THAT is one heck of a fight scene!

 

cover art by Sal Buscema

Captain America and The Falcon #152 (August 1972) has Gerry Conway (writer) and Sal Buscema (artist) bringing their A-game to finish up the Scorpion/Hyde storyline.

It tosses us right into the action with Falcon tracking down the villains by also tracking down the chemicals Mr. Hyde needs to maintain his super strength. He intercepts a shipment, finds out who the boss of the operation is, then goes to see that boss.

It is, by the way, the introduction of the crime boss Morgan, who will be a thorn in Falcon's side in the future.

Anyway, this allows Falcon and Cap to raid the bad guys' hideout, where they have been holding Sharon Carter prisoner. Cap has to go AWOL while on patrol as a cop, but he's been tense and sleepless since Sharon was kidnapped and NEEDS to do this.

What follows is one of Buscema's best ever fight scenes--six pages of kinetic, viceral action as Cap trades blows with Scorpion and Hyde. 

Wait... while CAP trades blows? Where's Falcon?

This issue is a great example of how fictional logic sometimes SHOULD differ from real-life logic. Sam realizes that Cap is running on fumes, but also that he does indeed need the cathartic effect of beating the villains on his own. He needs to regain a feeling of control after feeling he failed Sharon when he didn't prevent her kidnapping. He's confident that Cap will show both physical AND emotional strength when he needs to do so. This is what happens. Skill, timing and an unyielding will make the difference. When Cap finishes off Hyde with a punch to the face, its one of the most satisfying conclusions to a comic book fight ever put down on a page.

Sam's decision doesn't make real-life sense. In real life, no responsible person in a dangerous profession would sit back and watch while his partner did something life threatening without helping. Yes, Cap needed the emotional release, but if he lost, he would have been dead. A cop or soldier would have backed up his partner without hesitation and worried about emotion crises afterwards.

But, as I said, in the world of fiction and superheroes, sometimes the rules are a little different. The writing and characters still have to be strong enough for us to empathize and identify with the protagonists, but sometimes--to hit an important character beat--the "right thing to do" becomes different from what it would be in reality.

It's an example of superhero fiction bending realism to hit a necessary psychological or mythic beat.

There's a few other subplots going on in the story. Nick's jealousy that made him kick Cap out of SHIELD is given a page or two--a motivation I always thought of as out-of-character for the always professional spy/soldier. There's the beginning of a subplot involving a supporting character who works with Steve in the police department. But the Scorpion/Hyde fight is the heart of this issue and, gee whiz, it is cool.

Next week, General Patton needs fuel and its up to the Haunted Tank to get it.