True story. A few years ago now when I was getting ready to move out of my parents’ house, I was clearing out my stuff from my bedroom, the bulk of which was pretty much every issue of SFX magazine published between 1997 and 2004. And I found myself with two copies in my hand, one from August 2001 and the other from October 2001. I idly flicked through the August issue and found myself reading the comic reviews, one of which was a little quarter-page panning of Captain America # Fifty Bajillion drawn by Who Knows and written by Who Cares. The review was scathing; the art’s terrible, the writing’s appalling and worst of all, the main character’s just not interesting or relevant anymore. The review finished by noting that Marvel had been dropping hints that one of their oldest characters was going to be killed off and it didn’t take a genius to figure out that Cap was not long for this world. I then flicked through the October 2001 issue and again turned to the comics section. And there was a full page review of the new Captain America #1, with a top tier art and script team and a story about Steve Rogers defending Muslim New Yorkers from racist attackers while trying to track down an Al Qaeda cell.

Cometh the hour. Cometh the man.

For a character whose entire schtick is being a man out of time, when he was originally created Captain America was actually ahead of his time. In America in 1940 public opinion was firmly against become involved in another European war. In New York however, many of the men working in the comic book industry were  the children of Jewish immigrants who often still had family back in Europe and felt a personal connection to the horrors being committed by the Nazis. One of those men was Joe Simon who conceived of a patriotic, Nazi-battling character named “Super American”. Deciding that the name was a little too similar to a certain other superhero, he changed it to “Captain America”, a name so instantly iconic that nowadays you just have to put the word “captain” in front of any random noun and it sounds like a superhero name. Simon pitched the idea to his editor Martin Goodman who liked it so much that he ordered him to create a solo Captain America series, a big gamble to take on an untested character. Simon’s usual partner was artist Jack Kirby but Simon wanted to bring in two additional artists to deal with the workload of creating an entire book’s worth of stories based on one character. But Kirby was so invested in the character of Captain America that he insisted on drawing the entire book himself, which he did, and on time.

The first issue sold as well as any comic that features Hitler getting punched in the face should. The character was an immediate hit, becoming the first genuine superstar character of Timely comics (which would later become Marvel). Not all the attention was positive, however. American Nazis began sending threatening letters and one time even called the offices of Timely challenging Jack Kirby to come down and fight them in the foyer. Kirby ran down only to find they’d run off because it was Jack Frickin’ Kirby and they may have been Nazis but they weren’t crazy. Regardless, for a while the city of New York actually had to provide police protection to the building. After Pearl Harbour, Captain America became even more popular, with his comics distributed to American service men to boost morale. Many of the Timely artists and writers were drafted during this period. Stan Lee, for example, who got his break in Timely writing Captain America prose stories (he was the one who came up with the whole “throwing the shield as a weapon” thing) was put to work making propaganda. One day he was found breaking into the army post office, trying to mail a script off to Timely. He was told he’d be court-martialed, only to be released the next day when the editor of Timely rang his commanding officer to point out that jailing the writer of Captain Frickin’ America might be bad for the army’s morale.

Jack Kirby also joined the army but opted to serve on the front lines, becoming one of the few American soldiers who had experience fighting Nazis as a hobby before going pro.

Unfortunately, America won the war…I mean obviously not “unfortunately” in the grand scheme of things but unfortunate for Captain America. You see, Captain America was very much a reaction to the Nazi menace, which is what made the character so timely (pun!) and important. But of course, once that menace was defeated, Captain America didn’t really have a purpose anymore. In fact, the same could be said for the vast majority of superheroes who had followed in his wake. The superhero boom pretty much died with Hitler, with only a few characters like Superman, Batman and Wonder Woman surviving the decade. Timely tried repurposing Cap as a commie fighter, but it just wasn’t the same. Timely changed its name to Atlas, dropped the superhero genre entirely and started focusing on sci-fi and monster tales.

It wasn’t until the sixties that Cpatain America got his second origin story. The third issue of The Avengers had the newly formed team finding Captain America floating in the Arctic Sea in a block of ice having gone missing near the end of WW2 (all the stuff about him fighting communists was retconned as actually having…you know what, fuck it, no time). Captain America then joined the team as a man out of time, a morally pure Rip Van Winkle trying to adapt to a confusing and complex modern world, and that’s pretty much been his niche ever since.

Since then, Captain America has had his share of classic runs and great stories, but there’s no denying that he’s a tricky character to do right. Like Superman and Wonder Woman, it takes a writer with skill to make him work (though it’s a truly wonderful thing when he does). For a long stretches of the twentieth century it often seemed like Marvel didn’t know what to do with Captain America, often giving him to creators who really had no business writing the character, which is how we got Rob Liefeld’s godawful Heroes Reborn Captain America.

I’d say “We do not speak of the Sentinel of Libertitty” but let’s be real. We never stopped.

 Since the beginning of the 21st century however, Cap has once again become one Marvel’s top tier characters, attracting industry leading talent and the kind of popularity he hasn’t really known since the time of his creation. Part of that is, well, yeah, obviously…

“9/11 changed EVERYTHING Brian!”

But as well as the natural impulse to rally around such a patriotic symbol in troubling times, Captain America is simply a character whose time has come again. In the forties, Cap was popular but he was by no means unique. The stands were overflowing with patriotic, square jawed do-gooders. Hell, Captain America wasn’t even the first superhero to wear the American flag and carry a shield. But the superhero genre has changed so utterly since those days that what once made Captain America almost generic now makes him almost unique. Nowadays, a superhero who’s just a genuinely decent person is refreshing and almost edgy. He may be old fashioned, but these day? Like the man said, people need a little old fashioned.

2011’s Captain America, the first movie featuring the character that fans will actually acknowledge exists, works and works so damn well, because it gets that.

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