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Essential Captain America
Essential Captain America, Vol. 3
Cap's up against the usual army of orders in AIM, Hydra and the schemes of the Skull--but could the most familiar enemy face by...Bucky's?! The Falcon becomes Cap's full-time crimefighting partner in the wake of this shocker! Gangsters and gorillas! A mysterious Stranger! Nazis, robots and Nazi robots! Featuring the friends and foes of Spider-Man, and the seb-slinger himself! Guest-starring Daredevil and the Avengers! Plus: The secret of the 1950s Captain America and Bucky, foreshadowing the first appearance of the man called Nomad! COLLECTING: Captain America #127-156
608 pages, Paperback
First published December 10, 1972
2 people are currently reading
127 people want to read
About the author
Stan Lee
7,562 books2,343 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 - 16 of 16 reviews
June 22, 2016
Although this collection is titled Essential Captain America the majority of the issues collected here are actually from the time when the book was called Captain American and the Falcon, when Steve and Sam were partners. It's actually interesting to read this at a time when Sam is currently the new Captain America himself.
Marvel was using this title to tackle socially conscious topics like racism and sexism. This being the early 1970s, a lot of it still looks racist and sexist to a 21st century reader's eye but, to me at least, the fact that they were trying to put these issues right is admirable, even if they didn't really take it far enough at that time.
At the beginning of this book, Steve Rogers is depressed and drifting, really feeling the whole 'man out of time' thing, but by the end of the book, largely due to his partnership with the Falcon and his improved relationship with Agent 13, he's in a slightly better place. He even has a day job as a police officer... although he struggles to turn up on time.
All in all, this is a fun, action-packed collection that suffers from feeling a little directionless and meandering, probably because of the writer changing about three times during this volume.
Marvel was using this title to tackle socially conscious topics like racism and sexism. This being the early 1970s, a lot of it still looks racist and sexist to a 21st century reader's eye but, to me at least, the fact that they were trying to put these issues right is admirable, even if they didn't really take it far enough at that time.
At the beginning of this book, Steve Rogers is depressed and drifting, really feeling the whole 'man out of time' thing, but by the end of the book, largely due to his partnership with the Falcon and his improved relationship with Agent 13, he's in a slightly better place. He even has a day job as a police officer... although he struggles to turn up on time.
All in all, this is a fun, action-packed collection that suffers from feeling a little directionless and meandering, probably because of the writer changing about three times during this volume.
July 3, 2020
This book collects more than two years of Captain America Comics (from 127-156) including the tail end of Stan Lee's run and then three more writers taking the helm, with the book starting off in 1970:
Issue 127 begins with Stan Lee and Gene Colan as the creative team. There's a spy in S.H.I.E.L.D. and someone suggests CAP is the spy. Fury pulls Cap's Security-clearance without speaking to him. For some reason, Robbie (from Spider-man) knows about it. It gets straightened out but brings Cap's relationship with S.H.I.E.L.D. to an end (for now.) 6/10
Issue 128: No S.H.I.E.L.D., no Avengers, so Cap plans on hanging up. Throws a pity party, even almost throws the costume in an incinerator. However, when some Hippy kids are about to be menaced by a Hells Angels equivalent, Cap snaps into action. 7/10
Issue 129: Red Skull returns and he's got a plot to ignite war. It involves changing around road signs on a foreign head of state visiting the U.S. like Wild E. Coyote or some kid prankster. Disappointing. 5/10
Issues 130 and 131: This is good. Cap intervenes in some student protests. Initially, he's trying to protect kids from the cops and then the kids attack him and then they're going after a principal. There's a hooded villain behind it and he tries to use Captain America, and we get a very interesting Cap-related take on protests. Than in the next issue, the Hood seeks his revenge by finding a young man who he claims as Bucky to draw Cap into a trap. Overall, really fun stuff. 8.5/10
