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Feeling the Pulse #4-5

Posted on March 15, 2016 by Logan Dalton

Feeling the Pulse is a weekly issue by issue look at the follow-up series to Alias featuring Jessica Jones and a team of reporters at the Daily Bugle, who investigate and report on superhero related stories.

In this installment of Feeling the Pulse, I will be covering The Pulse #4-5(2004) written by Brian Michael Bendis, penciled by Mark Bagley, inked by Scott Hanna, and colored by Pete Pantazis.

Spider-Man has a prominent guest role in The Pulse #4-5, but he doesn’t steal the spotlight from the real heroes of the “In the Air” arc: the journalists of the Daily Bugle, Jessica Jones, and Luke Cage, whose picking up Norman Osborn’s limo throws a wrench in the newspaper’s plan. However, it ends up opening up the story a little wider as J. Jonah Jameson decides to forgo the sensationalism of TV journalism and focus on the victims of the Green Goblin’s murders. Along the way, writer Brian Michael Bendis and artists Mark Bagley and Scott Hanna spend some time taking stock of Jessica Jones’ feelings about her pregnancy as she is freaked out that the Green Goblin has killed her baby and goes berserk in some power packed panels.

The Pulse #4 opens with Ben Urich getting ready to meet Spider-Man on the roof while Jessica Jones catches up Luke on what she’s been up to at work and even shares an adorable dream about their child and her superpowers. Then, there is a quick back and forth conversation between Ben and Spider-Man as he tells him how he discovered Spidey’s secret identity and about how the Green Goblin is just killing at random now. Spider-Man is worried about this and tells Ben that the Green Goblin killed the love of his life, Gwen Stacy, and to be careful with his story. Ben then talks to Terri’s (the Daily Bugle reporter who was killed) friend Sheryl and with great reluctance, Jameson lets him go to the police with his findings on Norman Osborn after Jessica says that these kind of stories are why journalism exists. The police come to Oscorp with Ben and Jessica, who is acting as an “outside viewer”, because they might make the cover of the Daily Bugle, and the issue ends with the Green Goblin throwing pumpkin bombs at them.

The Pulse #5 is mostly explosive superhero action that Bagley excels at drawing as Spider-Man swings in and saves Jessica Jones from the Green Goblin. Completely freaking out, Jessica gets a few licks in and throws his glider at him as he flies away. The scene switches to Jessica and Luke at a hospital where the doctor compliments her toughness, says the baby is okay, and says that her pregnancy and labor will be tough so she should see a doctor that specializes in superhuman cases. Next, a deranged Norman Osborn is conferring with his lawyer, who helped get the Kingpin off and should get his own spinoff comic, when Luke Cage wrecks his limo in payback for almost killing his kid. Spider-Man shows up to cool things down, but even he ends up as a weapon in Luke’s hands as Norman Osborn’s identity as the Green Goblin is on display for the whole world. This ends up being a big headline for the Daily Bugle with the Pulse section running profiles on the families of Green Goblin’s victims, and Jessica walking alone and saying all she cares about is her baby. The final page of The Pulse #5 is a great return to her attitude in Alias where she just wanted to pay the bills as a P.I. and not have to deal with superhero drama.

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With plenty of whiz bang fight scenes in The Pulse #5 and opportunities to draw arguably his signature character, Mark Bagley seems more at ease in these issues. He even gets a little visual humor when Ben meets with Spider-Man on the roof and is almost blown away by the wind while Spidey just chills out and sticks on the wall like a spider. Colorist Pete Pantazis’ work doesn’t particularly pop, but he definitely uses brighter reds, blues, and yellows for Spider-Man and the Green Goblin tussling together versus muted browns and greys for Luke and Jessica just chatting about their lives. And his palette is almost clinical when Jessica is in the hospital in The Pulse #5 as inker/finisher Scott Hanna channels his inner Michael Gaydos and gives her some frown lines that reminded me of when she was stressed out in Alias. For once, she doesn’t look like a teenage girl, but a superhero mom-to-be, who has taken a little bit of a beating while protecting the ones she loved.

