Silk becomes her newest villain’s latest victim. How will she save the day when she can’t even cross the street by herself? Find out in Silk #4, written by Emily Kim, drawn by Takeshi Miyazawa, colored by Ian Herring and lettered by Ariana Maher.
Previously, Silk found herself becoming a victim of the manyaoâs aging spell when she tried to confront her face to face. We also learned that the manyao ages people by taking the âworship energyâ they gain from becoming popular on social media and that the manyao used to be a healer but was branded a witch. Now, Old Lady Cindy will have to adjust to her aging while she figures out how to stop the manyao once and for all.
The issue begins with Cindy returning to the apartment she shares with her brother Albert only to find he doesnât recognize her due to her aging. Luckily, Cindyâs best friends Lola and Rafferty have her back and let her stay in their apartment. It is soon revealed that Cindy didnât explain her situation to Albert because she feels she canât be too vulnerable with him.
In Silkâs very first series, Cindy originally found Albert in a halfway house recovering from an incident with the criminal organization Goblin Nation, which he doesn’t remember. During that time, Cindy and Albert’s parents were still missing, so Albert had to lean on Cindy. Given this context, it is no wonder Cindy feels uncomfortable relying on Albert. However, Lola and Rafferty reassure Cindy that Albert would understand her current situation.
This moment seems to echo when Cindy had to learn itâs OK to ask for help in her first series. Although Cindy did manage to apply this in her personal and superhero lives by going to therapy and not barreling into fights alone all the time, it seems Cindy is having a hard time remembering this because her life is better now. Sheâs overcome her traumatic past and has a solid career, so now she thinks she no longer needs help. Hopefully, Cindyâs therapy sessions will resume in this series beyond the first issue because itâs clear she needs more guidance than her friends can provide.
After having a pep talk with her friends, Cindy leaves to go somewhere else and is acutely aware of how aging has affected her and how people see her. The buttons on her phone are too small, everything hurts and she can’t even flirt with Ivan, the guy she tried to date in issue #2. He calls Cindyâs phone as she is walking down the street, but now is not the best time for Cindy to date. Ivan, bless his heart, says he will wait for Cindy.
Soon, Cindy discovers that being aged up has also affected her abilities as Silk when she tries to stop some muggers after her Spidey-Sense goes off. During the scene that follows, Ian Herringâs colors, Ariana Maher’s letters and Takeshi Miyazawaâs art sync up well together. Not only does this continue the dynamic action sequences from previous issues, it also has a little fun with it without undermining the seriousness of the situation.
To start with, the moment Cindy tries to shoot webbing out of her aged hands, the webbingâs sound effects go from âFWIPâ to a pathetic âPFFT.â Then the colors transition from dusky grays and purple to a slight red tint when the mugger threatens Silk with a knife. Luckily, she is just shoved to the ground when one of the other muggers speaks up on her behalf.
This incident causes Cindy to ask who she is if she can’t be Silk. Since a large part of Cindy’s life revolves around being a superhero and she is still figuring herself out, it is understandable that Cindy is having an identity crisis.
In fact, it is moments like this that Iâve found Cindy relatable as a fellow thirty-something. Although Iâm still young, Iâm at the point in my life where some people will consider you a failure if you arenât their version of whatâs considered successful. Some people expect you to have your whole life together by your thirties, but sometimes thatâs not quite possible when youâre still figuring yourself out and working through things.
Soon, Cindy visits J. Jonah Jameson’s apartment as Silk (albeit wearing a Spider-Man mask to hide her aged face). Silk became Jonah’s bodyguard in her previous miniseries, but Jonah has also given Cindy valuable advice in the past. This continues through wonderful dialogue by writer Emily Kim.
First, Silk asks Jonah if stuff ever makes him feel old. Jonah replies that age is just another way for people to judge you and he doesn’t let anyone do so. Then, Silk asks if Jonah ever worries about the future. He responds that he used to before his wife and kid died, now he just focuses on what makes him happy, like peppermint bark.
This conversation is comforting to those who might not have their life together. By living in the moment, you can learn to not stress out so much about the future and enjoy your life more.
Just then, Silk gets a phone call from Dr. Ferguson, the director of the manyao museum exhibit from issue #3. He just happens to be at the museum as the manyao prepares to do a ritual. It looks like the manyaoâs evil plans are starting to come to fruition, but Silk canât do much in her aged state.
Nonetheless, Silk decides to rush into action with a little help from Jonah . Since Silk’s powers are on the fritz, Jonah uses his speed-demon driving skills to give her a lift to the museum. It is hilarious to see Jonah use his irascible-boss attitude outside the office.
When Silk and Jonah arrive, the manyao appears to be in the midst of channeling magical energy to conjure up images from the past. In a two-page spread, we see hazy glimpses of Korean soldiers and weapons. Unfortunately, poor Dr. Ferguson is caught in the crossfire and disintegrates.
The issue ends as the magical energy starts to burst out of the museum. While it is still uncertain how Silk will stop the manyao, the stakes are pretty high. Now, Silk has to protect Jonah and New York from facing the same fate as Dr. Ferguson.
Latonya Pennington
Latonya Pennington is a freelance contributor whose comics criticism can be found at Women Write About Comics, Comic Book Herald, Newsarama and Shelfdust, among others.
