I like what he did for Black Panther. Having a serious writer and essayist drew me to his run on the comics. Hopefully they give other serious writers a try.
Although it’s been widely rumored for months, Marvel only lately announced that the next writer of Captain America will be Ta-Nehisi Coates. This is excellent news for a couple reasons: first, because after Nick Spencer’s disastrous run where Captain America became a Nazi, the book and the character badly need not so much a “Fresh Start” as a bold new direction – and Ta-Nehisi Coates is a writer who is not afraid of taking established characters in bold new directions, as readers of his continuing run on Black Panther can attest to. Second, more than almost any hero, Captain America is a character who is about political ideas, and as a top-flight political essayist, Coates is better suited than most comics writers to do just that.
In Coates own words, people often misread Steve Rogers, either thinking of him as a political or cultural reactionary, following a Whiggish view of history in which the past is conservative and the future is an uninterrupted march of progress.
Those of you who’ve never read a Captain America comic book or seen him in the Marvel movies would be forgiven for thinking of Captain America as an unblinking mascot for American nationalism. In fact, the best thing about the story of Captain America is the implicit irony. Captain America begins as Steve Rogers—a man with the heart of a god and the body of a wimp. The heart and body are brought into alignment through the Super Soldier Serum, which transforms Rogers into a peak human physical specimen. Dubbed Captain America, Rogers becomes the personification of his country’s egalitarian ideals—an anatomical Horatio Alger who through sheer grit and the wonders of science rises to become a national hero.
Rogers’s transformation into Captain America is underwritten by the military. But, perhaps haunted by his own roots in powerlessness, he is a dissident just as likely to be feuding with his superiors in civilian and military governance as he is to be fighting with the supervillain Red Skull. Conspirators against him rank all the way up to the White House, causing Rogers to, at one point, reject the very title of Captain America. At the end of World War II, Captain America is frozen in ice and awakens in our time—and this, too, distances him from his country and its ideals. He is “a man out of time,” a walking emblem of greatest-generation propaganda brought to life in this splintered postmodern time. Thus, Captain America is not so much tied to America as it is, but to an America of the imagined past. In one famous scene, flattered by a treacherous general for his “loyalty,” Rogers—grasping the American flag—retorts, “I’m loyal to nothing, general … except the dream.”