[Header (The Champions v.1, 3, George Tuska pencils, Vince Colletta, inks) and all images used under Fair Use unless otherwise identified]
Scarlett Johansson and Charlize Theron are two of the most successful and highly regarded celebrities in contemporary pop culture. These two women have been in the news recently in ways that seem at first contradictory.
However, just a few days before that accomplishment, Theron, as reported by Zack Sharf, “called out a Hollywood double standard when it comes to action movies. The Oscar winner…said studios often give female actors just one shot to have an action movie hit. When it comes to men, however, they can have a box office flop but still land multiple follow-up projects.”
One of Johansson’s highest profile characters, Marvel’s Black Widow, offers a window into how Theron’s criticism remains valid even in the context of Johansson’s success.
Black Widow first appeared in 1964, nearly unrecognizable to today’s fans as a foil to Iron Man in Tales of Suspense 52. This origin portrays Black Widow in a different color costume on the cover than in the interior, but she is mostly a one-dimensional Cold War temptress.
Tales of Suspense (v1) 52, writers Stan Lee and N. Korok (Don Rico), artist Don Heck
Over the next 60 years, Marvel’s stewardship of Black Widow reflects the ongoing fate of women in pop culture—being underestimated and hypersexualized.
Notably, Theron’s criticism focuses on action roles, as covered by Sharf:
“Yeah, it’s harder. That’s known,” Theron said when asked about gender disparity in the action genre. “Action films with female leads don’t get greenlit as much as the ones with male leads. I think the thing that always frustrates me is the fact that guys will get a free ride.”
In my book-length analysis of Marvel’s Black Widow in print comic books across seven decades, one of the key themes of Natasha Romanov’s characterization is directly stated by Nat in issue 1 of volume 3, by the creative team of Richard K. Morgan and Bill Sienkiewicz: “He’s young—younger than me, anyway. And he’s fast. And he has a knife he knows how to use. But like most men in the end, he underestimates me.”
For current fans of the MCU, Black Widow/Nat as portrayed by Johansson may seem like a much larger character than has been portrayed in the comic books. Marvel has committed to 8 solo-title volumes, although most have been extremely brief. Black Widow has had one 20-issue run, and the critically praised last series, volume 8, only survived 15 issues despite an all-star creative team of women—Kelly Thompson, Elena Casagrande, and Jordie Bellaire.
Superhero comic books and films represent a key tension in pop culture among market forces, fans, and social biases such as sexism.
Theron, I think, is making a valid point that is reflected in Nat’s acknowledgement above; pop culture remains mostly controlled by men—the funders, the creators, and the fan base—who continue to underestimate women as characters and creators.
“[T]alked about … Like a Piece of Ass, Really”
Johansson as Black Widow/Nat entered the MCU in Iron Man 2, and with hindsight, it seems to be a huge understatement that Marvel underestimated the power of both Johansson and Black Widow for the Avengers and MCU.
Johansson, in fact, has addressed that Black Widow was hypersexualized:
All of that is related to that move away from the kind of hyper-sexualization of this character and, I mean, you look back at ‘Iron Man 2’ and while it was really fun and had a lot of great moments in it, the character is so sexualized, you know? Really talked about like she’s a piece of something, like a possession or a thing or whatever — like a piece of ass, really. And Tony even refers to her as something like that at one point.
Unfortunately, this early objectification of Black Widow in the MCU is comic book accurate since many of the depictions of the character in the print comic books has been for the male gaze.
For women characters and creators, then, Black Widow represents that women are often underestimated because they are hypersexualized.
While it seems likely that pop culture will continue to reflect society—especially the worst of society—instead of changing culture for the better, it seems there can be a time and place that pop culture resists underestimating and hypersexualizing women.
Honoring Women in Superhero Comics, Pop Culture, and Beyond
I think volume 8 of Black Widow by the creative team of Thompson and Casagrande represents the power of women creators working with complex women characters. And Kelly Sue DeConnick’s Wonder Woman Historia: The Amazons at DC matches that excellence with a classic superhero.
These, none the less, are outliers, and it seems likely derivative women characters (such as She-Hulk), hypersexualizing and underestimating women characters, and giving women creators work as tokenism will persist at the Big Two, Marvel and DC.
Women as victims of sexism are not responsible for changing these realities from a position of less power; however, Johansson and Theron are providing important voices as well as demonstrating their exceptional roles in pop culture.
The irony is that what Theron labels “risk” seems more bankable than yet another film propping up an aging white man paired with a woman half his age—even as we acknowledge that Johansson with a woman writer/director made that work also.
Superhero Black Widow/ Natasha Romanov has endured more than 60 years in the Marvel Universe before becoming a prominent character in the Marvel Cinematic Universe with the Avengers; however, this volume examines how this woman character has mostly been underestimated and hypersexualized. The overview and analysis explore the contradiction between Black Widow’s enduring popularity and the limited commitment to her solo series and character development in print. This discussion centers Black Widow as a representation of the inadequate care and commitment given to women characters in mainstream superhero comics.