Bendis probes at a weakness in Spider-Man in The Pulse #4 and borrows a little bit from the deconstructive bent of Alias as Ben explores why he just lets the Green Goblin walk free after killing so many people, including his girlfriend. Spider-Man is afraid that if he tells the press or authorities what he knows about Norman Osborn’s true identity that his own secret identity will be exposed, and that he will go to prison for his supposed murders and crimes. And this is yet another iteration of the famed “Parker luck” where Spider-Man can never catch a break. (Except that might not be a thing any more because he’s basically Batman now in Dan Slott’s current Amazing Spider-Man run for some reason.) Does putting one murderer out on the street outweigh all the good Spider-Man has done for the people of New York? It’s a dilemma that gets solved by journalists and a hero, who went public years ago and still doesn’t end up being a part of the Superhuman Registration Act in Civil War because he wants to protect his neighborhood in Harlem and not exist at the government or S.H.I.E.L.D’s beck and call.

Speaking of Luke Cage, the fight between him and the Green Goblin is cathartic and memorable. A crazy LukeCagevsGreenGoblin psychopath hurt his girlfriend and almost killed their child so he’s back for revenge, and a limo or a pumpkin bomb won’t be able to stop him. Unlike Spider-Man, Luke doesn’t have to protect his secret identity from the public, press, and bad guys and is free to whale on the Goblin. Bagley even gives us the hilariously epic panel of him putting a pumpkin bomb on his bulletproof skin and then quipping about losing his shirt “again” because kevlar looks tacky as daily or vengeance wear. And Bendis gives Spider-Man a perfect rejoinder about “unbreakable pants”. But this isn’t in the end, and Luke fights the Green Goblin until the villain is unconscious in front of the Daily Bugle reporters. Without a shadow of the doubt, this famous industrialist is the murderous Green Goblin, and if Luke hadn’t come over and given him a piece of his mind and fists, there probably would be two or three more issues focused on the legal battle between Oscorp and the Bugle. Also, this sequence shows how much Luke cares for Jessica, and how he wants to keep her safe.

But the characters that come off as the real heroes of the first arc of The Pulse are the pregnant, ex-superhero Jessica Jones and the embattled, intrepid reporter Ben Urich. Bendis gives Jessica an amazing speech about how taking down men like Osborn is the point of a paper like the Daily Bugle, and “isn’t telling people stuff like this, like, the only reason to work here?” In any other character’s speech, this line would come off as a tad saccharine, but it seems more genuine coming from Jessica, who is usually cynical and sarcastic although she is a good person beneath it. If she’s the idealistic one, you should really go after the story. And her heroism is on display later as she beats the crap out of the Green Goblin, leaping and throwing him around to keep him away from Ben and Spider-Man. Bagley doesn’t depict these scenes like a typical superhero fight with punches and, but as an intense brawl with Jessica grabbing at the Goblin’s throat. There’s just a hint of sentiment as Jessica gets caught by Spider-Man, who is her high school crush, Peter Parker.

SpideyandJess

Ben Urich doesn’t get a big fight scene, but he gets several panels of getting his throat grabbed by the Green Goblin, who taunts him with bad jokes about journalists. Bagley and Hanna zoom in on his pain stricken and constricted face with Pantazis giving the backgrounds a fiery color after all the explosions and punches being thrown around buildings in New York. And after this and seeing the Green Goblin get away, he’s still brave enough to publish an article saying he’s Norman Osborn on the front page of the Daily Bugle. He’s also clever as hell as Bendis and Bagley spend several pages in The Pulse #4 showing how he realized Peter Parker was Spider-Man from the obvious of him getting the best pictures of Spidey to the soot on his costume he gets from running on rooftops like Daredevil and finally the fact that a school teacher from Queens knew Matt Murdock was Daredevil. Spider-Man’s first reaction to this is understandably anger, but later he fears for Ben’s life as he goes to take down Osborn via the printed word and even confides in him about his relationship with Gwen Stacy. Ben Urich is street level superheroes, like Spider-Man, Daredevil, and later Spider-Woman’s greatest advocate, but he isn’t naive about them and is still a solid journalist through and through.

The Pulse #4 may seem like padding for the trade, but it gives us a look at the time consuming and difficult journalism process as Ben Urich must corroborate sources and also make a strong argument to J. Jonah Jameson about printing his article about Norman Osborn being the Green Goblin. It also furthers the bond between Luke Cage and Jessica Jones as they talk about their future child adding an emotional layer to the slugfest of The Pulse #5.

It slips in some spots artistically and sometimes pushes its presumed protagonist Jessica Jones to the side, but the “In the Air” arc of The Pulse is a fairly triumphant melding of an investigative reporting story with a superhero comic.

