Captain America Must Die: Captain America 176

Captain America #176 (August 1974)(cover by John Romita)
"Captain America Must Die!"
Script: Steve Englehart
Art: Sal Buscema and Vince Colletta

Karen: After the terrible reveal of last issue, Cap is at a crossroads. He stands on the rooftop of Avengers' mansion, brooding. How can he go on being Captain America, wearing his uniform, representing his country, when he's just seen so much corruption at its heart? We get a flashback to Cap's origin, and I think this is one of the better re-tellings of his story. There are interesting little details here - were we told before that Steve was born and raised in Manhattan? We see him in a movie theater, watching news reels and getting righteously angry over the atrocities the Nazis were committing in Europe. All of this would get incorporated into the Captain America film too. We see him volunteer for the super-soldier experiment and become transformed, and then have the genius behind it, Professor Reinstein, get murdered by a spy. This is all achieved in 4 pages, and culminates with Cap thinking that he had truly become the embodiment of America -but things had changed drastically since then.

Doug: My question is, how did they get Chris Evans's head on that scrawny little body? But really -- if Steve Englehart claims to have written all the stories that would become the first Batman franchise, then he could certainly lay claim to the origin of Captain America. Except that Jack Kirby had done it a couple of times earlier. Anyway, you can sure see the influence of these panels in the Super Soldier portion of the first Cap film. Bone to pick, though -- wasn't the original doctor named Erskine? This fella's name is Reinstein, as you said. I wonder when and why that was changed. I thought Vinnie Colletta's feathery line was really conspicuous in this sequence, with Rogers bare-chested. And given our review of the second part of "Whatever Happened to the Man of Tomorrow?" and Superman's decision to end his career after the death of Mr. Mxzyptlk, it was ironic that Rogers felt sorry but not sorry about pummeling the Nazi spy into the control panel where he was electrocuted.

Doug: The two-page spread showing the rapid-fire history of Captain America was pretty awesome. The cascading effect was nice, although there was certainly room left to have added even more characters and events. But it was still effective, leaving a full-body image of Cap with an essence of distress at the end of the line. 

Karen: His thoughts are interrupted by the appearance of Thor, his long-time team-mate. Let me take a moment to say that Sal and Vinnie do a great job on the God of Thunder in his brief appearance. As one might expect, Thor counsels the Captain that he is a fighting man, and it is in combat that he is at his finest, and most noble. Cap says he's not even sure what 'nobility' is any more. He's even still beating himself up for stealing that electron-gyro a few issues back. Sure, he did it to help clear his name, and he stopped the Secret Empire, but it bothers him that he stooped to do it. The Thunder God says that whatever Cap decides, he'll have his friendship, and he launches himself into a storm-tossed sky.

Doug: The coloring as Thor arrives on the rooftop is particularly nice and adds to the moodiness. I was struck most in this sequence by the respect Thor has for Cap. When you think of how much longer Thor has been alive, and of all the worlds he's seen and the battles he's fought, that he would try to rouse Cap from this funk because he enjoys a good brouhaha at his side... well, it's a lot to take in.


Karen: I've always thought that these two have similar codes of honor that help to unite them. Cap re-enters the mansion and runs right into another old friend -Iron Man. This is the Shellhead with the nose, so it always looks weird to me. Iron Man takes another tack with Cap -namely, that their powers obligate them to help others. He reminds Cap of different times he's saved lives - or even how he's always agreed to perform at charity events. The star-spangled Avenger bitterly responds that people turned on him the first chance they got when Harderman and CRAP (one more chance to use that acronym!) started spreading lies about him. People took all his help for granted. Shellhead says, so what? Doing good deeds can still give his life meaning, regardless of how fickle the public can be. Just then, Cap's partner, the Falcon, bursts in.

Doug: Iron Man had the nose when I came to "new" Avengers comics, so it's never been odd to me. I actually like it for two reasons: it dates the character to my earliest comics memories, and it sure seems more practical than the flat faceplate! Cap sort of gets an "It's a Wonderful Life" lesson from Iron Man, and I think it's effective. The Avengers are sure giving him the hard sell. How disheartening must it have been for Thor and IM to see Captain America, the mainstay of the team, so downtrodden. But to your comment about Cap's anger at how the crowds so quickly turned on him -- that's a Stan Lee trope as old as the Marvel Universe. Personally, I get very tired of it, but I'll give Englehart credit for taking it and crafting a pretty darned good tale because of it.

Karen: It's funny when you think about the cycles Cap went through: he was pretty miserable when he first got out of the ice, then seemed to settle in to his existence, and then whammo, this situation comes along. Falcon gives Cap some tough love, angry that his partner had just split from Washington without a word. He brought along Sharon Carter and her older sister Peggy (although Peggy was confused as to why Falcon looked for Cap at Sharon's place... oh dear...). Cap says something happened at the White House, something he can't talk about. Falcon replies that the officials have clamped down on that too. But he's shaken by the change he sees in Cap. Cap has always been rock-steady. He briefly recounts his first meeting with the Avenger and how Cap trained him and made him into  "the man I always wanted to be," the Falcon. When the two of them became partners, Falcon felt like he was becoming part  of a legend. Falcon says that as heroes, they are examples to others -they can lead others. Cap more so than anyone else. But Cap is not so sure. He says that the people in charge of the country were also supposed to be heroes, people that the citizenry could look up to -and they were criminals. But the Falcon says that's all the more reason for Cap to hang in there -the people need him now more than ever! You really feel Falcon's passion here as he tries to reason with Cap.

 Doug: So even if this issue transpires the same night as the fracas at the White House, don't you think it would have gotten out that the president is dead? There were members of the media everywhere, the army was present, and for crying out loud -- there was a flying saucer on the back lawn! Wouldn't someone have been looking for their nightly television to have been interrupted by a presidential news conference? I agree that Falcon's fire comes through loud and clear, but more than that I feel Englehart's fire. The Falcon serves as his cipher here, speaking the author's trepidations with America's corruption in the mid-1970s. And to editorial and this issue's creators -- yes, this is an epilogue to the "Secret Empire" story, but it's also a phenomenal jumping on point for new readers. That being said, I wonder how a new kid would have felt if next month he picked up the new copy of _ _ _ _ & the Falcon?