Issue 132 and 133: Issue 132 teases the idea that Bucky might be really back. However, as modern comic readers know, that couldn't be the case. It turns out to be an overly ellaborate plot by MODOK. We learn that as part of this plan MODOK obtained the support of Doctor Doom by literally telling him, "I bet you couldn't make the thing I want." And it only take that for the most evil supervillain in the world to do MODOK's bidding. That's silly, but the second issue is much better, leading to a confrontation and setting up the Falcon as Cap's Partner. 7.5/10
With Issue 134, the book becomes Captain America and the Falcon, and the two are officially a team which continues through the rest of this volume and into volumes to come. This story finds them helping out Sam Wilson's nephew who is following among bad companions. It's the type of thing that would be addressed in DC's Green Lantern and Green Arrow. Lee does it in a more earnest sincere way that's not so cloying and smug. Rating: 8/10
Issues 135 and 136 feature Cap and the Falcon meeting with S.H.I.E.L.D. and then having to battle a mad scientist who turns himself into a gorilla as part of a plan to impress a woman. Cap falls down a big hole which leaves the Falcon on his own which gives us a chance to get a sense of his character. Gene Colan does a great job in this drawing the Moleman. I don't know of anyone who captured it better. 8/10
Issues 137 and 138 is a meet-up with Spider-man as they track down the villain from 134 who is up to no good. Initially, because Spidey is wanted by the police, the Falcon is trying to hunt him down to prove he can be an equal partner to Cap. 138 sees John Romita take over the art chores which does really help with the Spider-man stuff. While some might question Sam Wilson trying to prove herself worthy of Cap, I actually think its legitimately good idea and you'd have to be insufferably arrogant not to have some doubts about being his partner. 8/10.
Issues 139-142 find Steve Rogers taking a job as a cop to go undercover on the force to catch a criminal who has been behind the disappearance of some police officers. It turns out to be supervillain, Falcon, SHIELD, and others get involved. Stan Lee leaves as writer after Issues 141 with Gary Friendrich taking over. A bit drawn out, but not bad and the Falcon gets to show his strength of character. 7/10
Issue 143: Cap and Falcon have to stop a race riot being fomented by a shadowy figure. This is a 34-page issue. Its's very exciting, socially aware, and with a good twist. 9/10
Issue 144: The Falcon to go solo, so that he can find himself and solve problems for "his people." This is dodgy in terms of character development given, his desire for the partnership in the first place and the fact that the partnership is only 11 issues old and even less time has passed in the Marvel Universe. 6/10
Issues 145-148: The rest of Friedrich's 7 month run on Cap has Cap on the trail of Hydra, with more focus on Sharon Carter and the Femme Force. The Falcon is reduced to a secondary character despite still being on the masthead. The Femme Force were female S.H.I.E.L.D. agents. That's it. Most had no individual personalities, except for one that flirted with Cap and got into cat fights with Sharon. By the standard of it's time, it's not great, but not the worst thing written about women, even in superhero comics. However, they're not interesting at all. What is interesting is the mystery of who's behind Hydra and there are a couple of layers, and a match-up of two villains fighting I wouldn't have expected. Overall, didn't much care for this direction, so I'll give this one 6/10
Issues 149 and 150: Gerry Conway (Sal Buscema as artist) takes over and we have Nick Fury throwing a massive hissy fit over Cap's decision to not join SHIELD, and he's kicked out (even though all he's done is help Nick on missions) and further Nick forbids him from seeing Agent 13 (Sharon Carter) The policeman gig comes back. While Falcon and Cap are still technically not working together, the case draws them together as they deal with Batroc who thinks he's been hired as part of a typical kidnap-for-hire plot but his honor is offended when he finds out its something worse. This is pretty good.7/10
Issues 151 and 152-They quickly get involved in a battle with the team of Mister Hyde and the Scorpion. Sharon is kidnapped. Cap punches Nick Fury, which is good because someone needed to. 7.5/10
