Tag Archives: miguel sepulveda

Preview: Rob


Story: Richard Dinnick
Art: Magda Price and Miguel Sepulveda
Color: Enrica Eren Angiolini
Letterer: Tyler Smith

Legendary Comics and WEBTOON, the world’s largest digital comic platform, launched today the original comic series ROB. The re-interpretation of the Robin Hood mythos created for a new generation comes from acclaimed British screenwriter and novelist Richard Dinnick, best known for his work in the revered Doctor Who franchise. Rob is a new and original adventure taking our hero and his band of friends away from the familiar territory of Sherwood and out into a brand new, old world. This thrilling tale is brought to life with art by Magda Price and Miguel Sepulveda, colorist Enrica Eren Angiolini, letterer and designer Tyler Smith, and is accompanied by an original score from composer Andrew M. Edwards. The first three chapters are now available, with additional chapters debuting every Wednesday. Readers can download the official WEBTOON app by visiting the Apple App Store and Google Play.

Rob is set in a “ren-punk” world far in the future where the Earth’s resources have been plundered. Bows and arrows collide with scavenged modern technology. In a desperate bid to protect his home country of Albion from the devious French Gauls and their invasion plans, Rob, his mentor Sir Dido and her niece, the trainee druid Blondel, embark on a perilous sabotage mission across the English Channel. When this goes horribly wrong and Sir Dido is injured, Rob is forced to take matters into his own hands and risk everything on a quest across his broken and bizarre world to seek a fabled weapon that may not even exist. Rob is joined by friends that those familiar with Robin Hood’s origins in medieval “gestes” will recognize and has deadly and mysterious enemies at his heels. Rob is an exciting roller-coaster adventure into a world strange yet familiar, visually stunning and creatively astonishing.


Preview: RAI #5

RAI #5

Written by DAN ABNETT
Letters by DAVE SHARPE
Preorder Cover by JASON METCALF
On sale MARCH 11 | 32 pages, full color | $3.99 US | T+

Rai and the Eternal Warrior fight in a bloody war against Bloodfather’s forces in the battle for Hope Springs.

RAI #5

Preview: Bloodshot #6


Written by TIM SEELEY
Letters by DAVE SHARPE
Pre-Order Edition Cover by HARVEY TOLIBAO
On sale FEBRUARY 12 | 32 pages, full color | $3.99 US | T+

The mysterious Eidolon’s origin finally revealed!

This issue will change Bloodshot forever, and you’ll never guess how it ends!


Review: Captain America: Steve Rogers #4

Captain America Steve Rogers #4 CoverWhile Captain America: Steve Rogers #4 is billed as a Civil War II tie-in and Steve attempting to broker a truce between Iron Man and Captain Marvel, the interior is nothing of the sorts and between the teaser text and the interior, I was so confused I actually checked the text in the small print at the beginning to make sure this was issue four.

The comic is really a recap of things, so if you haven’t read the first three issues of this series, then you can catch up here. Even with a recap page, the issue is really devoted to laying where things are out. It’s a bit odd actually.

Now, there is some things that are new. Things involving Steve’s mother as well as Elisa are explored a bit. There’s a moment of Steve where he goes super villian and clearly lays out what his plan and goals are. And there’s lots of foreshadowing of the fact that Steve’s deep cover as a Hydra agent is tenuous and there’s lots of open ended things that can get him caught. Kobik, Jack Flagg, the crashed jet that Zemo died in. All of these things poke holes into Rogers’ plans and actions. The trial of Maria Hill also moves forward.

Basically, this issue feels a lot like a recap issue looking back at events and also setting things in motion with a lot of foreshadowing. It’s a bit frustrating due to that and feels like a wasted issue by writer Nick Spencer. What this has been solicited as is also completely baffling as it’s nothing of the sorts. There’s some mentions of what will be happening/is happening in Civil War II, but that takes up a few panels.

There is some good.

Captain America lays out his philosophy and plan and mixed with what S.H.I.E.L.D. is asking for, it all seems rather original Civil War. Spencer touches upon real world issues like surveillance by the state and increased powers to police, but that also is a bit shallow, an issue that also plagues the writing of the main Civil War II series. There is also an emphasis on Steve’s more brutal take on things, something that’s emphasized by his actions which aren’t very Captain America like. This is a new Captain America who would be ok with Black Sites and torture, not the one who stood up to the Super Human Registration Act. The emphasis is clear with this issue as this fact is stated and shown in various ways throughout the issue. Getting the philosophy and outlook of this new Captain America is a good thing and gives us some more insight than picturing him as a puppet of the Red Skull, but it also doesn’t feel new, just a retread of speeches we’ve heard from the classic character Nuke (in his various forms).

The highlight of the issue really is seeing the new Quasar. Where this character goes and what the plan is, I couldn’t tell you. But, to see something put a smile on my face.

Javier Pina and Miguel Sepulveda handle the art duties and it still holds up. The scenes in the past are what really stand out with their use of limited color, the art looks fantastic. I think the flashback sequences have been the strongest thing of these four issues, and would love to see an entire comic series done this way. The “modern” art is still good, but something is lost. Some of the scenes are brutal really showing off the new Steve, but some of the character art is a bit miss. Still, it’s a good comic to look at during the read and the use of the two distinct styles is a great choice.

The issue continues a rather middling series. Captain America: Steve Rogers #4 isn’t bad, but it’s also not really worth your dollars either. As an issue it feels like its job is to recap everything that has happened in just three issues and do some foreshadowing, it’s just not enough, nor is anything vital that it’s a comic you have to have to understand what’s going on or what’s to come.

