Random Back Issues #163 - Spider-Woman #19

If that's her skin, shouldn't she have a sucking chest wound? Shapeshifting is so inconsistent. The last time we looked at this series, Spider-Woman was fighting a scientist who made a bunch of crazy clones of grandmother. That might be preferable to today's issue, which is a Devil's Reign tie-in.

The Kingpin, now Mayor of NYC, is cracking down on vigilantes. He already had his Thunderbolts beat up Jessica's friend Lindsay McCabe, but as it turns out, the Skrull Queen from Secret Invasion somehow survived getting her head kersploded by Norman Osborn, and has been in custody all this time. And Fisk thought it was a good idea to let her out, just to mess with Spider-Woman? He definitely fits into the current era of abusing political power to settle personal spats.

Veranke's imitating Spider-Woman and picks up her son, Gerry, from the Night Nurse, who gets suspicious about Gerry being so unhappy a little too late. Spider-Woman also shows up a little too late, as the armored van rolls away, leaving her to punch it out with Veranke. The comedy sound effects stop partway through, so Jessica takes that as the cue to chase the van (fortunately caught in traffic, the goon complaining about being, 'baby chauffeur'), but when she arrives, Gerry's not in the back. But Iron Man showed up to help!

I'm sure there's a time that would be cause for excitement, but not today, especially as it's Veranke. Fighting resumes, the Skrull taunting Jessica about how none of her friends trust her, while Jessica is more concerned Veranke made out with Tony back during that mess. (Pacheco also keeps trying to do the editor's notes for these things, but doesn't remember the specific issue, forcing assistant editor Lindsey Conick to add another editor's note.)

Then the van goes hurtling off a bridge! Gerry's not in the back of the van because he somehow crawled into the cab and zapped the guard, who's unconscious body slumped on the accelerator. So now they're fighting on a garbage scow. Spider-Man swings past, saying Night Nurse got in touch with him, and Jessica zaps him. In her defense, Veranke said the same thing when pretending to be Iron Man. Also, judging by the costume, that's Ben Reilly during that stretch where he was the Beyond Corporation's Spider-Man?

Then Carol Danvers shows up, holding Gerry. Or wait, did Carol just arrive behind Jessica? Unable to be sure, Jessica tells Gerry to, 'zap-zap bad Auntie Carol,' which is the latecomer. Carol flies away with Gerry, and, ding-ding, it's Round 3.

Veranke starts a spiel about honoring Jessica by believing her strong enough to be a leader, and that's why Veranke impersonated her. Why the fuck did she think that? When had Jessica Drew ever been a leader, of anything? Because she "ran" a two-person detective agency? She had even led the Champions, or the freaking Defenders, let alone anything serious.

I know the reason she'd think that, Bendis liked Spider-Woman, but that doesn't work as a Watsonian excuse. "I did you a favor!" failing to gain traction, Veranke shifts to Clint Barton (as Ronin), accusing Jessica of making him watch his wife die. Does she mean the Skrull that got killed by Mephisto in West Coast Avengers, or the one that died in the Savage Land during Secret Invasion? 

Either way, Jessica can punch Clint just fine - told him he shouldn't have cheated on her in Fraction and Aja's Hawkeye! - so Veranke tries Gerry, but doesn't even get as far as changing her skin color before getting flipped on top of a flat-screen TV. Finally she tries a battered Lindsay, again not bothering to stop being green as she blames Lindsay's injuries on Jessica, and Spider-Woman just zaps her skull. With piss-poor strategy like that, I'm starting to think the Skrulls backed a stupid horse.

Carol returns with Gerry, Jessica hugs her kid and asks if they can just leave Veranke in a fridge on the garbage scow, which Danvers agrees to. Also, Jessica calls Carol "Kirk," and Carol calls her "Spock," which is just nonsense. Jessica Drew is waaaaaay too angry in this run to be Spock. She's McCoy all the way.

These are the only Devil's Reign stuff I own, as Moon Knight had the decency to tie-in via a one-shot outside the monthly series. Of course, this book is getting canceled in 2 issues, so they had nothing to lose. 