Feeling the Pulse #2-3

Posted on March 7, 2016 by Logan Dalton

In this installment of Feeling the Pulse, I will be covering The Pulse #2-3 (2004) written by Brian Michael Bendis, penciled by Mark Bagley, inked by Scott Hanna, and colored by Frank D’Armata, Brian Reber, and Pete Pantazis.

In The Pulse #2-3, writer Brian Michael Bendis and artists Mark Bagley and Scott Hanna abandon the whole half-assed murder mystery angle to tell the story of the Daily Bugle trying to expose Norman Osborn as the Green Goblin. It’s high concept and definitely a tough story to break, but is definitely the kind of hard hitting journalism that J. Jonah Jameson wants in The Pulse section of the Daily Bugle. Something that would usually be a subplot in a Spider-Man or Daredevil comic (or TV show) ends up being the main plot of The Pulse as up and coming reporter Kat Farrell, teams up with supposedly long in the tooth Ben Urich, and Jessica Jones to prove Norman Osborn is the Green Goblin after he killed the young Daily Bugle writer Terri Kidder.

The Pulse #2 is the kind of super focused character study that Bendis excels at as he and Bagley turn a woman, who was just a body at the end of The Pulse #1 into a flesh and blood human being with passions and weaknesses. The issue’s protagonist is Terri Kidder, a new reporter at the Daily Bugle, who transferred from a “major metropolitan newspaper”. (Perhaps The Daily Planet if sharing the first name and surname of two actors, who have played Lois Lane, is any clue.) She is trouble finding her place at a paper where the publisher is up in everyone’s business and gets laughed out of meeting when her first article pitch in a couple weeks is a puff piece on The Avengers. However, this lights a fire under her, and after talking with her friend, who is an Oscorp employee, she decides to interview Norman Osborn about multiple people at Oscorp, who have gone missing. She gets an interview with Osborn and plays to his pride first before pivoting and asking about the people. The issue ends with him strangling her to death, transforming into the Green Goblin, and killing her.

We finally catch up to the present day in The Pulse #3 as Robbie Robertson gives a big, motivational speech that wouldn’t be out of place in Newsroom, The West Wing, or hell even Friday Night Lights about the Daily Bugle having the best, most connected and giving Terri’s family a clear answer about why their daughter is dead. He puts Ben Urich, Kat Farrell, and The Pulse on this story/case. After showing a short tiff between Jessica Jones and Luke Cage, we get to see Ben and Kat in action and the difference in their reporting styles. Ben has a lot of skeletons in his closets from past editorials and gets told off by a NYPD homicide detective when he says he wants to help with the case. On the other hand, Kat makes friends easily and gets all the details about Terri’s death from her medical examiner buddy, who is on his coffee/look at Iron Man break. Along with Jessica, they put their heads together and think about flying superheroes/villains, who may have dropped Terri in the lake. The issue ends with Ben being a tenacious, dogged reporter and digging in Teri’s desk (aka an active crime scene), finding a recording of a phone conversation with her friend at Oscorp, making the connection to the Green Goblin, and calling Peter Parker. Because a Spider-Man cameo is always great for sales.

Even if the exposé of Norman Osborn is barely starting to pick up steam three issues in, The Pulse #2 stands alone as a “day in the life” type story about an ordinary journalist in the Marvel Universe, which happens to end with her getting dropped into a lake by the Green Goblin. This is a dangerous place to hold a job because the corporation that gives you a nice pension package and healthcare could be run by an insane supervillain. Before you try to go after a powerful billionaire, you should probably be able to call Spider-Man, Daredevil, or another superhero for backup But Terri is just an intrepid reporter, doesn’t have any of these connections and ends up fish food.

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However, Bendis gives Terri a full character arc in The Pulse #2 as he and Bagley use a kind of “hypercompression” and the “illustrated play technique” that was used in Alias #10 to show how much of a damn chatterbox J. Jonah Jameson was. There is text off to the side showing how stressed out Terri is at the Daily Bugle while Bagley draws yet another full page cutaway diagram to show the bustling newsroom. Bendis’ writing also reveals her motivation for working for the Bugle: she wants to be part of every day people’s conversation by writing for a tabloid newspaper. (And once and for all, Bendis through Teri dispels the idea that the Daily Bugle is the Marvel Universe equivalent of the Daily Mail because the tabloid is the form and not the content in this case.) And this stress combined with J. Jonah Jameson’s insults propels her onto a deadly path, including an interview and death at the hands of Norman Osborn.

