Scarlet Witch #1
SCARLET WITCH #1
Disappointing. Scarlet Witch is a favorite character, and James Robinson is a superior writer, but I found this take on Wanda meandering and a bit too precious for its own good. The Scarlet Witch is troubled by dreams, sips coffee, talks to a ghost. There is a bloody murder scene and a demon in the mix, but the book isn’t eerie enough to work as horror … and there isn’t nearly enough action for it to work as a superhero book, either. So what we have is something in the muzzy middle, with a lot of scene-setting and a potentially interesting promise to explore the roots of Wanda’s witchcraft, but I won’t be sticking around for the ride. Unlike the recent Doctor Strange reboot, this book didn’t do enough to bring me into Wanda’s world, or make it an interesting place that I wanted to explore. Vanesa Del Rey’s art aims for moody but comes up muddy.
Approachability For New Readers
Poor. There is a clever framing device at the beginning of the story that ties us back to the Avengers, but otherwise this story is a lot of vague references to characters and events of the past. Starts in the middle, and it’s kind of the middle of nowhere.
Read more about the Avengers at Longbox Graveyard
Read more capsule reviews of Marvel’s All-New All-Different rolling reboot.
Which Witch Is Which?
FOOM #12 was about the Vision, so it was also kinda-sorta about the Scarlet Witch, given that the two were an item at the time.
As part of that back-handed recognition, FOOM #12 invited readers to identify eight lesser-known “witches” from the Marvel Universe, circa 1975.
How many of the eight can YOU name? Post your answers in comments, below!
(And no wising off about how one of the witches is technically a warlock!)
See you back here next week for another FOOM Friday!
Visions Of The Past
With news breaking last week that Paul Bettany will be playing the Vision in Avengers 2, this seemed a good time to take a look at FOOM #12, which featured … the Vision!
FOOM #12 cover from the unusual pairing of John Buscema and P. Craig Russell
The origin and nature of this new cinematic Vision are of great interest to Marvel fans, as it seems one of Marvel’s iconic characters of the 1970s can’t help but be a shadow of the original. With the Hank Pym story seemingly in flux for the pending Ant Man film, and with Ultron supposedly a creation of Tony Stark in the Marvel movie universe, the Vision’s origin will certainly be seeing revision (and to be fair, this is a character that’s always suffered a bit for muddled origins).
But back in 1975, the Vision was still a new(ish) kid on the block, and one of the most intriguing characters in Marvel’s line-up — intriguing enough to warrant an issue of Marvel’s in-house fan magazine mostly to himself.
This issue of FOOM dates to a time when Steve Englehart was developing the married relationship of the Vision and the Scarlet Witch, having taken over Avengers scripting duties from Roy Thomas. Most interesting to me were little tidbits offered by Thomas and Englehart in separate interviews about the origins and nature of the Vision.
Roy Thomas, on the pragmatic origins of the Vision:
“The Vision was created because, at certain periods, I was not allowed, because of editorial policy, to use Captain America, Thor and Iron Man as much as I wanted to … I wanted to create an Avenger that I could play around with … and I wanted to bring back a new version of Jack Kirby’s Vision character … Stan, at the same time that I went over it with him, wanted an android character. He wanted the name Android Man or something like that … since I really wanted to get the Vision I talked Stan into having the Vision but as an android …”
Thomas, on John Buscema’s character design, which in Thomas’ estimation was heavily linked to Jack Kirby’s original:
“I explained to John what I wanted and sent him a picture of Kirby’s Vision … one of the early issues where he looked very grim … and I said I wanted that but I wanted kind of a helmet feeling. And I think I probably drew a picture of the head and mentioned the jewel and mentioned the diamond on the chest and so forth. John came up with it and we changed it between the first and second book only in how the cape fastened on the front. But it was basically a combination of sort of Kirby’s and mine and Buscema’s.”
the Vision, by Jack Kirby
Steve Englehart, referencing Roy Thomas on the original nature of the character:
“The Vision was created, as far as I could determine from talking with Roy, to be Marvel’s Mr. Spock. He was going to be the mysterious guy that everybody fell in love with … the sort of untouchable but super man. You know, the guy that everybody wants because he’s so unapproachable … (Now) he’s sort of like at Stage Two, having totally abandoned the pure concept of Mr. Spock. We’re into the stage now where we see what happens when Mr. Spock gets married.”
Englehart, on the Vision’s anatomy:
“It’s always been my opinion that the Vision could not be a natural father. I had played with the idea and rejected it as being impossible to explain in a code approved comic book … that the Vision could drop around to his local sperm bank and pick up a liter of stuff … it became very logical to me that Ultron-5 would not have endowed the Vision … given the fact that he was trying to build a sort of ‘son’ … you never think of your son as being a sexually together individual. A son is not thought of in terms of his sexual prowess.”
The Vision of the mid-1970s is “my Vision,” and I’ve always resented how the character was handled by later creators … but as we prepare ourselves for this new, cinematic version of the Vision, it’s worth remember just how much these characters owe to the variable and sometimes accidental confluence of necessity, convenience, pop culture influences, and collaboration by creators who may have seen their original … uh, vision … only part-way realized — and yet somehow the whole was greater than the sum-of-the-parts. Here’s hoping Paul Bettany’s Vision catches a little magic of its own!
See you again next week for another FOOM Friday!