The show deserves star Wanda Maximoff

Scarlet Witch #1 is a stylish and clever new chapter in the history of one of Marvel’s most recognizable superheroes. The first issue, which arrives today, follows Wanda’s efforts to establish a new status quo for herself, as she opens a magic shop that aims to help anyone with supernatural problems. While helping a woman connected to a magical town, Wanda is lowered down a rabbit hole that forces her to examine her past, present, and future. The end result is something incredibly magical and personal, which might be one of the best Marvel debuts in recent memory.

While Wanda has remained a mainstay of the Avengers and an occasional antagonist of the entire Marvel universe, her rise to fame has been unique, fueled largely by her blockbuster live-action appearance in WandaVision And the Doctor Strange in the Multiverse of Madness. new Scarlet Witch The series could have approached this household name status in a number of ways, either leaning it so far that it loses Wanda’s previous comic book foundation, or ignoring it entirely. Steve Orlando scripted for Scarlet Witch #1 He decides to work out somewhere in the middle, but he does it in a beautiful, almost effortless way. Not only is this issue accessible to fans who only know Wanda from the MCU, but it adapts elements that haven’t even begun to be affected by live-action (namely, Wanda’s largely unexplored dynamic with fellow franchise veteran and WandaVision Cast member Darcy Lewis, who makes her cleverly comedic appearance as Wanda’s boyfriend and sidekick). Even the issue’s central conflict – Wanda helping a town possessed with magical powers – feels like a skit about how to do it WandaVision Deal with the city of Westview (and the rhetoric that surrounded it for months afterward).

Despite echoes of Wanda’s live-action success, Scarlet Witch #1 couldn’t be fully rooted in the Marvel universe if he tried – it starts with a fight with a Namor villain who hasn’t appeared in the comics in decades, and goes on to deal with the repercussions house mand finally establishes a long-awaited connection between Wanda and the Vision family. Fortunately, this eclectic mix of ingredients is helped by the fact that Scarlet Witch #1 is simply a well-crafted comic, spinning around a story that will enthrall fans, but not get overwhelmed by what’s going on. The premise of the series, a superhero opening up a real business to help those in need, is decades old at this point and has provided fodder for countless standalone stories. But there’s a fun novelty to seeing that formula used with this particular character at this particular point in the Marvel universe – outside of some choice lines, the entire issue reads as a stand-alone story, which feels refreshing in an age of so many Marvel books spinning their wheels and overstaying their welcome.

Sarah Picelli’s style couldn’t be more suited to an art Scarlet Witch, as its aesthetic style and board construction are charming to watch. It was especially gratifying to see Pichelli’s presentation of Wanda’s new Russell Dauterman-designed costume, which proves both functional and ethereal. While Matthew Wilson’s colors are usually excellent, there is an added sense of reflection in his work Scarlet Witch – from the cool gradation of Wanda’s powers at work, to Wanda’s and Pietro’s skin color (something that’s been presented very inconsistently over the years). Cory Beattie’s lettering ties it all together effortlessly, giving every line of dialogue an extra sense of sophistication.

of this second Scarlet Witch The series was first announced, and it was clear it was going to be something special — not only Wanda’s first (well-deserved) solo book in nearly a decade, but the first title to reckon with how she’s been interpreted on the big screen. Team Steve Orlando, Sara Picelli, and company take on this mission and enjoy it, putting a timeless and hilarious look at Wanda’s new status quo. It’s an exaggeration to say that Wanda’s legacy – on page, screen, and more – is unparalleled, Scarlet Witch #1 is an excellent addition to that.

posted by Marvel comics

employment January 4, 2023

written by Steve Orlando

art through Sarah Picelli

Colors Matthew Wilson

letters by Corey Petty

cover by Russell Dauterman

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