Tag Archives: rachelle rosenberg

Spy Island #1 Sells Out Before Its April Release

Spy Island #1, the Bermuda Triangle spy-mystery miniseries from the Eisner-nominated team Chelsea Cain, Lia Miternique, Elise McCall, Rachelle Rosenberg, and Joe Caramagna sells out ahead of its on-sale date. Dark Horse Comics has announced a second printing, featuring an all-new cover by co-creator Lia Miternique. 

The highly anticipated dark-humored espionage-adventure is told from the point of view of wry super spy Nora Freud, and takes place on a tropical island where surfers are more likely to be attacked by mermaids than by sharks, and cheap super villains take advantage of the deep discounts during the off-season.

Spy Island #1 arrives in your local comic shop April 1, 2020 featuring a main cover and variant cover by Lia Miternique. Dark Horse Comics will publish the new, second printing variant of issue 1, featuring an all new cover by Lia Miternique on April 8th, in order to meet the high demand from comic book stores and readers.

Spy Island #1

Review: Annihilation: Scourge

The Cancerverse has invaded the Negative Zone and Earth’s heroes must gather to stop the spread before it breaks into their own universe.

Annihilation: Scourge collects Annihilation: Scourge Alpha, Fantastic Four, Nova, Silver Surfer, Beta Ray Bill, and Omega.

Story: Matthew Rosenberg, Michael Moreci, Christos Gage, Dan Abnett
Art: Juanan Ramirez, Cian Tomey, Ibraim Roberson, Alberto Albuquerque, Diego Olortegui, Paul Davidson, Manuel Garcia
Color: Federico Blee, Carlos Lopez, Jay David Ramos, Erick Arciniega, Matt Milla, Rachelle Rosenberg
Ink: Juan Vlasco, Cam Smith, Scott Hanna
Letterer: Cory Petit, Joe Sabino, Travis Lanham, Clayton Cowles

Get your copy in comic shops now and bookstores on March 24! To find a comic shop near you, visit http://www.comicshoplocator.com or call 1-888-comicbook or digitally and online with the links below.

Amazon: https://amzn.to/39RJ8Ey
Kindle/comiXology: https://amzn.to/38Ns29i
TFAW: https://shrsl.com/25zrw
Zeus Comics: https://www.zeuscomics.com/products/69085/annihilation-scourge-tp?tag=graphicpolicy

Marvel provided Graphic Policy with a FREE copy for review
This post contains affiliate links, which means that if you click on one of the product links and make a purchase, we’ll receive a percentage of the sale. Graphic Policy does purchase items from this site. Making purchases through these links helps support the site

Review: Marvel’s Spider-Man: Velocity

The Spider-Man video game saga continues! Why does Spider-Man’s Velocity Suit exist? Find out in Marvel’s Spider-Man: Velocity! Spider-Man must deal with a villain and a mystery as the Gamerverse story continues!

Story: Dennis “Hopeless” Hallum
Art: Emilion Laiso
Color: Rachelle Rosenberg
Lettering: Travis Lanham

Get your copy in comic shops now and bookstores on March 3! To find a comic shop near you, visit http://www.comicshoplocator.com or call 1-888-comicbook or digitally and online with the links below.

Amazon
Kindle/comiXology
TFAW
Zeus Comics

Marvel provided Graphic Policy with a FREE copy for review
This post contains affiliate links, which means that if you click on one of the product links and make a purchase, we’ll receive a percentage of the sale. Graphic Policy does purchase items from this site. Making purchases through these links helps support the site

Review: Marvel’s Voices #1

Marvel's Voices #1

Marvel’s Voices is an Experience, capital E. It’s the first comic I know about that adapts the concept of a podcast into a comics anthology collecting stories from black creators giving their take on the Marvel universe.

The book’s title carries over from the podcast it’s based on, which is hosted by Angélique Roché. The list of creators includes Vita Ayala, Damion Scott, Kyle Baker, Brian Stelfreeze, Roxane Gay, Method Man, Alitha Martínez, among other notable industry names. What’s interesting about the project, though, is that it embraces its multimedia roots by featuring essays from other creators accessible via Marvel’s Voices online page.

Two particular essays grabbed my attention: Regine L. Sawyer’s “Growing Up Marvel” and Karama Horne’s “The Legacy of Isaiah Bradley: The First Black Captain America.” (Disclosure: Karama and Regine have both contributed to our site – ed.)

