Rather unusually, these Angels wear white hart (deer) badges, with the personal emblem of King Richard II of England, who commissioned this, the Wilton diptych, about 1400.

An emblem is a pictorial image, abstract or representational, that epitomizes a concept — e.g., a moral truth, or an allegory — or that represents a person, such as a king or saint.^[1]

Distinction: emblem and symbol[link]

The words emblem and symbol often appear interchangeably in day-to-day conversation without causing undue confusion. A distinction between the two may seem unnecessarily fastidious. Nevertheless, an emblem is a pattern that is used to represent an idea, or an individual. An emblem crystallizes in concrete, visual terms some abstraction: a deity, a tribe or nation, a virtue or a vice. An emblem is an object or a representation of an object.

An emblem may be worn or otherwise used as an identifying badge or patch. A real or metal cockle shell, the emblem of St James the Apostle, sewn onto the hat or clothes identified a medieval pilgrim to his shrine at Santiago de Compostela. In the Middle Ages, many saints were given emblems, which served to identify them in paintings and other images: St Catherine had a wheel, or a sword, St Anthony Abbot a pig and a small bell. These are also called attributes, especially when shown carried by or close to the saint in art. Kings and other grand persons increasingly adopted personal devices or emblems that were distinct from their family heraldry. The most famous include Louis XIV of France's sun, the salamander of Francis I of France, the boar of Richard III of England and the armillary sphere of Manuel I of Portugal. In the fifteenth and sixteenth century there was a fashion, started in Italy, for making large medals with a portrait head on the obverse and the emblem on the reverse; these would be given to friends and as diplomatic gifts. Pisanello produced many of the earliest and finest of these.

"The big eat the small": a political emblem from an emblem book of 1617

In current American usage, police officers' badges refer specifically to their personal metal emblem — sometimes with a uniquely identifying number or name on it — while the woven emblems sewn on their uniforms identify all the members of a particular unit.

A symbol substitutes one thing for another, in a more concrete fashion^[1]:

• The Christian cross is a symbol of the Crucifixion; it is an emblem of sacrifice.
• The Red Cross is one of three symbols representing the International Red Cross.^[2] A red cross on a white background is the emblem of humanitarian spirit.
• The crescent shape is a symbol of the moon; it is an emblem of Islam.
• The skull and crossbones is an symbol identifying a poison.^[3] The skull is an emblem of the transitory human life.

Other terminology[link]

A totem is specifically an animal emblem that expresses the spirit of a clan. Heraldry knows its emblems as charges. The lion passant serves as the emblem of England, the lion rampant as the emblem of Scotland.

An icon consists of an image (originally a religious image), that has become standardized by convention. A logo is an impersonal, secular icon, usually of a corporate entity.

Emblems in history[link]

Since the 15th century the terms of emblem (emblema; from Greek: ἔμβλημα "embossed ornament") and emblematura belong to the termini technici of architecture. They mean an iconic painted, drawn, or sculptural representation of a concept affixed to houses and belong — like the inscriptions — to the architectural ornaments (ornamenta). Since the publication of De Re Aedificatoria (1452, Ten Books of Architecture),[8] by Leon Battista Alberti (1404–1472), patterned after the De architectura by the Roman architect and engineer Vitruvius, emblema are related to Egyptian hieroglyphics and are considered as being the lost universal language.^[4] Therefore the emblems belong to the Renaissance knowledge of antiquity which comprises not only Greek and Roman antiquity but also Egyptian antiquity as proven by the numerous obelisks built in 16th and 17th century Rome.^[5]

The 1531 publication in Augsburg of the first emblem book, the Emblemata of the Italian jurist Andrea Alciato launched a fascination with emblems that lasted two centuries^[6] and touched most of the countries of western Europe. "Emblem" in this sense refers to a didactic or moralizing combination of picture and text intended to draw the reader into a self-reflective examination of his or her own life. Complicated associations of emblems could transmit information to the culturally-informed viewer, a characteristic of the 16th century artistic movement called Mannerism.

A popular collection of emblems was presented by Francis Quarles, in 1635. Each of the 'Emblems' consists of a paraphrase from a passage of Scripture, expressed in ornate and metaphorical language, followed by passages from the Christian Fathers, and concluding with an epigram of four lines. These were accompanied by an emblem which presented the symbols displayed in the accompanying passage.

Quarles' collection of Emblems was immensely popular, and held a wide audience, and ran to many editions. However, the critics of the 17th and 18th centuries did not look so kindly on Quarles. Sir John Suckling in his Sessions of the Poets disrespectfully alluded to him as he "that makes God speak so big in's poetry." Alexander Pope in the Dunciad spoke of the Emblems, "Where the pictures for the page atone And Quarles is saved by beauties not his own."

See also[link]

• Coat of Arms
• Emblem book
• Insignia
• Meme
• National emblem
• Saint symbology
• Symbol

References[link]

Drysdall, Denis (2005). Claude Mignault of Dijon: "Theoretical Writings on the Emblem: a Critical Edition, with apparatus and notes (1577).. http://www.emblems.arts.gla.ac.uk/Mignault_intro.html. Retrieved 2009-05-29. 

Notes[link]

Stewart Gilligan "Stewie" Griffin is a character from the animated television series Family Guy. Once obsessed with world domination and matricide, Stewie (voiced by Seth MacFarlane) is the youngest child of Peter and Lois Griffin, and the brother of Chris and Meg. He also has a close friendship with the family's anthropomorphic dog, Brian.

Stewie is considered to be the show's breakout character.^[3] Wizard magazine rated him the 95th greatest villain of all time.^[4]

[edit] Role in Family Guy

Stewie is a one-year old prodigy who has a very sophisticated psyche, is able to speak fluently, and is intended to have a slightly camp upper class English accent.^[5] He reaches his first birthday in the season 1 episode "Chitty Chitty Death Bang," and has not been referred to as being more than a year old since, although it is presumed that he has aged to the age of at least three, as he is seen in several episodes going to Pre-school. While highly literate and able to cite pop culture references that long predate his birth, he is also entranced by Raffi and the Teletubbies. Stewie succumbs to other weaknesses of children his age – he believes Peter has truly disappeared in a game of Peekaboo, talks to his teddy bear (Rupert) as if he were alive, is overcome with laughter when Lois blows on his stomach,^[6] and has no idea how to use a toilet. MacFarlane has stated that Stewie is meant to represent the general helplessness of an infant through the eyes of an adult. Per cartoon physics, his ability to move objects of greater weight than himself is not surprising to other characters, nor is his ability to retrieve firearms from hammerspace.