{10th longbox, 160th comic. Spider-Woman (vol. 7) #19, by Karla Pacheco (writer), Pere Perez (artist), Frank D'Armata (color artist), Travis Lanham (letterer)}

Saturday Splash Page #137

 

"Gastrointestinal Distress Signals," in Spider-Woman (vol. 7) #1, by Karla Pacheco (writer), Pere Perez (artist), Frank D'Armata (color artist), Travis Lanham (letterer)

In the first year of volume 7, Perez usually draws the first page as a series of images of Spider-Woman against an entirely black backdrop. Like we were catching glimpses when a flashbulb went off. The second year, he shifted to a splash page that usually summarized what was happening, with a sound effect or some other large lettering forming part of the background. It's not quite Adam West Batman sound effects, but there's a bit of that feel, given the lighter tone of many of the stories.

But Spider-Woman's symbol formed out of acidic vomit is a hard image to top, so here we are.

Karla Pacheco's run started in 2020 with Jessica Drew feeling like crap and making little effort to hide it. She's wearing a new, mostly black costume - which Jessica comments makes her butt look amazing, but I fail to see a difference in how Perez draws it; must be some "black is slimming" thing - because she needs money and doesn't want to wear her traditional costume for playing bodyguard to some rich guy's daughter. The jacket and goggles of the Hopeless/Rodriguez runs vanish into the aether, though the motorcycle is around some of the time.

As it turns out, the rich guy, Michael Marchand, is Jessica's brother. Her parents had another kid after escaping HYDRA, but when he used their experiments on infusing arachnid traits to save his daughter from cancer, he forgot about keeping her from dying of the radiation. So after dosing Jessica with a serum that removes the regenerative abilities that protect her from the radiation, convinces her to help search for a cure because this same problem could manifest in her son, Gerry.

This is as much as Gerry, or Porcupine for that matter, factor into Pacheco's run. She literally sends them to a farm upstate for the first year, then has Jess dispense with any of the trust she put in Roger to help her fight in year two, so that he leaves right when he was about to propose. Fine, you don't want to deal with the status quo Hopeless left you (except to use the baby as a lever to make the main character do what your plot requires.) I get that. But once Roger's out of the book, Jessica constantly foists care of her child onto other characters, who nonetheless all reassure Spider-Woman she's not a terrible parent. 

Sure, compared to Magneto or Wolverine, she's awesome.

While the experimental drug Marchand's developed (but is unwilling to test on his daughter) boosts Drew's powers and restores the pheromone power (albeit to Bendis' version, where dudes fall for her, rather than the original version, where people instinctively don't like her), it also makes her increasingly angry and erratic. Jessica steadily alienates her friends by screaming at them, stealing their stuff, injuring them when they get in her way. She steals from Stark on behalf of her parents' old HYDRA colleague and attacks War Machine when he catches her. When Carol Danvers enlists her to help fight symbiote dragons in the obligatory King in Black tie-ins, because Danvers has to save her juice for the Final Boss (which ended up losing to an Enigma Force-using Eddie Brock anyway, and that might be the stupidest horseshit I've typed on this blog, thanks Donny Cates!), Jessica gets angry enough to break Danvers' arm.

Pacheco writing Spider-Woman as really angry all the time doesn't bug me. Hopeless wrote her with a temper - she wailed on an entire bar full of villains when she thought Roger was dead. So did Claremont if someone she cared about was hurt. And Danvers knew that Drew using her powers would kill her faster, and made her do it anyway, for one dragon. That's fine. I just have never cared about the strange muddle of HYDRA and the High Evolutionary that makes up Jessica Drew's origin. So the first year revolving heavily around that - Octavia Vermis being an old colleague of both Jess' parents and the H.E., there being homicidal clones of Jessica's mother in late-stage Clone Saga-level quantities, Marchand being her brother with ulterior motives - I ain't got time for that. Especially the High Evolutionary. If John Ostrander couldn't make me give a shit about that dude in Heroes for Hire, Pacheco had a less than zero chance. All his dialogue might as well be how the adults talk in Peanuts.

The storyline concludes with Jessica back to normal. Her friends forgive her for her behavior. She shelves the new costume, which was transmitting data to Vermis the whole time and goes back to the classic look for year 2. Which is much more about Jessica Drew fighting random enemies. Marchand does pop up again, having given himself powers at the urging of his new girlfriend, but otherwise it's enemies like Lady Bullseye or two brothers who share a pair of enchanted swords and claim to be from Toledo, so Jess can make a bunch of terrible jokes about the city in Ohio.

