Thunderbolts: Doomstrike #4 - Marvel Comics

THUNDERBOLTS: DOOMSTRIKE No. 4, July 2025

Largely focused upon Doctor Victor Von Doom verbally sparing with a heavily chained-up Bucky Barnes, this twenty-page periodical’s writers still manage to do a good job in imbuing the speech bubble-laden spate with plenty of tension and dynamic drama. Indeed, Jackson Lanzing and Collin Kelly’s handling of Latveria’s tyrannical ruler is seemingly spot on, as the armoured super-villain projects an almost palpable mixture of sheer arrogance and a desperate, almost juvenile need for his opponent to succumb to his twisted vision of the world; “Would you like to feast with Doom in the light of objective truth.? Then say it.”

Furthermore, this enthrallingly claustrophobic set-piece surprisingly isn’t in any way diminished once the Fantastic Four’s arch-nemesis angrily departs either, with the Eisner Award-nominee’s actually appearing to ‘up the stakes’ once Valentina Allegra de Fontaine begins to ‘interrogate’ the Winter Soldier on her own. Admittedly, much of the Silver Age sorcerer’s physical (and magical) menace is replaced by the Countess’ seductive feminine wiles. But there can be no doubt that the Thunderbolts’ one-armed leader is in just as much physical jeopardy with Citizen V’s catlike grip as he was whilst Jack Kirby’s co-creation was torturing him with the Psi-Temples of He Who Mourns In Memory. 

Disappointingly though, the rest of the storytelling inside Issue Four of “Thunderbolts: Doomstrike” arguably isn’t as well-penned, with Natasha" Romanova’s recruitment of a second strike team occurring in a decidedly choppy manner. Much of this confusion is debatably caused by the American authors desperately trying to demonstrate just how fast and stealthy an operative Black Widow can be when highly motivated. However, in having the former Russian assassin leap from one scene set thirty thousand feet above the Pacific Ocean straight into another based some ninety-eight miles from the Texas/Mexico border, the collaborative pair simply generate a ton of unanswered questions in the audience’s mind – not least of which is why the Agent of S.H.I.E.L.D. selected who she did, and how she physically located/visited them..?

Similarly as ‘hit and miss’ are artist Tommaso Bianchi’s lively layouts, which largely manage to convey all the Machiavellian menace any comic book audience would expect of a yarn spotlighting Victor Von Doom. Yet every now and then the Varese-born illustrator’s panels don’t debatably fully deliver on what is supposedly happening in the script, such as when Songbird screams so as to probably damage/destroy the flying craft she’s aboard, or Ayo and Aneka are presumably conducting some covert mission in Wakanda when they’re spotted by winged Doombots..?

The regular cover art of "THUNDERBOLTS: DOOMSTRIKE" #4 by Leinil Francis Yu & Romulo Fajardo Jr.

Black Widow & Hawkeye #1 - Marvel Comics

BLACK WIDOW & HAWKEYE No. 1, May 2024

Announced in November 2023 by Marvel Comics Editor in Chief C.B. Cebulski whilst at the Lucca Comics & Games festival in Italy, Stephanie Phillips’ opening instalment to this “action-packed” sixty-year celebration of Black Widow and Hawkeye certainly seems to have had a fairly solid storyline lurking within its twenty-four page plot. Yet due to some quite questionable decisions as to this book’s pacing and persistently changing time zones, many a bibliophile probably gave up looking before reaching its rather startling conclusion; “I was on the rooftop across from the ceremony. I am sorry, Nat. The Russian minister… I shot him.”

To begin with however, “Broken Arrow” certainly seems to start off well enough by depicting “a symbiote-equipped Natasha Romanoff” consigning a Soviet assassin to a truly-dreadful death in Siberia. This disturbing scene, which offers no explanation as to just how the Black Widow became a host for her new alien friend or just why Clint Barton is suddenly the target of an Eastern Bloc hitman, ensnares the reader with a hefty veil of murderous mystery, and should've caused a fair few within the mini-series’ audience to yearn to know precisely as what mischief the sharp-eyed archer has recently caused to warrant such terminal attention.

Unfortunately though, this is debatably where the “fan-favourite” creator makes something of a misstep, by insisting on telling her tale back-to-front. Such penmanship may well work for the adrenalin-fuelled action sequence involving the Avenger and aforementioned Cold War killer in Madripoor – especially when it is so energetically pencilled by Italian illustrator Paolo Villanelli. But subsequent head-spinning trips back thirty-six hours, forty-eight hours, forty hours and twenty-eight hours will surely make even the most ardent roller-coaster enthusiast both disorientated and dizzy.

Somewhat more successful is the oddly-placed four-page bolt-on yarn which strangely follows this comic’s “new chapter in the (titular) pair's storied legacy!” Set way back when the two super-heroes were first establishing themselves within the Marvel Universe, and resultantly featuring the Black Widow wearing her original 1965 Don Heck designed strapless unitard costume, this no-nonsense ‘short’ shows an infatuated Hawkeye risking all against Snapdragon so as to prevent “the Red Spy” from being forcibly returned to her Russian masters.

