Regarding the use of the characters' hometown as an adventure setting, I agree with most of what has been said. It's easier to set something in an exotic location because if the writer uses the characters' hometown, the game master may end up rewriting a bunch of the stuff anyway, because it doesn't fit perfectly. I also think generic big town adventures can be boring.
I try to address this both in game mastering and writing by having the introductory scenes take place in the characters' neighborhood, let the characters build up some determination, and then go globe hopping. If you look at the four adventures with which I am most familiar, they all allow some introductory scenes where the characters connections or enemies can be interacted with and Determination can be acquired.
Whiteout! - the first third of the adventure takes place in the characters' home city with plenty of opportunities to allow connections and enemies to be tagged.
No Laughing Matter - the entire adventure takes place in a generic "big city."
Extraordinary Journey - the first scene takes place in a generic big city and the final scene takes places in the industrial section of that city.
Through the Looking Glass - only the introductory preface takes place in the characters' home base, but there is nothing to prevent connections or enemies from visiting or working in the target location and being drawn into the misadventure.
As someone mentioned, when Stark City comes out, Icons players will have the benefit of being able to more finely detail their connections and background using the locations provided. Instead of saying that Mary Jane Love Interest works at a tech lab, she can work in Tesla Industrial Park at Paragon Engineering or Impossible Technologies, and next thing you know she's in the middle of a couple of adventures.