In Scarlet Witch #1, Vanesa Del Rey and Jordie Bellaire were able to combine forces to transcend James Robinson’s lackluster writing. In Scarlet Witch #2, Marco Rudy falls straight into that bog and gets stuck there.
Marco Rudy is perfectly capable of creating pages that work. He paints, so the color is all him too, and he plays with colors and panel shapes. He likes to get whimsical and psychological. On a few restrained pages, he creates a nice effect.
The cool blue tones contrast with the stark black and white of Wanda in the corner. There’s a pop of red. The paneling is non-traditional but helps to tell the story. Most of all, he strikes a mood that resonates as a mood and not a mishmash. In this next panel he uses some of his more painterly work on Wanda’s face, and it still works.
What differentiates these pages from the rest of the book is 1) not too many faces, 2) not too many different art styles, 3) not too many colors, 4) not too many words, and 5) not trying too hard!!
But this page is more representative:
And this one even more so:
What do you get if you try out a smorgasbord of styles and combine it with a whole bunch of bla bla bla? Something that looks like a teenager drew it on her jeans in history class. Marco Rudy’s art gets so busy that you’d think James Robinson’s words could hide there and escape notice. But no, there is no escaping the mediocrity of the writing in this issue.
Minotaur? Why whatever could you mean?