After spending five years co-starring with Iron Man in
Tales of Suspense, Captain America had finally received his own full title in ’68, drawn by the legendary Jack Kirby — but still something was missing.
The letter pages of Tales of Suspense had been filled with pleas to set Cap’s escapades in the modern day, but under Kirby, the Star-Spangled Avenger’s adventures were still rooted in the past: fighting the Red Skull, flashing back to the death of Bucky, punching an Adolf Hitler impersonator.
Kirby introduced Batroc during this period, but also gave us Captain America battling — and actually being challenged for more than 30 seconds by — Paste-Pot Pete
you can give him a snazzy new outfit and redub him the Trapster, but he’s still that guy with a sticky paste gun.
Then, with
Issue #110, like he’d done with WWII warhorse Nick Fury,
Jim Steranko kicked Steve Rogers into the swinging ’60s with hard-hitting action, groovy psychedelia, and the first (of many) fake-out “deaths” of Captain America. He gave us a new kind of Cap, a new sidekick, new adversaries and a new Steranko-designed logo. Under Steranko, Captain America absolutely thawed out from his decades-long deep-freeze.
Issue #111 features one of the most distinctive and intriguing comic-book splash-page sequences still to date: a series of colorful small panels set at a carnival arcade from the point of view of Steve Rogers.
The multi-colored panels mirror bright flashing fairground lights.
During this time it was unusual for a penciller to color his own work — most of Marvel’s comics were colored by coloring-department manager Stan Goldberg.
Steranko’s keen sense of shading and coloring is as important a story-telling tool as his anatomy and dynamic movement, and for an artist to color his own work is still the exception rather than the rule in superhero comics.
In the sequence below, Steranko’s sharp sense of coloring helps to “pop” the top tier sequence by shading Cap’s attackers in single tones and a close-up of Steve’s face in brilliant red-alert vermillion.
The bottom tier features another set of artistic tricks: the bullet that bisects the panel; Cap’s huge wind-up swing and toss so mighty his shield rips through a robot’s torso in panel two, the power of the toss increased by the perspective lines of the panels on the floor drawing our eyes along Cap’s attack.
Steranko’s not inventing these techniques — for example, a tiled floor to indicate perspective into the distance is a visual characteristic of Carmine Infantino.
But Steranko is mixing and matching artistic tricks and techniques here, combining and blending them in ways that spotlight the energy and dynamism of his characters and fight sequences.
1969 was a watershed year in American culture. The revolution of the big-screen, awe-inspiring visual blockbuster had kicked off the previous year with 2001: A Space Odyssey.
At the same time, the year’s films brought a gritty new breed of American protagonist to the screen with Midnight Cowboy, The Wild Bunch and True Grit.
The Beatles broke up. Nixon became president. Monty Python’s Flying Circus premiered. We went to the moon.
Everything was changing, and Marvel’s flagship superhero was no exception.
In these three short but sparkling issues, Jim Steranko finally fully brought Captain America, fist punching and shield slinging, into our contemporary age.
What
Jim Steranko brought — to Captain America and others — is of such a brightness, energy, and immediacy, that it’s not off base to declare his Marvel work absolute true classics, the work of a master illusionist who makes us, shall we say … marvel at his skill!
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