Stewie's mastery of physics and mechanical engineering are at a level of science fiction. He has constructed advanced fighter-jets, mind control devices, a weather control device, a teleportation device, robots, clones, a working Transporter device from Star Trek, time machines, a Multiverse Transporter, a shrinking pod,^[7] as well as an assortment of guns including lasers, rocket launchers, and crossbows. Stewie employs these to cope with the stresses of infant life (such as teething pain, and eating broccoli)^[8] and to murder his mother, Lois, with mixed success at best depending on the objective. As made clear in the pilot episode, Stewie's matricidal tendencies are a result of Lois constantly (and unwittingly) thwarting his schemes, and so he desires to kill her to carry out his plans without her interference.

In other, recent episodes, Stewie engages in other violent or criminal acts, including robbery, owning firearms while underage, carjacking,^[9] loan sharking,^[10] forgery,^[11] and killing off many minor characters (with a tank, guns, and other assorted weaponry).^[12]

Stewie eventually realizes his dreams of matricide and world domination in the sixth season two-part episode "Stewie Kills Lois" and "Lois Kills Stewie." The events are reverted in a deus ex machina ending, where most of the story turns out to be a computer simulation. Because of the rather disastrous ending for himself in the simulation, being shot and killed by Peter, he decides to put aside his plans of matricide and world domination for the time being. However, at the end of the season nine premiere, "And Then There Were Fewer", when Diane Simmons is about to murder Lois for uncovering her murderous revenge scheme Stewie kills Diane with a sniper rifle, stating "If anyone's going to take that bitch [Lois] out, it's going to be me".

Despite his clearly sociopathic nature, Stewie does seem to have a softer side. In particular, he shares a kinship with Brian whom he considers an intellectual peer. For example, in "Chick Cancer," when Brian unwittingly makes a racist comment while the two of them are discussing Stewie's "marriage" to Olivia Fuller, Stewie is openly disgusted by it. When Brian profusely apologizes, Stewie leaves, saying, "You gotta work on that. Bad dog." In "Road to Rhode Island", Brian goes to find his mother and discovers that her dead body has been stuffed, Stewie says, "Someone must have said something funny, because your mother's in stitches!" After laughing for a few seconds, he tells Brian, "I'll leave you to grieve," before walking out of the room to give Brian some alone time with his mother. In "Jerome is the New Black", after Quagmire's rant leaves Brian in tears, Stewie cheers him up by saying he likes him and letting Brian spend the night in his room. Similarly, in "Dog Gone", when Brian sinks into a deep drunken depression upon discovering that humanity, including the Griffin family, has no regard for the lives of animals (including himself), Stewie steals his collar and plants it on a stray dog, proceeding to fake Brian's death by sending it into a liquor store and subsequently setting the store on fire, simultaneously forcing the other Griffins to realize just how much Brian mattered to them and cheering Brian up. In "Brian & Stewie", Stewie confesses that he loves Brian, not as a lover, but as a close friend.

Other instances of family kindness include his support for Meg (whom he traditionally calls "Megan") as when he chided Brian's coke-induced hostility to her ("The Thin White Line"), retracted his joke "I hate you too" when Meg said "I hate you all" to the family ("Untitled Griffin Family History"), and wiped her tears during a weepy moment. While Stewie generally regards Chris as a stooge, he has encouraged him, and even helped Chris to dress when he felt too shy to date ("Extra Large Medium"). In the episode "Stewie Loves Lois", it is shown that Stewie can love his mom, after she recovers Rupert, fixes him, and serves a meal he likes. When he becomes too dependent on her, she deliberately takes no notice of him; when he hurts himself she tries to show notice of him again, but he then goes back to his old ways. In a more recent episode "New Kidney in Town", he learns of Brian giving his kidneys to save Peter who is undergoing kidney surgery after he drinks too much of an energy drink. He dognaps Brian and tells him, "I won't let you give your life for the fat man." Brian responds, "You can live without a dog but you can't live without a father." Stewie starts crying, saying, "But Brian I don't want to lose anybody... I don't want to lose anybody." At this point he has mucus dripping from his nose and is hugging Brian.

In the more recent seasons, Stewie has a larger amount of freedom from his parents, which extends to the point of him being able to keep pigs from parallel universes or take part in the television series Jolly Farm, as compared to the first season, in which his plans were constantly hindered by Lois. In "The Hand That Rocks the Wheelchair", Stewie inadvertently clones an evil twin of himself after trying to increase his evil nature. By the end of the episode, it is suggested that the original Stewie may have been unknowingly killed by Brian when he cannot tell them apart and Stewie turns to the camera with glowing yellow eyes (reminiscent of Michael Jackson's "Thriller"). But so far, the Stewie recently seen in "Trading Places", the follow-up episode, he still seems to have his mostly harmless eccentricity, shown when he asks Brian if he wants to trade places with him for fun.

Development[link]

Seth MacFarlane created and voices Stewie.

Stewie's voice is provided by Family Guy creator Seth MacFarlane, who also provides the voices of Brian Griffin, Peter Griffin, and Glenn Quagmire as well as numerous other characters.^[13] MacFarlane based Stewie's accent on the voice of English actor Rex Harrison,^[14] particularly on Harrison's performance in the 1964 musical drama film My Fair Lady.^[15] MacFarlane has also linked Stewie with David Hyde Pierce on more than one occasion, saying he wants Pierce to play Stewie if a live action version of the show would ever be created.^[16][17]

Stewie's head has the shape of an American football. In the episode "Stuck Together, Torn Apart", a flashback shows Stewie's head to be normally shaped, until he hit his head on the ceiling while bouncing on the bed, and it elongated into the familiar shape.^[18] Flashbacks in "Chitty Chitty Death Bang", however, show his head was already shaped like a football when he was born. The comic strip Jimmy Corrigan, the Smartest Kid on Earth also features an infant boy who has a football-shaped head with some hairs sticking out of it, talks in a very eloquent manner, fears his mother and constantly comes up with inventions to help him escape from her. The comic strip's creator, Chris Ware, started drawing Jimmy as early as in 1991. About the characters, he remarked, "[The similarities are] a little too coincidental to be simply, well, coincidental."^[19] He further stated, "I don't want a book of seven years' worth of my stuff to become available and then be accused of being a rip-off of Family Guy."^[19] 20th Century Fox insists that Stewie is an entirely original character.^[19] In a 2003 interview, MacFarlane stated that he had never seen the comic strip before, but the similarities are "pretty shocking".^[20]

Ambiguous sexuality[link]

Stewie's sexuality, even though he is a one-year-old, is deliberately ambiguous. When the writers began to flesh out Stewie's character beyond being a generic supervillain in season two, MacFarlane and the writers began to explore the infant's sexuality with a series of one-off gags, which hinted that Stewie could be gay. For example, in "Brian and Stewie" his cellphone screensaver is a muscular man, and another example is that he has a picture of Chris Noth in his wallet. On other occasions, such as when he fell in love with a girl, Janet, in "Dammit Janet!", Stewie has been shown to be straight. On the commentary of Stewie Griffin: The Untold Story, the writers describe how they were going to make Stewie discover he was gay,^{[citation needed]} but decided to scrap this idea in order to retain Stewie's sexual ambiguity for writing purposes. MacFarlane planned for the series' third season to end with Stewie coming out of the closet after a near-death experience. The show's abrupt cancellation caused MacFarlane to abort these plans, and the episode "Queer Is Stewie?" was actually produced, but never shown. Since that point, MacFarlane has opted to have Stewie portrayed as sexually ambiguous, as, in his eyes, the flexibility of Stewie's sexuality allows for much more freedom in terms of writing for the character. MacFarlane later elaborated:

"He originally began as a diabolical villain, but then we delved into the idea of his confused sexuality. We all feel that Stewie is almost certainly gay, and he’s in the process of figuring it out for himself. We haven’t ever really locked into it because we get a lot of good jokes from both sides, but we treat him oftentimes as if we were writing a gay character."

