With one more day until the Marvel Cinematic Universe breaks into TV, here’s another look at the stars of WandaVision!
Published by: Marvel Comics
Written by: Tom King
Art by: Gabriel Hernandez Walta & Michael Walsh
Collects: Vision #1 – 12
WHAT’s THE STORY?
They’re quite an unusual couple, but before we see how they work together on TV, we should first understand who these two heroes are in their own right. We checked in on Wanda yesterday, and today, we’re focusing on the…
Real Name: ‘Vision’
Affiliation: The Avengers
First Appearance: Avengers #57 (October 1968)
A somewhat unique being, the Vision is an android created by the Avengers foe Ultron as his ‘son’, in the hopes of using him to bring the team to ruin.
Replete with amazing powers such as immense strength, density altering and the ability to project energy absorbed from the sun through a jewel on his forehead, the Vision is one of the more powerful beings the Avengers have encountered on Earth.
However, when it came to fighting the Avengers, Vision rebelled against his programming, and joined Earth’s Mightiest Heroes against his ‘father’/creator, renouncing evil and becoming a superhero.
A stalwart Avenger, Vision quickly became a respected member of the team, and despite his artificial mind and body, soon fell in love with fellow Avenger the Scarlet Witch.
Their romance would eventually end in tragedy, but such setbacks have not stopped Vision from trying to experience life to the full, as he has created his own family in much the same way as Ultron created him, and now tries to balance some semblance of a normal life while also saving the world.
While the suggestion seems to be that WandaVision will focus primarily on the Scarlet Witch, with the Vision’s return to life being a byproduct of her reality-altering powers (hence the name Wanda’vision’), I imagine that the series will also take inspiration from Tom King’s twelve-issue run on Vision from 2016.
Because while Vision and the Scarlet Witch have made attempts at domestic normalcy in the past, in more recent years it is King’s Vision run that is often remembered for exploring the Marvel superheroes in suburbia setting. The two runs will probably be blended in some way, but there are notable comparisons between what we’ve seen of the show and the contents of Vision.
How accurate that is remains to be seen, but to be honest, there isn’t a whole lot of background needed going into this comic, beyond the above character summary, and I wasn’t sure what to talk about. So I’m just going to stop here and move onto the plot and review.
The Vision has decided to start his life anew. With a new job in Washington as a liaison between the Avengers and the White House, Vision moves into the suburbs of Arlington and creates a wife and two children to accompany him.
There, the Visions attempt to settle into a normal life, but when relatives from the Vision’s past come knocking, their domestic bliss quickly turns into a series of chaotic events.
Much like Scarlet Witch, Vision is one of the few solo series starring its titular character. And once again, the writer has given their all the rectify the lack of good solo series. In fact, I’m sure many would agree that in this series, Tom has created an instant classic.
While making the Vision a likeable character has been done before, it speaks to King’s talent that he’s able to not only humanise the Vision, but also make us care for his new family in the space of twelve issues.
Their interactions – framed as a story about your standard nuclear family, but with robots – allow for an array of humorous and poignant scenes, that in some ways are far more entertaining than your standard superhero approach for the Vision. As such, the fact the Vision’s costumed outings in this story are limited to the occasional panel and one fight near the climax isn’t at all bothersome.
Furthermore, the Visions neighbours and the children who attend Vin and Viv’s (Vision’s children) school also add to the entertaining nature of this drama, with the contrast between the fearful humans and the androids overly logical pursuit of normalcy making for a great read. Through all of these characters, King gets to analyse what things like language, justice and family mean through an overtly practical lense, and shine a light on things we do and say as humans and question why we do such things, and whether or not we even should.
From the very first issue, it’s a riveting ride, and as it goes on, King starts to layer in some heavy thriller vibes, the likes of which you might see in shows like Ozark or Breaking Bad (not that the Vision starts cooking meth or anything). Taking this approach to Vision is frankly a stroke of genius, and in the space of twelve issues, King mines so much rich material from that concept.
The art by Walta is also phenomenal, as he goes to great efforts to make King’s script work as well as it does. The way he manages to make the Vision family’s faces both lifeless, yet full of emotion in certain scenes really hammers down the drama of the story and the trauma these characters are forced to confront.
In some ways, you could argue that this is a comic that doesn’t really fit with the wider universe – some of the things Vision and his family go through are the sort of events that make you question how other characters will ever look at them the same way going forward. Fortunately, it’s all wrapped up quite nicely, and the fact that it has a clear beginning and end only adds to the appeal.
All-in-all, I give Vision a…
Thanks for reading! What’s your most highly anticapted property from Marvel’s ‘Phase Four’? Let me know in the comments, below!
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