Plot: It's execution time for Black Widow and Songbird, meaning there's a guy named Headsman with a giant ax, and their necks are on his block.

Comments: In a strange way, this has been one of Marvel's most consistent titles for years. Barring a brief run of aberrant stories that constituted a misconceived "reboot" best forgotten, the Thunderbolts have been delivering on the basic concepts set up by Kurt Busiek since the start. A group of villains pretend to be good guys, leading to some surprising conversions in some cases and some even more surprising switched identity reveals at irregular intervals.

Fabian Nicieza continued Busiek's concepts into ever more internecine corners of Marvel continuity, including coming back after that abortive relaunch to do it all over again. Then Warren Ellis realized the perfect synergy between Civil War and the Thunderbolts concept, installing Norman Osborne as the leader of a band of lunatics legally empowered to track down heroes in that topsy-turvy world. His issues were a study in the psychoses of the criminal mind, and they did a lot for defining the current Osborn persona as a malignant but brilliant force in the Marvel universe.

Christos Gage came in for a clever use of the Thunderbolts in the Secret Invasion mop-up, and when "Iron-Patriot" and Moonstone were promoted to Avengers Tower. Andy Diggle seemed initially poised to take the title into ever-darker villainy. But he proved he knows the book he inherited a few issues ago when Black Widow II ripped off her face and revealed herself to have been the original Black Widow all along.

Natasha has been sort of a guiding spirit for this book in every incarnation, as one of the original reformed villains along with Hawkeye (I mean Ronin), and she and Songbird have bounced from certain doom to surprised rescues for the past few issues, understandable since, despite their considerable skills, they're facing a gallery of straight-on rogues like Mr. X, the untrustworthy Paladin, the self-centered Ant-Man and a vicious and mysterious new cybernetic Scourge.

That there are even more reveals awaiting us this issue is a testament to the excitement of Diggle's writing. Songbird finally seems on safe ground by issue's end, though that has happened before. Poor Melissa, she led the team at the end of the Nicieza era, served as an unwonted conscience in the Ellis days (one constantly threatened by murder at the hands of Bullseye), despite having become a true heroine long ago. Who knows what'll become of this title if she ever makes it to a big-game team where she belongs?

The Widow/Songbird team is certainly an effective one, as Natasha warns her not to rely on her powers while they steal a "Mine-Resistant Ambush-Protected" vehicle, and also that they may have to do it "loud." Melissa's reply: "I like loud. It's kind of my thing."

The art has been serviceable over the past few issues, though the covers are unrelentingly grim (they look like advertisements for dull video games). This is the title defined by the likes Bagley, Grummett and Deodato, so I'd love an art upgrade. But Diggle clearly knows what he's doing, and having a handle on this title's high concept is paramount.

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