Web Of Black Widow #5 - Marvel Comics

WEB OF BLACK WIDOW No. 5, March 2020

As conclusions go, Jody Houser’s revelation in Issue Five of “Web of Black Widow” that Natasha Romanoff knew right from the start of this mini-series that she was being watched by a woman who was somehow connected to her “missing memories”, must surely have been viewed by many of this comic’s readers as a horribly contrived anti-climax. Indeed, the very notion that the ex-KGB assassin had choreographed her confrontation with Iron Man, ferocious fist-fight with the Winter Soldier, and brutal battle against Hawkeye, all in order to simply elicit an account from her doppelgänger as to how “a special virus… made out of Epsilon Red’s own DNA” was blocking her implanted memories, makes a complete mockery of what had been a thoroughly enjoyable and suspenseful ‘spy-fi’ tale.

True, the rationalisation behind Clint Barton’s wholly unlikeable behaviour in the publication’s previous instalment when he appeared utterly convinced as to the “rumours of Widow’s villainy”, makes much more sense, especially his “actually shooting her with an arrow”. Yet such a horribly convoluted narrative undoubtedly diminishes the much-lauded clandestine abilities of the titular character, by having the Russian secret agent simply play the role of a Judas goat, rather than covertly investigate her mysterious enemy’s possible connection to her past using her tactical expertise in espionage and obtaining confidential information. In fact, this veteran hand-to-hand combatant (and mistress “of various other weapons”) is depicted as even needing the intervention of Captain America in order to defeat the Headmistress in a one-on-one rooftop confrontation; “But sometimes an old man likes to feel useful.”

Perhaps this book’s only saving grace is therefore Stephen Mooney’s dynamically-drawn fight sequences, which at least provide this twenty-page periodical’s audience with an occasional thrill. Considering that the Black Widow has an arrow shaft in her side and been shot in the leg, it is somewhat difficult to imagine her being quite so athletic in her impressive backflips and somersaults as the Irish artist would have any perusing bibliophiles believe. But that unrealism doesn’t notably detract from the sheer savagery of his pencilling once Romanoff and Anya finally come to trade vicious blows, and the blood starts to freely flow…

The regular cover art of "WEB OF BLACK WIDOW" No. 5 by Junggeun Yoon

Web Of Black Widow #4 - Marvel Comics

WEB OF BLACK WIDOW No. 4, February 2020

It’s not hard to envisage that some within this twenty page periodical’s audience were secretly wishing for someone to shoot Clint Barton well before this comic reached its cliff-hanger ending. For whilst the former chairman of Earth's Mightiest Heroes has arguably always been portrayed as being a somewhat imprudent and frustratingly headstrong individual, it’s difficult to imagine him ever disbelieving his ‘old flame’ Natasha Romanoff to the point where he’d actually straight-up shoot her with an arrow; “You know you’re supposed to stop when someone fire’s a warning shot, right?”

Sadly however, that is precisely what Jody Houser’s cocksure version of the “golden archer” does in Issue Four of “Web Of Black Widow”, having surreptitiously snuck up upon the ex-KGB assassin so as to blindside her on a deserted rooftop. Of course, those readers well-versed in Barton’s separation from his ex-wife, "Bobbi" Morse, following her role in the death of Lincoln Slade’s Phantom Rider, will know of his supposed ‘unswerving’ belief that heroes don’t ever kill in cold blood. Yet even so, it’s still disconcerting to watch the misinformed Avenger resort to such a catastrophic choice without at least a final warning or an attempt to fire a second disabling net arrow.

In addition, Romanoff makes it pretty clear to Hawkeye that she is being set-up by a woman who “was wearing my face”, and that her duplicate “has taken my list of targets and is pushing my mission further than I ever planned to.” Despite this ‘plausible’ explanation of events though, the non-super powered “dude with a bow” infuriatingly still decides he’s entirely in the right and therefore gets to tell the femme fatale precisely how she can (and can’t) behave, even after Stephen Mooney’s dynamic artwork makes it abundantly clear that Natasha could have eradicated him rather than simply knock him cold in their all-too brief fist-fight.  

Resultantly, Clint arguably comes across as an utterly arrogant and unlikeable individual, who despite having all the facts at his disposal, makes a disastrously dire decision which not only causes him to be shot in the stomach by the Black Widow’s murderous doppelganger, but momentarily also seems to place the ‘hapless’ Alla Zolotov in mortal danger. That’s hardly the sort of popular behaviour which made Barton be ranked by “Imagine Games Network” at number forty-four in their Top 100 Comic Book Heroes list…

Writer: Jody Houser, Artist: Stephen Mooney, and Color Artist: Triona Farrell

Web Of Black Widow #3 - Marvel Comics

WEB OF BLACK WIDOW No. 3, January 2020

As an intriguing insight into the complicated background behind Natasha Romanoff’s history as a “KGB assassin trained in the notorious Red Room”, Jody Houser’s script for Issue Three of “Web Of Black Widow” must have pleased the vast majority of its readers with her inclusion of the Avenger’s fellow Russian hired guns Yelena Belova and Toma. In fact, this comic’s numerous flashback scenes to a time when the red-haired murderess was busy stealing “a set of keys for the Schmatlocks” is arguably far more enthralling than its central storyline, especially when it becomes clear that the deadly secret agent’s cold-hearted headmistress purposely had her be accompanied on the mission by an insufferably headstrong protégé due to the rookie showing “signs that she was unsuitable for the program.”

