When A Legend Falls!

In the 1974 saga which followed Steve Rogers' efforts to crack open the conspiracy that would ultimately lead to the abandonment of his identity as Captain America, we watched as the power of advertising instigated Cap's decline in the eyes of the public and pushed the message that Captain America was no longer a man to be trusted--a campaign of revenge begun by the villain known as the Viper and facilitated by his former associate, Quentin Harderman. The idea of an ad agency bringing down Captain America, whose reputation and record of service are as irreproachable and untarnished as it gets, would seem to be a concept that would be dead on arrival--"...something that absurd is bound to blow itself out when it comes up against my record...", as Cap later reflects--but Captain America #170 presents us with a cover that puts both Cap and the reader on notice, and formally begins a journey that will turn this once-proud hero into a virtual outcast.

Yet we would have to go back one issue to see this smear campaign begin to gain momentum--and the best place to start would be the ads in question. It's unclear in the story just how widespread this campaign is or how many ads are in play, though we can assume that they're appearing in both print and television media; but after helping the Falcon out of a jam, it's a television set that catches Cap's attention as he passes by a storefront window where a TV is broadcasting a message regarding his activities.  A message of twisted words that leaves him aghast.

(No, I don't know how Cap or passers-by could hear television commentary through a store window, or why the store owner wouldn't mute a TV placed behind one. But Harderman isn't likely to complain, eh?)

Harderman obviously knows his business. Rather than pontificate, he simply stirs the pot, allowing the masses to make up their own minds while providing them with a front organization--the "Committee"--which promotes the illusion that the announcer isn't alone in his views. After noting the reactions of those stunned bystanders who also were within earshot of the ad and who fail to respond favorably to his words of reassurance, Cap departs with annoyance and frustration--probably not the best image he should be projecting right now.

To get some answers, Cap visits Harderman's office, where we learn about the "Committee To Regain America's Principles" (having the unfortunate albeit appropriate acronym of "C.R.A.P.")--a committee of one.

You may have noticed how Cap's speech seems much more intense and how he takes things more personally since Steve Englehart took over the book--a style that's inflamed more by the addition of a co-scripter for this issue, Mike Friedrich, who in Invincible Iron Man often has Tony Stark flying off the handle at the slightest rough patch or provocation. The Captain America that handles this situation resembles more the aggressive stance of the Cap of the 1950s, who saw enemies around every corner--and a cornered Captain America, which is uncharacteristic of the hero who's set such a high standard for his peers until now, is what we're seeing more and more of here.

With Cap's exit in a huff from Harderman's office, Harderman appears to have much more than a charity exhibition in mind for Cap--and it starts with a run-in that Cap soon has with the Tumbler, who, unknown to Cap, is taking his marching orders from Harderman. The Tumbler, who escapes from Cap's pursuit in this initial encounter, is kept in the dark as to Harderman's plans for Cap, for reasons which will soon become evident; but imagine Cap's surprise when his charity event partner turns out to be a familiar foe who only recently slipped through his fingers.

An unfortunate word for Cap to shout, given what happens next:

The shock of those who witnessed the scene is no doubt exacerbated by Harderman's calculated ad campaign which has had time to affect public opinion of Cap. It's clear that the Tumbler's death was arranged by Harderman; and we learn in the story's closing panels that a hidden assassin was responsible for the act. But no one but Harderman is the wiser--nor are the police, who move in to make an arrest. Harderman has done his work well--but will Cap go quietly?

If it makes sense to anyone that he doesn't, I'd like to hear from you.

As Friedrich takes over full scripting on the follow-up issue, Cap's reasoning appears as unstable as his actions, since it's almost a certainty that the rumors and suspicions he's concerned with are only going to escalate thanks to his bursting through law enforcement officers like tenpins and fleeing a crime scene where he became a murder suspect. An autopsy on the body might or might not have revealed the true killer's handiwork--but cooperating fully with the investigation while in custody (or out on bail) would have been the most sensible way for Cap to proceed. Instead, he's made himself a fugitive, while flouting the laws he claimed to espouse. How does he come back from this? Even if he were to prove that he was the victim of a set-up, how does that mitigate his actions here?

But Cap's flight for freedom is short-lived, when Harderman's accomplice is brought into play for the next phase of the plan--the first individual to adopt the identity of Moonstone, with powers that even a hero who recently acquired super-strength would find daunting.

Harderman has every reason to take a victory lap at this point, though revealing Moonstone so soon after Cap's fall from grace--an unknown who gains the immediate support and endorsement of the man behind the ad campaign that attacked Cap's reputation--perhaps isn't the brightest strategy to adopt for someone who wants to avoid tipping his hand.

Moonstone is naturally cornered by the press, and provides a canned cover story of his origin that obscures his true past as a petty crook who committed murder while stealing moon rocks from a university exhibit--though we as readers are allowed to read between the lines and learn the truth behind his affiliation with the Committee.

In spite of Harderman's polish, the story is sloppy in places; for instance, it would be easy enough to attempt to corroborate and thereafter discredit Moonstone's pretense regarding the moon rocks by going back and searching for any news or police reports filed concerning a break-in at a moon rock exhibit and the murder of its guards. But perhaps the enthusiasm for Cap's capture in tandem with Moonstone's favorable debut have no one thinking of making such inquiries.

At any rate, the plan to discredit Cap continues, in a move that places Cap in practically the same position he was in before he bolted from the charity event.

You'd have to flip open the next issue to learn the truth behind Cap's armed and costumed "supporters," as well as to see the return of the new Falcon, who was off gaining a set of wings while Cap was incarcerated.  As for whether or not Cap decides to stay in jail and face the music or accompanies his supporters to freedom--without giving too much away, the short answer is:  Yes, and yes.

Captain America #s 169-170 Script: Steve Englehart and Mike Friedrich Pencils: Sal Buscema Inks: Frank McLaughlin and Vince Colletta Letterers: Charlotte Jetter and Artie Simek