My formative years stretched over the 1960s and 1970s. Even through the amber haze of nostalgia, many things from those decades are forgettable, even regrettable.
I wrapped up the end of the 70s in a body brace for scoliosis—nerdy, scrawny, and possessing of 7000 Marvel comic books.
I recently completed an entire run of Daredevil launched in 1964 and had completed the much smaller runs of Black Widow before that while I wrote a series of blogs addressing how the character has been underestimated and hypersexualized.
My recommitting to collecting comic books started out very targeted, but since I completed my Daredevil collection, I have floundered a bit where to turn next. I have been collecting Daredevil appearances in other titles and started working on Moon Knight volume 1 after finding issue 1 in an antique store.
Then, the other day, Nova issue 1 from the summer of 1976 popped up on my Instagram feed. As a beginning collector and a wanna-be comic book artist, I was immediately drawn to Nova as possibly the first #1 of a comic that occurred during my early collecting days. I also was drawing Nova by later that year:
This is, then, a sort of nostalgia post, about my turning to recollecting some of those comic books from my 1970s Marvel collection that still have a special place in my heart—Nova, the Ross Andru Amazing Spider-Man run, Conan the Barbarian, and Deathlok (premiering in Astonishing Tales and once in Marvel Spotlight).
Below are my scans of my newest nostalgia collecting including those titles and some wandering when an issue catches my eye.
Nova v1 was key for me as a Sal Buscema fan, although this title only ran 25 issues (at the writing I am about 2 issues from a full run):
It is a bit cliche, but my immediate love as a comic book collector was Amazing Spider-Man. My introduction to Spider-Man was during the Gil Kane and John Romita years, a truly wonderful era that may even rival Steve Ditko’s original run.
However, my purchasing years were mostly during the Ross Andru run on Amazing Spider-Man (issues 125-185) and that work still has a special place in my heart.
Here are a few older issues and some initial grabs of those Andru issues:
One of my more embarrassing confessions is my delayed nostalgia for Conan the Barbarian. My dad and I made two large purchases of a collection early in my collecting; that included many (if not all) of the early 1970s Marvel titles.
One of which was the Barry Windsor-Smith Conan run. At the time, I wasn’t really all that engaged with BWS’s work, and during my main collecting days, John Buscema took over (often with wonderful Kane covers and Ernie Chau inking).
I purchased the The Barry Windsor-Smith Archives Conan (v1, v2), but haven’t quite fully committed to collecting, again, those excellent issues:
Here are scans of a few early Conan issues in my recollecting stack:
When I began collecting again, I immediately searched for Deathlok, who first appeared in Astonishing Tales. I was actually a Rich Buckler fan, although I think his work was considered second-tier, and this character series fit perfectly into my science fiction obsession.
Recently, I completed this run, although I need to find a better quality AT 25:
Above are galleries of some of my favorite covers, but I am a huge fan of those 1970s covers and the gradual increase in issue prices. I collected many comics costing 12¢, 15¢, 20¢, and 25¢, and watched as they creeped into the 35-40¢ era.
I find the dramatic “Still only 25¢” endearing and miss that era of comic books. There is something we have lost since the basic coloring and newsprint from the 1960s and 1970s—although there is much to enjoy and praise in the current era of comic books.
Hope you enjoy the walk down memory lane that I am taking, recollecting the issues I held in my hands as a teen who fell in love with Marvel way before it was cool.
Natasha Romanoff/Black Widow is in comic book limbo.
Again.
The limbo after the end of v.8, just 15 issues, suggests that Marvel is only capable of underestimating her in the long run, but the latest (last?) run shows once again—and possibly at the highest level—that breathing rich and vibrant life into this character is not only possible but also needed.
The core team of v.8 offers readers one of the best volumes featuring Black Widow—Kelly Thompson (writer), Elena Casagrande (artist), Jordie Bellaire (colorist), and Adam Hughes (cover artist) with additional artists Rafael De Latorre, Carlos Gómez, and Rafael Pimentel making strong contributions.
While many familiar patterns are once again found in v.8, this run is held together by the unifying purpose that resonates throughout the writing and the visual power, solidly anchored in a creative team of women (Thompson, Casagrande, and Bellaire).
Covers by Adam Hughes alert readers to the visual allure of v.8—a red/black motif driven by Elena Casagrande and Jordie Bellaire interiors. (Issue 1 and issue 11)
“This Can’t Be It”
Just a few beautiful pages into issue 1—immediately situating Black Widow with Hawkeye and Captain America—Natasha thinks in dramatic fashion, “This can’t be it,” as she falls, drugged, from her apartment window.
Issue 1 with Thompson (writer), Casagrande (artist), and Bellaire (colorist).
In hindsight, with Black Widow’s current limbo in mind, this seems like a signal larger than the narrative tension of yet another death of Natasha Romanoff. However, Natasha is not dead, but is discovered by Clint and Bucky to be living months later in San Francisco (a nod to the Daredevil/Black Widow run from the early 1970s) as Natalie with a partner and a child—seemingly unaware that she is Black Widow.
Readers, like Clint and Bucky, recognize that Natasha remains just below the surface, eager to reappear.