—Seth MacFarlane, "Big Gay Following", The Advocate interview^[16]

When asked why he made the decision "to take Stewie from homicidal maniac to gay little song boy," MacFarlane answered that, "It wasn't a conscious decision. Characters evolve in certain ways and we found that doing the take-over-the-world thing every week was getting played out and was starting to feel a little dated. It was weirdly feeling a little ‘90s and believe me, if we were still doing that, the show would be on its last legs. I only half-jokingly go by the guideline that, if it's something that might possibly ruin the show, it's a story we should probably do."^[21][22]

He also seems be attracted to Brian, the family dog. He has shown this in a number of episodes, one time was in the Family Guy movie, Stewie Griffin: The Untold Story when Brian tells Stewie that he's drunk, to which Stewie responds "You're sexy". Also in the episode The Former Life of Brian when Stewie agrees to assist Brian in a magic show, Stewie says "You can split me in half" (meaning to say "saw me in half"). Also when Brian and Stewie have a bet in the episode McStroke, Stewie says they should "kiss on it" to seal the bet. Finally in the episode The Tan Aquatic with Steve Zissou, Stewie believes that he is dying of cancer and asks Brian to teach him to dance before he dies, while they are dancing Stewie whispers "I love you" whilst hugging Brian, to which Brian says "What?" and Stewie frantically claims that he said "olive juice".

In an interview with Playboy, MacFarlane stated, "We had an episode that went all the way to the script phase in which Stewie does come out. It had to do with the harassment he took from other kids at school. He ends up going back in time to prevent a passage in Leviticus from being written: ‘Thou shalt not lie with mankind as with womankind. It is an abomination.’ But we decided it’s better to keep it vague, which makes more sense because he’s a one-year-old. Ultimately, Stewie will be gay or a very unhappy repressed heterosexual. It also explains why he’s so hellbent on killing [his mother, Lois] and taking over the world: he has a lot of aggression, which comes from confusion and uncertainty about his orientation."^[23]

Reception[link]

MacFarlane has been nominated for two awards for voicing Stewie; in 2006, he won a Primetime Emmy Award in the category Outstanding Voice-Over Performance.^[24] That same year he received an Annie Award in the Best Voice Acting in an Animated Television, Production category, for his voice work in the episode "Brian the Bachelor".^[25] In addition, Wizard magazine rated Stewie the 95th greatest villain of all time.^[26] Stewie was also named the best Family Guy character on a list of "Top 25 Family Guy Characters" compiled by IGN.^[27] In 2010, Entertainment Weekly placed him the 45th on their list of the "Top 100 Characters of the Past Twenty Years".^[28] Gay.com ranked Stewie as the fifteenth gayest cartoon character.^[29]

Hal Boedeker, a critic for The Orlando Sentinel called Stewie "a brilliant creation".^[30]

Merchandise and appearances in other media[link]

Stewie, the breakout character on the show, has become a merchandising icon. Alongside t-shirts, Stewie has been included in various other Family Guy-related merchandise, including air fresheners, baseball caps, bumper stickers, cardboard standups, refrigerator magnets, key rings, buttons, dolls, posters, figurines, clocks, soapstone carvings, Chia Pets, bowling balls and boxer shorts.

Stewie has appeared in the Family Guy Video Game!,^[31] where Stewie discovers Bertram attempting to outdo him in taking over the world. Desperate to stop him, Stewie shrinks himself and makes his way to Bertram's lair within Peter's testicles to discover his plan, destroys his henchman cloning lab, and rescues a kidnapped Rupert from a rocket. He finally confronts Bertram in the park, where Bertram turns himself into a giant.^[32] Stewie Griffin: The Untold Story is a DVD movie about Stewie's secret and what can possibly be his future.^[33]

Stewie has appeared in Bones,^[34] eventually revealed to be the result of FBI Special Agent Seeley Booth's (David Boreanaz) brain tumor. Seth MacFarlane wrote all of Stewie's dialog for the episode.^[35] The character appeared in a Coca-Cola^[36] commercial during Super Bowl XLII, he and Brian appeared in a commercial for Wheat Thins, he presented a musical number at the 59th Primetime Emmy Awards with Brian, and he appeared at the 62nd Primetime Emmy Awards.^[37][38] He was on The Late Show with David Letterman to present "Top Ten Things You Don't Want To Hear From Your Child."^[specify]

References[link]

External links[link]

• Stewie Griffin at Fox.com
• Stewie Griffin at the Internet Movie Database

Wikiquote has a collection of quotations related to: Stewie Griffin

Captain America is a fictional character, a superhero who appears in comic books published by Marvel Comics. The character first appeared in Captain America Comics #1 (cover-dated March 1941), from Marvel Comics' 1940s predecessor, Timely Comics,^[1] and was created by Joe Simon and Jack Kirby. As of 2007, an estimated 210 million copies of "Captain America" comic books had been sold in 75 countries.^[2] For nearly all of the character's publication history, Captain America was the alter ego of Steve Rogers, a frail young man who was enhanced to the peak of human perfection by an experimental serum in order to aid the United States war effort. Captain America wears a costume that bears an American flag motif, and is armed with an indestructible shield that can be thrown as a weapon.^[3]

An intentionally patriotic creation who was often depicted fighting the Axis powers of World War II, Captain America was Timely Comics' most popular character during the wartime period. After the war ended, the character's popularity waned and he disappeared by the 1950s aside from an ill-fated revival in 1953. Captain America was reintroduced during the Silver Age of comics when he was revived from suspended animation by the superhero team the Avengers in The Avengers #4 (March 1964). Since then, Captain America has often led the team, as well as starring in his own series.