Sawyer’s essay is about her origin story into comics through a less conventional avenue than most other stories of the kind: X-Men trading cards. I don’t want to spoil the essay because it is a fascinating and well-written story, but it is wonderful to get this look at how comics allow for multiple entry points given it’s an entire cultural package. It made me remember my card collecting days growing up, both the same X-Men cards Sawyer collected and the classic Pepsi Cards I religiously hunted down back when they came out in Puerto Rico. I still have them with me and they also helped me embrace comics.

Horne’s essay is about two comics: Truth and The Crew. Each one stands as some of Marvel’s best comic book offerings. They were subversive and hard-hitting, daring enough to give Marvel a black Captain America (in Truth), complete with an exploration of the tragic treatment black heroes get using real-life black history as the basis for the problems each character faces (which is expanded upon in The Crew).

The essay is a great and concise history of these comics, but it also serves as a lesson on visibility. That Marvel hasn’t reprinted these stories or released newer editions of the paperbacks brings up more questions than it should. I think Horne’s essay makes a strong argument as to why we need these comics back on the stands.

On the comic’s side of Marvel’s Voices, we get a strong if a bit uneven set of short stories that are personal, celebratory, and thoughtful as to why Marvel characters mean so much in the struggle for more diverse voices in the industry. Kyle Baker, for instance, produced a one-pager Ant-Man and Nick Fury story titled “Perspective,” about Fury’s problem with depth perception. It’s a quick hit but the art on display here is impressive enough to make anyone want to see Baker do more Marvel work.

Geoffrey Thorne, Khary Randolph, and Emilio López’s “Top of the Key,” on the other hand, is a one-pager on Mosaic story (a character Marvel has severely underused, in my opinion) that would’ve benefited from an additional page or two. It feels more like a setup for a larger story and we only really just get a taste of it.

Rob Markman, Damion Scott, and Dono Sánchez-Almara’s “What a Wonderful World” stands as one of the most impressive stories in the anthology as it offers a well-rounded look at a Marvel character with outstanding art and a clear message to boot. It centers on a troubled Silver Surfer, comparing Marvel’s biggest villains with humanity’s own villainy when it comes to protecting the environment. No panel was spared, no color was misplaced, and no bit of text hung without intent. Just a really good two-page story.

The best story in the book is without question “Inspiration,” by James Monroe Iglehart, Ray-Anthony Height, and Emilio López. This 4-page tale gives the radioactive spider that gave Peter Parker his powers a much-deserved platform to contemplate his role in the grand scheme of things. The script showcases an interesting play on what a superpowered spider is supposed to be and how much of its natural instincts define its actions. It’s simply unforgettable and truly worthy of getting its own comic book series.

Marvel Voices #1 is the type of book Marvel needs to invest more on. It shows just how important it is to bring in other perspectives into this superhero universe and just how different it can all turn out to be. It speaks to the power of voices hungry for diversity in storytelling. And that, in itself, is a beautiful thing.

Writers: John Jennings, Anthony Piper, Luciano Vecchio, David Betancourt, James Monroe Iglehart, Evan Narcisse, Vita Ayala, Regine L. Sawyer, Brian Stelfreeze, Brandon Montclare, Tatiana King Jones, Karama Horne, Kyle Baker, Roxane Gay, Yona Harvey, Don McGregor, Geoffrey Thorne, Rob Markman, Method Man, Daniel Dominguez, Charlamagne The God, David F. Walker, Chuck Brown
Art: Anthony Piper, Luciano Vecchio, Ray-Anthony Height, Jahnoy Lindsay, Bernard Chang, Brian Stelfreeze, Natacha Bustos, Kyle Baker, Brittney L. Williams, Khary Randolph, Damion Scott, Alitha E. Martinez, JJ Kirby, Sanford Greene
Color: Anthony Piper, Luciano Vecchio, Emilio Lopez, Marcelo Maiolo, Brian Stelfreeze, Tamra Bonvillain, Kyle Baker, Rachelle Rosenberg, Dono Sánchez-Almara, JJ Kirby, Matt Herms
Letterer: Travis Lanham
Writing: 9 Essays: 10 Art: 10 Overall: 10
Recommendation: Buy and make sure to bag and board it.