Thompson is the star writer of this series, but a strong case can be made for Casagrande’s artwork defining this run. As “Natalie” thinks, “Well, this doesn’t suck.”
Soon, Yelena (White Widow) appears as a covert babysitter, and the usual cast of characters in Black Widow narratives is gradually assembled while Natasha remains underneath this new “Natalie” with an inexplicable child (only three months have passed since her fall and disappearance).
While the story arc seems to be well-worn territory so far in issue 1, one of the most effective examples of the purposefulness throughout this series is the use of color.
Issue 2 highlights the wonderful use of color motifs by Bellaire; here the vibrant red with Natalie/Natasha and green with the introduction of Arcade.
Another compelling aspects of issue 1 is watching Natasha/Black Widow resurface from the puzzling new life of Natalie (one Yelena, Clint, and Bucky gradually piece together). First, the motorcycle, and then, building a homemade bomb.
Issue 2 is a stellar showcase of Casagrande’s and Bellaire’s work.
Clint and Bucky grapple with Natalie/Natasha’s happiness from afar while they, along with Yelena, discover that Natasha is a pawn in an elaborate scheme monitored by Arcade, including that the child is in fact Natasha’s.
Gradually, a gallery of villains are revealed in issue 3 as Black Widow continues to resurface and then forms her own group, another of the many gifts offered by Thompson’s writing.
Issue 3 also portrays fresh and dynamic takes on iconic depictions of Black Widow—the acrobatic fight scene and the superhero landing pose:
Casagrande and Bellaire remind me of the brilliant run by Phil Noto in v.5.
By issue 4, Natasha regains her memory, and readers learn about her manufactured family—a family that is none the less “real.”
Issue 4 includes flashback scene art by Carlos Gómez.
Once Natasha/Black Widow understands her predicament, she joins Clint, Bucky, and Yelena in an elaborate scheme to protect her partner and child—a plot that once again leaves Natasha alone.
Casagrande and Bellaire render the images in issue 4 and issue 5 as dramatically as the plot itself.
The tensions, romantic and otherwise, between Natasha and Clint as well as between Natasha and Bucky are emphasized in issue 5 as Natasha grapples with the new reality of a manufactured family that she loves and must abandon to protect.
Thompson’s take on Natasha’s need to be a mother (explored in several earlier volumes) and the classic theme of being a superhero as a barrier to maintaining relationships are fresh and sincere.
“‘…And This Is My City Now'”
Even though v.8 has a core creative team of women, elements of the male gaze, objectification, and sexual innuendo are not absent, but framed in a different context, enabling readers to interrogate how women navigate s violent and sexually aggressive world.
Issue 6 includes a staple of Black Widow stories—sexual innuendo—with Rafael De Latorre maintaining the outstanding artwork presence.
In the second third of this volume, the story shifts to Natasha/Black Widow taking control of her world—the sexual banter vocalizes her power and control, for example. And this new life, this new world, is in her reclaimed city of San Francisco.
As Black Widow asserts control, the falling imagery in issue 6 parallels the first issue fall that is the initial transition of this volume.
This volume is grounded in women creators who, by issue 7, begin to center the narrative on women characters as Black Widow forms a group of women superheroes.
In issue 7, Natasha interacts with Spider-Girl and Lucy, characters that highlight elements of the complexities involved with being a superhero as they are compounded by also being a woman (as well as issues related to age).
For Lucy, coming to terms with new super powers highlights her frailty and the uncertainties of being differently human. One of the hallmarks of the Marvel approach to superheroes from the beginning in the 1960s was emphasizing the “human” in “superhuman”—such as acknowledging the negative as well as positive consequences of being “super.”
In many ways, Lucy parallels Natasha’s journey, and she offers a context for the dualities of being superhuman. (Issue 8)
As well, the interactions between Yelena and Natasha explore the iconic “with great power comes great responsibility” motif. Yelena speaks often for her own interests as Natasha remains deeply committed to serving those in need.
Issue 8 continues to explore Natasha’s commitment to San Francisco as her city now.
Thompson’s work as writer for this volume excels in the complex and rich portrayal and development of the characters, notably the women. Like Natasha, Yelena stands out in Thompson’s care for the character.
None the less, Yelena receives some of the often problematic elements found in many volumes of Black Widow—being bound and killed. In issue 8 and issue 9, Thompson’s approach to these well-worn narratives rises above mere objectification (being bound) and simplistic as well as hollow tension (being killed).
Yes, Yelena is bound to a chair, but the perspective avoids the lurid gaze found in earlier volumes, and Yelena’s apparent death also fits into a motif of the power of women to (in this case) literally save each other’s lives.
The second third of this volume reaches a milestone for the much underestimated character of Black Widow, the legacy issue 50 (issue 10). Marvel’s new normal of constantly rebooting and renumbering is annoying, and in my opinion, nonsense, but the legacy acknowledgements temper some of that.
Adam Hughs offers another visually dynamic cover for legacy issue 50, a fitting tribute to Black Widow as a underestimated and hypersexualized character in the Marvel Universe.
