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Captain America #26 "The Death of the Dream" Part Two Book Released: 23 May 2007 Posted 30 May 2007 Writer: Ed Brubaker Artist: Steve Epting Letters: Chris Eliopoulos Ink: Steve Epting Colors: Frank D'Armata Publisher: Marvel Publishing, Inc.  4.20 out of 5 Stars Reviewed by J. W. DeBolt Jr.

Can a comicbook survive without the presence of its title character? If anyone can pull this off, it’s Ed Brubaker, who was chomping at the bit to get into this story line. A larger-than-life character will resonate strongly as Cap does here, especially with his symbolic value, his longevity and his strong supporting cast.

This issue begins the aftermath of Cap’s death, after the funeral, with different people mourning in different ways. Sharon Carter goes to see Cap’s body and new SHIELD director Tony Stark tries to stop her. She’s appalled upon seeing the body. The super soldier serum seems to have reversed its effects after Cap’s death. Stark is running tests to figure out what happened. When he tries to express his sorrow, Sharon gives him what for. And then she quits SHIELD.

She almost slipped and revealed to Stark what she had done. Later, at a bar where mourners have gathered, she almost tells Sam Wilson, the Falcon, outright, but they are interrupted. These near-slips were more than chance, however; Faustus is preventing her from telling anyone what she did.

Sharon seems to still be in the thrall of Faustus, and we don’t know what she is going to do next. This and the tension of Sharon’s secret and her almost-confession are all, besides the Red Skull’s machinations, that carry the story until the dramatic closing panel with Barnes. All-in-all, it feels like a transitional issue, with Barnes’s fateful decision at the end setting up the action for the future.

At least twenty-two characters populate the book, with the majority of time going to Sharon Carter, Sam Wilson, Bucky Barnes and Cap’s archenemy triumvirate. The latter, by the way, make progress in their reverse engineering of some Doctor Doom contraption. I like how Zola is the biotechnician, that Skull insists on being in charge, that Faustus’s pride pulls him to challenge Skull, and that Faustus has no technical weapons know-how. It’s good to have bad guys who are distinct in more than just their dress and abilities.

Due to Brubaker’s writing and Epting’s art, this is probably my favorite title, along with Friendly Neighborhood Spider-Man (Peter David is consistently good), Amazing Spider-Man (JMS rocks on everything he writes) and New Avengers (the group dynamic is most interesting, and BMB has moderated his extreme realistic dialogue so that now not everyone talks the same way, though I’m not a fan of the scratchy Yu style). I felt a tingle at the back of my skull and down my arms as I began reading the issue. Brubaker effectively uses the characters in the roster of Cap’s past. He knows them and doesn’t misrepresent them. These characters are all involved in a dynamic intermix that promises to produce a very satisfying story. I am eager for the upcoming issues. Brubaker is the best writer out there, and I’m glad that the Eisner committee agrees, as Bru holds more nominations than anyone else this year.

Epting uses Colan-esque shading, varying perspectives, and it’s all tied down consistently with D’Armata’s grim pastels. The sickly green background in the triumvirate scene highlights the sickness of their plan. The grayness of the “New Avengers” location reflects their mood. The sterile off-white of the morgue perfectly compliments Stark’s forced emotional detachment. The illustration of Sharon’s expressions of anger, with gritted teeth — and her other emotions — are effective. No credits are listed inside the book, but fortunately the cover reports Brubaker, Epting, Perkins and D’Armata. The cover layout is reminiscent of Starlinesque layouts of the 1970s but the illustration — colors, shading — is darkly 21st century.

In the story, the Red Skull is building up his manipulations to fulfill some sort of master plan. Cap is finally out of his way, so what does he intend to do? My guess is that with Captain America destroyed, he has turned his attention to what Captain America represented: America. The Department of Homeland Security had better be ready. You, too, Stark; take the Initiative.

And where is Nick Fury?

 

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