That becomes her "thing" in the second half of the book, making bad puns and jokes. OK, sure. As long as the High Evolutionary isn't involved. Pacheco brings back Claremont/Leialoha supporting cast member Lindsay McCabe, who I don't think had been used since the (I think) Spider-Man annual story in the '90s where she enlisted Julia Carpenter to retrieve Drew's soul from the limbo where it resided.

The stories are a bit more lighthearted. Even if Rebecca Marchand has to help Jessica fight her dad, she does so in her own super-suit and with the aid of a dinosaur that I think they and Vermis either created or bred with the High Evolutionary's work. She rides it like a big, jagged-tooth pony! No feathers, though. Comic artists still hewing to the scaly hide conception of dinos. McCabe's doing stunt work in a Western and gets attacked by ninjas because she's hasn't paid off a debt to some Madripoor gangster. Bit lower stakes, more chances for bad jokes by Drew.

Drew gets some upgrades to the classic costume, so now the web gliders under the arms can detach and be used like those fighting fans in kung-fu movies. Perez and Pacheco seem to have fun with the fight scenes, having Spider-Woman use a variety of styles, although characters really seem to like arm locks. Lots of people gets arms broken or dislocated, it felt like. They take advantage of the settings, bring in surprise or random interference when it's appropriate.

I don't like that Perez seems to de-age Night Nurse. I liked how Marcos Martin drew her in Dr. Strange: The Oath, where she was probably late '30s. The outfit was loose enough she could move, but not to where it might impede movement or get caught on instruments. Now she's wearing a form-fitting nurse outfit all the time.

The last story is a two-parter where a bunch of the villains from the run try to form essentially a "League of Spider-Woman Haters" to get revenge, but they're chumps, so it mostly ends in hilarious disaster. Vermis can't get Stegron the Dinosaur Man to stop flirting with her, the Brothers Grimm are arguing with the swordfighter brothers about stealing their bit. Of the two halves, I definitely prefer the second part, even with the Devil's Reign tie-in where we find out the Skrull Queen from Secret Invasion somehow survived Norman Osborn exploding her head. Yeah, I don't know.

Saturday Splash Page #136

 

"GUNK", in Spider-Woman (vol. 6) #3, by Dennis Hopeless (writer), Javier Rodriguez (penciler), Alvaro Lopez (inker), Rachelle Rosenberg (color artist), Travis Lanham (letterer)

Spider-Woman volume 5 ended in the summer of 2015, as part of the mass cancelation of Marvel's line, due to Hickman's Secret Wars. Spider-Woman volume 6 started 3 months later, probably before Hickman's stupid event was even finished.

As with a lot of books around that time, the creative team of the new volume was the same as the prior volume (minus Rosenberg taking the color duties off Rodriguez's hands.) Most of the titles tried to make some status quo change as a result of the undefined timeskip. Deadpool was now rich, famous and beloved. Squirrel Girl was now an Avenger and a second-year computer science student. Ms. Marvel, actually, I don't remember what the difference was for Kamala.

Jessica Drew's big change was being pregnant. Hopeless played cagey with the identity of the father, but that was 8 years ago so I'm just going to spoil it: We don't know who the father is. Jess decided she wanted to have a kid, so she went to a sperm clinic. There, saved you some time.

The birth is out of the way in issue 4. From there, the book remains much the same as the previous volume, as Jess works with Roger (the Porcupine) and Ben Urich on various cases, when one or more of them isn't looking after her son, Gerry.

(Something I only remembered when going through my Spider-Girl comics for upcoming Saturday Splash Page entries is there was a whole storyline about a mysterious new Spider-Man, who turned out to be Jessica Drew's son, named Gerry. Did not expect Hopeless to actually play off that, although this version of Gerry has his mom's venom blasts and that version either didn't, or wasn't using them, to avoid giving away the secret.)

With Spider-Woman not trying so hard to avoid Avengers-type stuff, Rodriguez gets to draw much stranger things than in volume 1. The page above is part of Spider-Woman's journey across a space station set within a black hole that has been taken over by Skrulls. Later on, there's an issue of her fighting Tiger Shark with a lovely page of their battle through a series of flooded sewer tunnels. Rosenberg keeps the colors bright and sharp, making everything pop off the page.