Story: Nick Spencer Art: Javier Pina, Miguel Sepulveda
Story: 5 Art: 7.5 Overall: 5.25 Recommendation: Pass

Marvel provided Graphic Policy with a FREE copy for review

Review: Lone Wolf 2100 #4


The fate of the human race comes down to a final battle on the coast of Japan! Daisy Ogami holds the key to a cure for a killer virus, but only Itto, her android bodyguard, can protect her from those who would let the plague continue!

When everyone wants the cure, only conflict can ensue and writer Eric Heisserer delivers that and then some. Of course that conflict is both violent, explosive, yet tragic in the end. I can’t say much more about Lone Wolf 2100 #4 without spoiling, the final issue of this series and it’s absolutely best to experience it for yourself.

Nothing says final issue, like fluid, violent action, and the art by Miguel Speulveda delivers that. Even the forced landing is supremely well done. The flashback scenes are well drawn, and contribute greatly to the story as well.

Story: Eric Heisserer Art: Miguel Sepulveda
Story: 9 Art: 9 Overall: 9 Recommendation: Buy

Dark Horse Comics provided Graphic Policy with a FREE copy for review

Review: Lone Wolf 2100 #2


Young Daisy Ogami’s blood carries the cure to the plague that has devastated the world. Itto, Daisy’s android protector, has gone in search of a country that will use the cure fairly. Unfortunately, the remaining world powers all want the cure for themselves—and one has sent soldiers to insure that happens!

Lone Wolf 2100 is a re-imagining of the classic assassin-and-child tale originated in Lone Wolf and Cub.

The re-imagining continues as Itto to protect Daisy from the world, or the infected part of the world anyway. Of course even some non-infected humans want to claim her as property. The characters who are after Daisy, do come after her but, they encounter Itto. That leads to some explosive action, as Itto decides to take Daisy over the ocean to the one place that seems to actually use the cure to save humanity. I’m curious to see if that actually happens or are they captured by another country with less pure goals.

The art is solid, and consistent throughout. Here they introduce a new setting that is filled with “normal” life not ravaged by the virus. That new location finally allows the artist to draw other children outside of Daisy with great detail. The explosive combat panels are well done and filled with fluid scenes of action, violence, and of course explosions.

Story: Eric Heisserer Art: Miguel Sepulveda
Story: 8.5 Art: 8.0 Recommendation: Buy

Dark Horse provided Graphic Policy with a FREE copy for review

Preview: Lone Wolf 2100 #1

Lone Wolf 2100 #1

Eric Heisserer (W), Miguel Sepulveda (A), Miguel Sepulveda (Cover)
On sale January 6, FOC December 14th.

The last real man on Earth may be an android!

AD 2100: A devastating manmade plague is turning the human race into cannibalistic monsters known as the Thrall. But there is hope: young Daisy Ogami’s blood holds the secret to a cure—if Itto, her android protector, can get her to a place where it can be extracted!

LONE WOLF 2100 #1

Early Review: Lone Wolf 2100 #1

28537The last real man on Earth may be an android!

AD 2100: A devastating man made plague is turning the human race into cannibalistic monsters known as the Thrall. But there is hope: young Daisy Ogami’s blood holds the secret to a cure—if Itto, her android protector, can get her to a place where it can be extracted!

While Lone Wolf 2100 #1 is a rebooted concept, there is are some noticeable influences that can be seen in the story. One of the slightly more obvious ones is I am Legend by Richard Matheson. Outside of that the story, written by Eric Heisserer, has a relatively quick pace. And that quick pace is peppered with occasional hints/flashbacks as to what caused the “thrall,” to appear. There is obviously more to reveal in upcoming issues in terms of both present and past.

Miguel Speulveda‘s art has a clear manga influence in the art style, paying homage to the previous volume’s history. However there is also a note of a the manga being infused with a traditional comic book style as well. The odd fusion of art styles is a nice touch.

I will admit there is something about the appearance of the thrall, that reminds of goblins and orcs, for some reason. Yet I imagine I’m not the only who will notice that as it read.

Story: Eric Heisserer Art: Miguel Sepulveda
Story: 8.5 Art: 8.5 Recommendation: Buy (once a few issues are out)

Dark Horse provided Graphic Policy with a FREE copy for review

NYCC 2015: Lone Wolf 2100 Returns for Monthly Series

From screenwriter Eric Heisserer and artist Miguel Sepulveda comes Lone Wolf 2100, a reimagining of Kazuo Koike’s classic manga Lone Wolf and Cub set in the not-too-distant future.

AD 2100: A devastating manmade plague is turning the human race into cannibalistic monsters known as the Thrall. But there is hope: young Daisy Ogami’s blood holds the secret to a cure—if Itto, her android protector, can get her to a place where it can be extracted!

Lone Wolf 2100 #1 (of 4) is in stores January 6, 2016, from Dark Horse Comics.

Lone Wolf 2100

Preview: RAI #6

RAI #6

Written by MATT KINDT
Cover A by CLAYTON CRAIN (NOV141688)
Cover B by CARY NORD (NOV141689)
Variant Cover by DAVID MACK (NOV141691)
Variant Cover by JEFF LEMIRE (NOV141692)
$3.99 | 32 pgs. | T+ | On sale JANUARY 14

As 41st century Japan spirals into chaos, will Rai protect his nation…or help tear it down?

As Rai grapples with a life beyond the control of Father, new feelings distract him from uprisings, secret armies, and a bomb that could all doom the mission to free New Japan before it even begins! Matt Kindt and Clayton Crain’s astonishing saga of the year 4001 rockets toward a terrible reckoning as “Battle for New Japan” continues!


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