The regular cover art of "BLACK WIDOW & HAWKEYE" #1 by Stephen Sergovia & Jesus Aburtov

Murderworld: Game Over #1 - Marvel Comics

MURDERWORLD: GAME OVER No. 1, May 2023

Most certainly bringing “Arcade’s darkest game” to a close with a bit of a bang, authors Jim Zub and Ray Fawkes’ script for “Murderworld: Game Over” probably left many a reader with a rather sore head, thanks to their storyline containing a number of twists and turns which few will probably anticipate. Indeed, this periodical’s twenty-page plot is positively laced with so many surprising demises that by its end it is genuinely difficult to determine just who is going to survive the grand finale and grab the deadly tournament’s “big prize!”

Sadly however, for those bibliophiles able to step away from the insane murders, red herrings, and Life Model Decoy (LMD) units for a moment, the actual logic to some of this book’s happenings doesn’t arguably make much sense from the perspective of its ever-dwindling cast of characters. For example, having saved the last two competitors from the fatal clutches of a robot Moon Knight, it’s soon revealed that the survivors’ saviour Black Widow, is actually just another of the super-villain’s mechanical killers. This revelation would surely only astonish those long-term bibliophiles who have followed the multi-title yarn and knew that Natasha Romanoff was trying to discover the location of the illegal broadcast. Not the badly battered Alex Benavides or Marina Komarova.

From the participants’ perspective, all that has happened is that Arcade has senselessly dispatched another android to stop his previous LMD from ending their lives, so the new one can do it instead..? This situation debatably makes no sense whatsoever, yet somehow still tricks the eventual victor into feeling they need to check the fallen Avenger’s corpse for signs of life just in case his Hydra-sponsored comrade-in-arms has mistakenly brought an end to the super-heroine’s existence; “I let people die here in Murderworld. I killed so many by not helping. But they would’ve done the same to me. Am I wrong..?”

So bizarre a state of affairs also then leads into perhaps one of the publication’s biggest (and potentially unconvincing) shocks when the gambler-turned-adulterer bests an expert in martial arts and close combat in a straightforward fist-fight. True, the Russian agent had just been wounded in an explosion. But so too had Alex, and yet artist Lorenzo Tammetta still pencils the man with no known hand-to-hand fighting skills whatsoever still somehow strangling the supposedly highly-tutored Marina to an implausible death.

Writers: Jim Zub & Ray Fawkes, Layouts: Netho Diaz, and Pencils/Inks: Lorenzo Tammetta

Murderworld: Moon Knight #1 - Marvel Comics

MURDERWORLD: MOON KNIGHT No. 1, April 2023

Brazenly boasting that “this penultimate chapter has some of the biggest twists yet”, Jim Zub and Ray Fawkes’ script for Issue One of “Murderworld: Moon Knight” certainly should have satisfied any bloodthirsty bibliophiles hoping to see the Fist of Khonshu savagely batter the few surviving competitors left in Arcade’s “life-or-death game of treachery and tragedy” into a pulpy mess. However, any readers eagerly anticipating that the former West Coast Avenger was genuinely going to appear within this comic’s twenty-page plot and potentially put an end to the insane super-villain’s deadly contest, were probably plenty disappointed; “In the name of the Moon, I’ll punish you!”

Indeed, for some reason the writing pair appear to have preferred to pen the “guy in a cape” as a bemusing mechanical singing simulacrum, who utters some truly trite dialogue, loaded with ham-fisted humour and the lyrics of Andy Williams’ song “Moon River”. True, some within this publication’s audience will doubtless have found this ‘tongue-in-cheek’ take a nice change of tone to an otherwise decidedly dark storyline - especially when the situation is swiftly blamed upon one of Arcade’s henchmen apparently having "trouble sourcing audio for Mister Knight.”. But it’s arguably still somewhat hard to take the deaths of this event’s leading cast even slightly seriously when their robot killer is so laughable.

What does definitely work though is the spotlight upon Marina Komarova, and the Hydra assassin’s mission to compete in Murderworld, “acquire all pertinent data, then destroy the facility and kill the staff so no one may use it” except her paramilitary terrorist organization. This character development even goes as far as to show the Russian agent going against her training to save Alex Benavides’ life, making the deadly hand-to-hand combatant actually quite likeable despite her master’s orders.

Italian illustrator Luca Pizzari also does a commendable job in imbuing all these shenanigans with plenty of pace and frankly, raw energy. Perhaps somewhat disconcertingly, the “freelance cartoonist” does pencil Arcade as looking rather like a Joker-clone, complete with massively oversized hand-gun, insane toothy smile, and flamboyantly-coloured waist-coat, tailored suit, and frilled shirt. Yet such a drawing-style also clearly adds lots of dynamic life and personality to the numerous figures he sketches, particularly whenever the panel zooms in on their emotional faces.

