By Keigen Rea — Captain Carter #1 avoids a major pitfall of Captain America comics by allowing Peggy to be an actual character instead of forcing her to symbolically represent an entire country. This is disappointing, as it means the book is slower to make a meaningful political statement than I would like, but I was still able to greatly enjoy the book for what it was.

Our introduction to Peggy is an interesting snapshot of the alternate universe that she exists in. She is introduced soon after being recovered, with three nations arguing over who owns the rights to her body. The argument escalates, and so does Peggy, until she lays claim to her own body, through sheer will (and also the Super Soldier Serum).

As a metaphor, the scene isn’t perfect. On one hand, it feels toothless because how many women really have autonomy over their bodies? On the other, it feels toothless because most of the women who have bodily autonomy look like Peggy. As a gesture, it works, but is also slightly disappointing.

However, divorcing the scene from metaphor, and just looking at it as a piece of fiction? It kinda rules? While I wasn’t totally sold on Peggy being able to solve the problem so simply, it was a good demonstration of her character, and set the tone for the rest of the issue. It established Peggy as an individual apart from political machinations, and showed her making decisions more or less on her own. This is not a character who is first and foremost defined by her role in a war, or a country, which is itself represented by the title.

Captain Carter is an almost frustratingly clever way of putting distance between the character Peggy Carter and the atrocities Great Britain has committed, in a way that is basically impossible to do with Steve Rogers. Peggy will still be wearing the Union Jack, is still a member of their military, and will still be working for the government, but by not tying her identity directly with the country, by allowing her to have her own name, the book makes it easier for her to be a character and not just a symbol. It’s a small difference, and for some it’ll be meaningless, but to me, it’s an adjustment that will lead to stories that aren’t focused on the mythic qualities of superheroes, and more on the character-driven soap opera that Marvel tends to be so good at. Beyond that, this philosophy is reminiscent of Claremont’s X-Men run, or more appropriately, Gruenwald’s Captain America run, both of which used the soap opera to tell political stories.

By grounding this first issue in Peggy Carter as a character rather than a symbol, Captain Carter #1 eschews planting its flag in overt political criticism. It’s reasonable to find fault in that. I’m a little disappointed in it myself. Ultimately, though, this issue delivers a great first issue that focuses on the human part of being a superhero, and lays the groundwork for more.

Overall: Captain Carter #1 is a debut issue that knows what to focus on while also delivering everything a superhero comic is supposed to deliver. A take on a Captain that feels well balanced between political symbol and character. 8/10

REVIEW: Captain Carter #1

Captain Carter #1
Writer: Jamie McKelvie
Artist: Marika Cresta
Colorist: Erick Arciniega
Letterer: Clayton Cowles
Publisher: Marvel Comics
Price: $3.99
WOMAN OUT OF TIME?
A reality where Agent Peggy Carter took the Super-Soldier Serum is turned upside down when the World War II hero is pulled from the ice where she was lost in action decades before. Peggy struggles to find her footing in a modern world that's gotten a lot more complicated - cities are louder, technology is smarter and enemies wear friendly faces. Everyone with an agenda wants Captain Carter on their side, but what does Peggy want? And will she have time to figure it out when mysterious forces are already gunning for her?
Prolific comics creator and designer Jamie McKelvie teams with rising star Marika Cresta to tell an unforgettable Captain Carter story for a modern age.
Buy It Here: Digital / Physical