Karen: Peggy picks up the plea, as she comes from a different viewpoint. She says politicians come and go, but America is still the greatest country in the world. After everything the country was going through at this point, it seems a bit tough to swallow, but it was a viewpoint held by many at that time (and today). She says that Cap is the living symbol of freedom. She reminds him that he just recently fought a 'fake' Captain America (the 1950s Cap who was psychotic -hopefully we'll review those issues one of these days) who did not represent his views of America -is he ready to give up on America so quickly now? He's not just any super-hero -he's Captain America!

Doug: Peggy's soliloquy might be the best of the lot. She really put Cap on a pedestal he so richly deserved. However, at the bottom of the final page of her pep talk, Sal and Vinnie give us an image that made me feel like I was riding "It's a Small World" at Disney World! Native costumes, indeed!

Karen: Cap takes it all in, but then calmly replies that America has changed a lot since he took on his name. Americans have many different ideas and creeds -they are far more divided now. When people look at him, what does he represent? After saying that, Cap asks to be left alone. His friends all walk out, but then he hears an unearthly voice. He turns and sees his Avengers' team-mate, the Vision, materialize through the wall. The synthozoid simply asks him if he can give up a life of adventure, and then leaves him alone with Sharon Carter. She asks him no questions, just tells him that whatever he decides, she's with him, the man under the mask, and gives him a kiss and leaves.

Doug: The Vision's appearance was notably creepy, yet somewhat puzzling. I just didn't know. again other than the visual of his phasing through the wall, that his presence in this scene meant anything. Given what he said, I mean. If he'd spoken of the travails of being human, or of something to do with logic in an illogical world, then I guess I'd have felt differently. But I didn't think there was any mileage at all out of those three panels. Cap and Sharon weren't too shy about that kiss, were they? Peggy was a doorway away. And you have to think Vizh might have been onto it.

Karen: Finally alone, Cap stops to consider what was said. He had hoped someone would present him with a viewpoint he hadn't thought of -but they didn't. He thinks to himself that they all missed the main point: he was created by the government to protect the country. He did his best, and although he was not always proud of everything he did, he served as well as he could. Now though, he finds that the government has been serving itself. "I just don't understand! I just don't understand!" Cap thinks in anguish. Clearly his whole world has come crashing down around him. This is the hardest decision of his life. He opens the door and faces his friends, and tells them, "I've asked myself if Captain America must die, and if I had the courage to carry out my verdict. The answer to both questions - is yes."

Doug: When you first read this, did you think he would relent and stay on as Captain America? Even though I knew what was going to happen, I still hoped that Steve Rogers would rethink it -- after all, he is Captain America. Hmph... is this another case in our discussion of who is real -- the hero or the secret ID? Is Captain America Steve Rogers, or is Steve Rogers Captain America? But what Englehart chose to explore here is very interesting. From time to time we've all been disillusioned by our government in total, or at least in governmental policies. But when one's entire identity is wrapped in the flag -- literally -- and when one is the living embodiment of the red, white, and blue... well...

Karen: I recall at the time it was pretty shocking! And it seemed like it took forever for him to put the red, white, and blue back on, even though I believe it was only 8 issues. But this was the first time I saw a hero call it quits, and trying to understand why he did it was important. I knew things were not right in our country but I didn't quite know why. Cap was one more clue.

Karen: This is the pay-off of the whole series of issues we've reviewed, and I think it's a terrific one. At some point, I want us to go and review the follow up, with Steve Rogers dealing with life without Captain America, because I think it's actually more interesting than the "Secret Empire" story! But we'll save that for a later date. It's not easy to see a living legend thrown into such a state of utter disillusionment and confusion  -"I just don't understand!" - but it was a great mirror to what much of the country was going through at the time. Despite all the different reasons given for Steve to remain Cap (and using the Avengers and Cap's friends was a terrific method), Steve must be true to his convictions, and they tell him that he can't wear the colors of a country he no longer feels confident representing. It was a bold story then, and I think it still is now. 

This is the End of the Innocence: Captain America 175

Captain America #175 (July 1974)(cover by Sal Buscema and John Romita)
"...Before the Dawn!"
Steve Englehart-Sal Buscema/Vince Colletta

Doug: This is it! The one you've been waiting for! Prepare to have your senses shattered! OK, OK -- maybe not all that, but this is the climax to the "Secret Empire" storyline. We'll be back next week, however, with the epilogue, as Steve Rogers decides his future as Captain America. This one, though, has been building over the previous six issues -- what sort of pay-off will it have?

Doug: We open right after the atomic annihilator had gone off, crushing our five heroes in its wake. This is the third time Cap had been knocked out in this arc; will he awaken to get in on some secret info. as he has the previous two times? Of course, the heroes aren't dead, nor are they done in right away. Nope, instead they Secret Empire agents haul the good guys down some steps that would have done Boris Karloff proud. They are literally spirited to a dungeon. How's that for building some outta sight digs under the desert floor? And yes -- Cap does awaken first, to two S.E. figures leaning over him. Cap comes to in a fighting mood, but is told to back down by a hooded figure claiming to be his friend! Cap's obviously suspicious, until the lead agent removes his hood to reveal... Gabe Jones, agent of SHIELD! And alongside him is Peggy Carter, Cap's WWII-era lady friend. Uh... now waitasecond. If my memory serves, which is risky these days, we learned at the beginning of this story that Peggy was going to join SHIELD and everyone thought she was crazy and needed to be talked out of it. In real time, she would have been around her early 50s. Not exactly secret agent material, huh?

Karen: I wonder if the super-soldier serum protects Cap from concussions. After this storyline, he could be feeling pretty loopy.

Doug: Author Steve Englehart uses Gabe Jones as a cipher to tell us, the readers, the history of the Secret Empire, and it's a history that hearkens back to the Silver Age and actually involves the Hulk, Sub-Mariner, and SHIELD. Whooda thunk it? I thought it was pretty nifty when Englehart showed how he'd woven together all of the books he was writing -- I had no idea that his villainous cartel had actually been around the Marvel Universe for the better part of a decade when this saw print. Pretty cool research and recycling, I say! So after the catch-up for Cap, Gabe heads out so that Cap and Peggy can get reacquainted; just what Cap doesn't want, as he's now in love with Peggy's much younger sister.

