I wasn't quite as taken as my reviewing partner was with the previous alternate-timeline Cap story that ran in the last few issues, so I was looking forward to a return to more mature themes and darker artwork as promised by the arrival of a new creative team. The good news: that brainier, less conventional tone is to be found here. Unfortunately, the plotting in this first issue is a bit scattered, and the artwork offers up an odd depiction of the title character and some dark colors that obfuscate the action. There's potential here, but a greater degree of focus needs to come into play.
After coming face to face with a group of women who want nothing more than to make America their home -- no matter what the cost -- Captain America returns home, ensconcing himself in familiar and soothing experiences, like breakfast at the neighborhood diner. There, he encounters an intriguing and outgoing woman who turns out to be an artist like himself. Their friendly meeting is cut short by a call from the Department of Homeland Security, not to mention an explosion of violence.
There are pages in this issue on which Bachalo's artwork shines. He handles the grounded, everyday scenes featuring Steve Rogers and Rebecca remarkably well. Even against a grey backdrop, the two characters exude energy and hope, and that makes for an important balance given the more cynical and tragic elements in this story. But the Florida fight scenes and the Brooklyn Bridge shootout aren't at all clear. They're dark and difficult to follow. Furthermore, Bachalo's depiction of the title character in costume is almost laughable. His costume looks awkward, and the artist's approach to the chainmail makes Cap look something like a hedgehog.
One of the problems with this issue is that Morales doesn't introduce the main plotline until the final two pages -- something this book has in common with this week's Plastic Man #1. Still, that plotline is a fascinating one. Captain America represents the good and idealistic side of his homeland, but the situation in which he's about to be immersed represents everything that's wrong with America today: political manipulation and the limiting of freedoms.
Of course, other scenes in this issue get in the way of that point. The opening, generic action scene only touches really has little to do with the main plot, though it does tug at the main character's heartstrings a little (but not those of the reader). Speaking of generic scenes, the introduction of a new woman into Cap's life comes off as forced and terribly obvious. While there's a hint of what Cap sees in Rebecca, there's really not much of an indication of why she's interested in him.