Steve Rogers was purportedly assassinated in Captain America vol. 5, #25 (March 2007), although he was later revealed to be alive. The comic-book series Captain America continued to be published,^[4] with Rogers' former sidekick, James "Bucky" Barnes, having taken up the mantle, and keeping it at the insistence of Rogers, who upon his return began operating as an intelligence agent in the Secret Avengers title, and in the limited series Steve Rogers: Super Soldier, before resuming the identity after Bucky was killed in the line of duty.

Captain America was the first Marvel Comics character adapted into another medium with the release of the 1944 movie serial Captain America. Since then, the character has been featured in several other films and television series, including Chris Evans' portrayal in Captain America: The First Avenger, released on July 22, 2011, and The Avengers, released on May 4, 2012. Captain America was ranked sixth on IGN's Top 100 Comic Book Heroes in 2011.

Publication history[link]

In 1940, writer Joe Simon conceived the idea for Captain America and made a sketch of the character in costume.^[5] "I wrote the name 'Super American' at the bottom of the page," Simon said in his autobiography. "No, it didn't work. There were too many 'Supers' around. 'Captain America' had a good sound to it. There weren't a lot of captains in comics. It was as easy as that. The boy companion was simply named Bucky, after my friend Bucky Pierson, a star on our high school basketball team."^[6]

Simon recalled in his autobiography that Timely Comics publisher Martin Goodman gave him the go-ahead and directed that a Captain America solo comic book series be published as soon as possible. Needing to fill a full comic with primarily one character's stories, Simon did not believe that his regular creative partner, artist Jack Kirby, could handle the workload alone:

I didn't have a lot of objections to putting a crew on the first issue.... There were two young artists from Connecticut that had made a strong impression on me. Al Avison and Al Gabriele often worked together and were quite successful in adapting their individual styles to each other. Actually, their work was not too far from [that of] Kirby's. If they worked on it, and if one inker tied the three styles together, I believed the final product would emerge as quite uniform. The two Als were eager to join in on the new Captain America book, but Jack Kirby was visibly upset. 'You're still number one, Jack,' I assured him. 'It's just a matter of a quick deadline for the first issue.'

'I'll make the deadline,' Jack promised. 'I'll pencil it [all] myself and make the deadline.' I hadn't expected this kind of reaction ... but I acceded to Kirby's wishes and, it turned out, was lucky that I did. There might have been two Als, but there was only one Jack Kirby.

I wrote the first Captain America book with penciled lettering right on the drawing boards, with very rough sketches for figures and backgrounds. Kirby did his thing, building the muscular anatomy, adding ideas and pepping up the action as only he could. Then he tightened up the penciled drawings, adding detailed backgrounds, faces and figures.^[6]

Al Liederman would ink that first issue, which was lettered by Simon and Kirby's regular letterer, Howard Ferguson.^[7]

Simon said Captain America was a consciously political creation; he and Kirby were morally repulsed by the actions of Nazi Germany in the years leading up to the United States' involvement in World War II and felt war was inevitable: "The opponents to the war were all quite well organized. We wanted to have our say too."^[8]

Captain America Comics #1 — cover-dated March 1941 and on sale in December 1940, a year before the attack on Pearl Harbor, but a full year into World War II — showed the protagonist punching Nazi leader Adolf Hitler in the jaw; it sold nearly one million copies.^[9] While most readers responded favorably to the comic, some took objection. Simon noted, "When the first issue came out we got a lot of... threatening letters and hate mail. Some people really opposed what Cap stood for."^[8] The threats, which included menacing groups of people loitering out on the street outside of the offices, proved so serious that police protection was posted with Mayor Fiorello La Guardia personally contacting Simon and Kirby to give his support.^[10]

Though preceded as a "patriotically themed superhero" by MLJ's The Shield, Captain America immediately became the most prominent and enduring of that wave of superheroes introduced in American comic books prior to and during World War II,^{[citation needed]} as evidenced by the unusual move at the time of premiering the character in his own title instead of an anthology title first. This popularity drew the attention and a complaint from MLJ that the character's triangular shield too closely resembled the chest symbol of their Shield character. In response, Goodman had Simon and Kirby create a distinctive round shield for issue 2, which went on to become an iconic element of the character.^[11] With his sidekick Bucky, Captain America faced Nazis, Japanese, and other threats to wartime America and the Allies. Stanley Lieber, now better known by his pen name Stan Lee, contributed to the character in issue #3 in the filler text story "Captain America Foils the Traitor's Revenge," which introduced the character's use of his shield as a returning throwing weapon.^[12] Captain America soon became Timely's most popular character and even had a fan-club called the "Sentinels of Liberty."^[8]

Circulation figures remained close to a million copies per month after the debut issue, which outstripped even the circulation of news magazines like Time during the period.^[13] After the Simon and Kirby team moved to DC in late 1941, having produced Captain America Comics through issue #10 (January 1942), Al Avison and Syd Shores became regular pencillers of the celebrated title, with one generally inking over the other. The character was also featured in All Winners Comics #1-19 (Summer 1941 – Fall 1946), Marvel Mystery Comics #80-84 and #86-92, USA Comics #6-17 (Dec. 1942 – Fall 1945), and All Select Comics #1-10 (Fall 1943 – Summer 1946).

In the post-war era, with the popularity of superheroes fading, Captain America led Timely's first superhero team, the All-Winners Squad, in its two published adventures, in All Winners Comics #19 and #21 (Fall–Winter 1946; there was no issue #20). After Bucky was shot and wounded in a 1948 Captain America story, he was succeeded by Captain America's girlfriend, Betsy Ross, who became the superheroine Golden Girl. Captain America Comics ended with issue #75 (Feb. 1950), by which time the series had been titled Captain America's Weird Tales for two issues, with the finale being a horror/suspense anthology issue with no superheroes.

Atlas Comics attempted to revive its superhero titles when it reintroduced Captain America, along with the original Human Torch and the Sub-Mariner, in Young Men #24 (Dec. 1953). Billed as "Captain America, Commie Smasher!" Captain America appeared during the next year in Young Men #24-28 and Men's Adventures #27-28, as well as in issues #76-78 of an eponymous title. Atlas' attempted superhero revival was a commercial failure,^[14] and the character's title was canceled with Captain America #78 (Sept. 1954).

Silver Age revival[link]

In the Human Torch story titled "Captain America" in Marvel Comics' Strange Tales #114 (Nov. 1963),^[15] writer-editor Stan Lee and artist and co-plotter Jack Kirby depicted the brash young Fantastic Four member Johnny Storm, the Human Torch, in an exhibition performance with Captain America, described as a legendary World War II and 1950s superhero who has returned after many years of apparent retirement. The 18-page story ends with this Captain America revealed as an impostor: it was actually the villain the Acrobat, a former circus performer the Torch had defeated in Strange Tales #106, who broke two thieves out of jail, hoping to draw the police away while trying to rob the local bank. Afterward, Storm digs out an old comic book in which Captain America is shown to be Steve Rogers. A caption in the final panel says this story was a test to see if readers would like Captain America to return.