Writers: Jim Zub & Ray Fawkes, Artist: Luca Pizzari, and Color Artist: Matt Milla

Murderworld: Wolverine #1 - Marvel Comics

MURDERWORLD: WOLVERINE No. 1, March 2023

Fans of Stan Lee’s co-creation Leap-Frog will doubtless have taken some satisfaction from Jim Zub and Ray Fawkes’ narrative for Issue One of “Murderworld: Wolverine”, due to the collaborative pair penning an incredibly serious incarnation of Vincent Patilio rather than the ordinarily somewhat tongue-in-cheek criminal. In fact, the revelation that one of Arcade’s “two hundred willing contestants” is actually the failed Daredevil foe from the Sixties arguably soon becomes one of this comic’s biggest moments, especially when the middle-aged ex-con continues to demonstrate some modicum of care for his fellow beleaguered competitors; “He doesn’t ask me why I’m helping. I’m not sure what I’d say if he did.”

So surprising a disclosure, wonderfully exposed via a prison-based flashback sequence and then later reinforced when the crook instinctively leaps away from the deadly claws of a remorseless robot, also strangely appears to act as the cement to bind the rest of the survivors together into a cohesive band. This camaraderie genuinely helps win over the readers’ sympathy for the fast-dwindling cast, and resultantly makes any subsequent deaths or life-changing injuries, all the more impactive. 

Frustratingly, what isn’t debatably quite so enthralling is the use of Wolverine as little more than a mechanical gimmick. The sudden arrival of the “mindless mutant animal” momentarily proves quite mesmerising, as “the best he is at what he does” attempts to skewer Leap-Frog on a snow-caked cliff-top. But this effect is then completely deflated when in the next panel it becomes clear the incredibly dangerous X-Man isn’t actually present, and is just one of several colourfully-costumed robots designed to repeatedly shout the anti-hero’s catchphrase “Bub!”

Perhaps just as ‘hit or miss’ as elements within this publication’s plot is its artwork by Carlos Nieto, which in the main is perfectly proficient to aid in the storytelling. However, doubtless some bibliophiles were slightly confused by the similarities between Black Widow and the design of Marina Komarova, courtesy of the “real piece of work” looking very similar to Natalia Romanova in both hair style and predominantly-black costume. Indeed, if not for the slightly different colours applied by Matt Milla the pair are almost identical.

Writers: Jim Zub & Ray Fawkes, Artist: Carlos Nieto, and Inker: Victor Nava

Murderworld: Spider-Man #1 - Marvel Comics

MURDERWORLD: SPIDER-MAN No. 1, February 2023

Taking the somewhat surprising route of focusing upon side-character Eden Abraha, as opposed to actually living up to its title and containing an actual story featuring Peter Parker’s alter-ego, Spider-Man, this “chaotic contest filled with treachery and tragedy from the minds of Ray Fawkes and Jim Zub” probably still landed reasonably well with its audience on account of the Mixed Martial Arts (MMA) Fighter’s personality being penned so well. Indeed, the level-headed contestant’s sound-thinking and willingness to temporarily surround herself with similarly-skilled competitors arguably makes for compelling reading, especially when she appears to even go so far as to battle one of Arcade’s murderous robotic web-spinners one-on-one in a seriously “ballsy move.”

Similarly as well written though is this twenty-page periodical’s supporting cast, which despite being quite substantial considering this comic’s sizeable kill count, still manage to project plenty of individualism. Of particular note has to be Vincent, who alongside being “old enough to be my dad”, brings with him some formidable survival skills and a canny knack of utilising Murderworld’s mechanical devices to his advantage; “Whoa! Did that old fart disarm one of our survival pack bombs and keep it hidden?! What a champ!!!”

Furthermore, all these sense-shattering shenanigans are imbued with plenty of raw energy, courtesy of Farid Karami and (colour artist) Chris Sotomayer’s lively layouts. The illustrator’s ability to palpably project all the horror slowly dawning upon many of Arcade’s naïve challengers makes for some utterly enthralling storytelling. Whilst the artwork’s bright palette wonderfully captures the suggestion that all the killings are truly taking place beneath the bright lights and cameras of the villain’s criminal organisation.

Sadly, what is disappointing about Issue One of “Murderworld: Spider-Man” is surely the complete absence of this book’s main headliner, with its authors pulling a major ‘bait and switch’ stunt by having Arcade deploy several automatons replicating the wall-crawler’s famous super-abilities instead of including the genuine article himself. Admittedly, this “web of death” certainly creates some enjoyable, high-octane action sequences, as well as a little dark humour when a ‘boring botanist’ has his mouth sealed shut with webbing whilst pontificating about “the lay of the land”. But the ‘fraud’ still must have annoyed many a bibliophile, even if the Black Widow’s sudden appearance midway through the publication, proves a compensatory surprise.

Writers: Jim Zub & Ray Fawkes, Artist: Farid Karami, and Color Artist: Chris Sotomayor

Black Widow #15 - Marvel Comics

BLACK WIDOW No. 15, May 2022

Sadly bringing this ongoing series’ “legendary run” to an end, Kelly Thompson’s narrative for Issue Fifteen of “Black Widow” certainly seems to do a job good in both wrapping up the comic’s latest sense-shattering shenanigan, as well as leaving the book’s audience asking for more stories about Natasha Romanoff’s increasingly close super-heroic family. Indeed, towards the end of this twenty-page periodical’s plot, the “Eisner-winning” writer makes a remarkable habit of penning some the Soviet agent’s ongoing adversaries conducting a successful break for freedom so they can live to fight another day; “Your honour spared my life once before, and I do the same for you now.”

