The GCD credits the story to Otto Binder, Al Gabriele, and Vince Alascia.
Mostly a miscellaneous story we won’t dwell on. Three things stand out.
First, we note all clues about the identity of the Red Skull. He’s taken to using more German phrases than ever before. “Himmel”, “Donnervetter”. He refers to Captain America and Bucky as “American scum”. So perhaps this is a German villain, and not George Maxon.
Captain America and Bucky unmask him and recognize him as the “real” Red Skull they’ve fought before. This also implicitly acknowledges there may be “fake” Red Skulls out there.
Let’s begin by noting this is not the most amazing story of all time. This is an awful series and nobody should read it. Least of all me.
This story drags on for 45 bloody pages. At least it’s not as bad as the last one we read. And it’s actually a much faster and smoother read than the first issue. Perhaps that’s Stan Lee’s scripting at work.
We noted last time how awful all the characters are, so we’ll just try to skip to the Red Skull stuff this time.
I’m including this story only because the continuity remains pretty tight, and I do want us to be able to untangle Red Skull’s contradictory appearances intelligently.
Joe Simon and Jack Kirby created Captain America and were the driving force and primary creators behind the first 10 issues. But they left for the competition, for the company that would be DC.
That perhaps understates what happened. They learned publisher Martin Goodman had been cheating them out of royalties with shady accounting practices, and so started considering leaving the company. Goodman learned of their intentions and fired them before they could quit, losing his most successful creators in the process.
Stan Lee, now 19 years old, has since taken over the role of editing the Captain America stories, and had long been the writer on many backup features in the series, including Headline Hunter, Hurricane, Father Time, and the Imp.
This is his first credited Captain America comic story. (His first Captain America story was the prose piece in issue 3.)
His distinctive narration style is already recognizable even at a young age, filled with excitement and hyperbole. “…most dangerous adventure of their amazing, thrill-packed careers!”
We get a cool double splash page for the feature image.
Was he wearing his skull mask in prison? Why?
Red Skull apparently died at the end of most of his appearances, but he was captured at the end of issue 7, so opening with him in prison is correct. Somebody is paying attention.
We’re well into Captain America’s adventures, but it’s worth noting this still predates America’s entry into World War II.
The Red Skull’s modus operandi has all been variations on a theme so far. Originally, he had a death gaze; he killed you by looking you. (It turned out he was also injecting you with a poison while he looked at you.) Then, the death touch; he killed you by touching you. (It turned out his glove was electrified and shocked his victims to death.)
Now… the tune he plays on his flute is deadly.
This time, the explanation is simpler. Red Skull whistles Chopin’s Funeral March, but then just shoots the guy.
The Coming of Agent Zero/The Red Skull and the Graveyeard of Doom!/Voyage to No-Man’s Land/Trapped in Nazi-Land!/Outwitting the Bloodthirsty Tyrants!/Captain America and the Human Torch to the Rescue!!
Featuring: Young Allies Release: July 23, 1941 Cover: Summer 1941 10 cents 57 pages
The table of contents lists Joe Simon as “Art editor” and Jack Kirby as “Art director”, while recognizing Carl Burgos as the creator of Toro. No hints as to who actually wrote or drew the comic are given. The GCD credits Otto Binder, Charles Nicholas, and Syd Shores, noting Jack Kirby supplied art for some of the chapter-opening splash pages. The cover is by Jack Kirby and Syd Shores.
We also take the on-sale date from the GCD, which disagrees with the July 10 date given in Mike’s Amazing World, but also offers an explanation for the discrepancy.
An ad shows an earlier version of the cover (and gives the July 10 release date). Notice in the original cover, Stalin is one of the villains (along with Hitler, Tōjō, and Mussolini). This comic was released in July 1941. Between its original advertisement and publication, Germany invaded the Soviet Union, so Stalin was now a good guy, and couldn’t be depicted as evil in the comic. The USSR was now part of the Allied forces.
America remained neutral in the war, but you couldn’t tell by the comic books.
We read the introduction of the Young Allies, a painfully long 57-page adventure. Our motivation is that this is the third appearance of the Red Skull, who was presumed dead in an explosion in Captain America Comics #3.
This comic is pretty rough reading. The most infamous part of it is the character of Whitewash Jones, a painful stereotype of an African American child, whose portrayal somehow keeps getting worse as the issue progresses. Even leaving aside that racial sentiment has evolved in 80 years, the other kids are also pretty awful characters. Tubby, the obese child, is portrayed no better. Nor is Knuckles, the street-tough kid. Jefferson, the nerd, probably comes off the best.
The history of cartooning is built on caricature and exaggeration, but these four kids just push it into the absurd and unreadable.