Captain America was then formally reintroduced in The Avengers #4 (March 1964), which explained that in the final days of WWII, he had fallen from an experimental drone plane into the North Atlantic Ocean and spent decades frozen in a block of ice in a state of suspended animation. The hero found a new generation of readers as leader of that superhero team. Following the success of other Marvel characters introduced during the 1960s, Captain America was recast as a hero "haunted by past memories, and trying to adapt to 1960s society."^[16]

After then guest-starring in the feature "Iron Man" in Tales of Suspense #58 (Oct. 1964), Captain America gained his own solo feature in that "split book," beginning the following issue. Issue #63 (March 1965), which retold Captain America's origin, through issue #71 (Nov. 1965) was a period feature set during World War II and co-starred Captain America's Golden Age sidekick, Bucky. Kirby drew all but two of the stories in Tales of Suspense, which became Captain America with #100 (April 1968); Gil Kane and John Romita, Sr., each filled in once. Several stories were finished by penciller-inker George Tuska over Kirby layouts, with one finished by Romita Sr. and another by penciller Dick Ayers and inker John Tartaglione. Kirby's regular inkers on the series were Frank Giacoia (as "Frank Ray") and Joe Sinnott, though Don Heck and Golden Age Captain America artist Syd Shores inked one story each. The new title Captain America continued to feature artwork by Kirby, as well as a short run by Jim Steranko, and work by many of the industry's top artists and writers. It was called Captain America and the Falcon from #134-222 (although the Falcon's name was not on the cover for issues #193, 200, and 216).

This series — considered Captain America volume one by comics researchers and historians,^[17] following the 1940s Captain America Comics and its 1950s numbering continuation — ended with #454 (Aug. 1996).

After the Silver Age[link]

This series was almost immediately followed by the 13-issue Captain America vol. 2 (Nov. 1996 – Nov. 1997, part of the "Heroes Reborn" crossover),^[18] the 50-issue Captain America vol. 3 (Jan. 1998 – Feb. 2002),^[19] the 32-issue Captain America vol. 4 (June 2002 – Dec. 2004),^[20] and Captain America vol. 5 (Jan. 2005 – July 2009).^[21] Beginning with the 600th overall issue counting these series, Captain America resumed its original numbering, as if the series numbering had continued uninterrupted after #454.

As part of the aftermath of Marvel Comics' company-crossover storyline "Civil War", Steve Rogers was ostensibly killed in Captain America vol. 5, #25 (March 2007). Series writer Ed Brubaker remarked, "What I found is that all the really hard-core left-wing fans want Cap to be standing out on and giving speeches on the street corner against the George W. Bush administration, and all the really right-wing fans all want him to be over in the streets of Baghdad, punching out Saddam Hussein."^[22] The character's co-creator, Joe Simon, remarked, "It's a hell of a time for him to go. We really need him now."^[22] Artist Alex Ross designed a slightly revised Captain America costume that former sidekick Bucky Barnes began to wear as the new Captain America in vol. 5, #34 (March 2008)^[23]

The storyline of Rogers' return began in issue #600.^[24][25] Rogers, who was not dead but caroming through time, returned to the present day in the six-issue miniseries Captain America: Reborn (Sept. 2009 – March 2010).^[26]

After Rogers' return, Barnes, at Rogers' insistence, continued as Captain America, beginning in the one-shot comic Captain America: Who Will Wield the Shield? (Feb. 2010). While Bucky Barnes continued adventuring in the pages of Captain America, Steve Rogers received his own miniseries (Steve Rogers: Super-Soldier) as well as taking on the leadership position in a new Secret Avengers ongoing series.

Spinoff series included Captain America Sentinel of Liberty (Sept. 1998 – Aug. 1999) and Captain America and the Falcon (May 2004 – June 2005). The 1940s Captain America appeared alongside the 1940s Human Torch and Sub-Mariner in the 12-issue miniseries Avengers/Invaders.^[27][28] The 2007 mini-series Captain America: The Chosen, written by David Morrell and penciled by Mitchell Breitweiser, depicts a dying Steve Rogers' final minutes, at S.H.I.E.L.D. headquarters, as his spirit guides James Newman, a young American Marine fighting in Afghanistan. The Chosen is not part of the main Marvel Universe continuity.^[29][30]

Marvel stated in May 2011 that Rogers, following the public death of Bucky Barnes in the Fear Itself miniseries, would resume his Captain America identity in a sixth volume of Captain America, by writer Ed Brubaker and artist Steve McNiven.^[31]

Fictional character biography[link]

This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (March 2011)

1940s[link]

Steve Rogers was born July 4, 1920, in the Lower East Side of Manhattan, New York City, to Irish immigrants Sarah and Joseph Rogers.^[32] Joseph Rogers died when Steve was only a child and his mother, Sarah, died of pneumonia while Steve was a teen. By early 1940, before America's entry into World War II, Rogers is a tall but scrawny fine arts student specializing in illustration, and a comic book writer and artist, a career he willingly set aside upon his transformation into Captain America. Despite some forays into graphics, Steve Rogers never created another character^[33]

Disturbed by the rise of the Third Reich, Rogers attempts to enlist, only to be rejected due to his physically frail body. His resolution however allows him to be noticed by U.S. Army General Chester Phillips and "Project: Rebirth." Rogers is used as a test subject for the Super-Soldier project, receiving a special serum made by "Dr. Josef Reinstein",^[34][35] later retroactively changed to a code name for the scientist Abraham Erskine.^[36]

The serum, coupled with the stabilizing "Vita-Rays," is a success, and transforms the frail Steve Rogers into a perfect specimen--a nearly perfect human being with peak strength, agility, stamina, and intelligence. The success of the program leaves Erskine wondering about replicating the experiment on other human beings.^[35] The process itself however has been inconsistently detailed: while in the original material Steve Rogers is shown receiving injections of the Super-Serum, when the origin was retold in the sixities, the Comic Code Authority had already put a veto over graphic description of drug intake and abuse, and thus the Super-Serum was retconned into an oral formula.^[37] Later accounts hints at a combination of oral and intravenous treatments, culminating in the Vita-Ray exposure and a strenuous training regimen.