Foremost of these intriguing ‘open-ends’ is arguably the defeat of the Living Blade, after the mysterious swordsman is stopped short of slicing up a clearly battle-weary Yelena Belova. Perhaps somewhat disappointingly, the pair’s apparently epic confrontation isn’t actually covered by this publication due to the action following the titular Avenger first and foremost. However, considering that it is made somewhat clear that the injured “exemplar trainee in the Red Room Academy” wouldn’t have survived her duel for much longer if not for Natalia’s swashbuckling intervention, it doesn’t bode well for Romanoff’s future when she later grants the cold-blooded killer clemency.

Likewise, there’s the suggestion that the selfish Twins, Liv and Lars, plus Aldrich Lux Voss, will surely crop back up like a bad penny once the New York City-based publisher decides to produce another comic based upon the Black Widow’s exploits. The sudden departure of the odious platinum-blonde doppelgangers just as Spider-Girl needs their physical help to fend off a flurry of the Host’s pistol-toting henchmen is particularly perturbing, as their unappreciative abandonment comes just as Lucy Nguyen has literally brought one of them back from the brink of death with her “volatile electric” abilities.

Of course, alongside this book’s enthralling authorship are its eye-catching layouts by Elena Casagrande, Rafael T. Pimentel, Elisabetta D’Amico and Jordie Bellaire. The mix of pencilers, inkers and colour artist do an excellent job in conveying the rising tension of the superspy’s swansong by providing some genuinely pulse-poundings panels, such as those depicting the Winter Soldier single-handedly stopping a heavily-guarded Host from escaping aboard a helicopter, and Natasha’s awesomely-acrobatic final clash of swords against the Living Blade.

The regular cover art of "BLACK WIDOW" #15 by Adam Hughes

Black Widow #14 - Marvel Comics

BLACK WIDOW No. 14, April 2022

Unequivocally crammed full of pulse-pounding pugilism and featuring a truly chilling cliffhanger of a conclusion, it is easy to see why “Marvel Worldwide” proudly publicised Issue Fourteen of “Black Widow” as being part of an “Eisner-winning series”. For whilst this third instalment to Kelly Thompson's “Die By The Blade” narrative certainly contains a few monetary pauses in its awesome action, even these exchanges between the likes of Yelena Belova and Winter Soldier, or the Host and Living Blade, are simply dripping with both tension and menace; “That was not our arrangement. If you, break this deal, you will not be happy… In the end.”

Leading the charge for much of this adrenalin-infused adventure is Natasha Romanoff’s nail-biting battle with “a villain worth dying for” through the various claustrophobic corridors and ventilation shafts of the Golden Gate Gala charity event. The sheer chemistry between the titular character and her sword-wielding arch-nemesis from Madripoor is absolutely palpable, due to it being made crystal clear straight from the ‘get-go’ by the “ruthless predator” that this hectic confrontation will be a fight to the death.

Similarly as suspenseful though, is the comic’s surprising revelation that the unlawful auction of endangered species which the Black Widow and her team thought to thwart is actually a sale where the ultra-rich can acquire their own captive super-powered humans. This shock twist is tremendously well-penned by the American author and creates plenty of apprehension as Lucy Nguyen must join forces with the twin “socialite siblings” Liv and Lars to escape their imprisonment before they’re all carted off with Spider-Girl to their new owners.

Helping to sell this sense-shattering storyline are Elena Casagrande’s dynamically-drawn layouts and Elisabetta D’Amico’s impressive inks. The creative dynamic duo do an incredible job of depicting the sheer pace of this book’s fight sequences by combining some oddly-angled panels with plenty of well-pencilled pictures featuring all sorts of motion blur special effects. In addition, the scene portraying Romanoff patiently working her work through a series of oppressive air-vents, all the while trying to contact her fellow costumed crime-fighters so as to concoct a new plan of attack, will doubtless cause many a bibliophile to literally hold their breath just in case their excited exhalation betrays the Avenger’s physical presence to the nearby Living Blade.

The regular cover art of "BLACK WIDOW" #14 by Adam Hughes

Black Widow #13 - Marvel Comics

BLACK WIDOW No. 13, March 2022

As standalone, flashback adventures go, Kelly Thompson’s narrative for this second instalment to her “Die By The Blade” storyline must surely have delighted the vast majority of its audience by taking the Avenger’s fans back to “her days in Madripoor” and her “first encounter with the Living Blade.” Indeed, it is difficult to imagine just what else the Eisner Award-winner could do to make this twenty-page periodical’s pulse-pounding plot any more thrilling; “If running is not an option, then I have no choice but to go on the offensive.”

For starters, the comic’s impressively dramatic opening deals with the ordinarily ever-confident Black Widow encountering the shock of an opponent who is seemingly more than a match for her finely-honed close-combat skills. Admittedly, this is no way appears to hinder Natasha Romanoff’s famous determination to best the mysterious swordsman who disconcertingly can penetrate her defences at will. But the utter surprise etched upon her face when she suffers a devastatingly bloody knife wound to her shoulder from ‘out of nowhere’ makes it crystal clear that this book isn’t going to contain the usual tale of the ex-Soviet spy ultimately besting a super-villain.