Issue 153: Steve Engelhart's first issue. Cap and Nick Fury have it out. Turns out Nick's been being a jerk because the woman who flirted with Cap was "his girl." Sharon resigns from S.H.I.E.L.D. because she's tired of Fury's garbage (when did this become a soap opera?) Fury decides to give her leave instead and offers to talk about her future when she gets back from vacation. Meanwhile Falcon stalks a threat who will come up issue. A little dumb, but provides some good set up. 6/10
Issues 154-156: This issue contains the retconning of the 1950s Atlas comics Captain America. Because Stan Lee forgot he'd brought back Captain America in the 1950s. This was a fix. I'd heard it described as turning Caps anti-Commie crusade in the comics into some sort of mental insanity, but that's not actually what this does. It implies that Cap and Bucky of the 1950s took the Super Soldier serum, fought as Captain America, went nuts, and then had to be put on ice. I take that 1950s CAP went nuts off-panel from his published adventures, which is fine. Engelhart does a good job. While this story can be taken politically, there's a lot of good character stuff he takes advantage of. I enjoyed it more than I thought I would 8/10
Overall, this is interesting book. Lee has a very distinctive take on Cap, but once he leaves, it does feel like there's a big of a struggle within Marvel as to whether Cap's going to be a secret agent or more of a street-level in New York City. This tug of war leads to some wild swings in the book. Still, there's some very worthwhile Captain America comics to read in here.
Issue 127 begins with Stan Lee and Gene Colan as the creative team. There's a spy in S.H.I.E.L.D. and someone suggests CAP is the spy. Fury pulls Cap's Security-clearance without speaking to him. For some reason, Robbie (from Spider-man) knows about it. It gets straightened out but brings Cap's relationship with S.H.I.E.L.D. to an end (for now.) 6/10
Issue 128: No S.H.I.E.L.D., no Avengers, so Cap plans on hanging up. Throws a pity party, even almost throws the costume in an incinerator. However, when some Hippy kids are about to be menaced by a Hells Angels equivalent, Cap snaps into action. 7/10
Issue 129: Red Skull returns and he's got a plot to ignite war. It involves changing around road signs on a foreign head of state visiting the U.S. like Wild E. Coyote or some kid prankster. Disappointing. 5/10
Issues 130 and 131: This is good. Cap intervenes in some student protests. Initially, he's trying to protect kids from the cops and then the kids attack him and then they're going after a principal. There's a hooded villain behind it and he tries to use Captain America, and we get a very interesting Cap-related take on protests. Than in the next issue, the Hood seeks his revenge by finding a young man who he claims as Bucky to draw Cap into a trap. Overall, really fun stuff. 8.5/10
Issue 132 and 133: Issue 132 teases the idea that Bucky might be really back. However, as modern comic readers know, that couldn't be the case. It turns out to be an overly ellaborate plot by MODOK. We learn that as part of this plan MODOK obtained the support of Doctor Doom by literally telling him, "I bet you couldn't make the thing I want." And it only take that for the most evil supervillain in the world to do MODOK's bidding. That's silly, but the second issue is much better, leading to a confrontation and setting up the Falcon as Cap's Partner. 7.5/10
With Issue 134, the book becomes Captain America and the Falcon, and the two are officially a team which continues through the rest of this volume and into volumes to come. This story finds them helping out Sam Wilson's nephew who is following among bad companions. It's the type of thing that would be addressed in DC's Green Lantern and Green Arrow. Lee does it in a more earnest sincere way that's not so cloying and smug. Rating: 8/10
Issues 135 and 136 feature Cap and the Falcon meeting with S.H.I.E.L.D. and then having to battle a mad scientist who turns himself into a gorilla as part of a plan to impress a woman. Cap falls down a big hole which leaves the Falcon on his own which gives us a chance to get a sense of his character. Gene Colan does a great job in this drawing the Moleman. I don't know of anyone who captured it better. 8/10
Issues 137 and 138 is a meet-up with Spider-man as they track down the villain from 134 who is up to no good. Initially, because Spidey is wanted by the police, the Falcon is trying to hunt him down to prove he can be an equal partner to Cap. 138 sees John Romita take over the art chores which does really help with the Spider-man stuff. While some might question Sam Wilson trying to prove herself worthy of Cap, I actually think its legitimately good idea and you'd have to be insufferably arrogant not to have some doubts about being his partner. 8/10.
