Written by Ed Brubaker and Marc Andreyko
Illustrated by Chris SamneeBehind enemy lines! Bucky and Cap have faced the horrors of war on many fronts, but this issue, they go further into the depths of evil than our young heroes realized possible. And what is the secret that connects the Cap and Bucky series to the modern day stories – the clues begin to add up this issue, as Brubaker, Andreyko, and Samnee keep the pedal to the medal.
A lot of comic book fans refuse to read comics that don’t explicitly have a “point” when it comes to the overarching mechanics of the universe they belong to. So far, it could be very easily argued that “Captain America & Bucky” fits into that category. But it could also very easily be used as an example as to why that is a very bad idea.
Find out the reason why after the jump.
It seems lately that the buzz words in the comic industry often are things like “continuity” and “new reader accessibility.” While those are understandable for some, I propose a different buzz word that should forever be the one that dictates the strength of the medium: “quality.” For me, you could tell me that a comic is an enigma wrapped in a mystery encased in a puzzle box (*ahem* CASANOVA!), but if it’s great, I’ll love it (once again, CASANOVA!).
I’ve heard some say that “Captain America & Bucky” isn’t necessarily worth the time or money because of a lack of perceived import, and to me, that’s a pretty askew way to look at it. If you look at sales numbers, this title finished roughly 20,000 units behind the primary “Captain America” title from Brubaker (same writer) and artist Steve McNiven that is a dollar more per issue in September sales, and I can’t imagine that is because 20,000 people think that one title is that much worse than the other (the primary “Captain America” title is also good).
But if the idea that this book doesn’t “matter” is your reasoning for not buying this book, I just have to say you are making a huge mistake.
Point, no point, whatever, Ed Brubaker and Marc Andreyko are combining to tell a superb Year One story that both acts as a coda to Brubaker’s massive and impressive story about Bucky in “Captain America,” and perhaps more impressively, Chris Samnee and Bettie Breitweiser are rolling out art that matches the best in the business monthly. It’s a stellar exercise in comic book storytelling, both written and visually.
This issue finds “Bucky” Barnes and Toro (the original Human Torch’s sidekick) by themselves with Cap and Namor elsewhere, with the young duo doing what they (or rather, Bucky) do best: not following orders and doing what they think is right. What starts as a good natured adventure to save an undercover American agent turns into something far more dark and tragic.
It as a story just on its own is of tremendous value, as Brubaker and Andreyko capture the raw emotions and the relationships amongst the characters impeccably. What Bucky goes through when he finds out the truth of where he is, how he values Cap’s approval, the weight he feels in his dreams…these are all impressive examples of the sharp characterization both creators have become well known for.
For those looking for a point though, let me guide you. If you’re a fan of Brubaker’s work with Bucky, this issue does a brilliant job of enriching readers understanding of the character, not just now but throughout the writer’s run on the previous main title. Sure, it’s a book that plays in the past, but these are the moments that help define the character and mold him into the person we got to know during Brubaker’s run with him. It’s a valuable exercise of developing the present but conveying the past.
Not only that, but this arc is going to pay off with a lot of present tense value sooner (next issue, it seems) rather than later. For those looking for something of more value, perhaps check out the trade of this arc but find yourself frustrated by the monthly format with perceived limit on present tense payoff.
Continued belowWhatever you do, come for the story, but stay for the art. Chris Samnee, the penciler on this book (that is, until his Comic Twart mate Francesco Francavilla takes over for an arc), is a revelation in this book. Sure, he won the Harvey Award this year for Most Promising New Talent, but this is the comic book equivalent of Michael Jordan hitting the jumper over Craig Ehlo to win the decisive game five over the Cleveland Cavaliers in 1989. We all knew he was good already, but this book seems to be the one where he puts everyone on notice.
The thing that stands out the most to be about his art is the acting of his characters and the storytelling on the page. For example, on one panel when Bucky and the POW are surrounded, right as Bucky starting to figure out where they are, Bucky’s face exhibits shock and deep dismay, but his body is still in a defensive pose. It’s a subtle demonstration of the character as a whole; a fully trained and capable soldier who, deep down, is an innocent kid who shouldn’t be there but couldn’t be anywhere else if he tried.
The whole issue is filled with wonderfully expressive and powerful imagery from Samnee, as Bucky has looked into the face of the devil and is mad as hell about it. I’d be lying if I didn’t say that this is one of the best looking books I’ve read all year.
That’s also thanks to ace colorist Bettie Breitweiser, whose work with Samnee on this book has quickly made it apparent that the two of them should be compelled to only work together. In particular, Bucky’s rage filled assault on the Nazi’s is an excellent example of her gifts. The way she plays with lighting, as it all takes places under the cover of night, is perfection. Whether she is using the darkness to enhance the somber nature of what is going on or the light of the muzzle flash of Bucky’s rifle to illuminate damage already done, she’s putting on a clinic in how to enhance the visuals with the right application of color.
This book is pretty much rock awesome. I love the way this team is working together on this book, as the visuals and the writing are an effortlessly cohesive unit that makes the story soar. To be honest, the only significant beef I have with the comic is a cover that is a little underwhelming for me.
I never thought I would find a day where a book featuring an Eisner winning writer and a Harvey winning artist (with a slew of other top notch creators) could be underrated, or that I was actually sad to see Francesco Francavilla taking over a book.
But today is that day.
This book matters in that it is great, and I hope that is reason enough for those that do read it to tell your friends that they should be picking it up as well.
Final Verdict: 8.5 – Buy
