Captain America #2: War is Complicated

Captain America #1 changed Steve Rogers’ relationship with the world in a fundamental way. Regardless of how the character has been used up to this point, the fact remains that he has aged along with the world. The result is a character whose commentary on the world is less remarkable because he’s a part of it. His voice is less distinct. Zdarsky’s change gives Rogers a new viewpoint and thus a new voice. That new voice and viewpoint in turn gives Zdarsky license to bluntly explore topics than what might otherwise be possible. And it’s clear in Captain America #2 that that’s exactly what Zdarsky plans to do.

Colton’s character arc is clearer in Captain America #2. Ending the first issue with the modern Captain America in Iraq witnessing the toppling of Sadam Husein’s statue lends itself to certain assumptions. This is even more the case given how determined Colton is to join the army following 9-11. Zdarsky turns those expectations on their heads by advancing to the days following the Taliban’s defeat in Afghanistan. As that story advances in flashback, it becomes clear that Colton is much more than readers might have assumed him to be. Though there is much still to be revealed, Zdarsky is fashioning a so far effective foil for Rogers.

Steve Rogers is a fish out of water in Captain America #2 in an even more complicated way than the series’ first issue. It’s one thing to pair Steve with various other superheroes and write dialogue about the modern Marvel universe and quite another to put him on a covert action in another country for the United States military. Zdarsky doesn’t give the character much of a chance to acclimate before crafting this scenario. The result are multiple scenes where Rogers is far from the smartest, most strategic man in the room and instead very much behind the eight ball.

Zdarsky looks at military policy from many angles here. If he has a definitive personal opinion, it’s not obvious in Captain America #2. Instead, he offers several points of discussion. Rogers sees the world as black and white–you go after the bad guy military leader if you have the chance, but you never sink to their level–no cold blooded assassinations, for instance. The insurgents likewise see the world in black and white, but in a different way. Asymmetrical warfare and assassination are perfectly acceptable and the bad guys can include far more than the military leaders. Present day Colton operates in a world with various shades of gray–you follow orders and don’t take it upon yourself to make decisions that could have global implications regardless of the moral complications. In many ways, these are mutually exclusive points of view. Zdarsky highlights how they conflict in the issue without highlighting a “correct” viewpoint.

Schiti is almost as responsible for Colton’s character development as Zdarsky’s. The narrative says where Colton has been, what he has done, and what he is doing now. But the art showcases the toll it has taken on the character. Schiti’s overall style is soft, even gentle. Hard, definitive lines are rare when it comes to characters’ faces. The same goes for items and backgrounds at times.

Paying attention to the characters’ faces specifically, the lack of lines makes readers rely heavily on their expressions. Colton of the past is wildly expressive. Schiti draws wide smiles, open mouthed shock, and wide-eyed fear. And to the extent that Schiti highlights features such as cheekbones, there are few if any instances of that happening. Present day Colton, on the other hand, is almost entirely jaw-clenched or eyes-narrowed angry. There are also many instances where Schiti does highlight Colton’s cheekbones or jawline.

Rogers, on the other hand, still has an almost boyish quality the way Schiti draws him. He is expressive, but he lacks the relatively heavy lines modern day Colton has. Whether intended by Shiti or not, it creates the impression that though both characters have seen war, Colton had a much harder experience.

Martin’s coloring is a good match for Schiti’s style. His work could be described as muted. However, he uses a wide ranging color palette and still creates a high level of contrast. The result is coloring that feels vivid even if it wouldn’t necessarily be considered such at a glance. But even with that fake brightness, the soft coloring never overwhelms Schiti’s gentle art.

Caramagna likewise keeps the caption box colors muted. But he is still able to find a shade of blue for Rogers and yellow for Colton that stands out from Martin’s expansive color palette. The caption boxes feel like a part of the art rather than getting lost or popping off the page, separating themselves.