![]() ![]() I wrote the thing and didn’t have an earthly clue what was going on. Accommodating these required the other panels to be modified, reduced or eliminated altogether, making the pages very hard to follow. Ignoring instructions and warnings about how important it was to keep the lines straight and clear, Bart chose to insert-for no apparent reason-poster-shot images of Captain American and the Falcon on most every page. ![]() Only, Bart chose a page layout design that utterly confused even the most basic storytelling and completely derailed this dicey misdirect. A savvy reader could (and should have) realized, somewhere in the first issue, that they were looking at two different Caps. That was a dicey choice on my part, but we had clear directions and time signatures inserted. At the end of the issue, however, it is revealed that "Cap" is not the real Captain America, and that the flashbacks weren’t flashbacks at all but were cutaway sequences occurring within the same time frame. I’d designed a first issue where Cap seems to be acting out of character, intercut with apparent flashbacks to events leading up to this behavior. We have Bart to thank for CAF’s strong launch, as the book was (likely) entirely sold on Bart’s Name.īut many fans took an instant dislike to Bart’s style-everybody was hulking the anatomical proportions were comically extreme-and most everyone was completely lost by the first issue’s story, which was my fault. Now, Bart is A Name, and his agreeing to work on CAF was greeted with elation, first and foremost by me. I really believe readers are far less patient now than ever, and that fans love to play Cancellation Roulette and, so, tend to avoid perfectly healthy comic books the fan press have labeled as failures.Ĭomplicating things even more was, initially, artist Bart Sears’ storytelling approach. I was thinking that the readers and the company would both have enough patience with us and enough confidence in me as a writer to enjoy the ride and not demand instant gratification. Problems began almost immediately, problems Priest would later admit were created by both himself and Bart Sears: Captain America and the Falcon was meant to fill the gap created by this situation. This resulted in a situation in which the character's then current solo stories were no longer taking place within Marvel's main shared universe, the Marvel Universe. Captain America's solo title had been restarted in 2002 as a part of the Marvel Knights imprint. The idea to begin publishing Captain America and the Falcon began with Marvel editor Tom Brevoort. The artists with the two most prominent runs were Bart Sears and Joe Bennett. All fourteen issues were all written by Christopher Priest, with the artwork duties passing to a number of different groupings. Cover to Captain America and the Falcon #10Ī fourteen issue limited series titled Captain America and the Falcon was published by Marvel from 2004 to 2005. ![]()
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