Black Widow #11 - Marvel Comics

BLACK WIDOW No. 11, November 2021

Initially implying that this comic’s plot might be more focused upon the covert exploits of its titular character than her formidable flair for fatal fisticuffs, Issue Eleven of “Black Widow” arguably starts a little slowly as Natasha Romanoff simply seeks the services of a long-time informant across a five-page sedentary sequence. However, once Stan Lee’s co-creation returns from her visit to Maxi the cobbler and subsequently invites a decidedly grouchy Yelena Belova to a formal “old-timey freak show meets that Cirque Du Soleil business”, Kelly Thompson’s narrative undeniably becomes much more action-packed.

Indeed, the entirety of the remaining comic centres upon the two former Russian KGB agents as they initially swap barbed pleasantries with the disconcertingly super-powered Twins, before showing the mysterious, smartly-suited pair just why the female super-heroes are some of the best in the crime-fighting business. This vicious confrontation is as slickly presented as Liv and Lars collaborative special ability is disconcerting, and makes for an enthralling game of ‘cat and mouse’ as the combatants repeatedly swap opponents in an effort to gain the upper hand; “Well, we wanted to fight them and so we did. Always good to know where you stand. Still, a bit of injury to our pride. Yes.”

Of course, that isn’t to say that the Eisner Award-winner neglects the burgeoning abilities of Romanoff’s other team-mates either, with “The Source” also providing some significant spotlight upon both Spider-Girl and Lucy Nguyen as they train together at The Web in San Francisco. These sparring sessions are well-penned by the American author, and additionally used to show how the White Widow’s young protégés’ relationship with one another is quickly developing into a seemingly firm friendship.

Ultimately though, a lot of this book’s success is due to Rafael De Latorre’s artwork and evident ability to pack Thompson’s storyline with some truly pulse-pounding pugilism. In fact, the sense of speed which emanates from the Brazilian illustrator is electrifying, especially when they’re pencilling either the overly-muscled Liv or perturbingly emaciated Lars rapidly trading blows, knife attacks and electroshocks at close quarters with Natasha and Yelena within the confines of a circus tent.

The regular cover art of "BLACK WIDOW" #11 by Adam Hughes