Karen: I also thought it was pretty nifty that Englehart had used an existing (if obscure) villain organization to carry out this storyline. I didn't recall seeing the Secret Empire before from old Tales to Astonish issues or Marvel Super-Heroes reprints. With his tendency to link together different corners of the Marvel universe, Englehart was the true successor to Roy Thomas! On the other hand, the return of Peggy seemed a very questionable move and the situation with her just dragged on and on. The whole aspect of having Sharon be her younger sister (I think they might have changed that to niece later on) was very uncomfortable -OK, icky - and there was really no way for Cap to come out of it looking good. He didn't want to hurt Peggy but he let it go on so long, and then there's the whole feeling that he was sort of replacing Peggy with a younger  version...well, it's just all pretty nasty.

Doug: Totally agreed. But, in Cap's defense, and this may seem very superficial, Cap would have been around 30 years old, max? Let's say he enlisted right out of high school in 1941, so he's 18. At the end of the war he would have been 22-23 years old (which is very difficult to wrap my mind around). So let's say that Marvel Time is quite a bit shorter than real time, and maybe "now", years after his big thaw, he's approximately 30. If Peggy aged naturally, I could certainly see why Cap would think there was a disconnect. Doesn't mean the only fish in the sea has to be Sharon Carter, though.

Doug: We cut to a huge room where lays a saucer -- not flying yet, but that's the plan! And here's what I don't get (well, actually a few things): 1) the mutants must really have been groggy after Cap had freed them, because they were all recaptured seemingly immediately, 2) the electron-gyro is some sort of navigational device?, and 3) what in the world are the X-waves in the mutants brains that are going to power the ship?? At any rate, the saucer does indeed fly, and Number 1 gloats that all of the machinations have led to this -- the perfect attack on America! Uh, yeah dude.

Karen: As Rick James said, "Cocaine is a hell of a drug." You can replace 'cocaine' with the substance of your choice. OK, OK, I'll get serious. I think perhaps this was an homage of sorts to all those sci-fi films that had flying saucers invading America. Of course, the greatest was "The Day the Earth Stood Still," and it did indeed have a great big flying saucer land in Washington D.C. The mutant brain power thing doesn't seem too odd -I seem to recall that there were other stories where similar angles were used with mutant physiology. Sure, it doesn't make a lot of sense -why would say Iceman's brain have any special juice? - but I think there may have been some sort of precedent. I guess it would have made more sense (from a comic book-science point of view) if they'd have kidnapped mutants with energy-generating powers, like Havok and Cyclops and used them to power the vehicle.

Doug: Wow, Rick James making his debut on the Bronze Age Babies! "Ghetto Life", "Mr. Policeman"... I wore out his Street Songs album back in the day. Gotta be a topic for another day! But in regard to the mutants and any X-tra ordinary energy they might possess, I suppose one could write it off to the whole "children of the atom" angle.

Doug: Cut to Washington, DC, where Moonstone and Quentin Harderman have just left a congressional hearing on... we aren't told, but I'd assume it was something on the fall of Captain America or the threat of something or other. I'm sure Harderman had it rigged up just perfectly. The two men pass by a window, where they see the Empire's saucer landing -- on the White House lawn! Englehart remarks in a narration box that America's fear of flying saucers runs deep -- the Secret Empire knew that, and so chose just one more detail to put Americans on their heels, to raise doubt in the public consciousness. Almost immediately the press and army assemble (where was the Secret Service?) and wait anxiously for word or movement. Suddenly a hatch opens on the top of the saucer and a large video screen rises. On it is the megalomaniacal Number 1, and he says he wants America's unconditional surrender -- now! The army responds with an attack first, ask questions later answer.

Karen: Boy, this is a conspiracy buff's dream! A perfectly manufactured, pre-packaged threat. I can read this now and think, "Well of course they conspired to topple the government by faking a threat" and not think twice about it, but I'm sure it was all very different in 1974. I was too young to really understand what was going on when Watergate was in the news (it seemed like constantly then -little did I know about the 24 hour news cycle to come) but I could understand the change that came over the people around me. Watergate, and the Vietnam War, and the Recession, all seemed to bring about a general sense of pessimism in the adults of my world. In the years before that, things seemed more optimistic. We were sending men to the moon. America was always the good guy. But by the mid-70s, things had changed. I know that I grew up with a cynical streak. And I'm pretty sure I know why. But let's get back to the flying saucers and megalomaniacs.

Doug: Suddenly Moonstone swoops in and postures in front of the cameras. He calls out Number 1, and challenges him. A door opens in the saucer and out steps a guy who bears a striking resemblance to the robot that Gil Kane drew on the cover of the previous issue. Of course, this guy is supposed to be the dude on this month's cover, but it's just not matching up for me. Anyway, Moonstone flies directly into his new adversary and hits like a brick wall; and is then repulsed by one big Buscema-blast. Moonstone says that his powers have been nullified; he's been defeated. The new baddie tells him to rise, and to get his butt inside the saucer. The TV cameras lap this stuff up. Once inside, however, we see that this was all some sort of pro wrestling set-up. Moonstone, after congratulating the other fella for his fine acting, comes back out of the saucer to tell the crowd that it's hopeless -- the Secret Empire cannot be beaten. Number 1 now shows himself in person and proclaims that his Sanitation Squad has planted atomic explosives (missed the plutonium heist somewhere along the line, did I) around America's major cities that will detonate unless America surrenders within 30 minutes. Oh, boy.

Karen: How did you like Number One's casual comment that "your leader is far away"? A good excuse for why we hadn't heard from the president I guess? Number Two -what a terrible name! - looks pretty ridiculous, but he does a great Buscema-blast against Moonstone. The two of them conspiring inside the saucer was well done by Sal. So now we finally get what Moonstone is all about - he was just getting built up in order to drag all of America down. Not your standard comic book villain, that's for sure.

Doug: Unbeknownst to Number 1, Secret Empire moles Gabe Jones and Peggy Carter were on board the saucer. And on board with them? Why, Cap, Falc, Cyclops, and Marvel Girl (we're told that the Professor had to sit this one out. Wonder how he got home from the desert?)! Captain America is mad and seeking vindication -- "So now we put our lives on the line, for Honor, Retribution -- and Country!" Attaboy, Cap! And before Number 1 and his cronies can react, they're smacked hard by seven heroes. Once they survey the mound of hooded thugs at their feet, Cyclops moves to the control panel of the saucer and destroys anything that looks like it might be related to the siphoning of mutant brain energy. And then Cyke and Marvel Girl decide to bow out, leaving the final clean-up of this mess to Cap and Falc. But Cap orders Falc to use Cyke and Jean to go through the saucer and find an Empire agent who will tell them where the bombs are located. Cap's heading outside.