The book does get derailed by events. First, two tie-in issues to another Spider-Verse thing (which I skipped when I hunted this down in back issues.) Then, three issues of Civil War II tie-ins, as Jess is skeptical of this Ulysses kid and his precognition, all the moreso when Hawkeye kills Bruce Banner because of it. The curious thing is that, while Jess seemingly really wants to talk to Hawkeye, that never happens. Instead she has a big fight with Carol Danvers (who was the one touting "Minority Report was a good idea, actually" and essentially tells Captain Marvel to lose her number. Which explains why Hopeless was playing up the friendship between the two so much for the first half-dozen issues.

(Tigra and Spider-Woman became friends at the tail end of volume 1, before Drew ever fished Danvers' comatose husk out of San Francisco Bay, but nobody ever has those two hang out.)

The back half of the book, where Veronica Fish takes over as artist, is focused more on Jess and Roger, as Roger's criminal past comes back to haunt him, and Spider-Woman realizes she has caught the dreaded feelings. The feelings manifest in her beating the crap out of a bunch of villains working for the Hobgoblin. The real deal, Roderick Kingsley version, accept no shitty substitutes. Fish's artwork isn't as fluid or detailed as Rodriguez's, but she's adept at interesting page layouts and knows how to draw action sequences, both exciting and humorous.

(Oddly, the one issue where she finishes over Rodriguez's art - the last of the Civil War II tie-ins - doesn't look great. It's rough and things just look awkward. Their styles apparently don't mesh.)

The book ends at 17 issues, with Jessica having decided she's going to date Roger, no matter how many snippy comments the Black Widow makes. I don't see how a woman who willingly dated Matt Murdock has a leg to stand on about taste in men, but oh well. Natasha gets humiliated by a super-powered infant, so nerts to her.

Saturday Splash Page #135

 

"Cowboys and Arachnids," in Spider-Woman (vol. 5) #9, by Dennis Hopeless (writer), Javier Rodriguez (penciler/colorist), Alvaro Lopez (inker), Travis Lanham (inker)

After Jessica Drew's series ended with her death, Marvel eventually introduced a new Spider-Woman during Secret Wars. While Julia Carpenter had a long stint on the West Coast Avengers, and even got tagged as Tony Stark's love interest on the '90s Iron Man cartoon, she never got more than a single 4-issue mini-series, back in 1993.

Spider-Woman volume 3 was Mattie Franklin's book, the character created by John Byrne and Howard Mackie after the Spider-Man books got rebooted in an attempt to wipe the Clone Saga stink off them. It lasted a year-and-a-half, and then Mattie largely vanished. Volume 4 was Bendis and Maleev writing Jessica Drew after Bendis used Drew in his Avengers run (and revamped her powers so her pheromones attracted people, rather than repulsing them as they did in the first year+ of volume 1.) That book only lasted 7 issues, and that was it for about 5 years, until Dennis Hopeless started volume 5.

The book actually started with 4 issues of some Spider-Verse tie-ins, drawn by Greg Land, which I skipped. They aren't relevant to anything that happens in the remainder of the volume, so feel free to skip them, too. Though that only leaves 6 issues until the book was canceled for Hickman's Secret Wars. Once the book actually gets down to business, Hopeless has Drew return to something like the private investigator era of the Claremont/Leialoha run, looking into odd stories for Ben Urich. The other member of the cast was Roger, the current Porcupine, who Jessica caught robbing a bank in what turned out to be an extortion scheme of a group of low-level super-villains by their exes and mothers of their children.

Javier Rodriguez drew and colored every issue except the final one, issue 10, when the Black Widow drags Jess back into the Avengers to perform the entirely pointless task of co-piloting one of those ships the Illuminati came up with to save a couple thousand people from the end of the universe. Would have made more sense for Jessica to tell the Widow to fuck off and enjoy hanging out with her friends until everything ended. That's what Deadpool did, and for once, he had the right idea!

Where was I? Oh yeah, Rodriguez. The book is gorgeous, as Rodriguez does a lot of interesting stuff with page layouts or perspectives within the panels themselves. Spider-Woman gets a new costume, one of the "practical" look redesigns that were popular at the time. I like the yellow glasses and the jacket is nifty. He uses the shadows to emphasize the logo, or her venom blast, making things pop off the page spectacularly.

