Previously On…
Wanda Maximoff, the Scarlet Witch, has seen a huge push in Marvel Comics in the last few years. Always a popular character, she’s risen to new heights and appears consistently across multiple books in the Marvel line. Her latest ongoing series launched last month – following a 4-issue miniseries that bookended her last ongoing series – and has picked up right where that 4-issue mini, Scarlet Witch and Quicksilver, left off. Wanda and Pietro found themselves targeted by the Wizard, but he was just sent at the behest of a mysterious patron now revealed to be The Griever at the End of All Things. Scarlet Witch #1 saw The Griever attack Wanda and the town of Lotkill, closing with the seeming destruction of the Scarlet Witch herself.
The Land of the Dead
Scarlet Witch #2, written by Steve Orlando with art by Jacopo Camagni, colors by Frank William, and letters by VC’s Ariana Maher opens with The Griever in Lotkill, wreaking havoc on the town where Wanda has set up shop. After a brief check-in with Lotkill’s destruction and a few lines from Quicksilver and Darcy, the issue shines its spotlight on Wanda, who finds herself in a state close to death. Her mortal form has been destroyed but a part of her refuses to let go of life. She’s welcomed to the Land of the Dead by the Queen of Nevers, who reveals herself as the sister of the Griever at the End of All Things. She further informs Wanda that she’s specifically landed on the Dark Road, the Witches’ Underworld.
Scarlet Witch #2 delivers big concepts in a fun, engaging, visually stellar package.
It’s with these scenes between Wanda and the Queen of Nevers that Scarlet Witch #2 dives into its larger themes. The Queen of Nevers reveals that she and her sister exist outside of time and space, that she represents what may be – possibility, while her sister the Griever represents what will be – control. The two find themself in an unending quarrel about their purposes. One represents chance and chaos while the other favors grand design and control. They do not act directly against each other but rather through agents. The Queen of Nevers utilizes Nexus Beings as her agents.
Nexus Beings
Nexus Beings are among the most powerful and influential beings in the Marvel Universe. Wanda Maximoff finds herself as one of the few in existence. It’s a revelation that came many years ago and has further cemented her impressive power levels in the Marvel Cosmology. The Queen of Nevers remarks that Nexi bend the grand design – they change the math of the universe. They exist as the personification of true freedom and free will, the ability to act independently and make choices that bring real change to the universe. It’s for this reason that Wanda stands as a threat to the Griever. Wanda exists in defiance of the Grievers’ purpose, she subverts the control she seeks to maintain.
. . . a literalized battle of free will versus determinism.
Without getting too far into spoilers – there’s a further reveal that adds even more metaphysical implications to Wanda’s existence – this is a wildly interesting direction to take the character. Nexus Beings have long existed in the Marvel Multiverse. They are capable of affecting the universal time stream and anchor their respective realities within the Multiverse. It’s a cool concept that’s been around for a bit, but it gets put into a new perspective weaving together Wanda being a Nexus Being with the concepts inherent in her chaos magic. That, to its core, represents possibility, and in doing so pitts her against a metaphysical force.
Metaphysical Fisticuffs
This battle between Wanda and the Griever becomes a literalized battle of free will versus determinism. The Griever represents the scientific, analytic description of the universe. It’s math. If you follow the equation to its end you arrive at the heat death of the universe, a way things will be. It’s the Griever’s job to ensure that control over everything. Wanda – and all the Nexi – stands in opposition to this simply by existing and being capable of free choice. They exist above the quiet math that makes the universe tick.
It’s a never ending fight between metaphysical positions. On one end, determinism – the idea that things in the universe can only be as they are, that there isn’t any freedom of choice at the personal level. Events and existence are simply a series of cause and effect. On the other end, free will – the idea that someone is their own unique, autonomous agent acting in the universe capable of enacting change. Scarlet Witch #2 organically brings these ideas into the realm of superheroes.
Visual Storytelling
The art for this issue is fantastic. Each character has a strong visual design that is consistently rendered in dramatic and expressive poses by Camagni. It’s easy to tell each character’s mood from their stance or facial expression. There’s a hefty amount of action in this issue and it’s exquisitely detailed. Each page feels kinetic, with dynamic and varied panel layouts to keep the reader engaged in the flow of combat. Even when things slow down for a conversation, the pace stays fresh with a combination of camera angles.
William’s colors give the art a vibrant sheen. Reds and greens are particularly striking throughout the issue, maintaining a crisp contrast from cover to cover. Magic blasts, blood splatters, and plumes of fire and ash are all given gradient depth. Maher’s lettering is precise with measured caption boxes and speech bubbles. Griever and the Queen are given unique bubble designs that set them apart from the rest of the cast, providing an added layer of personality to the comic.
Geek Responsibly and make Scarlet Witch a priority because we’re giving this issue a 9/10!
There’s a cameo that will have some fans fist-pumping (I’m one of them) and a confrontation and cliffhanger that makes the next issue a must-read. This title is firing on all cylinders right now. Scarlet Witch #2 delivers big concepts in a fun, engaging, visually stellar package.
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