Karen: There's no indecision with this Cap -he's acting much more like the version we were used to seeing in Avengers. Obviously it's because it's clear to Cap who's wronged him and what he needs to do. It's a bit refreshing to see him taking charge again.

Doug: Since I just recently re-read Avengers Forever for our Vision/Torch post, the extent of Cap's downtrodden spirit post-Secret Empire is especially magnified by this return to form, as you say. Wow, will he crash only moments after this...

Doug: The only problem with Cap getting outside is that Number 1 is still standing in the doorway of the saucer, ranting and raving about the S.E. taking over. Running his mouth, that is, until he does a faceplant with Cap on his back! Cap hits him really hard, carrying Number 1 right off the ramp to the ship. But when Cap rights himself, he's greeted by none other than Moonstone, still spouting lies about Cap being in league with the Empire. And you know what? Cap's had quite enough. In a beautiful splash page, Sal Buscema gives us the fury that had built up inside the Star-Spangled Avenger as he bull rushes Moonstone and puts him right through a small tree! Moonstone is totally out-classed, as we see eight panels of Cap just pummeling him. It's a beautiful sight. And what of the opportunistic Harderman? Of course that scum runs up to Cap, trying to put a spin on things that would paint C.R.A.P. (ha - one more time...) as the victims in this whole thing, duped by the Empire. Moonstone shakes off the little birdies singing in his head long enough to catch Harderman's line... and then contradicts everything ol' Q said, with the truth. Oh, and remember the assembled media? Yeah, cameras were still rolling.

Karen: I would agree that it is very cathartic to see Cap lay a well-deserved beating on Moonstone (and Sal does a great job on the art here), but Englehart puts in a caption here that really caught my attention. Right before the fight starts, he says,"He is where he should be -doing what he should be doing! Captain America is fulfilling his heritage!" Now after all the talk we've had about the propaganda of Moonstone being built up as the "defender of our heritage" I thought this was an interesting term to use. And after Watergate and Vietnam, what was the American heritage?

Karen: But as Englehart also went on to talk about 'what makes a fighter?' and described Cap's fighting spirit, I admit I got all mushy inside. 

Doug: Falcon returns to the White House lawn after alerting SHIELD of the location of the bombs. Dum Dum arrives, and he, Gabe, and Peggy are all smiles. Cap's congratulated by Falc, and it looks like we have a wrap on this tale. But what of Number 1? Suddenly he stands from the spot where Cap had deposited him, and makes a break for it -- straight toward the White House. Again, I say -- where the heck was the Secret Service? Cap gives chase, and the two men enter the mansion and into what could very well be the Oval Office. Cap hits his opponent hard in the back again, putting the man down against a wall. Wheeling around quickly, Cap grabs Number 1's hood and yanks it away to reveal... well, we're not told. But Cap's cry of "Good Lord! You!!" gives us a pretty good clue. The man on the floor rails on about power, and how he couldn't get enough of it legally -- the only route to total power was a coup. But to cut his losses (namely, being hauled off to a very long jail term), Number 1 pulls out a pistol and puts a bullet through his skull. Cap has no chance at stopping him, and can only shield his eyes as the hammer clicks. Outside, Cap walks, stunned. No one knows what just happened, save one man -- the Sentinel of Liberty. And he can't talk about it.

Karen: I missed this issue back in the day but got the next one, so I wasn't sure what had happened. But to be honest, I think I just wouldn't have gotten this as a kid. It would have gone right over my head. But now? Boy, this is heavy! We think our hero has a nice, neat, happy ending, only to find that the very leader of his nation was behind his attempted destruction, and the take-over of his country. The Secret Empire's pulp villain shenanigans stand in for the Watergate crews' efforts at sabotaging our electoral system, and just as the American people became disillusioned, so too has Cap. Before this, I don't think we had ever seen him question his belief in his government. All that was going to change dramatically. In retrospect, I actually think the issues that came after this, with Cap trying to figure out what he really believed in and stood for may have been more interesting than this storyline. But this one certainly had some interesting twists and turns.

Doug: Pay-off? For me, this one had it. Although there were some loose ends left hanging (namely, everything surrounding the mutants - while I appreciate Englehart's efforts or editorial's mandate to keep the X-guys' names out there, it was odd that any mutant beyond Cyke, Jean, and Xavier was in this story), Steve Englehart overall did a nice job tying it all together. And while you can argue with the end result for Number 1, I don't think there's much to quibble with in terms of Englehart using the character to channel his own disillusionment with political issues in America at the time. And like Karen said, this really isn't the end of this storyline.

Who's the Best... "Epic" Storyline?

Doug: Yesterday we discussed the Korvac Saga; how does it stack up? Multi-part crossovers, single title multi-issue storylines, and mini-series -- where resides your favorite "epic" in all of comicdom (feel free to break into periods beyond the Bronze Age)?

Getting Down Underground: Captain America 174

Captain America #174 (June 1974)(cover by Gil Kane)
"It's Always Darkest!"
Script: Steve Englehart
Art: Sal Buscema and Vince Colletta

Karen: This issue picks up directly from the last one. Cap and Falc, in their disguises as average Joes Roger and Willie, have passed their initiation into the Secret Empire and are brought into the hidden underground headquarters located somewhere in the southwestern desert  of the U.S. Cap thinks back about how they wound up there and gives the reader a flashback to catch up on the story. When he thinks about how he was smeared in the media by his enemies, he realizes he should have known better, as he's seen this technique used before -"The Big Lie." Englehart is referring to the Nazi propaganda method, that if you tell a lie big enough and keep repeating it, people will eventually come to believe it. Of course the Nazis aren't the only group that have employed that tool, and Cap goes on to mentally note that he'd thought at one time that only totalitarian governments did things like that, but now he'd seen it happen in America. Obviously a not-very-subtle dig at the Nixon administration.

Doug: Right from the top, as an artistic conceit, did you think it necessary to have the floating heads above "Roger and Willie" while in the elevator? Secondly, and I wondered this last issue -- where did Sam get that 'stache so quickly? Glue-on? OK, end of quibbling... after one more general observation. It's difficult to imagine that the National Geological Survey would be clueless concerning the cornucopia of underground headquarters and bases as dug and improved by groups such as the Secret Empire, AIM, Hydra, etc. Shoot -- even the Mole Man!