Erskine refused to write down every crucial element of the treatment, leaving behind a flawed, imperfect knowledge of the needed steps. Thus, when the Nazi spy Heinz Kruger killed him, Erskine's method of creating new Super-Soldiers died as well. Captain America, in his first act after his tranfsormation, avenges Erskine. In the 1941 origin story and in Tales of Suspense #63, Kruger dies when running into machinery but is not killed by Rogers; in the Captain America #109 and #255 revision, however, Rogers causes the spy's death by punching him into machinery.^[35]

Unable to create new Super-Soldiers, and willing to hide the Project Rebirth fiasco, the U.S.A. Government casts the now-powerful Rogers as a patriotic superhero, able to counter the menace of the Red Skull as a counter-intelligence agent. As such, he's supplied with a patriotic uniform (designed by Rogers himself) ^[32]) a bulletproof shield, a personal side arm, and the codename Captain America, while Steve Rogers himself poses as a clumsy infantry private at Camp Lehigh in Virginia. He forms a friendship with the camp's teenage mascot, James Buchanan "Bucky" Barnes.^[34]

Eventually Barnes learns of Rogers' dual identity and offers to keep the secret if he can become Captain America's sidekick, being trained himself to act as the perfect partner. During their adventures, Franklin D. Roosevelt presents Captain America with a new shield, forged from an alloy of steel and vibranium, fused by an unknown catalyst, so effective that it replaces his own firearm.^[36] Throughout World War II, Captain America and Bucky fight the Nazi menace both on their own and as members of the superhero team the Invaders (as seen in the 1970s comic of the same name).^[38] Captain America also battles a number of criminal menaces on American soil, including a wide variety of costumed villains: the Wax Man,^[39] the Hangman,^[40] the Fang,^[40] the Black Talon,^[41] and the White Death,^[41] among others.

In late April 1945, during the closing days of World War II, Captain America and Bucky try to stop the villainous Baron Zemo from destroying an experimental drone plane. Zemo launches the plane with an armed explosive on it, Rogers and Barnes in hot pursuit. The pair reach the plane just before take off. When Bucky tries to defuse the bomb, it explodes in mid-air. The young man is believed killed. Rogers is hurled into the freezing waters of the North Atlantic. Neither is found, and both are presumed dead. It is later revealed that neither character actually died.^[42]

Late 1940s to 1950s[link]

Captain America continued to appear in comics for the next few years changing from World War II-era hero fighting against the Nazis to trying to defeat the United States' newest enemy, Communism. The revival of the character in the mid-1950s is short-lived, and events during that time period are later retconned to show that multiple people operated using the code name in order to explain the changes in the character. These Post World War II successors are listed as William Naslund and Jeffrey Mace.

The last of these other official Captains, William Burnside,^[43] was a history graduate enamored with the Captain America's mythos, going so far to have his appearance surgically altered to resemble Rogers and legally change his name into "Steve Rogers", becoming the new "1950s Captain America".^[44] Furthermore, he self-administered to himself and his pupil James "Jack" Monroe a flawed, incomplete copy of the Super-Serum, which made no mention about the necessary Vita-Ray portion of the treatment. As a result, while Burnside (now known as Steve Rogers) and Monroe became the new Captain America and Bucky, they also became violently paranoid, often raving about innocent people being communist sympathizers during the height of the Red Scare of the 1950s. Their insanity forced the US Government to place both of them in indefinite cryogenic storage by the US Government until they could be cured of their mental illness.^[45] The 1950s Bucky would be cured ^[46] and go on to be the original Steve Rogers' Captain America partner for a time under the Nomad identity.

1960s to 1970s[link]

Years later,^[42] the superhero team the Avengers discovers Steve Rogers' body in the North Atlantic, the Captain's uniform under his soldier's fatigues and still carrying his shield. After he revives, they piece together that Rogers had been preserved in a block of ice since 1945, surviving in such a state only because of his enhancements from Operation: Rebirth. The block had begun to melt after the Sub-Mariner, enraged that an Arctic Inuit tribe is worshiping the frozen figure, throws it into the ocean. Rogers accepts membership in the Avengers, and although long out of his time, his considerable combat experience makes him a valuable asset to the team. He quickly assumes leadership,^[47] and has typically returned to that position throughout the team's history.

Captain America is plagued by guilt for having been unable to prevent Bucky's death—a feeling that does not ease for some time. Although he takes the young Rick Jones (who closely resembles Bucky) under his tutelage, he refuses for some time to allow Jones to take up the Bucky identity, not wishing to be responsible for another youth's death. Insisting that his hero finally move on from that loss, Jones eventually convinces Rogers to let him don the Bucky costume,^[48] but this partnership lasts only a short time; a disguised Red Skull, impersonating Rogers with the help of the Cosmic Cube, drives Jones away.

Rogers also reunites with his old war comrade Nick Fury, who is similarly well-preserved due to the "Infinity Formula." As a result, Rogers regularly undertakes missions for the security agency S.H.I.E.L.D. for which Fury is public director.^[49] Through Fury, Rogers befriends Sharon Carter, a S.H.I.E.L.D. agent,^[50] with whom he eventually begins a romantic relationship.

Rogers later meets and trains Sam Wilson, who becomes the superhero the Falcon,^[51] the first African-American superhero in mainstream comic books.^[52] The characters established an enduring friendship and adventuring partnership, sharing the series title for some time as Captain America and the Falcon.^[53] The two later encounter the revived but still insane 1950s Captain America.^[54] Although Rogers and the Falcon defeat the faux Rogers and Jack Monroe, Rogers becomes deeply disturbed that he could have suffered his counterpart's fate.

The series also dealt with the Marvel Universe's version of the Watergate scandal, making Rogers so uncertain about his role that he abandons his Captain America identity in favor of one called Nomad, emphasizing the word's meaning as "man without a country". During this time, several men unsuccessfully assume the Captain America identity.^[55] Rogers eventually re-assumes it after coming to consider that the identity could be a symbol of American ideals and not its government; it's a personal conviction epitomized when he later confronted a corrupt Army officer attempting to manipulate him by appealing to his loyalty, "I'm loyal to nothing, General... except the [American] Dream." Jack Monroe, cured of his mental instability, later takes up the Nomad alias.^[56] During this period, Rogers also temporarily gains super strength.^[57] Immediately after witnessing Number One's suicide, he is summoned to the future to participate in the Destiny War between Kang the Conqueror and Immortus (it is revealed over the course of the story that Rogers was selected from this time frame as, had he been taken from any other time period, his strong personality- shaken at this point by the events he had just witnessed- would have dominated the team and deprived them of the flexibility required to succeed in their mission, although his presence alone still brought cohesion to the group).^[58] He also learns of the apparent death of Sharon Carter.^[59]

1980s to 1990s[link]

The early 1980s included runs from such creators as Roger Stern, John Byrne, and J. M. DeMatteis. Stern had Steve Rogers consider a run for President of the United States in Captain America #250 (June 1980), and introduced a new love interest, law student Bernie Rosenthal, in Captain America #248 (Aug. 1980). Stern also revisited and expanded Captain America's origin story.

