I allowed myself to go to Zia Comics after finally finishing catching up on reviewing all my comics. I had told myself not to buy any more until I had. I had to go to work that day without a holiday for Independence Day. (It was on a Saturday, so we didn’t get Friday off.)
I was wearing my Captain America t-shirt (Issue #427) and I bought this Captain America trade paperback. This was about as fanboyish and patriotic as possible. I additionally bought a Godzilla comic and a Vampirella comic for other people. (I was in a generous mood.) The Vampi issue got me a look from the woman cashier. (Hey, you’re the one selling it and I’m even buying it for a girl, who likes the character.)
I’d enjoyed the previously Captain America trade I’d bought (6-23-26). This volume is from the same era, but a couple of years before it. The reviews were generally good, so I couldn’t resist wanting to get it.
It starts with a bang. John Walker, the replacement Captain America, is assassinated when he gives back the shield to Steve Rogers at a press conference. The murderer is then killed himself by the villain-killer, Scrooge. This plotline is followed up on by Walker’s partner, Battle Star, in later issues, which is too bad, because this kind of intrigue that made Captain America: Winter Soldier, such an entertaining film.
As is, Cap has to track down his old pal, Nick Fury, who’s listed a rouge agent. He enlists a somewhat frumpy Peggy Carter to help him. (She’s not exactly the MCU Peggy.) She will be a background Avengers staff character in the series. They find Nick, who makes a couple of Donald Trump references. It’s easy to forget how famous this guy was before he was President. Fury took down his own SHIELD organization because it had become filled with corruption. Again, echoes of the MCU. This storyline is also not followed up on in this title.
The World Trade Center appears in the background a couple of times in this book.
Some Soviet superheroes show up on the Avengers’ island (don’t get too attached to this location) while Captain America is holding tryout’s for some other heroes, including Speedball. The Russians are looking for asylum. Instead, other Soviet super soldiers show up in disguise and kill them. This prompts the Captain into taking a trip to Moscow. Surprisingly, he speaks Russian and is quite diplomatic on his mission. The Captain doesn’t quite solve the mystery, but the defectors end up recovering after energy-draining their attackers. Again, this potentially interesting storyline is dismissed.
Issue #354 is an interesting visual experiment as the Captain America is tracking down a mystery on the top of the page, while Battle Star is still trying to find out what happened to John Walker on the bottom. Its two stories at the same time, which unfortunately don’t connect at the end. Battle Star hands off his findings to his government contact, Valerie Cooper. She is then introduced to the new US Agent, who is Walker in a new identity. His assassination was faked and the vigilante group, the Watchdogs, was framed, though his killer getting killed wasn’t fake.
Next, Cap receives a request from his old girlfriend to track down her missing sister. He discovers that there’s been a rash of abducted teenagers and he has himself magically turned into a teen to go undercover. Sigh. All this political intrigue and we’re doing this. Meanwhile, Battle Star meets Falcon in a story that goes nowhere. Whatever this was supposed to set up didn’t happen in this volume.
From flipping through the book, I was sort of dreading this teenaged Cap episode. The drugged teens are sent to “Camp Rage,” run by the Red Skull’s daughter, Mother Night, to “Teach you to channel the power of Hate!” So, it’s basically a typical university class and its run by a bunch of feminist women.
This story doesn’t entirely resolve well with Cap unexpectedly getting his powers back and then giving a heavy-handed speech. There is the amusing scene with Cap having to pay back his magical debt to the Eternals’ witch, Sersi, with a date. I think they cut away a little too soon on that scene.
No explanation is given for this odd scene. Another missed opportunity.
This issue also marks the beginning of the Bloodstone Hunt. Baron Zemo’s son and a bunch of losers find the skeleton of Ulysses Bloodstone and plan on using part of his ribcage as a divining rod to find the Bloodstone, for reasons not explained. Diamondback stumbles upon their plans and is subdued and thrown down a pit. Cap rescues her after braving several deathtraps and gets the story. He fashions his own skull detector to follow after the villains. Cap reluctantly takes along Diamondback, who’s obviously crushing on him.
What follows is a world-wide chase for the fragments of the Bloodstone. It is very much like an old-fashioned movie serial with hair-breadth escapes from danger. At one point, Cap is fighting a mummy. In the end, the gathered fragments bring Baron Zemo to life, but as a demon inhabiting his dead body. The Baron and his son end up getting tossed into a volcano with the Bloodstone.