Doug:  I generally enjoy the plot recaps that contain new art, even if in this case we did lose a page and a half of new story material. I've criticized new comics with the one-pager at the beginning because I feel it robs the reader of a story page (but not as much as all of the splash pages on the interiors). This older method is more fun and I would say that it should have been more inviting to a new reader than just a couple of paragraphs of text.

Doug: If you'll indulge me, I'll put in a plug for the online propaganda exhibit on the United States Holocaust Memorial Museum's website. I've taught from it for years, and have seen (multiple times) both the large exhibit that was at the Museum, as well as the traveling exhibit that has just recently hit the road to tour the nation. I would say that the sections on "Defining the Enemy" and "Deceiving the Public" would tie into the techniques of Quentin Harderman and the Secret Empire in this story. The line that Moonstone was the "new defender of our heritage" in particular smacks of Nazi racial ideology.

Karen: Cap finishes his recap by recalling how he teamed up with Professor X and his two remaining X-Men, Cyclops and Marvel Girl. It seems the Secret Empire is also capturing mutants for some unknown reason. So it made sense for the five of them to join forces. But they needed to infiltrate the group, and only Cap and Falc could do that, by stealing an electron gyro (whatever that is) from the Brand Corporation. With that accomplished, the hooded Agent 13 brought them to the hidden lair and into the presence of Number 1, a hooded and robed figure who sits upon a throne. Oddly enough, when Agent 13 greets his leader, he salutes him and yells, "Salaam!" This is an Arabic word, and I've always wondered why Englehart had them use this term to greet one another. Was he just trying to throw readers off? It seemed very peculiar. Or did it imply some sort of ancient origin for the organization? Yet another mystery, I suppose.

Doug: And that salute, with arm raised and straight... "Salaam" means "peace", but the word also refers simply to the greeting itself. I agree with you that it is puzzling as to Englehart's intentions here.

Karen: Number One is informed that the two new recruits have stolen the electron gyro and he declares that soon the Secret Empire will conquer America. He says the nation is reeling from Cap's fall from grace, and also from the Watergate scandal. "If only we'd known that was coming! How much simpler it has made our work," he says. Hmm... considering who Number One is supposed to be, doesn't it seem odd that he wouldn't know Watergate was going to break in the press? I don't want to give anything away yet, but I thought this was a peculiar comment. He goes on to say the public is all set to glom on to a new hero, their own Moonstone, and that he has a very particular role still to play. But then he cuts himself short, saying the two new men should be shown to their quarters.

 Doug: I think the Watergate comment is only odd given our hindsight of this storyline and its culminating. But, knowing that, it does seem strange. His cutting short of his own megalomaniacal soliloquy seems typical of totalitarian blowhards, doesn't it?

Karen: Once inside their room (that's right, they have to share a room), Cap and Falc discover they are locked in. Suddenly Falcon tells Cap to put on his costume -they have to get out of there! Cap  tears the cover off a large vent and they crawl out, but he's perplexed by his partner's urging. Falcon says he just has a hunch. Cap turns around and looks back to see lasers criss-crossing the room they were just in. They would have been cut to pieces if they had stayed! A couple of men and Linda Donaldson (remember her?) burst into the room, expecting to find corpses, but instead are shocked to find it empty. One pulls off his hood to reveal Mr. Black, the man at the Brand factory who had read Cap's note last issue and "let" him go. So much for being a nice guy.They discover the air vent that the two heroes used to escape, and sound the alarm.

Doug: OK, I'm going to jump back on the "rubber mask" soapbox here (I only teased that I was done quibbling above) -- you know, how we've complained over the years about the use of rubber masks, even over Doc Doom's faceplate or the Beast's furry face? I want to rail against being asked to suspend my disbelief that the Angel could actually conceal his wings by using a harness and then putting on normal clothing, or in the immediate case that Captain America could conceal his shield by wearing it on his back and under a regular shirt as he must have done here. No. Way. Just look at the image in the center of story page five -- see how the shield hangs out over his lats and delts? But it certainly does serve as a plot point in this portion of the story. Oh, and my question about "Willie's" mustache got answered, too.

Doug: RE- Mr. Black -- nope, I'd not have recognized that dude. In fact, flipping back a few pages in the trade paperback, he really bears no resemblance to the guy at the Brand Corporation factory in the previous issue. Nice that he showed up to see Cap and Falc meet their demise, though -- swell guy.

Karen: Cap hears the alarm go off and begins to feel the net tighten around them. He realizes that Number One was mocking them by telling them his plan; he knew who they were the whole time! Meanwhile, outside and on the desert above, Professor X strives to help by mentally examining the enemies within. In fact it was he who read Mr. Black's mind and ascertained the plot against our two heroes.

Doug: I have a question here about Professor X's powers. I am certain in the pages of the X-Men we've seen him use a variation of Dr. Strange's astral projection. It seems that it might have come in handy in these scenes. Did you find it odd that Xavier had his mental shields down such that Jean could read his mind?

Karen: It seems like there were some missed opportunities with Professor X, and perhaps the X-Men in general. Inside the base, Cap and Falc run into a robot guard and try to disable it before it makes too much noise and brings others down on them. Cap is showing some signs of frustration -he's still annoyed about having to fight SHIELD before, and now this big metal menace -but he's not giving up. Falcon manages to maneuver around the thing and spot a circuit panel on its back. The star-spangled Avenger then destroys it with his shield, putting the robot out of order. Once past that danger, Falcon says he has another hunch, and he opens a metal door -only to find the X-Men behind it! Of course, it turns out that Professor X was behind Falcon's "hunches." The Professor says that the Falcon's reception of his telepathic messages marks him as a man with a "paranormal mind." Does that make me a mutant? Falcon asks. The Professor says possibly but they don't have time to discuss that right now. Professor X knows where the missing mutants are!

Doug: Which robot did you like better -- Gil Kane's on the cover or Sal and Vinnie's on the interior? At first glance, I thought the red one on the inside looked like a bloated Crimson Dynamo. But I didn't think Kane's looked enough like a robot -- it looked like it was wearing leather boots. I'm sure you noticed that Falc attained wind currents simply by jumping in this scene. Had the days of pushing off of lamp posts and being lifted by "Marvel Mama" left him? We can only hope.

