[Comic Book Review] CAPTAIN AMERICA (2018) #10 from Marvel Comics

Comic Previews, Comic Reviews, New Comic Book Day

[Comic Book Review] CAPTAIN AMERICA (2018) #10 from Marvel Comics

Adrian Care

May 8, 2019

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PopCultHQ received an advance review copy of CAPTAIN AMERICA #10 from Marvel Comics. Available May 8th, 2019, the creative team for this series features writing from Ta-Nehisi Coates, art from Adam Kubert, colors by Frank Martin, and lettering from VC’s Joe Caramagna.

Here’s PopCultHQ’s spoiler-free review of…

Captain America (2018) #10

Written by Ta-Nehisi Coates
Art by Adam Kubert
Colors by Frank Martin
Letters by VC’s Joe Caramagna
Main Cover by Alex Ross

CAPTAIN OF NOTHING continues!

A prison riot is the best possible cover to break Captain America out of confinement — but what if the Star-Spangled Avenger doesn’t want to go?

PopCultHQ’s Comic Book Review:
Captain America #10

Cap’s still stuck in Myrmidon. The prison, inexplicably run by tyrannical Baron von Strucker. Heroes work behind the scenes to break Cap out. But first…all hell breaks out.

Writing:

Ta-Nehesi Coates clearly has the same firm grasp on the exploits of Steve Rogers as he does so completely on Black Panther. His story structure and dialogue are strong too. Natural for somebody who has also made their mark in the prose and journalism worlds.

Prison stories are nothing new, but it’s what Coates does in making the pieces of the Marvel universe dance for him in the prison setting that separates this from, say, Daredevil’s The Devil in Cell Block D arc, or Hard Time. Prison stories are a rich source for good writing and ideas and it’s writers with the talent of Coates, who clearly also love the Marvel Universe, who can make the setting feel fresh and interesting.

The one misstep that was too hard for me to ignore in this issue was the exchange between Sue Storm and Thunderball (sorry… Dr. Franklin). It just didn’t sound like Sue Storm’s voice, too far off it in fact. Of course, the issue goes on to be great all the same, but it was a noticeable enough gripe that bears mention, if for nothing else just to see if other readers might agree.

Art:

Adam Kubert might be surpassing the rest of his family as the most talented of the comic book Kennedy’s. His style has never gone backward but every time it improves, it’s on par with a massive evolutionary leap.

There isn’t a character he can’t tell visually stunning stories with. From his flirtation with DC to his recent Spider-Man work to this (and of course his definitive work on Wolverine and incredible work on Hulk 20 years ago).

His choice of angles and camera zooms are unmatched. The hallmarks of his art, his eyes, expressions, and physical language, are as effective and dynamic as ever.

Fight scenes in comics are a dime a dozen but when Kubert uses a few pages to show you a slugfest, you feel every bruising blow connect. The way he tells a layered story as Cap and Strucker pummel each other viciously is remarkable. So, too, is the way his art forms such strong connections with the script.

You never want Adam Kubert to leave the book he’s working on, but you’ll always be excited to see what he does next.

Colors:

Thunderbolts. Avengers. Iron Man. Tell me that Frank Martin isn’t a great choice to fill the world of Captain America with color as it deserves. Now leave all that behind because Frank is a colorist who gives the script what it needs and colors accordingly and with distinction.

This is a prison story, filled with demoralization, secrets, brutality, and pain. Martin obliges all of this, conveying each mood and theme in strong fashion and enhancing Kubert’s work with a deft touch. Prison oranges and infirmary scenes never visually popped so much as when they’re colored by Martin’s brush.

Letters:

Joe Caramagna has fifty plus credits of working on Captain America to his name. The man has been putting words in Steve’s mouth and surrounding him with effects for so long that it must be second nature to the letterer by now.

While the secretive and coy environment of prison doesn’t call for big effects, Caramagna does a solid job of playing with speech patterns and inserting subtle effects where he can to do his work, display the strength of Coates’ script and not steal the thunder from Kubert’s amazing illustration.

Your classic prison break storyline gets its decoy riot scene moment, but as visually laid out by Adam Kubert it packs more of a punch than Steve does in this issue. The adrenaline, excitement, and pure emotion are so ramped up they’re palpable. Although this issue reads quickly, you may as well read it twice…you won’t be able to put it down.