You all know the story: machines built to become the next stage in human evolution slowly acquire human emotions. The machine can fall in love at once, start a family, or even experience a heartbreak. From Star Trek data: the next generation of Steven Spielberg’s AI: artificial intelligence, it’s a story that has influenced countless creators. In Vision & The Scarlet Witch #2, Steve Orlando and Lorenzo Tammetta ask, “What happens if you have a close experience to a machine?”
That’s the case of vision. Vision almost died after an attack by the Grimm Reapers. The scar-colored witch can save him from the deep by, but at a great cost. He is now essentially a ghost of his former self, and he hasn’t taken it well. Many readers will quickly consider the shift that took place in the original West Coast Avengers Run. There, the vision was disassembled and reassembled into a more ghostly shape, but that’s not the only nod Steve Orlando makes. Maxissally in the Vision of Tom King and Gabriel Hernandez Walta, Valkyrie: Jane Foster Mini by Jason Aaron and Al Ewing, and even mentions deeper universe entities that live in Marvel’s Canon.
But Orlando doesn’t just use these past stories as building blocks for this thing. He also gets the opportunity to jig where others zag. The biggest example is in vision. While the West Coast Avengers make him an emotionless wraith, here he flips over, denounces Wanda in his current state and breaks down when he returns to his old home. This makes for a really interesting dynamic. Because Wanda was usually the person who kept track of her emotions while her vision was comfortable here. The Reverese that’s happening here isn’t just a great character dynamic, but another way Orlando shows how Scarlett’s Witch has grown as a character.
Amazing
Tanmetta also brings his artwork to the limits of Vision and Scarlet Witch #2, showing off the full range of Wanda’s powers. To calm her eyesight and reduce the damage she may cause, she draws him through various dimensions rendered with pure visual splendor. One dimension is full of aquatic creatures, the other is mostly stairs, and the other is full of creatures that give HP Lovecraft nightmares.
That’s not the case without the colour of Ruth Redmond. Most of these dimensions stand out because of their unique colours. Wanda and Vision end with the bright, acidic greenery. However, the constant Redmond always returns is red, especially when Wanda uses the magic of her chaos. The crimson swirls, violet and pink blend into a stunning image, showing just how powerful she is. His ghostly white face also stands out, with Orlando coming up with a reason for the clever class of change.
Vision & The Scarlet Witch #2 utilizes the character history in the title to shape the story, but adds a new twist to what readers are looking for. In a genre that often sounds the boundaries of death, having a manga about death is a welcome change of pace.
“Vision & The Scarlet Witch” #2 thrives in history among the title characters
Vision & The Scarlet Witch #2
Vision & The Scarlet Witch #2 utilizes the character history in the title to shape the story, but adds a new twist to what readers are looking for. In a genre that often sounds the boundaries of death, having a manga about death is a welcome change of pace.
Orlando is not afraid to tackle what death means to others.
Tametta’s artwork literally goes beyond dimensions to provide a visual feast.
The colour contrast throughout the problem is a great display of the duality of life and death.
This issue is drawn from the character history in the title, but is still accessible to new readers.
I don’t know how I feel about the final page.