Issues 139-142 find Steve Rogers taking a job as a cop to go undercover on the force to catch a criminal who has been behind the disappearance of some police officers. It turns out to be supervillain, Falcon, SHIELD, and others get involved. Stan Lee leaves as writer after Issues 141 with Gary Friendrich taking over. A bit drawn out, but not bad and the Falcon gets to show his strength of character. 7/10
Issue 143: Cap and Falcon have to stop a race riot being fomented by a shadowy figure. This is a 34-page issue. Its's very exciting, socially aware, and with a good twist. 9/10
Issue 144: The Falcon to go solo, so that he can find himself and solve problems for "his people." This is dodgy in terms of character development given, his desire for the partnership in the first place and the fact that the partnership is only 11 issues old and even less time has passed in the Marvel Universe. 6/10
Issues 145-148: The rest of Friedrich's 7 month run on Cap has Cap on the trail of Hydra, with more focus on Sharon Carter and the Femme Force. The Falcon is reduced to a secondary character despite still being on the masthead. The Femme Force were female S.H.I.E.L.D. agents. That's it. Most had no individual personalities, except for one that flirted with Cap and got into cat fights with Sharon. By the standard of it's time, it's not great, but not the worst thing written about women, even in superhero comics. However, they're not interesting at all. What is interesting is the mystery of who's behind Hydra and there are a couple of layers, and a match-up of two villains fighting I wouldn't have expected. Overall, didn't much care for this direction, so I'll give this one 6/10
Issues 149 and 150: Gerry Conway (Sal Buscema as artist) takes over and we have Nick Fury throwing a massive hissy fit over Cap's decision to not join SHIELD, and he's kicked out (even though all he's done is help Nick on missions) and further Nick forbids him from seeing Agent 13 (Sharon Carter) The policeman gig comes back. While Falcon and Cap are still technically not working together, the case draws them together as they deal with Batroc who thinks he's been hired as part of a typical kidnap-for-hire plot but his honor is offended when he finds out its something worse. This is pretty good.7/10
Issues 151 and 152-They quickly get involved in a battle with the team of Mister Hyde and the Scorpion. Sharon is kidnapped. Cap punches Nick Fury, which is good because someone needed to. 7.5/10
Issue 153: Steve Engelhart's first issue. Cap and Nick Fury have it out. Turns out Nick's been being a jerk because the woman who flirted with Cap was "his girl." Sharon resigns from S.H.I.E.L.D. because she's tired of Fury's garbage (when did this become a soap opera?) Fury decides to give her leave instead and offers to talk about her future when she gets back from vacation. Meanwhile Falcon stalks a threat who will come up issue. A little dumb, but provides some good set up. 6/10
Issues 154-156: This issue contains the retconning of the 1950s Atlas comics Captain America. Because Stan Lee forgot he'd brought back Captain America in the 1950s. This was a fix. I'd heard it described as turning Caps anti-Commie crusade in the comics into some sort of mental insanity, but that's not actually what this does. It implies that Cap and Bucky of the 1950s took the Super Soldier serum, fought as Captain America, went nuts, and then had to be put on ice. I take that 1950s CAP went nuts off-panel from his published adventures, which is fine. Engelhart does a good job. While this story can be taken politically, there's a lot of good character stuff he takes advantage of. I enjoyed it more than I thought I would 8/10
Overall, this is interesting book. Lee has a very distinctive take on Cap, but once he leaves, it does feel like there's a big of a struggle within Marvel as to whether Cap's going to be a secret agent or more of a street-level in New York City. This tug of war leads to some wild swings in the book. Still, there's some very worthwhile Captain America comics to read in here.
June 24, 2018
Okay, I'm not counting every graphic novel I read this year but this one is a Marvel Phonebook.