Issue 10 introduces another derivative woman superhero, Hawkeye, like Spider-Girl, but the assembling of a mostly women team remains a powerful aspect of this run. Natasha herself acknowledges this, suggesting a sense of community linked to their shared womanhood (even with a touch of her sarcasm).
While the comic book industry has suffered from lacking representation and often failed by seeking diversity in derivatives (women taking on male superhero roles), Natasha’s “My kind of team” carries a great deal of weight in terms of Thompson’s rich portrayal of both being a superhero and a woman.
This key legacy issue also includes more of the iconic depictions of Black Widow as an acrobatic and gifted super-agent and fighter.
Paneling and coloring continue to define v.8 as one of, if not the best runs featuring Black Widow.
“This Is Beautiful”
Issue 11 highlights in the final third of this volume Natasha’s remaining internal struggles. Although she has found and fostered a community with her new team, she remains in her bones a loner, and as in previous volumes, continues to value the power of secrets.
Nat certainly is well represented on a motorcycle—the solo vehicle that is an extension of her individuality as well as her power and grace.
How humans are portrayed in comic books has a long problematic history. Men and women alike are often drawn in distorted ways (particularly for me, the low point being the artistic style of the 1990s)—although women are more often than not hypersexualized. Black Widow has suffered that fate often, too often, so v.8 is an interesting way to interrogate women’s bodies, the gaze afforded readers when women are centered, and the role of clothing and fashion in depicting women superheroes.
Casagrande’s style is often similar to Noto’s in terms of portraying superheroes closer to realistic human shape while embracing elements of beauty without reducing women to their cleavages or mid-drifts (see here).
In short, women are celebrated as beautiful, unique, and powerful without the lens of the lurid male gaze. Fashion, in fact, plays a central role, and the characters are allowed to embrace what is often seen traditionally (and problematically) as womanhood in complex and even playful ways by the characters themselves.
In earlier volumes, Natasha and Yelena were puppets for revealing outfits and exposing cat fights. Thompson and Casagrande avoid these failures by centering both characters as autonomous humans who are both their bodies and much more.
At the center of how characters are portrayed, in fact, is the wonderful work of Casagrande and Bellaire (again). Possibly the best way to describe v.8 is that the entire run is simply beautiful—in the most inspiring use of the word.
Issue 12 is stunning in terms of art and coloring, a masterclass in the ways in which comic books can avoid underestimating characters and their readers.
Another element of fashion is the use of flashback in issue 13 with artwork on a variant cover and interiors by Rafael Pimentel. The use here of the gray Black Widow costume associated with Frank Miller is both a homage of sorts to the comic book legacy of the character as well as another dynamic exploration of how Black Widow is often defined by her costume.
Pimentel provides a stellar and complimentary addition to v.8. The variant cover for issue 13 is one of the highlights of the run.
The final issues of this volume, beginning with issue 12, matches Black Widow against the Living Blade (issue 13 provides the backstory for their rivalry). From the re-introduction of the Living Blade (and Natasha’s internal monologue exposing her fear) to the most WTF scene of issue 14, the core team of Thompson, Casagrande, and Bellaire take readers on a genuinely dramatic ride, punctuated with the sort of real surprise (Black Widow’s arm severed) that is rare in comic book narratives.
Bellaire maintains a high level of purposefulness in how the color motifs drive the narrative, tone, and emotional impact established by Thompson and Casagrande.
Many of the problems created throughout this series are resolved satisfactorily and without slipping into cliche; there simply is no lazy work in v.8.
And while I remain very frustrated that this series ended after (only) 15 issues and the Black Widow remains in comic book limbo, I think the real accomplishment of the series is the willingness to drive the narrative to a positive ending (in a way that reminds me of Alice Walker’s choice of ending for The Color Purple).
Despite the weight of her past and the traumas that continue in her life, Natasha makes a heart-warning final pronouncement—”This is beautiful”—and musters a genuine smile.
Issue 15, in many ways, offers the perfect way to think about v.8, “beautiful.”
In the Marvel Universe(s), including the MCU, Black Widow has endured just about every compelling and nonsensical plot line and character development that represent the larger sub-genre of superhero comic books. As I have been documenting, however, Marvel and even their best creative teams find ways to underestimate (and, of course, hypersexualize) Natasha/Black Widow.
With Marvel committing more issues and superstar teams in v.5 and v.6, readers may have held out hope that the fate of Black Widow (both inside the comic book universe and more broadly as a character Marvel would develop more substantially) had turned a corner. However, v.7 ultimately is a regression with only 5 issues, and then, the Web of Black Widow offers another brief 5-issue run after that.
Black Widow v.7, issue 1 (cover art by Clayton Crain) and Web of Black Widow issue 3 (cover art by Jung-Geun Yoon) remind us that too often Black Widow is hypersexualized with her outfits and the relentless urge to show her bound.
Since we have the benefit of hindsight—this post sitting as it does after one of the best (if not the best) run on Black Widow, v.8 (thanks to Kelly Thompson, Elena Casagrande, and others)—many of us are now dealing with both the afterglow of a stellar 15-issue run and the recurring disappointment of Black Widow once again trapped in publishing limbo.
