REVIEW: ‘Black Widow,’ Issue #7

Reading Time: 3 minutes

Black Widow #7

Black Widow #7 is published by Marvel Comics, written by Kelly Thompson, art by Elena Casagrande, inks by Elisabetta D’amico, and Elena Casagrande, colors by Jordie Bellaire, and letters by Cory Petit. Having survived their first run-in with Apogee’s henchmen and saved Lucy, Natasha and Yelena have fallen back to The Web to prepare their next move and perhaps train a new ally. But that last part depends on which one of the duo you talk to.

The way Thompson opens this story is possibly the meanest way that you could. And my emotional writing sense tells me that it probably isn’t going to be the last time we see it either. As Black Widow #7 opens with Natasha reliving a quiet memory of her and her absent son. It’s only one page, but that’s all this creative team’s talents require to break my heart again. I’d be angry if it weren’t so perfect.

As Natasha leaves her memory behind, she steps into the training area of her new base of operations just as Yelena wraps up a sparring lesson with Lucy. This soon leads the two into a debate about whether or not they should be training the young woman.  And while it feels weird to write this, I gotta say Yelena makes a lot of sense here. Natasha responds to the situation from a position that is informed through her experiences with The Red Room. Acting like them helping Lucy protect herself is akin to forced and brutal training isn’t exactly fair. Given the way Thompson writes Natasha and Casagrande portrays her body language, I’m fairly certain Natasha is vividly aware of the flaws in her argument.

But it is this dual presentation of Natasha’s character that is the highlight of Black Widow #7. One of the most ingenuine things fictional characters can do is instantly overcome a deep-seated trauma the moment they realize it’s there. Such scars do not fade easily, if ever at all. Thompson once again displays how deep her character writing goes as she crafts her protagonist in these moments.

After their discussion about Lucy runs its course, the Widows turn their attention to learning more about how they can find their newest opponent, Apogee. Though information is soon coming, thanks to the help of an unforeseen Spider-Friend’s appearance.

Whether it’s the emotional tension of the opening half of Black Widow #7 or the combat that comes once the Widows are on the move, Casagrande shows that she can capture everything this book strives to deliver. And if you thought the action couldn’t get better than one of Casagrande’s beautiful pages that show Natasha dancing through numerous enemies in a single panel, you are wrong. It’s an even better trick when she does it with both Widows. Chef’s kiss.

The art in this book is further strengthened through Bellaire’s wonderful usage of color. Particularly with the choices made to use a full range of colors or wash a panel in shades of a single color. Bellaire uses the one single color panels at just the right moments to let them capture those moments and make them stand out.

Wrapping up the book’s presentation is Petit’s letters. The lettering here is always placed well, even in some of the more complicated panels and layouts.

When all is said and done, Black Widow #7 delivers the great mix of character and chaos this book has shown off time and again.

Black Widow #7  is available now wherever comics are sold.


Black Widow #7


When all is said and done, Black Widow #7 delivers the great mix of character and chaos this book has shown off time and again.

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