Karen: Honestly, I thought both bots looked pretty lame! Perhaps Sal's was a little better, although 'bloated Crimson Dynamo' is an unfortunately apt description! And yes, Falcon seemed to be able to fly in that small space...whatever....

Doug: I wonder if Englehart had any intention of going somewhere with Xavier's comment about Sam's "paranormal mind"? All of the X-Men, and even an enemy here and there, had had Professor X in their heads at one point or another. Surely all of them don't possess some sort of specialness in the brains department. Anyway, I don't know that I'd have felt good or badly about it if Falc had received some sort of amped up mental abilities. But I don't think I'd have wanted to see him take control of the aviary world as Aquaman has the undersea creatures.

Karen: I think the "Is he or isn't he" a mutant angle was explored in Falcon's 4 issue mini-series in 1983, although a quick trip to Wikipedia says that Sam Wilson was revealed as a mutant, and this was later retconned. I think I prefer him as just a regular guy (and as Sam, not Snap, thank you).

Karen: We cut away to a talk show where the hulking Moonstone is the guest. The host and a female guest are falling all over themselves praising Moonstone, and slimy PR man Quentin Harderman stands in the wings, pleased with himself, thinking how the Secret Empire hired him to disgrace Captain America and make America love Moonstone, and he's done it, but there's more to come. That sounds ominous.

Doug: Do you remember back in the day when the talk show genre basically consisted of Mike Douglas, Johnny Carson, and maybe Tom Snyder? Those were simpler times!

Karen: Back in the Secret Empire's HQ, our heroes have come to a huge door. They open it up and are aghast to see (on a two-page spread no less) all the missing mutants. They are strapped to a large disc, with some sort of metal cap device on their heads. We see the Beast, Havok, Polaris, the Angel, and Iceman, and from the bad guy contingent, Mesmero, Unus, and Mastermind. The Blob is on a separate table. They are all wired to some giant machine, which the Professor says is draining their mental energy. Cap smashes the device and they free the captives, who all begin to recover. The Professor probes Angel's mind to find out what happened. So now we get to see Englehart play connect the dots, comic-wise. As you mentioned in an earlier review Doug, the writer does manage to bring a lot of different stories together. He explains how the Angel was attacked by Magneto in Avengers #111 for his energy-absorbing costume -and how he put on his old costume, which the Professor says Cyclops and Marvel Girl have also re-adopted. So at least Englehart did throw us a bone regarding why those two were not in their more recent uniforms. He went to look for the other X-Men and was then ambushed by the Secret Empire. The Prof peeks into the Beast's cranium and sees he was kidnapped right after his appearance in Incredible Hulk # 161. How's that for continuity?

Doug: Englehart's connecting of the dots was indeed welcome, as I'm sure any Marvel zombie not reading all of his mags must have felt somewhat on the outside looking in. But I had to question the move Cap made once Professor X told everyone that the machine was siphoning off mental energy. I don't know -- just whack that thing? What if all of the captives had ended up in a vegetative state? But how about the sheer power now amassed in this chamber, once all of the mutants are free? Wouldn't want to be the Secret Empire...

Karen: Right as these recaps end, Number One and his goons show up in full force. Cap wades right into them, glad to be fighting -he can finally cut loose. In fact, all of them are fighting mad, and they make quick work of the hooded hacks. Number One sees things going south and orders that they bring in the atomic annihilator. No, I'm serious. A goon comes forth with a big bazooka-like gun and blasts our five heroes, who collapse. Number One declares them all dead, and says that soon America will follow.

Doug: I loved the panel where Cap smiles while the butt-kicking is being administered. Not too many light moments for our hero in this arc. And doesn't this Donaldson babe have some clout in the Empire? That was one huge Liefeldian gun they used on the assembled heroes (and villains). But -- if all of those just freed were still groggy, don't you think Number One would have wanted to take them back as prisoners so he could fix that siphoning doohickey? And what was the purpose of that -- to power the atomic annihilator? 

Doug: There have been many memorable stories with lots of "dead" heroes in the last panel -- Avengers #161 comes to mind. There is a sense of hopelessness when we think it could be over; but also that feeling of anticipation in terms of "now how are we going to get out of this pickle?" 

Karen: Well, this one was wall-to-wall action. It was melodramatic, yes, but fun. I couldn't help but feel like Englehart had even more he wanted to say here, but was constrained by either time or editorial fiat. I do think that the issues that came after this, when Cap gave up his Captain America identity, are in some ways meatier. But this was a solid effort here. Once again it seemed the art was a little rough. But I'm looking forward to next issue and the big finale.

Doug: In spite of all of my nitpicking, it was a fun issue. Again, if we look at it through the eyes of a child, this would have been some serious slam-bang fun. I think part of my problem is that I'm reading these issues only several days apart, rather than each month; the warts tend to show a bit more with that temporal framework. But some of the inconsistencies do bother me -- while I love that it seems like Falc can now fly without some silly starting points, that it's just glossed over seems careless. I've liked the inclusion of the X-Men, although I'm not sure even as we're about done with them that they aren't square peg/round hole as far as team-up candidates for Cap and Falc. But you can't say that they don't add to the general pell mell nature of this tale and its pacing. So overall, this remains an oddly satisfying yarn with its build-up and now coming pay-off. Scope and scale, scope and scale... two of the hallmarks of a classic. This storyline has it.

Mutants and Masked Marauders: Captain America 173

Captain America #173 (May 1974)(cover by Gil Kane)
"The Sins of the Secret Empire!"
Steve Englehart-Sal Buscema/Vince Colletta

Doug:  Welcome back to the halfway point in our series of reviews of the epic "Secret Empire" storyline. In today's issue the Empire is finally exposed, and a slew of guest-stars are on hand to deepen the plot. Along the way we'll also inspect the lives of the X-Men in the interim period between X-Men #66 and G-S X-Men #1 as well as just what the heck Cyclops's eyebeams are supposed to be able to do! 

Doug: If you recall, when last we left our merry band of fugitives, Professor X, Cyclops, and Marvel Girl had rescued Captain America and the Falcon from a fracas against Banshee in of all places Nashville, Tennessee! Cap and Falc had hitchhiked their way to the Music City in search of clues to the origin of their recent nemesis Moonstone. However, they'd by chance stumbled upon Banshee who had heard the recent bad press around Cap. Assuming Cap was their to convert him to the "dark side", Sean Cassidy engaged first and probably didn't plan to ask questions later. Well, the X-Men were in pursuit of Banshee to try to save him from being kidnapped as many of their mutant brethren had been when they got involved in the superhero scrum. Got all that? You'd better, because today's ish races at about 300 mph!

