| 1 | Daredevil and the Black Widow (v.1) 104 (Gil Kane and Frank Giacoia). | 3 |
| 2 | Tales of Suspense (v.1) 52, cover by Jack Kirby and George Roussos, and “The Crimson Dynamo Strikes Again!” introducing Black Widow and featuring Iron Man by Stan Lee and N. Korok (Don Rico), writers, with Don Heck, artist. | 4 |
| 3 | Amazing Spider-Man (v.1) 86, cover by John Romita, Sr. | 9 |
| 4 | Amazing Adventures (v.2) 5 (1970), written by Roy Thomas, (a) pencils by Gene Colan, (b) inks by Bill Everett, letters by Artie Simek, and edits by Stan Lee. | 10 |
| 5 | Amazing Adventures (v.2) 8 (1971), cover by Neal Adams. | 12 |
| 6 | (a) Daredevil (v.1) 101, cover by Rich Buckler and Frank Giacoia, and (b) Daredevil 102, cover by Rich Buckler, Frank Giacoia, and John Costanza. | 13 |
| 7 | Marvel Fanfare (v.1) 10, cover by George Pérez. | 15 |
| 8 | Daredevil (v.1) 92: The first issue with a shared title offers a contrast to the all-too-common depiction of Black Widow bound and helpless with Daredevil unconscious and Black Widow poised to save the day, cover by Gene Colan. | 31 |
| 9 | The Champions (v.1) 3, George Tuska pencils, Vince Colletta, inks. | 33 |
| 10 | Marvel Fanfare (v.1) 10, penciler George Pérez, inker Brett Breeding. | 35 |
| 11 | Black Widow (v.1) 2, cover by J.G. Jones. | 38 |
| 12 | Black Widow (v.1) 3, Grayson and Jones. | 39 |
| 13 | Black Widow: Pale Little Spider 3, cover by Greg Horn. | 41 |
| 14 | Daredevil (v.2) (a) 61, (b) 64, covers by Alex Maleev. | 43 |
| 15 | Daredevil (v.2) 61, Bendis and Maleev. | 45 |
| 16 | Daredevil (v.2) 64, Bendis and Maleev. | 46 |
| 17 | Black Widow (v.3) 1, Richard K. Morgan, writer; Bill Sienkiewicz, artist. | 49 |
| 18 | Black Widow (v.3) 2, Morgan, writer; Parlov and Sienkiewicz, artists. | 52 |
| 19 | Black Widow (v.3) 3, Morgan, writer; Parlov and Sienkiewicz, artists. | 53 |
| 20 | Black Widow (v.3) 6, Morgan, writer; Parlov and Sienkiewicz, artists. | 55 |
| 21 | Black Widow 2 (2005) (a) 1 and (b) 5, covers by Bill Sienkiewicz (issue 1) and Sean Phillips (issue 5). | 57 |
| 22 | (a) Spider-Woman (v.5) 1, (b) variant cover, cover censored and original by Milo Manara. | 59 |
| 23 | (a) and (b) Black Widow 2 6, Morgan (writer) with Phillips and Sienkiewicz (artists). | 62 |
| 24 | Deadly Origin 1, writer Cornell and artist Leon. | 67 |
| 25 | Deadly Origin 3, writer Cornell and artist Ranney. | 68 |
| 26 | Can readers see these scenes as an acknowledgement that women (and Natasha/Black Widow) are too often reduced to and underestimated as mere pieces of meat? ([v.4] 4. Liu, writer and Acuna, artist). | 71 |
| 27 | Garcia’s panels and action are compelling, but the heaving chest represents a continued hypersexualizing of Black Widow. | 73 |
| 28 | Depictions of Natasha and Fantasma seem gratuitous and best in the context of Natasha explicitly challenging the manipulation and abuse of “impressionable young girls.” | 74 |
| 29 | Edmondson and Noto bring a powerful and welcomed focus on fully exploring and honoring the character of Natasha/Black Widow (issue 1). | 77 |
| 30 | Bathroom and bedroom scenes serve narrative purposes and character development (her thoughts, not her body, are centered), and instead of objectifying her, Noto’s depictions highlight Natasha’s humanity, frailty, and grace (see issue 3 [above] as well as 7 and 20). | 79 |
| 31 | Edmondson and Noto (issue 5) portray a non-sexualized Black Widow even when she is bound and apparently helpless: “I’m in over my head”. | 82 |
| 32 | Samnee’s perspective in this scene of a bound Black Widow avoids reducing such scenes to being sexualized or mostly for the reader’s gaze (issue 2). | 88 |
| 33 | Natasha is perpetually trapped in both her past and present, a personification of the karmic consequences of choices and actions (issue 6). | 90 |
| 34 | Paneling and color continue to stand out as some of the most powerful work on v.6 (issue 10). | 92 |
| 35 | Black Widow as savior of children, and notably, young girls. | 93 |
| 36 | The death of Black Widow in 2017 is captured in a powerful page by artist Andrea Sorrentino, predating the death of Black Widow in Avengers: Endgame (2019). | 96 |
| 37 | It is hard to avoid being disappointed when creative teams fail to resist Natasha returning to the role of victim and almost always finding herself bound, helpless, and exposed. | 99 |
| 38 | Mooney captures many of the best qualities found in superior runs featuring Black Widow. | 100 |
| 39 | Throughout Web, readers are reminded of the past that Natasha seeks to rebuild, a comic-book grounded past that is filled with contradictions and a steady recurring cast of characters. | 101 |
| 40 | Casagrande (with Bellaire’s powerful coloring) chooses a thinner Natasha, again like Noto’s work, but throughout v.8, the many women of this series are shown in dynamic physicality as well as glamorous settings that reflect empowering instead of objectifying them. | 105 |
| 41 | Casagrande’s double-page spreads are not only dynamic but also absent the provocative outfits (Yelena’s mid-drift and both characters’ cleavage emphasized in earlier volumes). | 108 |
| 42 | Casagrande’s design choices center the importance of women creators in superhero comics. | 109 |
| 43 | The creative team’s work on v.8 is often best at not underestimating any characters, notably Yelena and Natasha. | 111 |
| 44 | “There is no objective version” establishes the powerful thread that runs through Historia. | 116 |
| 45 | Powerful writing and artwork reinforce this clash between the all-powerful and the powerless, god and mortal, mercilessness and mercy. | 122 |
| 46 | White Widow 1 variant, cover by Adam Hughes. | 124 |
| 47 | Celebrating Black Widow’s 60th anniversary with Black Widow & Hawkeye 1, variant by Stanley “Artgerm” Lau. | 125 |
In: Black Widow Underestimated and Hypersexualized
Author:
P. L. Thomas
P. L. Thomas
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