|BLACK WIDOW No. 6, June 2021|
This down-to-earth grittiness and focus upon street-level shenanigans really does seem to suit the Eisner Award-nominee’s incarnation of the Russian secret agent, especially considering that the woman is still emotionally traumatised by the loss of her adorable infant son, Stevie. Furthermore, it is clear very early on that the titular character is also still physically struggling from her recent battle with Madame Hydra’s cohorts, with Thompson’s riveting narrative even going so far as to have the vulnerable heroine tear open the stitches in her right side whilst breaking the arms of one particular heavily-muscled goon, and having to seek the wares of a pharmacy before returning to the fight.
Similarly as stimulating is the California-born writer’s inclusion of Yelena Belova and a poorly-skilled purse snatcher called Marigold in a fast-paced flashback sequence. Disappointingly, the White Widow doesn’t actually appear in her capacity as an assassin during her sister-in-arms’ pulse-pounding confrontation with Apogee's numerous henchmen. But does raise the fascinating suggestion with Romanoff that together the two successful graduates of Department X's espionage training program could potentially recruit “some young talent” in order to create “our own not-Red Room” in Golden Gate City.
Guest artist Rafael De Latorre also needs a notable nod of congratulations for his contribution to “Widows”. The Brazilian artist does a first-rate job of imbuing Natasha with all her trademark speed during the clone’s fight scenes, with the former S.H.I.E.L.D. operative’s limb-breaking blows proving a particularly well-pencilled, eye-wincing treat.
|The regular cover art of "BLACK WIDOW" #6 by Adam Hughes|