In addition, the American author’s technique of allowing the reader to know what this publication’s titular character is actually thinking, courtesy of some excellently penned text boxes, really adds to the tension. It’s clear that the former-KGB agent really isn’t pulling any punches to escape the deadly attention of the Living Blade, and equally emphasises just how aware of her surroundings the heroine is, when she realises her mere presence is endangering the customers of a packed out night-club.

Rafael T. Pimentel’s dynamically-drawn pencils are also well worth noting, with the Brazilian illustrator’s ability to project Natasha’s raw emotions through her eyes ably amplifying Thompson’s sub-thread of Romanoff’s increasing alarm at being backed into the tightest of corners without any hope of either escape or clemency. However, it is perhaps the artist’s savagely violent, and oft-times desperate fight scenes, which really help hammer home the point that the Black Widow really is being pushed to the very limits of both her formidable fighting prowess and impressive physical abilities.

The regular cover art of "BLACK WIDOW" #13 by Adam Hughes

Black Widow #12 - Marvel Comics

BLACK WIDOW No. 12, December 2021

Restricted to just twenty pages, Kelly Thompson somehow manages to cover an incredible amount of ground with her script for Issue Twelve of “Black Widow”. Indeed, the Eisner Award-winner's technique of populating this periodical with a number of insights into the leading cast members’ motivations, followed by an increasingly fraught covert mission to infiltrate a mysterious “high society group” arguably allows her to pen the perfect mix of characterisation and action-packed super-heroic action; “Next time you wish to use me as a pommel horse, please ask.”

One such success is undoubtedly the sense of vulnerability the American author manages to imbue this comic’s titular character with straight from the start. It’s debatably difficult to imagine Natasha Romanoff having any sort of weakness, but the Avenger’s obsession as to how her infant son is developing whilst in hiding from her deadly foes is wonderfully written, as is her evident anger at the Winter Soldier when she chides him for letting her people find James and Stevie despite him supposedly protecting their identities from such enquiries.

Likewise, the unfurling of Romanova’s plan to discover just what is actually occurring at the Golden Gate Gala is equally as well delivered, with all the ex-Soviet spy’s numerous contingencies quickly failing during the time it takes for a single dance with the annual benefit’s glamorous host. Considering that a number of players within this game are Avengers, such as the smart-mouthed Hawkeye, the dread slowly creeping across Black Widow as she is increasingly outwitted by her unknown foe is actually quite palpable.

Adding enormously to the deepening sense of fear in the former KGB agent is Elena Casagrande’s pencilling, which goes a long way to show just how decadently opulent and disconcertingly violent San Francisco’s criminal world is. Natasha and Yelena Belova’s pulse-pounding battle with a corridor of animal mask-wearing goons is probably the highlight of this comic. Yet it is the Italian illustrator’s handling of Romanoff catching sight of the mythic Living Blade at this book’s end which will most likely remain within the reader’s mind, courtesy of some wonderful blurring of her line art so as to provide some forced perspective, and a truly haunted look in the defector’s piercing green eyes.

The regular cover art of "BLACK WIDOW" #12 by Adam Hughes

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

Black Widow #10 - Marvel Comics

BLACK WIDOW No. 10, October 2021

Somewhat succinctly drawing to a close Kelly Thompson’s four-part storyline “I Am The Black Widow”, this twenty-page periodical’s plot certainly seems to do a good job of providing each member of its ever-growing line-up with plenty of ‘moments in the sun’. In fact, one of this comic’s greatest draws is its pulse-pounding coverage of “the Widows” violent confrontation with Apogee’s superhuman forces, during which Natasha Romanoff, Yelena Belova, Anya Corazon and (even the newly-arrived) Katherine Bishop are seem showing off their various special powers to the best of their abilities.

Enjoyably however, it isn’t just this book’s leading cast though who heavily feature in the defeat of the Olio’s cult-like leader, but the likes of the somewhat conceited Craig and haplessly headstrong Lucy too. These two former members of North California’s aspiring criminal organisation are a good example of the American author demonstrating that brains will consistently overcome brawn if given enough time, even if the electrically-charged Lucy is ultimately required to ‘tap into her deadly man-made gift’ so as to provide the titular character with a much-needed breather; “Taste of your own medicine, jackass. Feels cool to be dosed with something against your will, right?”

In addition, the Eisner Award-winner doesn’t fall into the trap of ending her narrative with a sickly-sweet conclusion either, preferring instead to show that there comes a cost to living the high-octane life of a meta-human, even one who has crossed back over to the side of justice. Admittedly, Lucy’s inability to now turn off her decidedly deadly touch smacks somewhat of the curse which befell the X-Man, Rogue, forty years ago. Yet the young girl’s plight still generates an intriguing attitude in some of Apogee’s antidote-affected brethren, who disconcertingly seem to feel that the woman is somehow blessed now she can “never touch anyone flesh to flesh… without hurting them” rather than cursed.

