Black Widow #2 - Marvel Comics

BLACK WIDOW No. 2, December 2020

Whether intentional or not, Kelly Thompson’s narrative for Issue Two of “Black Widow” can certainly be described as a comic of two halves, with the book’s opening depicting a somewhat humorous pairing of Hawkeye and the Winter Soldier trying to determine whether the titular character is in any real danger or not, and its second part demonstrating that even when only armed with a necklace, Natasha Romanoff is still perfectly capable of battering a band of knife-wielding thugs singlehandedly; “Best night ever, Logan.”

Happily for this publication’s fans though, this contrast in storytelling doesn’t impact upon the seriousness of the plot, with Clint and Bucky’s painful deliberations as to whether they should interfere in their friend’s fake, yet blissfully happy, new existence, admirably demonstrating the genuine care which they have for their fellow super-hero. Indeed, despite all his bluster and childish banter with Barnes, Barton’s surprisingly tense attempt to infiltrate his former team-mate’s supposed retirement by posing as a shallow, security freelancer provides the archer will some endearingly emotional moments, such as when Natasha’s 'son' suddenly interrupts their meeting.

Of course, for those readers more inclined to enjoy Romanoff’s adventures when the former Soviet spy is cracking skulls, the American author also provides a seriously well-paced action sequence concerning five goons in a dark alleyway. This pulse-pounding bout of pugilism is especially enjoyable as Elena Casagrande’s layouts manage to depict the Avenger ridding herself of any cumbersome civilian baubles before ploughing through her ill-meaning opponents, and as result shows just how quick thinking the Black Widow is when faced with an imminent threat.

In fact, this scene really allows the Italian artist to demonstrate why Stan Lee’s co-creation is regarded as the best pupil to have graduated from the covert "Red Room" espionage facility, courtesy of some small, carefully detailed panels which show Natasha using her bracelet as a mirror to better see her attackers, and scooping up a fallen knife from the ground in order to pin one of her molester’s hands to a wall. The breath-taking ferocity of this battle really is extremely well drawn, and again, helps this part of Thompson’s storyline decidedly differ from the much slower, less hurried tempo of the comic’s earlier elements.

The regular cover art of "BLACK WIDOW" #1 by Adam Hughes