We’ve visited Captain America Comics #3 before. We read the text story, notable for being the first story written by a young Stan Lee.
The issue also contains three other Captain America adventures, a Tuk story, and a Hurricane story.
There’s a cool feature called “Amazing Spy Adventures” which tells a loosely accurate historical story from ancient Greece, about a secret message tattooed onto a bald head, then hidden as the hair grew. Perhaps the world’s first example of steganography. You can read more about the story here.
What interests us today though is the second appearance of the Red Skull. I’m just as confused as you are, because I also remember him dying in his first appearance. Let’s read on. Maybe they’ll explain.
Ah, so it seems that the Red Skull–unmasked as George Maxon– was immune to his own poison. That makes sense. And Captain America and Bucky did just run off leaving the body in the previous story. But then we clearly saw FBI agents at the scene standing over the body. Now, the Red Skull stands up in an empty room and runs off. Hard to reconcile these things.
When Captain America returned to the present in Avengers #4, we preceded that with a large read-through of a swath of his history from 1941-54. But we intentionally left out some pretty key issues. In particular, we neglected his battles against his nemesis, the Red Skull.
The last twoissues of Tales of Suspense have both retoldstories from Captain America Comics #1. This next one will do the same, retelling the first battle of Captain America and the Red Skull. We will then see some previously untold encounters between Captain America and the Red Skull in World War II. Eventually, the Red Skull will return in the present day to menace Captain America again.
In anticipation of all this, now seems like a good time to read through the early history of the Red Skull, starting with his introduction here in Captain America Comics #1.
Since Roussos left, this title is having trouble finding a consistent inker for Ayers. We had Giacoia last issue and Ditko the issue before. This issue, Vince Colletta finds time between issues of Thor to lend his inks. Colletta had been a sergeant in the Air Force, so he fits the credits scheme of noting the military service of this series’ contributors.
We pick up where last issue left off, with the Commandos still in the Sahara desert. They are ready to return home, but are instead given a new assignment.
Featuring: Sgt. Fury and his Howling Commandos Release: January 12, 1965 Cover: March 1965 12 cents Written with machine gun power by Ex-Sgt. Stan Lee Drawn with howitzer impact by Ex-Corp. Dick Ayers Inked with rifle-fire sharpness by Ex-Corp. Frank Ray Lettered with bloodshot eyes by Artie Simek Civilian 1st Class 20 pages
The cover is striking because of the dominant yellow. We haven’t yet seen a cover with such a coloring scheme, but they’ll become more common, and they’ll always catch my eye. This particular color evokes the intense heat of the desert.
Hans Rooten takes his new place as squad mascot. He’s even got a uniform to indicate his “mascot” status. He’s written far more sensibly than, say, Rick Jones is in Avengers. He is allowed to train with the Commandos, but not on dangerous maneuvers, and he doesn’t go on missions, whereas the Avengers take Rick to fight most any super-villain.
The only not-particularly sensible thing is why they continue to let Hans believe his father is a traitor. Now that he’s safely in England, there’s surely no harm in telling the kid his father is a heroic Allied double agent. But these were his father’s wishes, so the child will go on thinking himself to be basically an orphan, with the Howlers the only family he has left.
This page is from the original comic, found online.
Hans has already figured out the character of Sgt. Fury: “He is yelling at me! That means he likes me!”
Hans wants to be a Howler when he grows up. Nick hopes that when he grows up, there won’t be any need for Howlers.
Featuring: Spider-Man Release: January 12, 1965 Cover: April 1965 12 cents Written in the spell-binding style of Stan Lee Illustrated in the magnificent manner of Steve Ditko Lettered in the frenzied fashion of Artie Simek 20 pages
Maybe I should start writing down a list of my favorite covers (I do like lists). Early on, there weren’t many, so I was confident when we came across a great one, I could call it my favorite cover yet. Now I’m beginning to wonder. This is a great cover. Is it the best cover yet? Maybe.
I appreciate the Green Goblin on this cover. And only on this cover. Outside of this cover, he’s a lame villain. For evidence, let’s look inside the comic.
Green Goblin is trying to set himself up as a local crimelord. By the time I was reading comics, local crimelords were guys like the Kingpin, who looked the part better to my mind. I suspect Marlon Brando’s Godfather left an indelible impression of what a crimelord should look like to me and to many, but this predates that by several years. Still… they can do better. Lucky Lobo has a much better “crimelord” look.
The previous kingpin had been Frederick Foswell, the Big Man. He looked the part better. Coincidentally, Foswell returns, having been released from prison. He was the leader of every mob in town, behind numerous crimes, yet he was released after less than a year and given his old job back.