DeMatteis revealed the true face and full origin of the Red Skull in Captain America #298-300, and had Captain America take on Jack Monroe, Nomad, as a partner for a time.^[56] It is also around this time that the heroes gathered by the Beyonder elect Rogers as leader during their stay on Battleworld in the 1984 miniseries Secret Wars

Also during the 1980s, Mark Gruenwald wrote 137 issues of the book for 10 consecutive years from 1985 to 1995, the most issues by any single author in the character's history. Gruenwald created several new foes, including Crossbones and the Serpent Society. Other Gruenwald characters included new love interest Diamondback.,^[60] Super Patriot (who would go on to become a replacement Captain America in a two-year story arc ^[61] and became USAgent at that arc's conclusion), and some short-lived new partners that included Demolition Man.^[62]

Gruenwald explores numerous political and social themes as well, such as extreme idealism when Captain America fights the anti-nationalist terrorist Flag-Smasher;^[63] and vigilantism when he hunts the murderous Scourge of the Underworld.^[64] Homophobia was also dealt with as Steve Rogers runs into a childhood friend named Arnold Roth who is gay.^[65][66]

Rogers receives a large back-pay reimbursement dating back to his disappearance at the end of World War II, and a government commission orders him to work directly for the U.S. government. Already troubled by the corruption he had encountered with the Nuke incident in New York City,^[67] Rogers chooses instead to resign his identity,^[68] and then takes the alias of "the Captain".^[69] A replacement Captain America, John Walker, struggles to emulate Rogers' ideals until pressure from hidden enemies helps to drive Walker insane. Rogers returns to the Captain America identity^[70] while a recovered Walker becomes the U.S. Agent.^[71]

Sometime afterward, Rogers avoids the explosion of a methamphetamine lab, but the drug triggers a chemical reaction in the Super-Soldier serum in his system. To combat the reaction, Rogers has the serum removed from his body, and trains constantly to maintain his physical condition.^[72]

A retcon later establishes that the serum was not a drug per se, which would have metabolized out of his system, but in fact a virus-like organism that effected a biochemical and genetic change. This additionally explained how arch-nemesis Red Skull, who at the time inhabited a body cloned from Rogers' cells, also has the formula in his body.

Because of his altered biochemistry, Rogers' body begins to deteriorate, and for a time he must wear a powered exoskeleton and is eventually placed again in suspended animation. During this time, he is given a transfusion of blood from the Red Skull, which cures his condition and stabilizes the Super-Soldier virus in his system. Captain America returns both to crime fighting and the Avengers.^[73]

Following Gruenwald's departure on the book, Mark Waid took over and resurrected Sharon Carter as Cap's love interest. The book was then relaunched under Rob Liefeld as Cap became part of the Heroes Reborn universe for 13 issues before another relaunch restored Waid to the title in an arc that saw Cap lose his shield for a time using an energy based shield as a temporary replacement. Following Waid's run, Dan Jurgens took over and introduced new foe Protocide, a failed recipient of the Super Soldier serum prior to the experiment that successfully created Rogers.

2000s[link]

In the aftermath of the September 11 terrorist attacks, Rogers reveals his identity to the world and establishes a residence in the Red Hook neighborhood of Brooklyn, New York, as seen in Captain America vol. 4, #1-7 (June 2002 – Feb. 2003). Following the disbandment of the Avengers in the "Avengers Disassembled" story arc, Rogers, now employed by S.H.I.E.L.D., discovers Bucky is alive, having been saved and deployed by the Soviets as the Winter Soldier. Rogers also resumes his on-again, off-again relationship with S.H.I.E.L.D. agent Sharon Carter.

In the 2006-2007 company-wide story arc "Civil War", and its anchoring, seven-issue miniseries, Civil War (July 2006 - Jan. 2007), Rogers opposes the new mandatory federal registration of super-powered beings, and leads the underground anti-registration movement. He adopts the alias "Brett Hendrick", a mall security guard. After significant rancor and danger to the public as the two sides clash, Captain America voluntarily surrenders and orders the Anti-Registration forces to stand down.

In the story arc "The Death of Captain America", Rogers is indicted on criminal charges for his anti-registration efforts, and in Captain America vol. 5, #25 (April 2007) is shot outside a federal courthouse; taken to a hospital, he is pronounced dead. The assassination, orchestrated by the Red Skull, involves Crossbones as a sniper and Dr. Faustus, who poses as a S.H.I.E.L.D. psychiatrist and gives Carter a hypnotic suggestion to surreptitiously shoot Rogers at close range during the chaos surrounding the sniper shot.

The miniseries Fallen Son: The Death of Captain America #1-5 (June–Aug. 2007) follows the stunned superhero community after the apparent assassination. Captain America is purportedly laid to rest in Arlington National Cemetery, but Tony Stark (Iron Man) and others have actually returned Rogers' body to the Arctic where Rogers had been found years before.

In vol. 5, #30 (Sept. 2007), Stark receives a letter containing Rogers' request that Bucky become the next Captain America, which Bucky agrees to do four issues later. Adopting the original shield, he dons a new costume incorporating a pistol and a knife. The Norse god superhero Thor communicates with what appears to be Rogers' spirit on the first anniversary of Rogers' death, in Thor vol. 3, #11 (Oct. 2008).

Captain America: Reborn #1 (Aug. 2009) reveals that Rogers did not die, and that the gun Sharon Carter had been hypnotized to use had actually caused Rogers to phase in and out of space and time, appearing at events in his lifetime and fighting battles. The Skull returns Rogers to the present, where he takes control of Rogers' mind and body. Rogers eventually regains control, and with help from his allies, defeats the Skull in the fourth and final issues of this miniseries. In the subsequent one-shot comic Captain America: Who Will Wield the Shield?, Rogers formally grants Bucky his Captain America shield and asks his former sidekick to continue as Captain America. The American President grants Rogers a full pardon for his anti-registration actions.

2010s[link]

Following the company-wide "Dark Reign" and "Siege" story arcs, the Steve Rogers character became part of the "Heroic Age" arc.^[74] The U.S. president appoints Rogers, in his civilian identity, as head of the nation's security, replacing Norman Osborn. The Superhuman Registration Act is repealed and Rogers reestablishes the superhero team the Avengers. In the miniseries Steve Rogers: Super Soldier, he encounters Jacob Erskine, the grandson of Professor Abraham Erskine and the son of Tyler Paxton, one of Rogers' fellow volunteers in the Super-Soldier program. Shortly afterward, Rogers becomes leader of the Secret Avengers, a black-ops superhero team.

