The majority of readers tend not to "get" Priest's super-hero writing. I'm making a bit of an assumption here, but that's based on what could be described as disappointing sales on a number of his titles over the past decade or so. It's too bad. Yes, Priest's writing isn't easy, but it's worth the effort. There are minute details and misdirections that play important roles in his storytelling, and that's true of this latest effort as well. His achronological approach works to the advantage of the story, and the writer has developed a strong and compelling voice for a rather underused Marvel hero. The art stands out as rather unusual as well, but Sears's exaggerated linework brings an undeniably intense strength to the book, which is thoroughly appropriate, given the tone of the script.
The Falcon has been caught on video-tape breaking out a friend -- a Daily Bugle journalist -- from a military prison in Guantanimo Bay, Cuba, and it's not long before the high-flying hero's one-time partner, Captain America, learns of his apparently illegal actions back home in the States. Cap is determined to get to Cuba to track down his friend and to get some answers, but that task may prove more challenging than he thought. Meanwhile, the Falcon meets with the leader of an infamous Cuban crime organization.
I suspect Sears's work here will polarize opinion. But there's a quality in his depiction of the main characters that works well here, and that quality is this: machismo. Cap and Falcon are mountains of muscle and canyons of cool composure. The art is appropriately darkm reflecting the tension and maturity in the script. There are tiny details in the art that are far more important than they seem to be. Like the script, the art makes you work a bit to appreciate what's going on. A bi more clarity might have been helpful, but that extra bit of work is worth it.
Not surprisingly, there are political elements to be found in Priest's plot, and they bring credibility to a story featuring characters born of fantasy. The writer includes quick criticisms of the current U.S. administration's policies and actions, as well as a refreshingly cynical look at its dealings with Cuba. I also love how Priest makes a Spider-Man supporting cast member come to life, maintaining his idealism as well as a certain degree of cynicism that one would expect of a seasoned journalist.
Nothing fazes Cap and the Falcon here. They are movie-action heroes here. At first, the Cap portrayal really doesn't click with what the reader knows of the character. In fact, Cap-in-action doesn't really click with the Corcerned-Cap portrayal earlier on this very issue. Is it sloppy writing? No, it's actually quite clever. Priest is the sort of writer you have to trust in. He's the sort of writer his collaborators have to trust in as well. But if that trust is there, there's a tremendous payoff to be had.