For the most part I LOVED the Marvel Essentials Line. (I own about 103 of them.) While the reprints are in black and white, you tend to get between 20-25 issues per volume and they often include stuff that probably would not have otherwise been reprinted and they are in as close to chronological order as possible.
I have never been a real hardcore Captain America fan. And I really liked the idea of a man crygenically frozen at the end of World War II forced to deal with the social changes in the world. The problem is well-- I got into reading super hero comics in the early 90s. That's right around the time when Marvel started caring more about turning their properties into toys, t-shirts, cartoon shows, movies so whenever possible they tried to avoid controversial themes like race, religion and especially politics in their comics.
Marvel didn't have this problem in the 1970s. Not only that many of Marvel's writers of the time were pretty liberal- at least for 1970-72. In the midst of the civil rights movement they introduced Falcon. They had Captain America questioning if he should be working with SHIELD. Really, in terms of the terms of themes being addressed the only problem is that I bought Essential Captain America vol 3 and not volume 4.
During the portions of the two year period between 1970-72 covered in this volume Captain America went through FOUR regular writers. That's a lot even by today's here one minute, gone the next standards. In this volume you the tail end of Stan Lee's run that been ongoing since Captain America thawed out back in the 60s. You could tell this was a title that Stan 'The Man' Lee was writing because it was selling well enough to support itself but he couldn't find anyone to take over. And he tried. He really did. You can tell he had lost interest by the end because he abandoned the title mid storyline handing off the series off to Gary Friedrich. The real problem with the transition is that you can see exactly how Lee was going to end the story. it's all but spelled out. But Friedrich had an unfinished Spider-Man story from either Spectacular Spider-Man or Marvel Team-Up that he wanted to finish. So instead of following whatever notes might have been left behind he said 'screw it, I'm not writing book X anymore. I'll finish story Y in Captain America.' You see this sort of thing in a lot of Marvel titles in the 70s and early 80s. When it works, its brilliant. When it doesn't... well... it REALLY doesn't work. If that's not bad enough a lot of the subplots from the rest of Friedrich's run pick up stories from Nick Fury, Agent of S.H.I.E.L.D. and/or Nick Fury which he was also writing at that point. None of these issues, not even the ones that guest starred Captain America were reprinted here. Other Essentials would reprint such guest appearance if they were that relevant to the stories included. When read on their own, this leaves his run sort of a befuddled mess for seven issues.
On top of this, like Lee before him, Friedrich left the series midstoryline. Unlike Lee, rumor has it that had more to due with some unpleasantness he was experiencing on another Marvel title than anything else. Gerry Conway finished his story before- again- trying to take the series in his own direction before just giving up after about four issues.
Then came the real reason I bought this book... the beginning of Steve Englehart's run on Captain America. Remember how I said an apolitical Captain America bored the crap out of me? Well. Englehart's Cap is the exact opposite of that. In the few issues included you see the beginnings of what a truly amazing run was coming around the corner.
The big problem with this constant writer switching is two holding patterns seem to emerge.
First is the ongoing: Are we a team or aren't we? thing with Captain America and Falcon. Lee said yes. Friedrich said No, yes, maybe, no, no but then again... maybe... and Englehart said 'Absolutely.'
Second the old chestnut: we have a mystery villain. We swear, it's NOT Red Skull this time, we promise. Have we ever lied about this before? Of course, not. It's really not Red Skull. Y'know how we just said it wasn't Red Skull? Psyche! It's Red Skull.
And at least in the few issues included here, Englehart didn't try that trick. Though I'm sure he does at some point. EVERY writer who has ever written Captain America does that one.
For the most part I LOVED the Marvel Essentials Line. (I own about 103 of them.) While the reprints are in black and white, you tend to get between 20-25 issues per volume and they often include stuff that probably would not have otherwise been reprinted and they are in as close to chronological order as possible.