It's not a deeply serious book, with Jessica seemingly just wanting to escape Avengers stuff, Urich try to save his paper and maybe help some people, and Porcupine trying to be a better guy. So a lot of the threats are high concept or just silly. Which does give Rodriguez fun stuff to draw, like Hulk cows or an exo-suit constructed from earth-moving equipment.

Saturday Splash Page #134

"The Big Headache," in Spider-Woman (vol. 1) #45, by Chris Claremont (writer), Steve Leialoha (artist/colorist), Tom Orzechowski (letterer)

Take what meds you need for your arachnophobia, because Saturday Splash Page is kicking off a Summer of Spiders!

I assume the thinking behind Spider-Woman was that people loved Spider-Man, so why not Spider-Man, but a lady? Of course, Jessica Drew's powers are very different from Peter Parker's, her origin involved her parents being scientists and HYDRA sending her to kill Nick Fury (or something, I never bothered that much with that part of her history), the most similar part of her costume is the webs under the armpits.

And that's good, that she isn't just Gender-Swapped Spider-Man. Just, feels like kind of an odd approach.

Her first ongoing series ran 50 issues, a number none of the subsequent attempts have even gotten halfway to matching. But the book doesn't have much stability, with regular changes in creative teams. From what I could tell, Marv Wolfman wrote 8 issues. Mark Gruenwald handled 9 solo, plus one he wrote with Josh Wilburn and two with Steven Grant. Michael Fleisher took over for 12 issues, J.M. DeMatteis for 1. Claremont wrote 12 issues, plus 2 others where he and Leialoha are given co-writer credits. Then Ann Nocenti handled the last 4 issues.

I own about 10 issues now, and I know the gist of the early part of the run because another blogger was doing recaps of them once upon a time. (Sadly, all that's left of his Fortress of Fortitude blog is the farewell post back in '09.)

But the arc of the book is about what you'd expect with a constant rotation of creative teams. Each writer takes their own slant, largely discarding the cast the previous writer constructed in an effort to either find something that works, or just plays better to their strengths and preferences.

Jessica starts with an old magician for a friend and a SHIELD agent as a possible love interest while she tries to learn about her past and start a life. Gruenwald sends both those guys out a year into the book and while Jessica continues to struggle to keep a civilian life going, she faces a string of second-tier (or worse) villains, several of whom Gruenwald would use in his Captain America run as part of The Shroud's "Night Shift" crew.

Fleisher pairs Jessica with a paraplegic named Scottie, who seems to act as her version of Oracle, guiding her crimefighting remotely. Except Scottie is more than a bit of a chauvinist, who gets annoyed when Spider-Woman does silly things like focus on saving endangered civilians instead of beating up the bad guy.

Claremont and Leialoha make her a private detective, because it's an easy way to meld her civilian life with the superhero side. Claremont also brings in Yakuza and ninjas, because of course he does. At least it feels like they have a strong idea for what they want the book and her status quo to be. The character's not flailing for some bit of stability any longer.

Leialoha's one of the artists with the longest tenure on the book, as he was drawing some of the Fleisher-written issues as well. It's either him or Carmine Infantino, who drew a lot of the first two years. I prefer Leialoha, he does some strong layout work for the fight scenes, whether she's up against Flying Tiger in the skies over San Francisco, or fighting an entire group of ninjas in the shadowy confines of a high-rise construction site. His version of Jessica Drew dresses for comfort, while Spider-Woman is, I can't describe it. Leialoha uses a heavy line that makes her both solid and defined, but sparingly enough she looks smooth. He really emphasizes her quickness and grace when she's gliding, and the art plays to that very well. She looks like she wouldn't encounter much wind resistance, but she'd hit like a tank once she caught you.

The book ended on issue 50, with the conclusion of some long-standing grudge between Spider-Woman and Morgan le Fay. Really seems like Jessica punching out of her weight class, tangling with a sorceress Dr. Doom would respect.

Random Back Issues #123 - Spider-Woman #10

Who hasn't wanted to toss a crying baby into a vat of molten lava? Be honest!

Up to this point, Spider-Woman's been working with an old enemy, Octavia Vermis (???), to find a cure for an experimental serum she was dosed with. The serum boosted her strength, but made her unstable, to the extent she chewed out and pushed away all her friends. Which leaves her to contend with Octavia's sudden but inevitable betrayal, alone.

