REVIEW: Captain America #292

Writer: J.M. DeMatteis
Penciler: Paul Neary
Inker: Ed Baretto
Letterer: Diana Albers
Colorist: Bob Sharen
Review: Will Dubbeld

I wasn’t always a Captain America fan. There was a span of time, in fact, where I found him downright hokey. It probably revolved around the fact Cap, much like Superman, was too pure, too mom and apple pie, too Red, White, and Blue, and a little too, “gee whiz!”, for my taste.
I dunno, I blame dark and gritty Image, or Batman: Year One. Perhaps Midnight Sons attributed...
In any case, my headspace changed. Matured, probably, I realized Captain America and his True Blue nature represented the best we have to offer. Honor and integrity coupled with the moxie and Nazi-punching skill to back it up...

Having neglected the Star-Spangled Avenger for so long, the back-issue bins held the key to Cap’s history, and away I went.

Captain America #292 falls in a sweet spot in the character’s history. He was still maintaining his secret identity as Steve Rogers, residing in a New York apartment and making a living as an artist (an oft-forgotten nuance). The 1950s Bucky, Jack Monroe, was living with him, and Steve was in a serious relationship with Bernie Rosenthal, a fellow artist.
As an aside, I absolutely adore Bernie. She was one of the most fun and well-written supporting characters at the time and still holds up today.

Framed around the Christmas season, this issue focuses on Cap’s conflict with the lesser-known character Black Crow. First appearing in this issue and sparsely used since, Navajo construction worker Jesse Black Crow suffered a crippling workplace injury and was visited by a spirit who imbued him with otherworldly powers.
Embodying the centuries-long struggle of the Native American people, the paralyzed Jesse transforms into Black Crow, a mystic warrior capable of superhuman feats of strength, dexterity, and combat.
He also can apparently summon fog and turn into a crow...

It’s not delineated very well if Black Crow is a separate persona from Jesse or not but, in any case, he represents the spirit of Old World America and feels he must defeat Captain America (the spirit of the new America) in order to balance the scales.
It’s a one-sided Cat & Mouse game as Black Crow stalks Captain America, beats him up, steals a lock of hair, and fades away into the fog. Later on he visits Cap in the form of a crow, scratches him and flies off.
Motherfucker all but counts coup on Steve; it’s brilliant.

The issue closes with a climactic battle atop a bridge wherein Captain America simultaneously achieves victory and concedes defeat. It’s all in all a fairly brilliant piece of writing.

There’s a few tropes and bits of symbolism I was conflicted about, however. I’m not sure if they were perfect or a little too on the nose. The idea of a Native American construction worker in New York, the Christmastime (a Judeo-Christian holiday) timing, and Captain America vs. Captain Native America (essentially) all towed the line between brilliant and contrived.
I’m inclined to go with brilliant.

J.M. DeMatteis has a long, storied resume in the comics biz and this issue is amongst some of his stronger work. The man has written damn near everything at one point or another and, deservedly so, keeps himself in demand.
I’m less familiar with Paul Neary’s work, but he does a bang-up job. The heroes look like damn heroes in both form and dynamism in action and Bernie is a gorgeous girl anyone would be proud to bring home to mama. Backgrounds and ancillary characters aren’t neglected either, having life breathed into them by the pencils, inks, and colors.

Some folks think Cap’s legacy has been besmirched by that gobshite Nick Spencer and his NaziCap trash fire, but I disagree. A foul run, rampant with character assassination, is but a spot of tar on the story of Captain America. Reading these back issues from Marvel’s halcyon days only gives me hope for the future.
And that’s really what characters like Superman and Captain America are about.