I have never been a real hardcore Captain America fan. And I really liked the idea of a man crygenically frozen at the end of World War II forced to deal with the social changes in the world. The problem is well-- I got into reading super hero comics in the early 90s. That's right around the time when Marvel started caring more about turning their properties into toys, t-shirts, cartoon shows, movies so whenever possible they tried to avoid controversial themes like race, religion and especially politics in their comics.
Marvel didn't have this problem in the 1970s. Not only that many of Marvel's writers of the time were pretty liberal- at least for 1970-72. In the midst of the civil rights movement they introduced Falcon. They had Captain America questioning if he should be working with SHIELD. Really, in terms of the terms of themes being addressed the only problem is that I bought Essential Captain America vol 3 and not volume 4.
During the portions of the two year period between 1970-72 covered in this volume Captain America went through FOUR regular writers. That's a lot even by today's here one minute, gone the next standards. In this volume you the tail end of Stan Lee's run that been ongoing since Captain America thawed out back in the 60s. You could tell this was a title that Stan 'The Man' Lee was writing because it was selling well enough to support itself but he couldn't find anyone to take over. And he tried. He really did. You can tell he had lost interest by the end because he abandoned the title mid storyline handing off the series off to Gary Friedrich. The real problem with the transition is that you can see exactly how Lee was going to end the story. it's all but spelled out. But Friedrich had an unfinished Spider-Man story from either Spectacular Spider-Man or Marvel Team-Up that he wanted to finish. So instead of following whatever notes might have been left behind he said 'screw it, I'm not writing book X anymore. I'll finish story Y in Captain America.' You see this sort of thing in a lot of Marvel titles in the 70s and early 80s. When it works, its brilliant. When it doesn't... well... it REALLY doesn't work. If that's not bad enough a lot of the subplots from the rest of Friedrich's run pick up stories from Nick Fury, Agent of S.H.I.E.L.D. and/or Nick Fury which he was also writing at that point. None of these issues, not even the ones that guest starred Captain America were reprinted here. Other Essentials would reprint such guest appearance if they were that relevant to the stories included. When read on their own, this leaves his run sort of a befuddled mess for seven issues.
On top of this, like Lee before him, Friedrich left the series midstoryline. Unlike Lee, rumor has it that had more to due with some unpleasantness he was experiencing on another Marvel title than anything else. Gerry Conway finished his story before- again- trying to take the series in his own direction before just giving up after about four issues.
Then came the real reason I bought this book... the beginning of Steve Englehart's run on Captain America. Remember how I said an apolitical Captain America bored the crap out of me? Well. Englehart's Cap is the exact opposite of that. In the few issues included you see the beginnings of what a truly amazing run was coming around the corner.
The big problem with this constant writer switching is two holding patterns seem to emerge.
First is the ongoing: Are we a team or aren't we? thing with Captain America and Falcon. Lee said yes. Friedrich said No, yes, maybe, no, no but then again... maybe... and Englehart said 'Absolutely.'
Second the old chestnut: we have a mystery villain. We swear, it's NOT Red Skull this time, we promise. Have we ever lied about this before? Of course, not. It's really not Red Skull. Y'know how we just said it wasn't Red Skull? Psyche! It's Red Skull.
And at least in the few issues included here, Englehart didn't try that trick. Though I'm sure he does at some point. EVERY writer who has ever written Captain America does that one.
September 12, 2017
Captain America is teamed up with the Falcon for most of this run, which was symbolically significant for the time. The Falcon, created by Stan Lee and Gene Colan, had first appeared in issue #117 of Captain America in 1969, and was Marvel’s first African-American superhero.
The last of Stan Lee’s run on Captain America features SHIELD, Modok, AIM and the Red Skull. Lee is followed by Gary Friedrich, who wrote many Marvel comics in the 1970s. Friedrich sets up Captain America as a beat cop in his secret identity of Steve Rogers, while the Falcon gets more involved in Harlem, fighting slumlords and getting a girlfriend, Leila.
Friedrich wraps up his run in #148, as Cap and the Falcon face the Red Skull and the Fifth Sleeper.
