Black Widow #10 is published by Marvel Comics, written by Kelly Thompson, with art by Elena Casagrande and Rafael de Latorre, inks by Elisabetta D’amico, and Rafael de Latorre, colors by Jordie Bellaire, and letters by Cory Petit. With Natasha, Yelena, and Anya confronting Apogee, Craig and Lucy rush to get the antidote to the Olio before their lives literally go up in smoke.
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This month’s installment in the ongoing adventures of everyone’s favorite spy-ders focuses firmly on the two Cs. Character and combat. With the bulk of this issue focused on the showdown with Apogee and the Olio, Black Widow #10 is filled with kicks, cool visuals, and snappy comebacks. Thompson keeps the writing as entertaining as the fights as she delivers more of that trademark chemistry between Nat and Yelena while also growing the group and its potential for amazing interactions when Natasha calls in the cavalry.
Opening the story, we see Craig and Lucy preparing to leave The Web with an antidote for the serum Apogee has been giving his people. This calm opening works to ease the reader into the story with some of Thompson’s smooth character writing. Once the book shifts gears to the continuing battle at Apogee’s, it doesn’t let up till the end.
But while Thompson’s character writing has been the cornerstone the book is built on, this particular issue’s headliner is the art. While always delivering amazing results, the linework by art duo Casagrande and Latorre slams on the gas and never lets up with one amazing display of visual storytelling after another. All the previous mind-blowing moments of multistep combat sequences that have been liberally scattered throughout the series previous nine issues pale in comparison to what this issue brings to the table. If you are a fan of stylish, high-octane action in your comic book art, this book is literal Christmas for you.
The colors in Black Widow #10 only further increase the book’s energy. Colorist Bellaire does a great job making the many explosions and energy effects pop throughout the book, though the colorist’s true brilliance is allowed to shine in the climactic confirmation of the book with how Black Widow’s suit is colored. The energy of the visual effects implemented on Nat in this pivotal sequence absolutely brings a whole other wow factor to what would’ve been an amazing moment regardless.
Wrapping up the book’s visual presentation is Petit’s lettering. While the overall dialogue placement and delivery are done well, it’s in the sound effect design that Petit’s biggest contribution to the book comes. With so much action going on throughout the book, there is a bevy of opportunities to give the bangs, crashes, and ka-booms opportunities to really shine. Happily, Petit wastes none of them.
When all is said and done, Black Widow #10 brings a satisfying end to the book’s current storyline. Where the book will go from here, only time will tell. But I, for one, cannot wait to take that ride.
Black Widow #10 is available now wherever comics are sold.
Black Widow #10
TL;DR
When all is said and done, Black Widow #10 brings a satisfying end to the book’s current storyline. Where the book will go from here, only time will tell. But I, for one, cannot wait to take that ride.