Undeniably helping this book bound along at an enjoyable pace are artists Elena Casagrande and Rafael De Latorre. The aforementioned double-splash action sequence depicting the Black and White Widows, along with Spider-Girl, is genuinely awe-inspiring, with Belova also providing a ‘laugh out loud’ moment as she ‘thwacks’ an assailant straight in the mouth whilst lecturing her battered attackers that they should be thanking her for helping them.

The regular cover art of "BLACK WIDOW" #10 by Adam Hughes

Black Widow #9 - Marvel Comics

BLACK WIDOW No. 9, September 2021

Beginning with the titular character being brutally stabbed by a horde of Apogee’s super-powered disciples, Kelly Thompson’s opening for Issue Nine of “Black Widow” may well have had fans of the former-Soviet assassin thinking that perhaps the Avenger might not necessarily survive her latest encounter with the San Francisco-based villain. Indeed, if it wasn’t for the fact that Yelena Belova is apparently dead by this point in the four-parter’s storyline, many readers would probably have thought that Stan Lee’s co-creation was about to be permanently replaced by her blonde-haired "sister-in-arms” throughout the rest of this ongoing series’ run; “This will not happen. Not like this. Suit will do its job for a while. But that would will be mortal if this takes too long.”

Equally as enjoyable as this shock start is the development of Romanoff’s ‘backup crew’ consisting of Lucy, Craig and Anya Corazon, who genuinely seem to gel reasonably well together so as to provide Natasha with both the ingredients and expertise necessary so as to provide an antidote to “Apogee’s mass dosing”. Admittedly, it could be argued that the Black Widow stumbling upon the ‘sole’ scientific member of the Olio group who could synthesise a solution to her problem is conspicuously contrived at best, but this ‘lucky find’ was originally conceived by Belova during the White Widow’s own investigation into the shady shenanigans of Hux Advisors LLC.

In addition, the inclusion of Spider-Girl as part of this book’s badass trinity really helps sell the Black Widow’s ability to defeat a county-wide criminal organisation without its author needing to resort to the ‘tried and tested’ method of top-tier guest star appearances. Instead, it soon becomes very clear that between the three elite fighters, there’s every chance the drug-taking cartel of mysterious hooded cultists and smart-suited gunmen are going to fail in their felonious endeavours; “I remember you tried to kill me. And also you. And I don’t remember you, but I don’t like the look of you either.”

Quite possibly this book’s only brief bout of discombobulation therefore comes with this twenty-page periodical’s pencilling, which swaps between the pictures of Elena Casagrande and Rafael De Latorre. Luckily both artists are more than capable of prodigiously portraying this comic’s butt-kicking protagonists, so the sudden shift in slightly different styles at the end of its first act isn’t quite as disconcerting as perhaps it could have been if two more contrasting illustrators had been employed.

The regular cover art of "BLACK WIDOW" #9 by Adam Hughes

Black Widow #8 - Marvel Comics

BLACK WIDOW No. 8, August 2021

Featuring a couple of marvellous guest-appearances by Spider-Girl, along with a truly pulse-pounding conclusion concerning the titular character’s desperate attempt to liberate Yelena Belova from the clutches of Apogee’s most-recently assembled goon squad, Kelly Thompson’s script for Issue Eight of “Black Widow” ably demonstrates just why this comic book won the 2021 Eisner Award for Best New Series. Admittedly, this publication’s audience need to navigate a handful of lengthy conversations in order to reach its ‘blood and thunder’ moments. But even such scenes as the “newly-powered Lucy” talking to the dusty remains of the recently-deceased Stan in an emotional soliloquy are so well-penned by the American author that they prove intriguingly engrossing; “It made me feel better. He shouldn’t be alone. I wouldn’t want to be. If it happens to me… Don’t leave me alone, okay?”

Foremost of this twenty-page periodical’s numerous strengths though, has to be the aforementioned Anya Corazon’s ‘secret spy stuff’, and her eventual decision to reveal her alter-ego once she realises a number of her fellow cultists are about to ingest the self-same liquid which “decomposed a guy.” The young girl’s noble action to shed her disguise is extremely brave considering the scale of her hooded opposition, and definitely provides a few worrying moments when it becomes clear just how badly outmatched she is despite her own formidable super-abilities.

Likewise, Thompson presents a fascinating insight into her incarnation of Natasha Romanoff, and the black-clad assassin’s warm relationship with the White Widow. This comic’s opening rather nicely shows just how close the two women have become emotionally since the red-haired Avenger ‘lost’ her baby son, Stevie, and this greatly adds to the Russian’s somewhat ‘tongue-in-cheek’ attitude later on when she realises Belova has unwittingly walked straight into the very heart of Apogee’s criminal underworld, and is going to “be spitting mad when I rescue her…”

Of course, any critique of this second instalment to the “I Am The Black Widow” storyline would be wholly unfair if the prodigious pencilling of Elena Casagrande and Rafael De Latorre weren’t also praised. There’s arguably quite a hint of Todd Mcfarlane’s insanely complicated webbing to this book’s sketches of Spider-Girl when she desperately flees the confines of The Tenderloin. Whilst the incredibly-dynamic double-splash illustration highlighting the former-Red Room operative easily beating the best villains Apogee has to offer is a serious feast for the eyes for any action-orientated reader.