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Bendis and Bagley are definitely on the same page when Osborn goes loony. Terri and Norman’s encounter just starts as a usual talking heads scene with a decent amount of panels as he adjusts his suit while she lobs softball questions. But when she asks about the missing people, something snaps, and Norman Osborn becomes the Green Goblin even before he puts on the Halloween costume. Bagley’s layout turns into a strict eight and then six panel grid, and he and Hanna progressively give Osborn more wrinkles in his face while colorists Frank D’Armata and Brian Reber give his eyes a full green color that they previously hinted at in the hue of his chair. The ever increasing close-up is a successful device at showing Terri’s horror and surprise and reminds readers that Green Goblin isn’t a cheesy villain, but a psychopath, who kills for kicks.

Unfortunately, when it comes to Jessica Jones and Luke Cage, the warm chemistry that they shared has mostly left the building in The Pulse #3. Neither character appears in The Pulse #2, and they share a short conversation in issue three, which is mostly contradictions and arguing for the sake of arguing. And, of course, Jessica cries because she’s pregnant while Luke sits and acts stoically. They do get one genuine spark as Jessica lands a great one-liner about hiring a guy to tell Luke he’s the “mutha&*%in’ best” superhero as a random Luke Cage fan wanders by and gives him a high five. The conclusion of their conversation isn’t half bad either as Jessica talks about hating her body, and Luke just gives her hug and kiss. Some interesting ideas are thrown about Luke not liking Jameson or the fact that he’s an obscure superhero, but they don’t really come into play. Basically, Luke and Jessica’s arc is stupid fight, not the best characterization of a pregnant woman, and then a kiss and makeup. They definitely both play second fiddle to the Daily Bugle reporters so far.

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And we get to see Kat Farrell and Ben Urich’s journalistic process and philosophy in The Pulse #3 as they try to get to the truth in different ways. Kat doesn’t hate superheroes, but she knows her editor does and isn’t a big fan of both Terri’s piece about the Avengers as well as Ben withholding his knowledge about Daredevil’s secret identity. Therefore, she is more in-line with usual, non-fantastic journalistic practices, like having a source in the police station, similar to Terri, who has a friend that works at Oscorp. Their conversation is the kind of upbeat banter found in the good police procedurals and connects the plot dots a lot quicker than Urich mouthing off to an NYPD detective.

For some reason, Bendis gives her some insane Buffy-speak (“Did the guy have the super duper? Was he whacky on the junk?”) maybe to show that she is younger than Ben even though it’s impossible to tell her age relative to Jessica or anyone because again Bagley draws adult women like teenagers with slightly different fashion and an extra line or two from his inker Hanna. Ben Urich is the aging loose cannon to Kat’s fresh faced, company woman, and it shows in his not so friendly chat with Police Detective Gans, who has turned Terri’s desk into a crime scene. Bendis’ dialogue really sings when it’s used combatively, and the detective and Ben’s sniping shows the often antagonistic relationship between the police force and press of a major city. However, it’s his connection with Peter Parker that could be their only chance at exposing Norman Osborn as the Green Goblin and simultaneously providing a successful first story for The Pulse.

The Pulse #2-3 is trying to tell a non-superhero story in a superhero universe, and it should be commended for that even if it’s not as groundbreaking, visually interesting, or as nuanced as its “mother” series Alias. It might have Spider-Man on the cover, but it’s really about ordinary journalists trying to break stories and find the truth in an extraordinary world.

Review: Superman: Lois and Clark #1

Posted on October 14, 2015 by Brett

Superman Lois and Clark #1 cover Worlds lived. Worlds died. The DC Universe fought to survive against a threat that bent the Multiverse to its will. Following the epic events of Convergence, here begins the adventures of the last sons and the last daughter of a Krypton and an Earth that were destroyed rather than saved.

Writer Dan Jurgens and artists Lee Weeks and Scott Hanna kick off a new adventure in Superman: Lois and Clark which features a classic pre-Crisis Superman brought forward to the current DC Universe.

Lois and Clark and their son Jon are trying to survive anonymously in a world not their own. But, knowing what they know from the future of their universe, they can’t help but get involved on this new world. Can they keep this Earth from suffering the same fate as their own? Can this Superman the villains he once fought before they are created here?

