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Captain America: White Hardcover – Illustrated, March 8, 2016
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Frequently bought together
- Grade Level : 8 and up
- Item Weight : 1.19 pounds
- Hardcover : 160 pages
- ISBN-10 : 0785194193
- ISBN-13 : 978-0785194194
- Product Dimensions : 7.75 x 0.5 x 11.25 inches
- Publisher : Marvel; Illustrated Edition (March 8, 2016)
- Reading level : 13 and up
- Language: : English
- Best Sellers Rank: #634,383 in Books (See Top 100 in Books)
- Customer Reviews:
Top reviews from the United States
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I was very much looking forward to this. I'm a fan of Loeb and Sale's other work, and the three other entries in the series; Spiderman: Blue, Daredevil: Yellow, and Hulk: Grey. On top of all that, Cap is my favorite superhero so this was right up my alley.
Captain America: White is a flashback story told by Steve Rogers shortly following his awakening in modern times. Steve has woken up in a strange time and place, and now has to deal with the death of his best friend and companion, Bucky Barnes. That's the main focus of the story, Captain America speaking about and dealing with the grief over the loss of his friend. He does this by telling a story of one of their first adventures together where they face the Red Skull in an occupied Paris. Nick Fury and the Howling Commandos play a big role in the tale as well.
The story is heartfelt and your typical superhero tale. I enjoyed it quite a bit.
Also includes Nick Fury and his commandos. Enjoy
Top reviews from other countries
The story takes place shortly after Captain America is found and released from the ice in which he had been frozen for decades following his final adventure in WWII - an adventure in which his teenage sidekick James 'Bucky' Barnes had been believed killed. We are presented with a Cap who is traumatised and riddled with guilt and regret as he recounts the tale of how he and Bucky first met.
Told primarily using Caps inner monologue to recount the events of the past, he describes his early relationship with Bucky at a time when he was still thought by all to be hopeless Army Private Steve Rogers, and bucky was little more than the camps mascot. Bucky discovers Rogers changing out of his iconic Captain America costume in a scene remeniscent of that told in the very first classic Captain America comics.
In previous versions of this particular story (of which there have been numerous) there is almost always an instanious flip between Buckys discovery of Caps identity and him becoming his costumed sidekick. Loeb takes to time to explain what happened in the interim - which includes a montage of the weeks of intense training that Rogers puts him through - and which we also learn was driven by Caps fears surrounding taking a child to war (something that more pragmatic or cynical modern fans have often scoffed at).
This trepidation on behalf of Cap only gets worse when Buckys reckless and over enthusiastic behavior on their very first mission together nearly gets them killed, and we see the first hints that their relationship in costume is much less one of two buddies fighting side by side, but more one akin to that of a father and son with Cap as the father figure. The modern day Cap recounting the tale meanwhile ponders whether he was too hard on Bucky, or whether - had he been harder still - the youngster would have made it to the end of the war.
The next part of the book describes Captain America and Buckys first real mission into occupied Nazi territory just before Christmas 1941 in North Africa, as well as their first happening accross a certain Sgt Nicholas Fury and his Howling Commandos.
Also contrary to how the tale has usually been told in the past, Loeb describes a relationship between the colourful crime fighters and the team of hardened special forces soldiers that is a difficult one. The cantankerous Fury in particular is entirely mistrustful of a man who goes into combat wearing a flag - he's a soldier and he doesnt agree with it, nor does he like it - and thinks of the duo more as clowns or circus freaks, unwilling to view them as equals despite the undoubted bravery and skill they exhibit in combat.
This early relationship is put under even greater stress when the two groups are teamed together for a secret mission into occupied France in order to help the local resistance there, but shot down on route they all find themselves dumped into the water together. Whilst trying to make their way to shore we are treated to a couple of important scenes - one which continues to explore the early relationship between Cap and Bucky as the latter is forced to cut Caps shield free to save him from drowning - seemingly seeing it lost at the bottom of the ocean - whilst Cap in retelling his tale stresses the importance of people over objects, no matter how unique or valuable those objects are. The second continues to explore the dynamic between the somewhat pessemistic Fury and the eternally optimistic Captain. The differences between the two become even more obvious and frictious when, after capturing a group of SS Nazi soldiers, Cap's solution is to tie them up, whereby Fury's suggestion is to throw them off a cliff...