Gerry Conway writes issues 149-153, before Steve Englehart takes over with #154. In the final arc of the storyline, Captain America and the Falcon face off against … Captain America and Bucky.
more at: http://newsok.com/article/3790120
The last of Stan Lee’s run on Captain America features SHIELD, Modok, AIM and the Red Skull. Lee is followed by Gary Friedrich, who wrote many Marvel comics in the 1970s. Friedrich sets up Captain America as a beat cop in his secret identity of Steve Rogers, while the Falcon gets more involved in Harlem, fighting slumlords and getting a girlfriend, Leila.
Friedrich wraps up his run in #148, as Cap and the Falcon face the Red Skull and the Fifth Sleeper.
Gerry Conway writes issues 149-153, before Steve Englehart takes over with #154. In the final arc of the storyline, Captain America and the Falcon face off against … Captain America and Bucky.
more at: http://newsok.com/article/3790120
March 21, 2022
Classic comics are usually a mixed bag. Some ill advised, less educated viewpoints on any characters that's not a white guy. The plot lines given to Falcon in this era are pretty... bad, to be honest. Unfortunately, I think it's a product of this time period because similar plots were given to Cybrog in the Titans in this decade, as well.
However, I still like seeing Sam and Steve's partnership blossom. The storylines are pretty easy to follow and usually get wrapped up in 2 issues or less. I'll be skipped around in this series for now.
However, I still like seeing Sam and Steve's partnership blossom. The storylines are pretty easy to follow and usually get wrapped up in 2 issues or less. I'll be skipped around in this series for now.
May 16, 2020
Volumes like this one were how I first got into comics as a kid, borrowed these from the library. This volume was one of them.
It's classic (silver age?) goofy comics, with the right amount of now-cheesy moments, action, and some genuinely great character moments.
Some tropes don't hold up, but hey, it was the 70's, things age. And it was definitely fun seeing how characters have evolved from the origins/re-imaginings here, to the modern MCU films.
It's classic (silver age?) goofy comics, with the right amount of now-cheesy moments, action, and some genuinely great character moments.
Some tropes don't hold up, but hey, it was the 70's, things age. And it was definitely fun seeing how characters have evolved from the origins/re-imaginings here, to the modern MCU films.
December 15, 2018
To make it short : Marvel trying to get the Black Power vibe is cringey, there are still lots of stanleeesque sexism (try the Bechtel test and drink a shot each time a "female" cries); this volume also contains what is probably my favourite retcon : 50s Cap.
This did not age so well, so your appreciation will depend on how much you can look past all of that.
This did not age so well, so your appreciation will depend on how much you can look past all of that.
This entire review has been hidden because of spoilers.
January 26, 2020
There were a few Marvel titles that I generally glossed over as a kid. CAPT America was one as were The Hulk & Daredevil. These B&W collections are perfect for filling those gaps! I borrowed this one from the local library system & read through it in just a couple of days. It is interesting to binge-read these books as opposed to breathlessly awaiting their release every month.
October 31, 2021
Oooof. This was alllllllmost a four-star review. But then Femme Force, the Fifth Sleeper, and street level villains becoming unwitting pawns for baddies of much larger staure/power (which literally happens two stories in a row) killed the forward momentum of Falcon's introduction and the series, march forward into the seventies.
November 19, 2018
Cap's stuggle to find his place in the modern world of 1970 make for mostly average reading. Though I did enjoy the imaginative use of Marvel's history concerning the 1950's Captain America.
March 4, 2013
Was Marvel in den 60ern richtig gemacht hat...
...haben sie in den 70ern durch totale Übertreibung ihres Konzepts falsch gemacht. Das gleiche Problem, das ich bei der Rezension zum Thor Essential Vol.3 geschildert habe, tritt auch hier auf: Captain America mutiert zum introvertierten, nur noch seine Liebes- und "Partner"-probleme (wobei hier eine schon fast homoerotische Komponente dazukommt) reflektierenden Jammerlappen. Das ganze Gequassel über "Tactics" und wie man mit "Tactics" den halbherzig abgefeuerten Kugeln von, ja, man ahnt es, Hydra und dem Red Skull ausweicht und 400000 Gegner gleichzeitig K.O. haut, ist noch ganz nett zu Beginn der Karierre von C.A., aber nach einer gewissen Zeit nervt es nur noch.
