WEB OF BLACK WIDOW #2: The Tangles Of The Past

This issue sees Natasha head to the high seas and the yacht of one Collins Financial who are are about to launch their own cryptocurrency.

The past haunts Natasha who’s memories since returning from the grave are incomplete and the very clever device of white silhouettes to represent the “Ghosts” of the past as well as perhaps suggest gaps (as well as hide a potential character?) in Black Widows memory is used in the art. Houser finds the perfect tone and the book reads as an espionage caper should reminding me very much of something one would see in a James Bond movie.

However, Natasha comes face to face with Bucky Barnes mid-mission. They have a long and complicated past which is explained in flashbacks and also helps explain what Natasha is trying to do and why she is on the ship. We also learn that Bucky had a hand in the past indiscretion that Natasha seeks to correct. This leads to a physical fight between Bucky and Natasha, proving to be a distraction as a mysterious figure disguised as the Black Widow actually gets the information the Widow was after and as the Natasha breaks off her confrontation with the Winter Soldier by leaping out a porthole into the ocean she sees her mystery opponent for the first time…and she is looking at her own face. It’s slick well written and excellently paced spy action writing from Houser as the mystery deepens.

Stephen Mooney’s art is gorgeous from the opening panel to the last. His Natasha is beautiful and alluring when required, strolling across the deck, fitting in perfectly among the wealthy aboard the ship and gloriously physical and perfectly balanced the next as she leaps over the side of the ship on her mission. The paneling in this issue really gives solid pacing to the story moving smoothly from start to finish. The fight between Natasha and Bucky serves to underline the ballet-like nature of Natasha’s combat moves balancing both her grace and her toughness in combat and I went back several times to look at each panel and appreciate the choreography that was put into it. All the art is superbly colored by Triona Farrell from the shaded blue of the ocean to the excellent skin tones of Natasha in combat helping to emphasize that fighters’ physique.

Lettering from Petit is as good as ever, never in the way and easy to follow allowing everything to flow in a slick easy to follow the issue.