terra: (kate)
[personal profile] terra posting in [community profile] scans_daily
A few days ago I posted from issue #622, which was an Invaders-heavy issue. Today I will post from the latest issue, which is much darker.

It starts out that Bucky and Toro have been left alone at camp while the more senior Invaders have been called away on a mission. Bucky is bored, and so he eavesdrops on a secret meeting to learn about an American spy who was captured and is being held in a nearby prison camp. Obviously, Bucky and Toro have to save him!

There are quite a few pages of Bucky and Toro's humorous bickering, interspersed with grim foreshadowing. Bucky infiltrates the camp alone, leaving Toro on the outside in case he needs a quick escape. He gets to the prisoner with a bit of cunning and without much fuss, but then—

Bucky flips out.

He basically blows up half the camp, he's so angry. But when he's done, it hasn't really helped anything.

There's no way to evacuate the prisoners, they only came prepared for the one American spy. So Tom drags Bucky away, while Bucky promises they'll come back.

But they don't.

When Bucky gets back to camp he gets chewed out for running off on his own. He wants to go back and free the prisoners, but it all gets swallowed up in the chain of command, in mission after mission, until he gets himself blown up over the North Atlantic and a CCCP sub swoops in and takes up his corpse.

Superhero WW2 tales are kind of a curiosity, because they muck around in the established continuity that is, well, history. This is kind of the weighty anti-thesis to stories like "Jim Hammond kills Hitler, what a badass" because Bucky is ultimately powerless in the face of this atrocity. And it really gnaws at him, too. There's a story in the old Invaders series where Bucky visits a Japanese internment camp. (Where everyone is dressed in a kimono and sits on tatami mats to eat rice...) In the end, similarly, Bucky leaves without having changed much, but there was still the sense of a happy ending, because in discovering and displaying the racism of these camps the comic was, by its own logic, dismantling them. Not so much here, but I think the historical threads here are less about the Holocaust and more about the priorities of the military at war, and learning to live with the guilt about people you couldn't save.

I don't know. It's always a tricky business to balance history and superheroics, but, you know, Captain America was created by two Jewish kids in 1941 for the specific purpose of Hitler-punching, and that's a big part of what makes him interesting.

From Captain America & Bucky #623, written by Ed Brubaker and Marc Andreyko, pencils by Chris Samnee, colors by Bettie Breitweiser.
blue_bolt: (Default)
From: [personal profile] blue_bolt
Here's the thing. You don't have to save 6 million Holocaust victims. Just save 500 or so and deal with the psychological ramificiations of how you couldn't save them all. I'd actually like to have a WWII talk to a therapist about how they felt guilt over not being able to save so many of the 60 million who died in WWII (does that include the Holocaust or is that just battle casualties?).
biod: Cute Galactus (Default)
From: [personal profile] biod
New idea for a story: personifications of wars. I have no idea how it will work, how the inherent conflict in wars (which should make them severe schizophrenics at best) would factor in, or how not to turn something which is inherently violent and brutal into a persons you don't want to throttle immediately, but now I can't stop thinking about it!
blue_bolt: (Default)
From: [personal profile] blue_bolt
Okay, that's the best idea I've heard all week. Anyone know Neil Gaiman's cell number?
icon_uk: (Default)
From: [personal profile] icon_uk
Intriguing, but the problem in storytelling there would be, I think that war is never one side (except in deciding who gets to right the history books), it's both/all sides, and that would surely render such a person incapable of anything except conflict with themselves, which would be something of a problem in trying to involve them in a story.

The likes of DC's Uncle Sam, or Astro City's Old Soldier, is that they represent one countries involvement in multiple wars (though the Old Soldier adjusts to whichever the most recent conflict was, and apparently dropped out of sight during the Vietnam era) which makes for a more coherent narrative.

Others use a more generalist approach. Piers Anthony had War/Ares as one of his "Incarnations of Immortality", and the Discworld's War (of Four Five Horsemen fame) is the embodiment of all wars, from human battles to ant colonies fighting.


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