These issues also came out on a bi-monthly basis, so they were a bit rushed. (I remember this with the X-Men, which I was collecting at the time. Two issues a month was a major financial strain on my teenage self and likely kept me from buying some Disney comics I wanted.) There are some real gaps in the story logic that detract from the story. It probably needed the extra pages that were taken up by a backup feature with US Agent. He’s trying to stop Scourge from killing the Power Broker, who has a business power-augmenting people, including himself. The Broker ends up taking himself out.
One loose end of the Hunt is that Diamondback is taken captive by Crossbones, who was also following along in the chase. He takes her to the pirates’ den of Madripoor and summons Captain America to capture him for his employer, the Red Skull. The Skull actually orders Crossbones to let him go for some reason. The backup features follows up on the Power Broker story with a client woman. I thought this was the same woman from the US Agent limited series in the next volume, but she’s not.
Next we go into a crossover event, Acts of Vengeance. Oh, boy. I don’t know anything about this series and I don’t care, since it doesn’t seem to amount to anything. The Red Skull is offered a deal with a mysterious man to join a cabal of supervillains. Cap returns to NYC and finds the Avengers’ island has been sunk. He unceremoniously dumps off Diamondback and ends up in a fight with a mind-controlled Submariner.
The obvious problem with gathering supervillains is that they don’t play well together, especially the Red Skull, former Nazi, and Magneto, concentration camp survivor. This leads to an inevitable confrontation. Heh, heh. Skull makes a good point here with Magneto.
The backup feature in these issues are about Cobra of the Serpent Society. He needs to prove his leadership skills by taking out his previous partner, Mr. Hyde. And there’s also an extremely creepy origin story of Machinesmith.
The Red Skull gets the worst of his meeting with Magneto and gets locked into a dark room underground. Crossbones and the Captain America both end up looking for him. This ends up in a fight in the sewers under the Hellfire Club with the vampire, Selene.
The backup story is more interesting. The Red Skull becomes delusional while essentially buried alive. It is the phantasm of Captain America that convinces him to hang on.
Ron Lim starts doing the artwork later in the volume. It’s a definite upgrade. Crossbones eventually rescues the Red Skull, who’s in pretty bad shape. Captain America is summoned to the Skull’s mansion for a meeting. The Red Skull announces that he has regained the will to live after seeing his eternal foe and dismisses him. Outside, Diamondback tries to figure out for the reader why Captain America is just walking away from this. I guess they didn’t have a story prepared yet for the Red Skull’s big comeback. It’s truly bizarre.
Finally, the one-sided romance between Diamondback and Captain America finally comes to a head. She’s had it with being brushed off. He doesn’t want another partner or a girlfriend, but agrees to be friends. With that opening, she talks him into a date.
Masked romances are a bit awkward.
The fun part of this story is a couple of Diamondback’s girlfriends from the Serpent Society are tagging along and defusing any situations that might disrupt their date. Apparently, there’s a supervillain around every street corner in New York City.
Awww. Yeah, this was my favorite story in the book, possibly the only one I really liked.
I have to compare this volume with the previous one I bought. As uneven as Arena of Death was, enjoying the highs were worth putting up with the lows. Bloodstone Hunt, which chronologically came first, strikes a bit of a monotone. It was mostly not that bad, but not that great either. Many of the issues had a second feature, which cut into the story development. This was even worse with the bi-monthly summer issues. The Hunt storyline should have been epic, but came off silly. Arena was so over-the-top in places and that’s how Hunt should have been.
Hunt does recommend itself in lots of non-stop action, like an old movie serial. The artwork, particularly Ron Lim’s, is pretty good. I kind of appreciate some of the scenes with Cap interacting with his duties that don’t involve superheroics and with the Avengers’ staff members. It makes the setting feel a little more real. Some of the second features are actually a bonus and are interesting studies of minor characters.
Spectacular Pinup in the back
The main problem is all of the missed opportunities for great stories that were simply passed over, especially at the beginning of the book. They didn’t want to commit to any complex stories and settled for pointless action. Future writers would see the potential better and produce some classic stories that would be translated into hit movies.
Arena is better and I’d recommend it, with some reservations, to any comic book fan. Hunt I’d recommend to Captain America fans, but it might not be as entertaining to other comic book fans. It’s fun, but shallow material.




