And what is Intergang, and why does Lois’s discovery of it place everyone she loves in jeopardy? What will happen when their nine-year old son learns the true identity of his parents?

This is the second post-Convergence series to launch tied directly into DC’s summer event. The first, Telos, was a bit of a disappointment, but this second series was a pleasant surprise, not just for the nice twist, but a comic that somehow feels both retro and modern in many ways.

Jurgens is impressive in his writing. The story feels like a natural outgrowth of events, and is absolutely the best thing to come out of Convergence so far. How this Clark and Lois can exists makes sense and is not forced. The issues they face are interesting, and the potential is huge. It all is actually interesting and a bit of a new take on Superman, one that’s pre-emptive in his action.

The art by Weeks and Hanna is solid, again feeling a bit retro, with a slight modern twist to it. The use of panels is what makes it feel a bit more modern, breaking way from simple nine panels or large spreads. But, the poses and scenes presented feel like a throwback in many ways.

It’s just one issue, but it’s one I really enjoyed. It also shows that DC can mix its history with a modern take that’s entertaining for old and new fans alike.

Story: Dan Jurgens Art: Lee Weeks and Scott Hanna
Story: 8.5 Art: 8 Overall: 8.3 Recommendation: Buy

DC Comics provided Graphic Policy with a FREE copy for review

Review: The New 52: Futures End #48

Posted on April 1, 2015 by Brett

“Eye Am Your Future.”

I read a lot of The New 52: Futures End, but at some point I trailed off. While the story was interesting, the weekly deluge of it all caught up to me as missed issues grew more and more. The New 52: Futures End #48 wraps up the weekly series, sort of (and we’ll get to that). [I know this review begins the same way as Earth 2: World’s End #26, but that’s because my thoughts and experience is similar].

The issue has a hodgepodge of creators listed including writers Brian Azzarello, Jeff Lemire, Dan Jurgens and Keith Giffen and artists Allan Goldman, Freddie Williams II, Andy Macdonlad, Stephen Thompson and Scott Hanna. That’s a lot of input, and the only spot I think that shows up is with the art which is ok, but nothing spectacular. It’s decent art, but for a huge issue, I expected a bit more.

As someone who hasn’t read the series for quite a while, I was able to hop into the story and get what was going on, so that’s solid. There’s a couple of things I had to think through, but generally I knew what was up. The story is interesting because of that whole wrapping up. I can’t say if it’s satisfying for long-time readers, and it leaves one massive cliffhanger that I wonder how or if it’ll be explored post DC’s next big event Convergence. Potentially it can be very cool, and something I’d check out.

The ending was interesting enough for me to want to go back and see what I missed, it seems like it’s a time-traveling head trip, but standing on its own, the issue is decent, and what stands out is its rather bleak ending. To see a comic end on a somewhat downer (I don’t consider that a spoiler) is interesting, and almost welcome in a weird way. For DC, which I’d consider a bit sunnier than rivals, it’s an odd tone, and one I welcome.

Is this really the End for Futures End? We’ll find out in a few months. This gets me to want to find out what’s next. To be continued in Batman Beyond #1?

Story: Brian Azzarello, Jeff Lemire, Dan Jurgens, Keith Giffen Art: Allan Goldman, Freddie Williams II, Andy Macdonald, Stephen Thompson, Scott Hanna
Story: 7.25 Art: 7 Overall: 7.25 Recommendation: Read

DC Comics provided Graphic Policy with a FREE copy for review

Blackjack returns after almost 20 years from Dover Publications!

Posted on November 2, 2014 by Brett

Dover Publications has announced the next book they’re going to be reprinting. Blackjack: Second Bite of the Cobra originally came out almost 20 years ago, and was a mini-series which was never collected. Blackjack was created and written by Alex Simmons, with artwork by Joe Bennett. It’ll be released in 2015.

Second Bite of the Cobra, the first story in the decades long Blackjack saga, is a tale of blood and vengeance, which stars Arron Day, alias Blackjack, an African-American soldier of fortune seeking revenge on a charismatic Bedouin warlord known as The Cobra. This current collection will feature a new foreword by Joe Illidge, a new afterword by Tom Sniegoski, and a new cover by Scott Hanna!

Preview: The Secret Origin of Tony Stark Concludes in Iron Man #17

Posted on September 21, 2013 by Brett

You think know the story of Tony Stark. Billionaire genius. Armored Avenger. But this October, everything you know will change in an instant as The Secret Origin of Tony Stark comes to its shocking conclusion in Iron Man #17!