Die 70er Jahre waren für Marvel teilweise ein echter Rückfall, und während Captain America - Essential Vol. 1 und 2 äußerst empfehlenswert sind, ist dieser Band leider doch sehr unterdurchschnittlich. Die Charaktere haben sich nach ihrem furiosen Start in den 60ern (bei CA ja noch früher) leider überhaupt nicht weiterentwickelt und stagnieren. Zeichnerisch solide Marvel-Durchschnittsware, vom Skript her schwankt es zwischen unterirdisch und unfreiwillig komisch.
...haben sie in den 70ern durch totale Übertreibung ihres Konzepts falsch gemacht. Das gleiche Problem, das ich bei der Rezension zum Thor Essential Vol.3 geschildert habe, tritt auch hier auf: Captain America mutiert zum introvertierten, nur noch seine Liebes- und "Partner"-probleme (wobei hier eine schon fast homoerotische Komponente dazukommt) reflektierenden Jammerlappen. Das ganze Gequassel über "Tactics" und wie man mit "Tactics" den halbherzig abgefeuerten Kugeln von, ja, man ahnt es, Hydra und dem Red Skull ausweicht und 400000 Gegner gleichzeitig K.O. haut, ist noch ganz nett zu Beginn der Karierre von C.A., aber nach einer gewissen Zeit nervt es nur noch.
Die 70er Jahre waren für Marvel teilweise ein echter Rückfall, und während Captain America - Essential Vol. 1 und 2 äußerst empfehlenswert sind, ist dieser Band leider doch sehr unterdurchschnittlich. Die Charaktere haben sich nach ihrem furiosen Start in den 60ern (bei CA ja noch früher) leider überhaupt nicht weiterentwickelt und stagnieren. Zeichnerisch solide Marvel-Durchschnittsware, vom Skript her schwankt es zwischen unterirdisch und unfreiwillig komisch.
July 9, 2016
This mammoth reprint covers the late 60's and the art of Gene Colan, Sal Buscema and famed Spider-Man artist John Romita, Sr. While the dialogue would now be considered cliched and at times painfully not PC, what I liked most was the intersecting with real issues of racism, crime in the slums, police relations, women's lib, campus protests, motorcycle gangs, civil rights, social activism, etc. Offset this with ridiculous skyscraper sized sleeper robot and ample usage of other such android constructs, a Femme Force to make you cringe, as well as villains like Kingpin, Stoneface, Jakar, Batroc the Leaper (complete with Monty Python French accent), and terrorist organizations like Hydra. There is a SHIELD love triangle too. Also, note how often the artists portrayed the Falcon and Cap swinging through Manhattan just like Spider-Man, except without the webbing! And seemingly every issue had a numbered combat maneuver they would shout out and perform. It's the kind of stuff the 60's Batman TV show would satirize. Still, despite these flaws, it brings back a lot of memories and fun. Loved seeing cap riding the old motorcycle!
February 7, 2017
A very entertaining nostalgia trip. There was even some politics thrown in. Well worth the read
October 6, 2008
Reprints Captain America #127-156. Captain America teams up with the Falcon and vows to battle crime on a smaller scale. The team-up of Captain America and the Falcon did add some spark to the series. It is similar to Green Arrow/Green Lantern in that it tries to get down to current issues, but it fails to live up to that series. The introduction of the 1950s Captain America at the end of the collection is interesting and leads to the Bucky/Nomad storyline.
January 5, 2014
This volume contains post Kirby stories from Jack's first run. I suspect very much a product of their times and in some cases veiled attacks. Some nice art, but nothing as that grabs the attention until Englehart era begins.
December 20, 2008
Brings back memories....
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