The regular cover art of "BLACK WIDOW" #8 by Adam Hughes

Black Widow #7 - Marvel Comics

BLACK WIDOW No. 7, July 2021

Whilst Kelly Thompson’s “new story arc” for Issue Seven of “Black Widow” may well have featured Natasha Romanoff “with a new suit, a new base of operations, new allies and a new perspective”, it was probably still a little difficult for many readers of this twenty-page periodical to get too enthusiastic about the titular character’s latest mission. In fact, up until Spider-Girl’s covert phone call to the ex-Soviet spy detailing the location of Apogee’s latest criminal cult meeting, little of any interest arguably takes place within this comic as the book’s plot is slowly progressed via several incredibly fraught conversations; “I’m going to speak to Lucy about this… Are you still mad at me? Will you get over it soon?”

In addition, the Eisner Award-nominee’s handling of “Natalia” appears inconsistently contrived at best, with the cloned assassin suddenly changing her stance on not bringing adolescents into the super hero business simply to help push the plot along at a reasonable rate. The entire opening half of this publication focuses upon Romanoff vehemently arguing with Yelena Belova over the White Widow’s desire to train the twenty-year old Lucy because Natasha feels the young girl is still young enough to “escape” a life of battling villains. Yet, just as soon as the Black Widow requires “someone on the inside” of Apogee’s organisation, the Avenger immediately recruits the teenage Anya Corazon to go deep undercover. 

Admittedly, the youth is given plenty of opportunity to bow out of the job offer should she wish too, and has previously undergone S.H.I.E.L.D training in espionage. However, having spent so much of this comic waxing lyrical about how she deeply cares about super-powered juveniles becoming involved in her mixed up world of ‘war, death, honour, betrayal and loss’, the fact Romanoff has already recruited just such a person to her cause debatably makes her actions appear duplicitous at best.

Enjoyably though, Corazon’s presence (or at least the information she provides) does lead to this book’s biggest highlight in the shape of Elena Casagrande pencilling an astonishingly dynamic punch-up between the two former Red Room operatives and a cadre of Apogee’s latest disciples. The Italian illustrator provides some first-rate panels of the gun-toting pair shedding their red-robed disguises mid-ceremony, and then follows this up with a sense-shattering double-splash of both women seriously cleaning the clocks of the entire congregation.

Writer: Kelly Thompson, Penciler: Elena Casagrande, and Letterer: VC's Cory Petit

Black Widow #6 - Marvel Comics

BLACK WIDOW No. 6, June 2021

“Best described as San Francisco now belongs to The Black Widow”, at least according to its publisher “Marvel Worldwide”, Kelly Thompson’s script for this particular twenty-page periodical definitely shows a street-level side to the “world’s greatest superspy” which arguably harks right back to the character’s pre-Avengers days in the early Seventies when Gerry Conway penned her alongside Daredevil. Indeed, apart from a handful of super-strong enforcers, there’s barely anything ‘fantastical’ on show at all within this comic’s intriguing interior as Natasha Romanoff purely relies upon her fighting smarts and technologically-advanced hardware to defeat a Crime Boss’s top tier cadre; “Swords. Cool. I like swords too. Bit cumbersome though. Small throwing knives are also cool.”

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

Black Widow #5 - Marvel Comics

BLACK WIDOW No. 5, April 2021

Featuring one of the most emotional incarnations of Natalia Alianovna Romanova arguably ever seen within the pages of a “Marvel Worldwide” publication, Kelly Thompson’s superbly enthralling narrative for Issue Five of “Black Widow” must surely have gone down well with its audience. For whilst it might be hard for some of the super-spy’s fans to reconcile the ex-K.G.B. agent's heartfelt grief at the sudden loss of both her beloved husband and infant son inside a horrendous fireball with that of the ordinarily cold-hearted killer, the sheer sense of deadliness these deaths bestow upon the black-suited assassin is truly palpable; “Natalia. People are coming to kill us. We must kill them instead. You must put aside your grief and move. There will be time for grief later. I promise you. It is not going anywhere anytime soon.”

This disconcerting sense that an Avenger may well kill if provoked strongly enough is additionally heightened by Hawkeye shooting the Weeping Lion straight through the head whilst the criminal is foolishly trying to set his sniper rifle’s sights upon the world famous archer. Perhaps somewhat disappointingly, this debatably defining moment loses some of its gravitas when it is later revealed by Yelena Belova that the crime-lord simply “lost his eye”, but it is the thought that counts, especially when Clint Barton later willingly sets off an explosive arrow within a warehouse crammed full of hapless Hydra goons.

Romanoff’s sister-in-arms, Clone 3, also makes a lasting impact within Thompson’s finale for “The Ties That Bind” story-arc, when she literally smacks a distraught Natasha to her senses one moment and then lays down a serious beating upon the Viper in the next. Indeed, Belova’s battle against an absolute horde of Madame Hydra’s seriously outfought henchmen is one of the highlights of this comic, and the notion of her subsequently accompanying the titular character as a partner-against-crime in future instalments will doubtless have proved an irresistible hook for many readers.