Karen: That's a nice summary, partner! This story is getting so complicated, you need a diagram to keep it all straight!

Doug: We open with an order to our heroes to raise 'em high! Now what...? How about Nick Fury and his best agents of SHIELD? The good guys aren't surrounded, but Fury has come with quite a force. But as we've seen in previous installments, Cap's in no mood to be held in custody again. With an assurance from the X-Men that they will be Cap's and Falc's allies, they attack. Fury and the boys seem taken aback -- one has to wonder if they really thought Cap would surrender. And in another of those head-scratching panels, Marvel Girl levitates the Falcon (egad, he calls her "Marvel Mama"! "Mama"?? How old would she have been? 21?) so that he can get his flight on. What I still don't get is how he can fall yet rise again? Even if riding wind currents in a gliding fashion, you'd have to have the right winds at precisely the right times to do that -- am I wrong?

Karen: It's really quite mortifying to see the Falcon have to rely on someone to help him fly. Has any other so-called flying hero been treated so shabbily? Again, what were they thinking? And "Marvel Mama" - oh well, it was the 70s, I guess that covers a multitude of sins.

Doug: And then we get to one of the quandaries of today's story -- the workings of Cyclops's optic beams. On the cover above, you see him using his beams to melt a SHIELD agent's gun. His first use of the beams on the interior is to explode a tree trunk behind which the agents were seeking cover. But now, as our heroes need a diversion in order to escape, Cyclops fires his eyebeams into the brush... igniting it into a raging inferno! And from the looks of it, Cyke started a forest fire. So here's my beef: a) on the way to Nashville, the trucker who'd picked up Cap and Falc drove mostly through the rain, and b) the fire burned as if the ground was a tinder box. No way. My suspension of disbelief went right out the window on this one. But what of the more fundamental issue of the properties of Cyke's eyebeams? Wikipedia seemed to have a good collection of thoughts on the matter, so I've provided those for you here, complete with in-text references maintained:

Cyclops emits beams of energy from his eyes, described as "optic blasts", which have the appearance of red light and deliver massive concussive force. The beams cause no recoil or heat, but are tremendously powerful, and can be used to rupture steel plates and pulverize rock. The beams constantly emanate from his eyes  involuntarily, and can generally only be stopped by his own eyelids, or by shielding his eyes with "ruby-quartz", a translucent mineral; Cyclops wears ruby-quartz as lenses in glasses or in his visor, which is generally the only way for him to safely see without inadvertently damaging his surroundings. The beams' involuntary nature has been explained as a psychological shortcoming that resulted from childhood trauma.^[11][100] Cyclops can nevertheless manipulate the beams in several different ways, partially through the use of adjustable apertures in his eyewear that allow the beams to fire through their shielding at variable levels.

In addition to varying the beam width, height, and intensity, Cyclops has demonstrated a high degree of skill and accuracy in manipulating his optic blast. Cyclops is able to reflect the beam off hard and shiny surfaces.^{[13][101][102]} This feat also demonstrates his intuitive sense of spatial geometry between objects.^[13][101] The reflective qualities of the beams allows him to bounce the beam off many different surfaces in rapid succession. The effective range of his optic beam is approximately 2,000 ft. It has been observed to be focused tight enough to punch a pin hole through a coin,^[103] drill through the trunk of a log,^[104] and pierce the skin of the Blob.^[105] Cyclops has shown the power of his optic blast by blasting through the walls of a hardened building,^[106] tunneling through solid rock,^[107] and blowing the top off a mountain.^[38] Cyclops' force beams were measured by Iron Man to be almost 2 gigawatts.^[108] Two gigawatts is about half the peak power output of the Doel Nuclear Power Plant and when Cyclops released this much energy he exceeded his control over his optic beam. With Cyclops unable to shut off his optic beam, Leech came to his aid and negated his mutant power.^[108] Against other Marvel characters, Cyclops has been able to use his optic beam to knock Thor's Hammer from his hand.^[109] He is known to be able to overload Bishop's energy absorption power and is revealed to never have willingly used more than a small fraction of his full potential due to his anxiety regarding his optic blast.^[51]

Doug: So that's how I thought they worked, and is representative of the action as we've known it from Dave Cockrum and John Byrne in the pages of the All-New, All-Different X-Men. Do you suppose the inconsistencies on display from Englehart and Buscema are due to the hiatus period of the Children of the Atom?

Karen: Yeah, it was very perplexing to see Cyclops portrayed as an ocular version of the Torch. I wonder if Sal Buscema drew him causing fires and Englehart just went with it? I do think the hiatus might have had something to do with it. 

Doug: As Cap and the gang escape, Fury thinks something to himself that I also found curious -- he says, "I admit I don't like that cornball Avenger..." Really? I thought that was out-of-character, unless Fury was thinking only about the situation at hand. Anyway, Professor X then makes a statement that flies in the face of every Western movie ever made: "In here, Captain. We shan't be found in this deserted mine tunnel." Uh, yeah -- hey, dude, that's where everybody always hides out... We then get a nice melding of other Englehart plotlines to this one. Stainless Steve was concurrently writing Captain America, the Avengers, and the Beast's tales in Amazing Adventures. In true Marvel Universe fashion, Englehart was able to blend these three outlets together and funnel it all into this Secret Empire storyline. Pretty clever, huh? Xavier remarks that he's been losing mutants left and right (funny... sounds like the plot of the aforementioned G-S X-Men #1), and has traced the crimes to the Secret Empire. He states that domination is the goal of the S.E., and propaganda is their game. Cap says it all fits, and thanks the Professor for the info. while agreeing to team-up with the X-Men. Xavier welcomes the aid, as he has a lead they could not follow -- a former girlfriend of Hank McCoy.

Karen: Fury's attitude does seem odd, but looking back over previous issues, he and Cap had been having problems for quite some time. This was a real rough patch in their relationship. So if you were a reader who'd been with the book for the last couple of years, Nick's thoughts might seem harsh but maybe not that surprising. 