From blockbuster creative team Kieron Gillen, Carlo Pagulayan and Scott Hanna, evil android 451 has all the answers when it comes to Tony Stark — or does he? Nothing will ever be the same as the true secret of Tony’s past is revealed!

With his life turned upside-down and his enemies closing in, can the Invincible Iron Man live up to his name? Everything changes in the mind-blowing Iron Man #17!

IRON MAN #17
Written by KIERON GILLEN
Art by CARLO PAGULAYAN and SCOTT HANNA
Cover by PAUL RENAUD
FOC – 10/16/13 On-Sale – 09/23/13

Review: Uncanny X-Force #3

Posted on March 31, 2013 by

The first two issues of this series have been chock full of action, so with good reason it’s easy to anticipate the book slowing down a bit. It didn’t slow down without a fight though, if you catch my meaning. Psylocke is once again taking the lead and, given she’s the main reason I picked up this title, I was very pleased to see her shine.

The Dialogue:

Someone get that girl a bar of soap! Psylocke has shown that one of her mutant abilities may be cursing. No, not in the form of putting a hex on someone, but having a mouth that would make a sailor blush. I like it though. It really sets her apart from the other people in this book and is in line with her “I don’t care” attitude regarding everyone’s opinions. There is a lot of back and forth emphasis in the dialogue and someone is being a little liberal with the ability to use bold print. It’s almost the norm in some spots so there are either a lot of very important words, or everyone is just yelling sans exclamation points. Bishop offers the most profound dialogue as he shows he’s fluent in speaking zombie with complex phrases such as “Grrr” and “Arggh”.

The Art:

Not very colorful, but highly effective. There are a lot of monochromatic themes going on here in this issue, which is fine because it’s done during some important moments of the book. We are brought a full range of colors during the breaks in action and I’m enjoying this type of style. There are a few panels where there is so much going on with the backgrounds that it gets a bit difficult to sort through everything. On the other hand there were plenty of panels that had no backgrounds at all so one could say it was a book of extremes. A little hard on the eyes and if it was consistent one way or another, it would have been a bit more appealing visually.

What I Loved:

Betsy is a bad-ass and this title has done a great job sticking to that. I’m not sure if Psylocke is a leader, so much as she’s taking charge. Because of her personality, she’s doing things her way and letting Storm and Puck decide if they want to keep up with her. Bishop seems to be raging mindlessly in an effort to obtain Ginny, the little girl whose mutant ability seems to put people in a state of euphoria. We aren’t sure what his motive is yet as his only dialogue has been a series of grunts and growls, but the end of this issue leads us to believe that he may not entirely be in control.

What I Hated:

If there’s one thing I’m not enjoying about this series is Fantomex and his clone/lover. They are running around and suddenly can’t stop thinking about Psylocke so they decide to seek her out while avoiding Dark Fantomex (who apparently can stand up quite comfortably on top of a 747 mid-flight). Quite frankly this side plot is a bit distracting and I could do without it.

Favorite (non-spoilerish) Line:

“What was I supposed to do on this stupid planet? Get a job at In-N-Out Burger? They don’t exactly hire six-armed super villains.” Spiral’s snarky comeback when Puck insults her for how she’s been living her life.

In Conclusion:

There are a lot of characters in this book and it’s pretty good at giving you a snapshot of who they are and why certain things may or may not bother them. That being said, the distracting side plot seems out of place and I’m not entirely sure what Storm and Puck are doing there. They seem like dead weight because the book is driven by Psylocke and she doesn’t much listen to their opinions. Overall it’s a good read but it’s probably not for everyone. If you’re a fan of Psylocke, it’s a must have otherwise you may just want to wait until you can borrow a copy or the digital version drops in price.

Story: 7 Art: 6.5 Overall: 7 Recommendation: Read

Uncanny X-Force #3 Credits:

Writer: Sam Humphries Pencils: Ron Garney Inks: Scott Hanna Colorist: Marte Garcia with Israel Gonzalez Letterer: VC’s Cory Petit Cover Art: Kris Anka Editor in Chief: Axel Alonso Associate Editor: Jordan D. White Editor: Nick Lowe Publisher: Marvel Comics Cover Date: May 2013 Cover Price: $3.99 US Title: “Sweet Virginia”