Here, I want to consider v.7 and Web as a stumbling journey to that excellent Thompson series, holding onto the hope that at some point Marvel will overcome underestimating and hypersexualizing Natasha/Black Widow.
Black Widow, Lost and Found
The creative team of Jen Soska and Sylvia Soska, writers, and Flaviano Armentaro, artist, are tasked with v.7 in the wake of Natasha Black Widow’s death in Secret Empire issue 7.
Cover art by Max Brooks.
The opening of v.7 issue 1 establishes, again, the double-identity and secret identity motifs very common in superhero comics, but especially in Black Widow narratives. Here, the dual Captain Americas (one of which has killed Black Widow in Secret Empire before she is resurrected through cloning and memory implants) face off again as Natasha helps—while trying to maintain the veil of people believing she is dead.
While Black Widow and the real Captain America fight the evil Captain America, this volume returns to considerations of dual and secret identities as well as the tensions at the core of being a superhero—fighting for good while trying to honor human life.
Natasha is a perfect pairing for Captain America’s identity crisis since she has long suffered doubt and suspicious about her loyalties despite her heroism.
The dynamic between Black Widow and Captain America works well here, but once again, sexual banter returns in a way that feel reductive and unneeded:
Hypersexualized Black Widow would not seem as abrupt in v.7 if not for the more nuanced and fuller explorations of the character in v.5 and v.6.
The core tension of this issue is one of the most enduring elements of the superhero subgenre, one that includes the problematic aspects of vigilanteism, embodied by Black Widow and Captain America arguing over taking a life:
Black Widow, cold and practical, resists Captain America’s idealism with “I am what I am.”
And Natasha remains vividly aware of who she is: “The violence. The rage”:
Ominous beginnings for v.7 highlight what likely are the strongest elements of the Black Widow narrative, a woman fighting herself because of the injustices she has suffered even as she seeks to fights for other people’s justice.
For v.7, the Soska sisters explain the are committed to “Black Widow … unleashed,” and placing Natasha motivated by avenging child sex trafficking provides fertile soil for just that—as Black Widow herself revels in the opportunity:
Natasha’s passionate resolve stand in contrast to Captain America’s naive view of the ugliest aspects of humanity.
And Black Widow unleashed shifts the reader’s gaze away from Natasha’s body (when creators underestimate the character) and highlights the violence she has embraced, and justifies. We must confront the allure along with the problems of ends-justify-the-means justice:
The focus of v.7 maintains the “unleashed” commitment of the writers, and much of the action involves several women characters—Black Widow, Tyger Tiger, Madame Masque—against the backdrop of the most horrific child sex trafficking (including a child recovered who had her hands cut off).
Throughout this series, I struggle with Flaviano’s artwork, however. Too often the style leans to the cartoon side, unlike the dynamic and even hyperrealism of previous artists such as Phil Noto and Chris Samnee. These concerns are more about my tastes than quality, I think, because Flaviano’s work suits well the “unleashed” tone throughout.
As one example, the creators of v.7 turn the tables on one of the most reductive ways Black Widow is portrayed—bound (and often nude or semi-nude):
A great deal is at work here in v.7, issue 3—a twist on the bound motif, the working-class slur, and extended scenes between two women in what is too often a misogynistic media.
However, after Natasha takes on Madame Masque’s identity to infiltrate the child trafficking ring, issue 3 slips right back into old habits—Natasha exposed, and bound:
It is hard not to be disappointed when creative teams cannot resist Natasha returning to the role of victim and almost always finding herself bound, helpless, and exposed.
By issue 4, “unleashed” becomes hyperviolent and cathartic for Black Widow, and likely readers. Despite my concerns raised above, Flaviano’s paneling and design lend a powerfully dynamic look that reinforces the narrative.
And at the center of it all, the weight of Natasha’s past remains at the heart of Black Widow, super-agent, and Natasha, deeply traumatized woman:
“I am through being a plaything, a pawn”—this refrain drives v.7, but also speaks to the essence of my series, raising concerns about underestimating and hypersexualizing this important character.
Identity and rebirth open the last issue of this series with Black Widow surviving a blast, portrayed with subtle phoenix imagery:
Survival and rebirth sits at the center of who Natasha is a woman and as a superhero.
The volume ends with some of the strongest aspects of this too-short series. Natasha/Black Widow imposes her world view—not Captain America’s—on her revenge, exposing the emptiness of the sex traffickers and fulfilling her own resolve to enact justice (even as that takes life).
The final pages reveal Natasha providing Winter Soldier-like hands to the mutilated girl and reuniting with Steve Rogers: “It doesn’t matter how our story started. It’s up to us how it’s going to end.”
This series becomes a story of power with the gender roles reversed—Natasha taking control of her world and urging Steve to let go of his fatalistic worldview.
Black Widow ends, again, yet the rage remains:
One of the best pages of v.7 occurs at the very end.