Karen: Englehart really was good at weaving so many disparate storylines together, wasn't he? I always wonder how much was planned in advance and how much of it came to him after the fact. Whatever the case, it worked out very well. And Xavier was a terrible headmaster! His students were always getting abducted. Not a great tactician either -he's down to three students and he sends them out on solo missions! Of course he loses one (Iceman). Good grief.

Doug: We sceneshift to the Dallas branch of the Brand Corporation, where McCoy had worked and had met a Linda Donaldson. She, we quickly learn, is working for the Secret Empire and refers to herself by a number -- just like members of the Sanitation Crew had done over the previous two issues. Donaldson enters her car and as she begins to drive away from the plant contacts "the Masters". She uses a high-tech gadget to report that she continues to fail at stealing the "electron-gyro" due to heavy security. She's admonished for failing and told to find a way. Miffed, she pulls into her apartment complex where she's suddenly attacked by Cyclops! Hiding in the shadows, however, are a couple of blue-collar drifters... by the names of Sam and Steve! So this was Xavier's plan to dupe Donaldson and to gain access to the Secret Empire. All players carry out their roles to perfection, and after Cyke is "chased off" Linda Donaldson gets to the introductions. She figures that "Roger Stevens" and "Willie Samuels" are pretty dense, so has them followed to the flophouse they're bunking in. As the two incognito heroes bide their time, there comes a knock on the door.

Karen: I thought it was a little clunky when Englehart had Donaldson doing the mental recap. But hold on -suddenly our heroes are all in Dallas? They were just in Nashville! But there's no explanation for it. They had such a tough time hitch-hiking to Nashville, but now they're just magically in Dallas? I think probably what happened is they caught a ride in the X-Men's bizarre-looking jet (it ain't the Blackbird) that we see later, but that's entirely skipped over here. Again, perhaps a lack of communication between Sal and Steve, or just trying to cram a lot into one issue?

Doug: Had I been able to speak to the Stainless One in Indy this past weekend (grrrr.....), one of the things I was going to ask him is whether or not he worked with full scripts or Marvel Method. I would like to know. Maybe someday I'll have the opportunity to speak directly to Englehart. But in the meantime, I did ask Gerry Conway on Twitter yesterday and here is his reply:

Doug: So that makes Cyke's eyebeams, et al. even more curious to me if there are two creators in on a deal like that.

Doug: "Willie" opens the door to find a man in a business suit, but wearing a huge hood over his head and shoulders and bearing the number 13. He tells the two men that he represents the Secret Empire and has a job for them -- steal the electro-gyro (apparently we lost an n from first mention to second mention) from the Brand Corporation. "Willie" begins to ask a question, but is told that they can make $10 grand for the heist -- $5Gs now, and the balance upon delivery. The two down-on-their-luckers agree to the contract. When they get ready to depart the dorm, however, they're in costume. I wasn't clear on the explanation that Cap gave Falc -- maybe you can clue me in, partner?

 

Karen: No, it wasn't clear to me either. Cap says he'd normally just ask for the gizmo, but since the smear campaign has turned people against him, he can't take the risk of doing that. I suppose they switched to use their weapons (wings and shield) and let's face it, we'd rather see them in costume!

Doug: At the Brand Corporation Cap and Falc make easy entry to the facility and even on into the room that holds the gadget. But wouldn't you know it -- security was a little more sophisticated than planned and the guards now level their guns on our heroes. Cap's getting a lot of experience at this sort of thing, so he and Falc bullrush their would-be assailants and storm out with the electro-gyro in hand.  Reinforcements turn up with high-powered weapons, but Cap evens the odds by using his shield to cut through a water pipe in the sprinkling system. I had to wonder... this sprinkler system contained as much water pressure as the garden hose at Jennifer Walter's house -- like a tidal wave! Near a window, Falc tells Cap to grab his arm (no, ya juvenile - not "pull my finger"). They jump through the window and Falc uses his new wings to spirit the pair to safety. Back inside Brand, the factory manager tells security to stop their pursuit. It seems Cap had left a note in the electro-gyro room saying they'd only take it for a short period and would return it unharmed. The manager believed him, even while the radio played more propaganda from C.R.A.P. (that never gets old!).

Karen: I was amazed Falcon could stay in the air with Cap hanging off of him. I figured he'd plummet like a rock. OK, OK, I'm just a little disappointed with his wings...

Doug: Oh, you're more than just a little disappointed! Me, too. Hours later "Willie and Roger" deliver the electron-gyro (found our n) to Number 13. He's ecstatic to get it, and exclaims that these men are definitely Secret Empire material. He bids them to follow him outside, where he fires a ray from a pistol, seemingly cracking open a boulder to display a quinjet-looking airship. After a flight of undetermined length, the ship sets down in the desert. A cactus stands in for the bust of William Shakespeare as tilting it reveals the steps to the cave lair of the Secret Empire. Down go our protagonists with Number 13, as Cap wonders if they can fool a group with this much power and resources for very long. But up on the surface another ship lands -- a ship bearing the X-Men. Xavier's tense, as he says to Cyke and Marvel Girl that Captain America and the Falcon may never emerge from beneath the desert floor!

Karen: Wait -what? They get in a rocket ship and fly to a desert and move a fake cactus to get in a secret underground lair? This is definitely 1940s grade C serial territory! This is one of the weaker parts of this story. Overall, it's intriguing and exciting, but this detour with the X-Men seems to have gone off-course to me. I'm anxious to get back to the main part of the story, with Cap taking it to Harderman and Moonstone. Thankfully it looks like we're headed back that way.

Doug: So the plot thickens indeed! This has become very interesting, yet not overcrowded, with the addition of three members of the X-Men. I haven't felt that it's forced and so far it has served to add depth to they mysterious Secret Empire and how they fully tie-in with Harderman and Moonstone. That there are other mutants who have been kidnapped makes one wonder about how powerful the Empire is -- do they have other super-powered agents in addition to Moonstone? Why do they want the mutants specifically? A thought on the art: I thought this was Vinnie Colletta's weakest effort of the four issues we've seen him over Sal Buscema. I really didn't think he did Sal any favors in this issue; in fact, I thought he took away from what's been a really solid, typical effort from Sal over the course of this arc. Englehart's script seems to have some holes in it here-and-there, and some elements of it (Cyke's eyebeams stand out) just seem ill-researched. But overall he has kept the story moving along, and there is suspense building as the stakes become clear and indeed get higher as we move through. I don't have a problem calling this one a Bronze Age classic.