Arana didn't do much for me, but the new vision of the Scorpion proved to be a decent story. Vegas so was radically different from the typical Marvel hero, and I trust in Karl Kesel's storytelling, so I looked forward to this title's third new concept. After reading just a few pages, though, that anticipation quickly turned to disappointment. The characters are corny, and the art is somewhat impenetrable, though Kesel base premise -- that not all superhumans dress up in costumes -- is one with potential. The backup story, which tees up next month's Captain Universe event, is clunky as well and doesn't exactly boast the most polished artwork Marvel has to offer.
Vegas is a dashing stranger who's got a long string of women behind him and not much of a future, but one particular woman occupies his thoughts these days: his sister. She was killed by a gang of superhuman criminals, and he's out for revenge. What Vegas doesn't know is that he's got luck-manipation powers on his side, but working against him is an Austin sheriff who police the city's superhuman community. And in New York, a beat cop finds a new way to help people -- a collection of amazing cosmic powers that transform him into Captain Universe. Unfortunately, things don't work out as well as he'd hoped.
The art on the Vegas feature is rough and unclear. I'm reminded of Bart (Weapon X: Days of Future Now) Sears's work, but the action doesn't flow as smoothly and clearly as is needed. Furthermore, the character designs are cliched and uninspired, and the colors tnd to wash out the visuals rather than enhance them. Magno's art on the Captain Universe backup story aren't strong either. It's inconsistent, and it fails to capture the cosmic, wondrous nature of Captain Universe.
That backup feature begins in this issue, but the overall tone of the script when it begins makes it seem as though this is a continuation, not a beginning. The cop's story is a fleeting one, and the reader never gets a chance to get emotionally invested in the characters or the plot. We really needed to witness the character's transformation rather than relegating it to a couple of flashback panels.
The same holds true for Vegas. The catalyst for this story is his sister's death, but it's only vaguely referenced in a single flashback. How she died isn't clear, nor why the Renegades targeted her. Furthermore, the characters are just too one-dimensional. Vegas is the typical charming rogue, and Tombstone is a typical Western lawman. Kesel never takes us beyond the characters' one-dimensional facades. 2/10
