The Vision #10 Review: Even An Android Can Snap

The Vision has been one of the longest serving members of the Avengers and has even become a family man. But can even a robot superhero be pushed to the breaking point by unjust events?

The Vision #10

Writer: Tom King

Artist: Gabriel Hernandez Walta

Colorist: Jordie Bellaire

First appearing in 1968’s Avengers #57, the android (or “synthezoid”) Vision was created by the evil robot Ultron as the ultimate weapon of destruction. He would later go on to join the team and form a deep bond with its members; particularly the Scarlet Witch. A combination of a mechanical being powered by logic with the capacity for human emotions and thought, the Vision has had a long history of seeking out romantic companionship and even a family against all odds.

More from Comics

Tom King and Gabriel Walta have shown readers what this looks like in The Vision, which is unlike virtually any other series that Marvel Comics has published. On the surface it is about a robot superhero and his family living in a big city. Beyond that premise, it has become an exercise in subtle horror and drama as the Vision’s attempt to literally build the perfect family for himself in Washington, D.C. has led to no end of prejudice, mistrust, and ultimately tragedy.

Using the brain patterns of his ex-wife Scarlet Witch, the Vision built himself a wife named Virgina and two children, Vin and Viv (based on their combined brain patterns). Later on he even made a dog named Sparky. Unfortunately, his attempt to juggle being an Avenger, a government liaison and a father, allowed circumstances to get out of hand. Local citizens distrusted them, a super villain attacked them, and Virginia’s response to being blackmailed led to two accidental deaths.

As the issue begins, the Vision and his family are under house arrest by Iron Man. Having been given a psychic vision of Vision’s ultimate betrayal by Agatha Harkness (a witch), the Avengers have kept a watchful eye on the Vision’s family. They sent Victor Mancha (a “brother” to Vision) to spy on the family, which ultimately led to Vin’s death at Victor’s hands when they were revealed. Feeling saddened by the loss and betrayed by everyone around him, Vision is deep in thought.

King displays what is left of Vision’s family. Virginia has been traumatized ever since the blackmailing incident, and can’t seem to stop repeating words or trying to play the piano. Viv is mourning the loss of not only her brother, but a boy who initially liked her (via the blackmail incident) and is seeking solace by attempting to practice religion. And the Vision is caught between his mission to be a hero and his emotional desire to avenge his son as violently as possible.

It has been a slow build to this point, and a build full of irony. King has used The Vision to tell a story about the tension of attempting to live an ideal suburban life for a family which is considered “the other” by both peers and neighbors. So fearful of a premonition of betrayal, Iron Man and the Avengers may have pushed Vision into the actions they were trying to prevent. Like most of us, the Vision has chosen the needs of his family over all else, even cold logic.

Walta and Bellaire are in top form on art, as with every issue. Every foreboding scene is made even more so by their efforts, with great designs for the entire cast. When action does happen, it is often vibrant and exciting to ratchet up the tension. Matched with King’s cerebral and slow burning narrative, it may stand as one of Marvel’s best “maxi series” ever—selling handsomely in hardcover collections for years to come, much like many of DC Comics’ Vertigo titles.

In fact the series’ only flaw is that it exists in the Marvel Universe. In isolation, it is easy to see how the Vision’s well intended, but troubling actions for the sake of his family (such as lying to police) might disturb the Avengers considering he’s been reprogrammed before. Taken in the context of the whole universe, Tony Stark and other heroes have shrugged off sins twice as bad as anything here. It also clashes with Civil War II, in which Stark is opposed to precognitive justice.

The Vision remains a sublimely creepy and tragic superhero opera for fans who are willing to view it as a work unto itself and not a part of the endlessly interconnected Marvel Universe, at least for a moment. Those who may want a more connected Vision can turn to All-New All Different Avengers #13 written by Mark Waid, drawn by Adam Kubert and colored by Sonia OBack. In this, Vision also faces a difficult choice between logic and emotion.

Having been controlled twice recently by time traveling tyrant Kang the Conqueror, the Vision contemplates going on the offensive with the Avengers’ arch nemesis once and for all. After a meeting with the precognitive Inhuman Ulysses (which is why this qualifies as a Civil War II tie-in issue), the Vision goes on a quest through time to track down Kang as a baby and end him before he can begin his genocidal wars across time.

While in theory the Vision is seeking to do away with a great evil logically, in practice, he is seeking to avenge himself from being turned against his friends as a weapon again. Throughout his journey through time, the Vision meets a strange wraith who may be key to this entire affair. Waid deploys an old school narration style that most writers, aside from Chris Claremont, have abandoned. Kubert and Oback use the variety of time travel settings to their visual advantage.

It’s been a big week for the Vision. Later on in the year, it seems that his daughter Viv will be joining Marvel’s relaunch of Champions, which will be written by Waid. The fate of the Vision himself is unknown, and it seems the ending that King has in store may be as poetically violent as the plays of Shakespeare that Vin was so fond of. Considering his status in Marvel Comics history, it would be appropriate if his send off was as tragically complicated as the rest of his life has been.

Home/Comics