can and cannot say, but how the world of corruption, rotten cops, bad politicians, and the hate that still exists between the v people of the US and the world. As much of what changes stay exactly the same. The stories are top-notch and Captain America will always be the symbol of what our country should believe.
September 14, 2018
Such kitschy fun and a good indication of the changes in the views on race in 1970s America. Quite funny that Nixon is painted in a bad light even before he was impeached!
March 11, 2019
Stan Lee writing (most) stories, Sal Buscema drawing... excellent!
April 28, 2019
A true classic!
This was the era when started collecting Cap seriously! 45 years later it still holds up! The 50’s Cap story had me hooked!
This was the era when started collecting Cap seriously! 45 years later it still holds up! The 50’s Cap story had me hooked!
May 24, 2020
Everybody speaks like they're in a film with Dragon Jim Kelly.
January 2, 2022
Appreciate the history, weak silver age writing.
July 21, 2023
Good until issue 145.
May 1, 2025
some really solid stuff overall as cap transitions from the silver age and has more longrunning story arcs and interesting plot developments.
March 14, 2023
Just finished another one! And my first cap epic as well. I expected Stan's cap to be wordy like a lot of his stories but I have to say I felt his portion of this book was fast paced and blew by for being on the thicker side. Some of it was of course campy and silly but I thought it was a fun grounded idea of having Steve Rogers be a cop during the day and cap at night even if was short lived. Not to stir any pots but I find it funny how often politics are a point of contention in comics nowadays but this volume doesn't shy away from issues such as race even if it doesn't always succeed in tackling the subject. I enjoyed the Hydra stories in the middle but was so tired of Sharon getting captured/knocked out over and over where it became pretty comical. After that I felt the book dipped in quality but I will definitely pick up some more cap in the future
Displaying 1 - 15 of 15 reviews