Review: Star Wars: Target Vader

Darth Vader is on the hunt for a criminal syndicate but he doesn’t know that same syndicate has hired a group of bounty hunters to take Vader out once and for all.

Star Wars: Target Vader collects #1-6.

Story: Robbie Thompson
Art: Marc Laming, Cris Bolson, Stefano Landini, Marco Failla, Robert Di Salvo, Georges Duarte
Color: Neeraj Menon, Rachelle Rosenberg, Jordan Boyd, Andres Mossa, Federico Blee, Erick Arciniega, Giada Marchisio
Lettering: Joe Caramagna, Clayton Cowles

Get your copy in comic shops and bookstores now! To find a comic shop near you, visit http://www.comicshoplocator.com or call 1-888-comicbook or digitally and online with the links below.

Amazon
Kindle/comiXology
TFAW
Zeus Comics

Marvel provided Graphic Policy with a FREE copy for review
This post contains affiliate links, which means that if you click on one of the product links and make a purchase, we’ll receive a percentage of the sale. Graphic Policy does purchase items from this site. Making purchases through these links helps support the site

Review: Gwen Stacy #1

Gwen Stacy #1

Marvel has been having success lately with adding unknown history to its characters. Not retcons, these additions flesh out unknown moments and weave in this new revelation into modern storylines. Gwen Stacy #1 kicks off a new direction with that as it lifts the curtain on the classic character before she met Peter Parker.

Written by Christos Gage, the comic is good, though doesn’t quite hook the reader. The issue sets the tone of the series as it takes us from Gwen’s experiences in high school to her relationship with her father. With some crime/police drama thrown in, the series finds its drama with that. And that’s where the series stumbles a bit. More time is spent with the plot swirling around Gwen’s police officer father than it feels with her. While I was expecting a more “Archie inspired” series, instead we get crime drama. She’s a bystander in a way in her own series.

Gwen also feels like an anachronism in a way. She has modern sensibilities but in a comic that doesn’t take place in modern times. The exact date is nebulous and with Marvel’s sliding history it’s hard to pin down. We know when the comic takes place relative to Peter Parker/Spider-Man’s story but that’s it. Gwen’s attitude feels a bit modern compared to some of what’s around her. Her dialogue just doesn’t quite click at times.

The art by Todd Nauck doesn’t pick up the slack of the story. While not bad, there’s an awkwardness to some of the character design. Characters look familiar but off at the same time too. They also don’t quite feel like they’re in high school and instead feel like 20-something actors playing high school students. Rachelle Rosenberg‘s color and Joe Caramagna‘s lettering are good with the colors helping Nauck’s line art.

Gwen Stacy #1 feels like the start of a limited-series where you wonder exactly what was being gone for. An opportunity to deliver a series geared towards middle-grade readers instead is muddled with mob violence and shakedowns. The comic isn’t bad at all but it also doesn’t excite. It just is.

Story: Christos Gage Art: Todd Nauck
Color: Rachelle Rosenberg Letterer: Joe Caramagna
Story: 7.0 Art: 7.0 Overall: 7.0 Recommendation: Read

Marvel provided Graphic Policy with a FREE copy for review

Review: Weapon Plus: World War IV #1

Weapon Plus: World War IV is… something. We’re just not sure what.

Story: Benjamin Percy, Ryan Cady
Art: Georges Jeanty, David Baldeón
Ink: Wayne Faucher, Marc Deering
Color: Rachelle Rosenberg, Jesus Aburtov
Letterer: Joe Sabino

Get your copy in comic shops! To find a comic shop near you, visit http://www.comicshoplocator.com or call 1-888-comicbook or digitally and online with the links below.

Amazon
TFAW
Zeus Comics

Marvel provided Graphic Policy with a FREE copy for review
This post contains affiliate links, which means that if you click on one of the product links and make a purchase, we’ll receive a percentage of the sale. Graphic Policy does purchase items from this site. Making purchases through these links helps support the site

Review: Ravencroft #1

After the events of “Absolute Carnage,” Ravencroft is open once again. What evil secrets and horrors are within?

Story: Frank Tieri
Art: Angel Unzueta
Color: Rachelle Rosenberg, Dono Sánchez-Almara
Letterer: Joe Sabino

Get your copy in comic shops! To find a comic shop near you, visit http://www.comicshoplocator.com or call 1-888-comicbook or digitally and online with the links below.