During the Fear Itself storyline, Steve Rogers is present when the threat of the Serpent is known.^[75] Following the apparent death of Bucky at the hands of Sin (in the form of Skadi), Steve Rogers ends up changing into his Captain America outfit.^[76] When the Avengers and the New Avengers are fighting Skadi, the Serpent ends up joining the battle and breaks Captain America's shield with his bare hands.^[77] Captain America and the Avengers teams end up forming a militia for a last stand against the forces of the Serpent.^[78] When it comes to the final battle, Captain America uses Thor's hammer to fight Skadi until Thor manages to kill the Serpent. In the aftermath of the battle, Iron Man presents Captain with his reforged shield now stronger for its uru-infused enhancements despite the scar it bears.^[79] It is then revealed that Captain America, Nick Fury, and Black Widow are the only ones who know that Bucky actually survived the fight with Skadi as Bucky resumes his identity as Winter Soldier.^[80]

Powers and abilities[link]

Captain America has no superhuman powers, although as a result of the Super-Soldier Serum and "Vita-Ray" treatment, he is transformed from a frail young man into a "perfect" specimen of human development and conditioning.^[81] Captain America's strength, endurance, agility, speed, reflexes, durability, and healing are at the zenith of natural human potential. Rogers' body regularly replenishes the super-soldier serum; it does not wear off.^[82]

The formula enhances all of his metabolic functions and prevents the build-up of fatigue poisons in his muscles, giving him endurance far in excess of an ordinary human being. This accounts for many of his extraordinary feats, including bench pressing 1200 pounds (545 kg) and running a mile (1.6 km) in 73 seconds (49 mph/78 kph).^[83] Furthermore, his enhancements are the reason why he was able to survive being frozen in suspended animation for decades. Rogers cannot become intoxicated by alcohol, drugs, or impurities in the air and is immune to terrestrial diseases.^{[citation needed]} He is also highly resistant to hypnosis or gases that could limit his focus.^[84] The secrets of creating a super-soldier were lost with the death of its creator, Dr. Abraham Erskine.^[85] However, in the ensuing decades there have been numerous secret attempts to recreate Erskine's treatment, only to have them end in failure. Even worse, the attempts have instead often created psychopathic supervillains of which Captain America's 1950s imitator and Nuke are the most notorious examples.

Rogers' battle experience and training make him an expert tactician and an excellent field commander, with his teammates frequently deferring to his orders in battle. Thor so highly regards Rogers' courage, leadership, and combat abilities that he has stated that Rogers is one of the very few humans he will take orders from and follow "through the gates of Hades".^[86] Rogers' reflexes and senses are also extraordinarily keen. He has blended judo, western boxing, kickboxing, and gymnastics into his own unique fighting style and is a master of multiple martial arts. Years of practice with his indestructible shield make him able to aim and throw it with almost unerring accuracy. His skill with his shield is such that he can attack multiple targets in succession with a single throw or even cause a boomerang-like return from a throw to attack an enemy from behind. In canon, he is regarded by other skilled fighters as one of the best hand-to-hand combatants in the Marvel Universe, limited only by his human physique.^[87][88] Although the super-soldier serum is an important part of his strength, Rogers has shown himself still sufficiently capable against stronger opponents, even when the serum has been deactivated reverting him to his pre-Captain America physique.^[89]

Rogers has vast U.S. military knowledge and is often shown to be familiar with ongoing, classified Defense Department operations. He is an expert in combat strategy, survival, acrobatics, military strategy, piloting, and demolitions. Despite his high profile as one of the world's most popular and recognizable superheroes, Rogers also has a broad understanding of the espionage community, largely through his ongoing relationship with S.H.I.E.L.D. He occasionally makes forays into relatively mundane career fields, including commercial arts, comic book artistry, education (high school history), and law enforcement.

Although he lacks superhuman strength, Captain America is one of the few mortal beings who has been deemed worthy enough to wield Thor's hammer.^[90]

Weapons and equipment[link]

Captain America uses several shields throughout his history, the most prevalent of which is a nigh-indestructible disc-shaped shield made from an experimental alloy of steel and the fictional vibranium.^[91] The shield was cast by American metallurgist Dr. Myron MacLain, who was contracted by the U.S. government, from orders of President Franklin Delano Roosevelt, to create an impenetrable substance to use for tanks during World War II.^{[citation needed]} This alloy was created by accident and never duplicated, although efforts to reverse-engineer it resulted in the discovery of adamantium.^{[citation needed]}

Captain America often uses his shield as an offensive throwing weapon. The first instance of Captain America's trademark ricocheting shield-toss occurs in Stan Lee's first comics writing, the two-page text story "Captain America Foils the Traitor's Revenge" in Captain America Comics #3 (May 1941).^[92]

The legacy of the shield among other comics characters includes the time-traveling mutant superhero Cable telling Captain America that his shield still exists in one of the possible futures; Cable carries it into battle and brandishes it as a symbol.^[93]

When without his trademark shield, Captain America sometimes uses other shields made from less durable metals such as steel,^{[volume & issue needed]} or even a photonic energy shield designed to mimic a vibranium matrix.^{[volume & issue needed]} Rogers, having relinquished his regular shield to Barnes, carried a variant of the energy shield which can be used with either arm, and used to either block attacks or as an improvised offensive weapon able to cut through metal with relative ease.^[94] Much like his vibranium shield, the energy shield can also be thrown, including ricocheting off multiple surfaces and returning to his hand.^[95]

Captain America's uniform is made of a fire-retardant material, and he wears a lightweight, bulletproof "duralumin" scale armor beneath his uniform for added protection.^[36] Originally, Rogers' mask was a separate piece of material, but an early engagement had it dislodged, thus almost exposing his identity. To prevent a recurrence of the situation, Rogers modified the mask with connecting material to his uniform, an added benefit of which was extending his armor to cover his previously exposed neck. As a member of the Avengers, Rogers has an Avengers priority card, which serves as a communications device.

Captain America has also used a custom specialized motorcycle, modified by the S.H.I.E.L.D. weapons laboratory, as well as a custom-built battle van, constructed by the Wakanda Design Group with the ability to change its color for disguise purposes (red, white and blue), and fitted to store and conceal the custom motorcycle in its rear section with a frame that allows Rogers to launch from the vehicle riding it.

Enemies[link]

Captain America has faced numerous foes in over 60 years of published adventures. Many of his recurring foes embody ideals contrary to the American values Captain America is shown to strive for and believe. Some examples of these opposing values are Nazism (Red Skull, Baron Zemo), Neo-Nazism (Crossbones, Doctor Faustus), technocratic fascism (AIM, Arnim Zola), Communism (Aleksander Lukin), anarchism (Flag Smasher and Viper), and international and domestic terrorism (HYDRA).

Other versions[link]

In other media[link]

Collected editions[link]

The contents of Captain America Comics #1-10 were previously published as Captain America: The Classic Years two hardcover slipcase set in 1990. These were later re-issued as trade paperbacks in the late 1990s once again under the title Captain America: The Classic Years featuring new cover art by Kevin Maguire re-creating classic covers. Previous editions of War and Remembrance, The Bloodstone Hunt, Operation Rebirth, Man Without a Country, and To Serve and Protect were released prior to new 2010 editions leading up to the Captain America: The First Avenger feature film.

References[link]