Octavia's already run the High Evolutionary (written as more sane and down-to-earth than I've ever seen) through with a lance and killed her daughter. Again. But Ophelia's a clone, so she'll just make another. Jess was cured in the previous issue, which means she's not under Octavia's control, but she's too shitty of an actress to fake it and keep the element of surprise.

Cue the fight scene, with each of them trying to hurt emotionally as well as physically. Jess' contention she has people who love her is countered with the fact absolutely none of them are here right now. Octavia's argument she made something of her kids is rebutted with the point they might have sucked because they're clones of a shitty person.

That one's a palpable hit, but it earned Jess a kick in the old joybox, so. . . Palpable hits all around. Then Octavia suggests Jess would do the same to her own son, make him a perfect obedient copy. Jess responds by getting Octavia in the face with a venom blast, so Octavia sics an army of clones of Jess' mother on her.

Jess kicks a control device into the lava and the clones, programmed to retrieve it, follow. She gets the lance out of H.E.'s chest, he activates his array, Jess kicks Octavia into it, and she's turned into a possibly mindless dino-person. The Evolutionary keeps Octavia around while he rebuilds his lab, and Spider-Woman goes home.

First to her son, because he's her kid, but also because she's going to use him as a shield when she apologizes to her unhappy friends - Hawkeye, Iron Fist, Night Nurse, Luke Cage and War Machine. It works, because none of them are prepared to go through that terrifying facsimile of a child, but there's still one more person to make up with, and Carol's not in the mood. She accuses Jess of always denying her problems or running away from them. I feel like Carol Danvers does at least as much denying or running from her problems as Jessica Drew - the whole alcoholism thing, anyone? - but that doesn't jibe with Marvel's current conception of her character, where her only fault is she's just too awesome and people resent her for it, so whatever. They hug it out.

{10th longbox, 176th comic. Spider-Woman (vol. 7) #10, by Karla Pacheco (writer), Pere Perez (artist), Frank D'Armata (color artist), Travis Lanham (letterer)}

Random Back Issues #57 - Spider-Woman #14

Shower crying: When you want to mask your tears, but can't be bothered to go stand outside in the rain.

Jess is feeling down because she saw her assistant Roger (aka the not-terribly-super-villain Porcupine) get blown up by a pumpkin bomb last issue, courtesy of the Hobgoblin. She's feeling lost, but Carol Danvers shows up, despite their having a big fight over Civil War II. What with Jess having recently dated Hawkeye, and him having recently killed Bruce Banner because Carol was so convinced he was a threat by Future Vision Kid. Goddamnit Bendis, your shit's exhausting. Anyway, she offers to babysit so Jessica can work on the case. 

 

First stop is a little town populated entirely by women who were married to super-villains and decided to get the hell away. I'm unclear on if they allow the husbands of super-villains. Roger's ex, Olivia, is not happy to see Jessica, who she blames for getting Roger killed, and for taking Roger away from his actual daughter. Jess tries to plead innocence, but Ben Urich (her other partner) wisely drags her out of there and explains a few things. Like how she was the only one unaware of Roger being in love with her, and that from his ex-wife's perspective, it's kind of shitty he couldn't bother to do domestic stuff for her and his child, but he's all too happy to fold laundry and babysit for Spider-Woman.

In news certain to give her something to think about other than being a homewrecker, Ben shows her some photos of Roger going to visit a villain bar the night he was killed. A property owned by Roderick Kingsley, the original Hobgoblin. So she goes to the bar, and beats the crap out of a bunch of villains. I call foul on her managing to down the Beetle with one venom blast. Actually, what the hell is the Beetle doing there? It's not Janice, the one that's Tombstone's daughter, and I thought Abe Jenkins was persona non grata with the villain set because he embraced the Mach Whatever-version-he's-up-to-now identity.

Maybe Secret Wars undid that. Who knows?

Jess gets distracted by a call from Carol long enough for the Bruin (the other bear-themed super-villain) to throw her out, but it's OK, because some high-tech, no doubt questionably legal monitoring system Danvers has access to picked up the Porcupine robbing a bank. Spider-Woman hightails it over there, and while the Porcupine won't speak and confirm his identity, he does shoot her with a crapload of quills. Only instead of sedatives, they're explosive.

 

[10th longbox, 143rd comic. Spider-Woman (vol. 6) #14, by Dennis Hopeless (writer), Veronica Fish (artist), Rachelle Rosenberg (color artist), Travis Landham (letterer)]