What makes this sequel so resonant is the fact that it barely reads like a period piece at all. Many of the conflicts driving this issue are just as relevant in 2017 as they were in 1972. There's still rampant racial inequality and deep-seated mistrust of the police. Many of the conversations could easily be transplanted to the present day with no need for updating. That's especially obvious when it comes to Missy's storyline and its examination of how bigots hide behind a veneer of "traditional family values." In short, the social commentary in this issue is biting and on-point.
That's not to say American Way is all about making a political statement. Like its predecessor, this series works because it offers finely rendered characters with distinct personalities and clear flaws and motivations. New American may be noble of heart, but that doesn't mean that his vigilante crusade is doing much to improve the state of his country or win any admirers. If anything, this issue only points out the hypocrisy and futility of his crusade. And while some of the minor characters in Missy's storyline feel like broadly drawn caricatures, Missy herself is a sympathetic, fully realized character. The original series was very much about how the traditional notions of good and evil in superhero comics are nothing more than hollow pageantry. The one thing that unites all three main characters is a desire (and an inability) to u figure out how to use their powers for something greater.
Jeanty again proves an apt partner to Ridley, as his style naturally toes the line between fanciful superhero adventures and a more grounded, character-driven approach. While there are moments of larger-than-life action here, in general this is a somber story that reflects the gritty, restless nature of its time period. Jeanty is able to bring plenty of life and personality to his characters in terms of general appearance and more subtle elements like body language. New American's mounting frustration and inner turmoil are readily apparent in the way he's presented on the page.
Jeanty's work has a few quirks. The general level of detail varies a bit from panel to panel, and characters' heads sometimes appear out of proportion with their bodies. But these problems don't do much to distract from the larger picture. And plenty of credit goes to colorist Nick Filardi for both nailing the bleak setting and ensuring that the colors help make each of the three storylines feel distinct from one another.