O, What a Tangled Web…
Marvel released a limited solo series, Web of Black Widow, after v.7 and before v.8, the celebrated Thompson run.
Web, regretfully, immediately introduces Tony Stark, and of course, Natasha’s cleavage:
Web is written by Jody Houser with artwork by Stephen Mooney. Issue 1 doesn’t suggest another brief series, 5 issues, will rise above well-worn ground.
While issue 1 too often remains reductive and derivative, Mooney’s artwork soars none the less:
Mooney captures many of the best qualities found in superior runs of Black Widow.
Noted above, v.7 built to an issue of power; Web establishes the issue of history, switching the tension from between Natasha and Captain America to between Natasha and Iron Man.
Natasha continues to build who she is on who she has been, and how her history has often been what others do to her.
Web is intended as a noir take on Black Widow, and as acknowledged earlier, the artwork certainly aspires to the very best of previous Black Widow series, but too much of this solo run falls back into the underestimated and especially the hypersexualized:
Cover art by Jung-Geun Yoon
Comic books have long suffered the misleading, unnecessarily provocative covers. Throughout Web, we are confronted not with Natasha’s cleavage, but the possibility of her cleavage behind that zipper. I am reminded of a scene in The Handmaid’s Tale: “They wore blouses with buttons down the front that suggested the possibilities of the word undone. These women could be undone; or not. They seemed to be able to choose” (p. 25).
I am unable to trust what choices are allowed for Natasha in Web, genuine power and autonomy, against the objectification of her throughout. But I do sense a strong grounding of Web in all that has come before, not just Natasha’s backstory but the many series I have been covering:
Issue 2 alludes to v.6, issue 9 as the Winter Soldier is introduced to this plot line.
Ultimately, Web proves to be a mildly interesting thought experiment, Black Widow noir, and it looks good while muddling through being mostly derivative.
Worse things can be said about a comic book series, but I continue to hope for better, and with my last post coming next, I can assure you that v.8 is better—if not the best.
[NOTE: This is the next installment of a series begun at Comics Bookcase, which has made some changes; therefore, I am completing the series here, with this and then two final posts. I also hope to develop these posts into a book proposal because I think Black Widow deserves a deep dive into how the character has been underestimated (and hypersexualized) throughout Marvel’s less-than-adequate handling of the character.]
After Nathan Edmondson, writer, and Phil Noto, artist, set the bar very high in v.5 of Black Widow—avoiding the pitfalls of underestimating and hypersexualizing her—another all-star team took over with v.6, Chris Samnee handling pencils and co-writing with Mark Waid. This reboot repeats many aspects of previous volumes: a Daredevil team trying their hands at Natasha Romanov and portraying Natasha as possibly disloyal because of the ghosts of her abusive past that cannot be exorcized.
Yet, Samnee and Waid maintain the momentum set by Edmondson and Noto, especially with a visually compelling 12-issue run that also does not stoop to focusing on exposed cleavage and Black Widow bound by chains or rope.
A couple covers do involve Black Widow embraced—although these portrayals fit well into the tone and imagery of the run without reducing Black Widow’s agency as a character and a woman.
Covers for issue 002 and 009 feature Black Widow embraced. Pencil by Chris Samnee and ink by Matthew Wilson.
Enemy of S.H.I.E.L.D. (Again?)
Issue 001 opens with dynamic action and panels; Samnee (pencil and ink) and Wilson (colors) set the tone for the series by centering Black Widow’s athleticism and intelligence. However, once again, readers are in for another exploration of Natasha’s trustworthiness and how damaged she remains because of the trauma of her childhood training as an assassin.
Samnee and Wilson build to Black Widow’s dramatic escape in the opening pages of issue 001 in v.6, highlighting Samnee’s panel designs and Wilson’s brilliant coloring.
Similar to Noto, Samnee carries the narrative through textless panels and creates a film effect for much of the volume. After her dramatic escape from S.H.I.E.L.D., Natasha finds her foe for the volume in issue 002, Weeping Lion, and is again threatened with having her deepest secrets revealed. In many ways the focus of this series feels overworked already, but visually Samnee and Wilson maintain a compelling narrative.
Samnee and Waid also craft a smart approach to old topics because they clearly honor the complexity of Natasha/Black Widow as a rich and complicated human as well as superhero.
Once again, Black Widow finds herself bound and threatened in issue 002, but Samnee and Waid never stumble into the hypersexualized and reductive patterns in early volumes.
Instead of focusing on Natasha’s exposed body, Samnee depicts Black Widow in the context of images as a ballerina through the use of pastel colors and emphatic shading. As well, Natasha remains physically vulnerable, often battered, stabbed, and brought to exhaustion through a relentless parade of battles for her life.
A perfect scene for Natasha/Black Widow, in fact, in issue 003 involves her being stitched up in a flashback mixed in with her actual return to the Catacombs in the Red Room Academy. Natasha is told: “It will scar, which is good. A scar is not the mark of a mistake made, Natasha. It’s another lesson.”
Natasha as Black Widow is a life lived among scars, pain, and seemingly lessons that never end.
Issue 003 offers powerful uses of pastels—blues, pinks—contrasted with black shade and faded images.