Pulling all this book’s numerous punches together into a visual treat for the eyes, is Elena Casagrande and her marvellous ability to interject the savage violence which Thompson’s narrative demands with some superbly endearing moments, such as when the Black Widow briefly cuddles her dead son’s toy duck. However, the Italian artist’s finest moment within this twenty-page periodical has to be her double splash of Hawkeye watching from a high roof rafter as both Romanoff and Yelena dispatch numerous goons with a variety of kicks, missiles and bullets.

The regular cover art of "BLACK WIDOW" #5 by Adam Hughes

Black Widow #4 - Marvel Comics

BLACK WIDOW No. 4, February 2021

Basically boiling this book’s plot down to one of the titular character desperately trying to save her ‘new’ husband and son single-handedly against Madame Hydra’s personal security team, Kelly Thompson’s script for Issue Four of “Black Widow” surely must have delighted its readers with its mixture of kick-ass action and genuinely touching interplay. In fact, the sense of danger this twenty-page periodical generates for the former Soviet spy as she stealthily slinks through her pitch black home doggedly defending Natalie’s family from the Viper’s best would-be killers, is surprisingly palpable, especially when it appears at least one of the assassins has somehow outflanked her defensive position.

Fortunately, all is not lost due to the timely appearance of Yelena Belova, and some astoundingly impressive acrobatics by the titular character. Understandably incensed by her enemy’s brainwashing, and determined to protect her loved ones from harm, Natasha Romanova appears to be in tip-top form, snapping necks, stabbing minions, and nonchalantly gunning down goons, whilst she tirelessly somersaults her way around her house; “Stay low. When I say your name. That’s when you come out… I need you to trust me. No hesitation. It’s the only way I can get you both out here alive.”

However, for those bibliophiles more interested in just how the Black Widow became so thoroughly immersed in Madame Hydra’s fake world, Thompson is equally as adept at penning a significantly long flashback sequence which goes to some length to explain precisely how the Russian has somehow acquired both a devoted spouse and adoring boy within the space of just fourteen weeks. Extremely-well pencilled by Carlos Gomez and vibrantly coloured by Federico Blee, these five-pages really prove a visual feast for the eyes, yet do beg the question as to why the “authoritarian paramilitary-subversive organization” didn’t simply kill the unconscious Romanova when they had the chance, rather than spend at least four weeks brainwashing her..?

Arguably this publication’s most stand out moment though, has to be Elena Casagrande’s stunning double-splash of Natasha blazing away at some heavily-armed Hydra thugs across a pool table. This stunningly paced scene is just crammed full of dynamic touches, such as the super-hero landing double-footed upon the head of one hapless soldier, and ‘thunking’ a knife into the brain of another green-suited brute as the battle moves into her residential abode’s kitchen area.

The regular cover art of "BLACK WIDOW" #4 by Adam Hughes

Black Widow #3 - Marvel Comics

BLACK WIDOW No. 3, January 2021

It must have been hard for the vast majority of this comic’s audience not to side with the Weeping Lion when he angrily points out to the rest of his criminal co-conspirators that their plan to permanently side-line Natasha Romanoff by making her “permanently happy… in her own personal paradise” is an anathema of a plot. Indeed, the notion that such notorious super-villains as Madame Hydra, Arcade and the Red Guardian would invest such “considerable trouble and expense” for such an outlandish method of ‘removing’ the titular character from interfering with their future immoral machinations is arguably preposterous.

However, that is precisely what Kelly Thompson would have this twenty-page periodical’s readers believe when the Eisner Award-nominee reveals mid-way through the book that the “architect named Natalie in San Francisco with a fiancé and a beautiful baby boy” is nothing more than a brain-washed Black Widow, who has been duped by the Viper simply so the ex-Soviet spy won’t interfere with the unlawful operations of her biggest arch-nemesis; “I’m not an idiot. I have big things coming and I want her off the board. She’s been so damn happy that she’s been out of the game for months.”

Fortunately, the Weeping Lion quickly makes it clear that he has taken matters into his own hands to ensure that such a surreal scheme doesn’t last much longer, by covertly ordering Romanoff’s immediate death courtesy of some knife-wielding hitmen. Such decisive action by the balaclava-wearing Yugoslavian kingpin instantly restores some sensibility to the publication’s narrative, and transforms Natasha’s night-time arrival at her disconcertingly deserted home into a thrill-a-minute experience packed full of pulse-pounding pugilism and acrobatic mayhem.

Helping this sudden and quite considerable change of pace along is artist Elena Casagrande, whose pencilling of the Black Widow somersaulting her way through a goon-packed kitchen is an absolute joy to behold. Deadly with both a handy coat-hanger, everyday carving knife and energy-efficient kettle, the double-splash illustration is undoubtedly the highlight of the book and once again demonstrates just how formidable a fighter the former S.H.I.E.L.D. agent can be when confronting non-powered combatants like Platch Liev’s henchmen.

The regular cover art of "BLACK WIDOW" #3 by Adam Hughes

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