Amazon
TFAW
Zeus Comics

Marvel provided Graphic Policy with a FREE copy for review
This post contains affiliate links, which means that if you click on one of the product links and make a purchase, we’ll receive a percentage of the sale. Graphic Policy does purchase items from this site. Making purchases through these links helps support the site

Review: Ruins of Ravencroft: Dracula #1

Ruins of Ravencroft: Dracula #1

Through the Ruins of Ravencroft miniseries, writer Frank Tieri has been adding layers to the iconic Marvel institution. The series has focused on the concept that to look towards the future one has to know the past. And, while we’ve waited for Ravencroft’s future, we get to know its mysterious past. Ruins of Ravencroft: Dracula #1 does exactly that folding in Dracula, Loki, and more into its history.

Though an intriguing issue, this chapter is the weakest of the bunch. We learn that Dracula is involved with the asylum using it for experiments in an agreement with the United States government. The concept is an interesting one but it never quite “makes its case.” The idea of the US making shady deals during the World War II time period, there’s not enough details as to why this deal is happening. Instead, the focus is on Captain America and Bucky stumbling on the situation to free a fellow soldier. If there was more of a focus on that emotional thread or the horrors happening within, the comic would be stronger. But, the issue feels like it attempts to have both without focusing enough on either.

The inclusion of even more characters, while others are set to the side, doesn’t help matters. The inclusion and exclusion feels a bit out of left field and jarring.

The issue also looks towards the future with a twist at the end. That will have major ramifications on the upcoming series taking place in Ravencroft. One of the bigger details is what happened to Ravencroft revealing his fate.

Angel Unzueta handles the modern segments on art while Stefano Landini handles the flashbacks. Rachelle Rosenberg provides the colors. The flashback sequences are much stronger artwise for the comic. Rosenberg’s color gives the sequence a worn “old” look with a focus on a palette and style that’s a bit aged. Like past issues the art does an interesting job of throwing out some things the text doesn’t which should interest and excite hardcover Marvel fans. The art doesn’t quite deliver the horror the issue should feature. There’s never a moment where it really sinks in as to what’s being down visually. The experiments are there but it’s missing something to really punch the reader.

Ruins of Ravencroft: Dracula #1 ends the series on a low note but like past issues it does a good job of fleshing out the history. It’s better as a piece of the miniseries and it sets up the upcoming series nicely. This is for those who have been reading up to this point but new readers might want to wait for the trade.

Story: Frank Tieri Art: Angel Unzueta, Stefano Landini
Color: Rachelle Rosenberg Letterer: Travis Lanham
Story: 7.0 Art: 7.25 Overall: 7.15 Recommendation:
Read

Marvel provided Graphic Policy with a FREE copy for review

Review: Atlantis Attacks #1

Atlantis Attacks #1

Writer Greg Pak has been building to something with his world of “Agents of Atlas.” Atlantis Attacks #1 brings various pieces together in a miniseries that pits the new superhero team against Namor.

Pak delivers a first issue that gets you to question who the villain really is and how to handle the situation. He also makes sure that it’s friendly for new readers. Text in the credits page will catch you up so that you can enjoy what follows.

The story is decent with our heroes not quite sure what to do about what’s going on as they deal with the threat of Atlantis against their high-tech world. There’s a disaster film tone about the comic. The Agents of Atlas have to scramble to stop tidal waves and evacuate individuals. That need to cover so much at times leads to a choppiness in the narrative.

The art by Ario Anindito is entertaining helping to add to the chaotic disaster feel of it all. There’s a visual sense at times that the heroes really are at a loss as to what to do. Rachelle Rosenberg’s colors help make the issue stand out with a bright hue to it all. There is at times a loss of detail but Anindito and Rosenberg have a lot covered at times and do en excellent job of conveying the blockbuster like action.

The issue is new-reader friendly and should begin a payoff for followers of Pak’s work. The debut is an entertaining one and a nice intro for what’s to come. While it’s not the best Pak has delivered it’s still fun in many ways. Atlantis Attacks #1 gives new heroes the mini-event spotlight they deserve.

Story: Greg Pak Art: Ario Anindito
Color: Rachelle Rosenberg Letterer: Joe Sabino
Story: 7.0 Art: 7.0 Overall: 7.0 Recommendation:
Read

Marvel provided Graphic Policy with a FREE copy for review

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