Natasha is badly wounded and finds the help of Iosef in issue 004. Caught between the Weeping Lion and S.H.I.E.L.D., Natasha must secure the tools, old weapons from Iosef, to confront the Headmistress and Recluse in the Dark Room Academy, a replacement of the Red Room Academy, where young girls continue to be trained as assassins like Natasha was.
Samnee and Waid use parallel narratives—present and flashback—and motifs well despite this being overworked ground with Black Widow. The issues continue to be visually dynamic and compelling, breathing life into stories and conflicts we have read again and again.
Natasha and Iosef are one of the better pairings used in Black Widow series, at times playful but absent the empty sexual banter and tension too often present in Natasha’s relationship with men.
Issue 004 also highlights the power of images, the use of color and dynamic paneling, and either textless or sparse-text full-page spreads. Samnee gives this volume the same presence and visual weight that Noto provided in v.5.
The use of blue on this full-page panel and the simple “Well, damn” captures the vastness of Nastasha living in the present while continuing to fight the past.
The Arc of Black Widow’s Universe
After parallel stabbings—from her past and in the present, returning to the Catacombs—Natasha confronts the Red Room Headmistress and Recluse, complicating the main narrative involving S.H.I.E.L.D. and Weeping Lion. After recovering with Iosef’s help, Natasha moves to her mission to recover intel for Weeping Lion, which goes wrong, dramatically and violently with S.H.I.E.L.D. involved. The lingering question of Natasha’s loyalty is left in the balance.
The next test is Tony Stark/Iron Man joining issue 006, mixed with another flashback of Natasha’s life as a ruthless assassin. The Stark scene shows Natasha manipulating Stark: “Makeup and acting, Tony. You’ve always been a sucker for both. Thanks for the access.”
The “former lover” motif is a return to a pattern found in many Black Widow series; however, Samnee and Waid insert a power shift and portray Stark as the weaker of the two instead of hypersexualizing or reducing Natasha to stereotypes that do not suite her character.
The access she secures leads to Natasha discovering that Weeping Lion is part of a duo, including the telepath brother Ilija Knezevic in issue 006. Black Widow now turns the focus of the plot to her confronting the Headmistress and Recluse to rescue the girls from the Dark Room.
“No one gets into my head unless I let them,” Natasha informs Ilija Knezevic after turning Stark’s weapon on him. “And I rarely let them.”
Possibly the perfect tagline for Natasha/Black Widow is found in issue 006: “I reap what I sow.”
In issue 007, “No More Secrets,” readers witness a truly violent and disturbing flashback that centers both this series and Natasha/Black Widow by alluding to Martin Luther King Jr.’s “the arc of the moral universe is long but it bends toward justice.”
Natasha as a child assassin was supremely dedicated to her mission, a sort of moral code that is graphically displayed in the flashbacks depicting cold and calculated violence even in the face of innocence, notably other children—more of the weight of Natasha reaping what she has sown.
Issue 007 forces the reader to consider “justice” but also reveals the moral tension of the assassin’s mandate to leave no witnesses.
Natasha, the duo that is Weeping Lion, the Headmistress, and Recluse are all entangled by the end of issue 007 in a web of violence and an urge to seek justice warped by revenge and under the dark cloud of their pasts because Natasha failed to follow the full mandate of her assassin’s creed. After Headmistress’s death, Natasha claims, “…her mother did just die. I am not a monster.” The issue ends with Knezevic’s ominous, “Right.”
Issue 008 involves current-day child assassins in the White House with Natasha undercover. When the child assassins are exposed, Natasha confronts the girl calling herself “Death” with “You have been programmed for as long as you can remember. I know this. I was too.” Natasha adds that the Headmistress made her a “living weapon.”
Here, an important question about who is culpable and for how long when the actions are extreme, but the person is only a child, a child behaving in ways that they have been indoctrinated to believe and act upon.
Black Widow seeking to save these child assassins foreshadows later issues with Bucky Barnes involving tensions of savior and sacrifice.
The killing of Iosef in issue 009 adds to Natasha’s fear of death in the wake of anyone knowing her, and sets up her confrontation with Recluse, who has captured Bucky Barnes. Natsha chastises Barnes for wanting to protect her, but Barnes has another mission, bringing Black Widow to Nick Fury, now The Unseen.
On the moon in issue 010, Black Widow, Weeping Lion (telepath), and Bucky meet Fury/The Unseen. This dense issue includes the death of the telepath, a child assassin stowaway, and a familiar plot element, Natasha demanding that she be sacrificed: “My turn…to be the savior.”
Paneling and color continue to stand out as some of the most powerful work on v.6.
In the final two issues, Natasha must subvert the plan of a group of child assassins, charged with destroying S.H.I.E.L.D. and eventually confront Recluse.
The determination and skill of Natsha/Black Widow are highlighted in v.6.
The series ends with a climactic battle between Black Widow and Recluse, displaying some of Samnee’s finest work. The issue is also well written by Samnee/Waid as the plot builds to Natasha surrounded by the child assassins stating to Recluse, “I remain a better fighter than you. But a lesser assassin.”