However, this preference for the twenty-page periodical’s subplot doesn’t mean that the titular character’s bold break-in at the Dovbrotel in Chernaya isn’t any less action-packed or enthralling than her earlier adventure. Far from it, as no less than two Black Widows team-up to stealthily subvert the high-security building in order to kick some significant butt and steal the owner’s scrambled code on a simple memory stick; “I have no interest in starting another war. Some things should stay encrypted. But knowing that the code has left their hands should be enough to --”

This tensely penned infiltration really does capture the very essence of Romanoff’s much more mature, modern-day personality, where she would rather distract and outthink her adversaries, than engage them in an inefficiently brutal slugfest. As a result though, when Natasha does finally resort to felling her opponents with some seriously bone-cracking blows, the effect of her extreme violence is all the more impactive, and adds some additional energy to the already sense-shattering sequences.

Stephen Mooney’s contribution to the sheer dynamism of this publication should not debatably be overlooked either. The Dublin-born artist’s sketching style might be a little too rough around the edges in some places, but it is hard to miss the raw energy with which the Irishman imbues both the Black Widow and Belova during this comic’s trials and tribulations, particularly when the smartly-dressed duo decide to discard their business attire disguises and begin beating up their astonished foes.

Writer: Jody Houser, Artist: Stephen Mooney, and Color Artist: Triona Farrell

Web Of Black Widow #2 - Marvel Comics

WEB OF BLACK WIDOW No. 2, December 2019

Featuring an opening scene which is somewhat reminiscent to that of Angelina Jolie’s 2003 action-adventure film “Lara Croft: Tomb Raider – The Cradle of Life”, there’s a lot of mounting tension to enjoy with this comic’s depiction of Natasha Romanoff stealing on board a gigantic cruise liner whilst it glides through international waters. Indeed, many fans of the Russian assassin possibly may even have felt that Jody Houser’s portrayal of the deadly spy infiltrating the luxurious Collins Financial Bindbucks launch party provided this twenty-page periodical with the perfect beginning, especially as the titular character seemingly uses almost every trick in the secret agent’s book to pass through the seafaring vessel’s overt security. 

Lamentably though, all of this well-penned spy-fi atmosphere is quickly ruined by the abrupt appearance of Bucky Barnes, who astonishingly materialises in the bedroom of the Black Widow’s target having apparently been pre-warned by his “masters” that she “might be stopping by.” This debatably contrived confrontation between the two former lovers does admittedly swiftly provide this publication with some debatably needed high-octane action, courtesy of Stephen Mooney pencilling the pair swapping all manner of punches and kicks with one another.

Yet none of these forceful fisticuffs can possibly make up for the American author literally crowbarring the Winter Soldier into her narrative on the happenstance that “Collins got wind you [Romanoff] were coming” and so “relocated the computer setup.” In fact, by the time Natasha’s fight has seen the deadlocked duo crash through the cabin’s double-doors and spill out into the corridor right in front of two gun-toting guards, it is seemingly clear that any pretence of this story being an edgy thriller has disappointingly dissipated; “Please make your way to the lifeboats in a calm and orderly fashion.”

Similarly as perplexing, albeit in a good way, is the sudden inclusion of an unknown killer who appears capable of impersonating the Black Widow and committing cold-blooded murder whilst wearing so convincing a ‘digitally-created disguise’. This antagonist clearly knows much about the “web of deceit” encircling Stan Lee’s co-creation, having fleetingly featured at the very end of this mini-series’ first instalment, and resultantly provides a tantalising hook for any perusing bibliophile to pick up Houser’s next issue of “Web Of Black Widow”.

The regular cover art of "WEB OF BLACK WIDOW" No. 2 by Junggeun Yoon

Web Of Black Widow #1 - Marvel Comics

WEB OF BLACK WIDOW No. 1, November 2019

Enthusiastically described by “Marvel Worldwide” as “the spy tale of the century”, Jody Houser’s script for Issue One of “Web Of Black Widow” is arguably a long way from achieving such a lofty accolade. Yet the comic’s 38,627 readers probably still enjoyed the palpable sense of tension which the “bestselling” writer crafts throughout her twenty-page narrative, courtesy of some nicely paced flashbacks to a time when the ex-KGB assassin was both first setting up her ‘attack’ upon Walter Sobol’s grand speech at the Light nightclub, and ‘merrily’ murdering targets as part of “the notorious Red Room.”

Indeed, considering that the titular character is one of the New York-based publisher’s “longest-running female heroes” it makes perfect sense to have Natasha Romanoff’s murkily rich past, and indeterminable present, intermingle intermittently throughout this tale, especially when this five-part mini-series' entire premise is seemingly about “the clone with implanted memories” actively seeking revenge upon those from her distinctly troubled past; “And like the deadliest of spiders, easily escaping notice. Until it is far too late… This little one has yet to fail us.”

Disappointingly however, every time this publication’s plot does submerge its audience in its enthralling Cold War shenanigans, Tony Stark pops up to jar them awake to the reality that the adventure is set within a universe of super-powered heroes, rather than just a deadly dark world of moles and all-too human secret agents. Admittedly, the industrialist’s presence alone isn’t all that disconcerting, and actually generates a genuine moment of nostalgia as he tenderly recalls his first dance with the Russian killer. But once the moustached playboy dons his famous red and gold armoured suit, the Avenger debatably destroys any semblance of this being a “gritty, noir-drenched take on our favourite conflicted superspy”.

Quite possibly this comic’s biggest let-down though, are Stephen Mooney’s storyboards which seem to travel from one extreme to another in their quality as the periodical progresses. At first somewhat lavish-looking in style, especially when he pencils Natasha at her sultry best dancing across the social event’s well-lit floor or subsequently smacking the seven bells out of some seriously out-gunned security guards, the Dublin artist’s later drawings disconcertingly seem almost amateurish and irregularly-formed, making Iron Man appear particularly peculiar to the eye.

The regular cover art of "WEB OF BLACK WIDOW" No. 1 by Junggeun Yoon