What follows is a journey through the French coutryside disguised as German soldiers - in which Fury ironically dons an eye patch as part of his disguise, referring to it as 'stupid looking' - before coming accross their contacts in the French resistance movement, one of whom just so happens to be the grandfather of a certain acrobatic, Savate-kickboxing, future-nemesis of Caps, at which point the mission is made clear to them: the Red Skull is in France and intent on destroying the Eiffel Tower on Hitlers orders so that the beauty and majesty of France can never again overshadow that of Berlin...
Here writer Loeb, in a scene between Captain America and the beautiful French resistance leader, explores the differences between a foreign superhero like Cap and all his high ideals about justice and honour, and the stark reality faced by those people forced to live in the occupied territories - the main difference being 'hate'. 'Hate' for an enemy that rapes and kills without hesitation. 'Hate' for an enemy that murders children. 'Hate' for a foe that doesnt just want to conquer the Fench people, but completely erase it and its entire culture. It's often been said that in the context of his modern adventures that Captain Americas beliefs are 'old fashioned', but Loeb illustrates quite succinctly here that the same accusation could be made even in 1941. Oh yes, and those SS Nazi soldiers that Cap wanted to tie up and Fury wanted to throw off a cliff? The French found them.....and threw them of a cliff.
The final climatic scene involves a battle between Captain America and the Red Skull upon the Eiffel tower, with the Skull armed with an explosive device and the hapless Bucky his captive - a scene that once more explores the intensity of the fatherly Cap's protective feelings towards his ward Bucky, but also hints towards cracks in his heroic veneer that are rarely exposed, as he admits to himself a desire to kill the Skull.
The Skull is stopped and Bucky is saved by Cap who proclaims that he would never allow him to die - "Not on my watch" - whilst in the present day he ruminates over the foolishness of such statements...
'Captain America: White' is a departure from traditional superhero tales. In truth it is not a story about superheroes at all, but about family and brotherhood and the ties that bind them together. Writer loeb weaves a suprisingly mature tale in which he subtly but effectively explores a number of big issues and retrospectively examines a lot of the early experiences that ultimately went into making the Captain America as presented by the likes of Lee and Kirby that modern fans would read about.
At a time when of course Caps sidekick Bucky has since been proven to be alive and well, it is especially illuminating, because all of that grief, angst, regret and indeed loss is what defined Captain America for literally decades after his 1968 reintroduction to comic books, and as a longstanding fan of his adventures Loebs work here forced me to ask myself whether he could ever be as good, interesting or strong a character without that weight around his neck now that it has become irrelevent in light of Buckys resurrection as the Winter soldier?
Tim Sales art meanwhile as always leaves me conflicted. I am torn between considering it childishly simple or poetically complex. Certainly I think that it suits this kind of story - with a style appropriately remeniscent of the art commonly seen in the recruitment and moral-boosting promotional posters of the war period - better than it would a more modern tale, and many of his fight scenes are plesently kirby-esque in style. However, when forced to ask myself whether this story could have been just as effectively or better illustrated with the style of any number of other high profile artists, I was resigned to accept that it probably could, therefore Sales art is the only reason why the book receives less than the maximum five star review possible. If you are indeed a fan of Sale, then you will probably consider it worth that extra star.
At the back of the book is also nearly twenty pages of additional material, including a sketch book and interviews and analysis with and by the creative team. Alternate covers drawn by guest artists are also presented throughout the volume.
SE VOCÊ É FAN, vale a pena pela arte.
SE VOCÊ NÃO É FAN, vale a pena por ser uma história de origem.
Se você está começando a ler o Cap e quer um guia, sugiro:
- Captain America Comics (1941-1950) #1
- Avengers (1963-1996) #4
- Captain America. White.
- Captain America (1968-1996) #175 até #183
- Captain America. Winter Soldier. Volumes 1 e 2.
- Guerra Civil
A AMAZON oferece todos em eBooks e alguns físicos.