Here is Natasha as savior without being sacrificed.
Yet, when all is said and done (including another scene with Stark), Natasha is asked to confront that her “lone wolf act” doesn’t mean she is alone. To that, Natasha agrees to “come in out of the cold.”
Samnee and Waid’s run on Black Widow fulfills the message of the universe bending toward justice, at least momentarily, at least for some.
Regretfully, Marvel abandons Black Widow again, until v.7 in 2019, a brief 5-issue run that regresses to early, weaker runs and breaks the excellent momentum created by Edmondson/Noto and Samnee/Waid.
As a teen I had two experiences that have shaped my entire life, being diagnosed with scoliosis (resulting in wearing a full-body brace throughout high school) and subsequently falling in love with comic books and science fiction.
This was the 1970s, and I was captivated by a much different Marvel Universe than people recognize now with the rise of the MCU.
As a comic book collector and fan of superhero comics, I was drawn to Spider-Man (of course), but I also developed an affinity for so-called second-tier characters and sidekicks.
One of my favorite characters was the Falcon, who shared the cover title with Captain America starting with issue 134 and lasting until issue 222:
In the MCU era, Black Widow is associated with the Avengers, but for me, the connection is Daredevil.
Also, in the MCU, Black Widow has suffered a double death—her character killed off (and then given an after-the-fact solo film), and the high-profile actor playing the role, Scarlett Johansson, breaking ties with Disney and Marvel.
The end of the Johansson/Black Widow run in the MCU often contrasts with the jumbled ways Marvel has handled Black Widow in the comic books (see below where Black Widow has had 8 volumes, often running only 3 issues, with a total of 50 issues and running) beginning with her introduction in 1964.
But there is one significant similarity, identified by Johansson in an article for Salon:
All of that is related to that move away from the kind of hyper-sexualization of this character and, I mean, you look back at ‘Iron Man 2’ and while it was really fun and had a lot of great moments in it, the character is so sexualized, you know? Really talked about like she’s a piece of something, like a possession or a thing or whatever — like a piece of ass, really. And Tony even refers to her as something like that at one point.
But this reductive hypersexualization goes back to the 1960s and 1970s as well, with the artwork of Gene Colan:
Heck, even Marvel themselves admitted it was pretty steamy stuff for the time in the behind-the-scenes features of the BLACK WIDOW EPIC COLLECTION: BEWARE THE BLACK WIDOW tpb! pic.twitter.com/aHUJOhyZ1w
— Dr. Rorschach Hound, “the Professor of Comics” (@samasmith23) August 2, 2020
Brown confronts that hypersexualization and exoticizing marginalized (by race and/or gender) characters are standard practices in superhero comics:
Black women in the media, especially within the superhero genre, are still constructed as exotic sexual spectacles, as erotic racial “Others.”… Female superheroines…are primarily depicted as scantily clad and erotically posed fetish objects. (pp. 134, 135)
Black Widow, although white, fits into the pattern of hypersexuality and othering as exotic (her Russian and mysterious as well as isolated background). Brown’s recognition that female superheroes are often reduced to “purely symbolic images,” especially noting “the way that superheroines are portrayed as sexual objects on comic book covers” (p. 144):
“[T]he superhero genre of comic books continues to reply heavily on stereotypes of all kinds,” Brown concludes—and throughout her solo career in Marvel comics, Black Widow represents the irony found directly in a central motif of her characterization:
“But like most men, in the end,” Natalia Romanova observes, “he underestimates me.”
Throughout her years in the print Marvel Universe, Black Widow has far too often been underestimated by the (mostly) men who write her story and draw her life into action—men hypersexualizing and Othering her along the way.
There is another layer to these problems, however, since there have been and currently are powerful and far less problematic versions of Black Widow along the way; regardless of the quality, it seems, of how creative teams deal with Black Widow, the Men (the Industry) continue to underestimate, and fail the character.
The current run, volume 8, has been a stellar and beautiful rendering of Black Widow, not surprisingly in the hands of women—Kelly Thompson (writer), Elena Casagrande (artist), and others:
There remains a noir quality to this version of Black Widow, and certainly, Black Widow continues to be sexual and physically compelling. But the rich humanity and complexity of being Black Widow / Natalie Grey (Natasha Romanoff) is more fully realized in this volume, often to critical acclaim.
With the track record behind the character of Black Widow, time will ultimately tell if Marvel and superhero comics can finally stop underestimating this character, can allow the full and complex humanity to exist beyond the reductive hypersexualizing.
Black Widow represents that too many have failed superhero comics even though comic book universes allow a nearly endless opportunity to imagine and reimagine again and again.
Doing it right, I believe in that too.
Sources
Jeffrey A. Brown, “Panthers and Vixens: Black Superheroines, Sexuality, and Stereotypes in Contemporary Comic Books,” in Black Comics: Politics of Race and Representation, ed. Sheena C. Howard and Ronald L. Jackson II (New York: Bloomsbury Academic, 2013).
dr. p.l. (paul) thomas 
