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C2E2 2017: Interview with Marvel and Black Mask Star Matt Rosenberg

Matt Rosenberg is one of several comic book writers who has conquered both the world of creator owned and corporate comics. He broke into comics as one of the co-writers on 12 Reasons to Die, a comic released in conjunction with Ghostface Killah’s 2013 album of the same name from Black Mask Studios. From there, he has dabbled in a variety of genres, including superhero road trip (We Can Never Go Home), espionage (a Quake one-shot for Marvel), crime (Kingpin, 4 Kids Walk into a Bank), and even comedy (Rocket Raccoon.) Rosenberg’s work has clever plots and a sly sense of humor, but there is also a spirit of social consciousness that imbues both his comics for Marvel and Black Mask

I had the privilege of chatting with Matt at C2E2 about many of his current and former comics, including Rocket Raccoon, the upcoming Secret Warriors series, Kingpin, and the long anticipated sequel to We Can Never Go Home.

Graphic Policy: What did you enjoy most about writing Rocket Raccoon in the streets of New York versus his usual space adventures?

Matt Rosenberg: Rocket is a character that a lot of people have done really well in his space adventures. I don’t think I would do that well with that. It’s not my strong suit. But I’m from New York and grew up there.

Rocket’s great because no matter where you put him, he’s a fish out of water. He’s the only one of his kind and is sort of lost. There’s no difference for him between a space cantina and the D-Train. I wanted to give him an Earth experience where it’s not social satire, but it’s pointing out a lot of things that are weird about American culture.

And he’s just super fun to write. He’s a jerk, but a really good-intentioned jerk.

GP: He’s cute.

MR: Yeah, he’s cute. He may be gruff, but you can’t hold it against him. I love him. I’m really happy that I did my run on him. But I am very excited for Al Ewing and Adam Gorham to send him back to space.

GP: Al is one of my favorite Marvel writers. So, why did you decide to make Kraven the Hunter the Big Bad of your Rocket Raccoon run?

MR: First of all, I love Kraven. “Kraven’s Last Hunt” is one of the best Marvel books and one of the best comics period. Rocket is on Earth, and no one really respects him because he’s an animal, he’s different, and he’s an outsider. The book has a lot to do with xenophobia, and people not respecting each other.

Kraven is someone who hunts people and things, but only the things he respects. I thought it was an interesting dichotomy because the character that is trying to kill him is the only one on Earth that shows him proper deference. Kraven has a lot of respect and admiration for Rocket, and that’s why he wants him.

Everyone else doesn’t care that someone is trying to kill him because he’s basically a raccoon to him. I thought Kraven presented an interesting opportunity. And I got to put the “Kra-Van” in there, which I love. He’s a madman so it’s fun.

GP: Moving onto your new series Secret Warriors, which of the members of the team was most difficult for you to write, and why?

MR: Devil Dinosaur’s really difficult because he’s a dinosaur. It’s hard because you have to put him places. Amy Reeder and Brandon Montclare, who write Moon Girl and Devil Dinosaur, are really good friends of mine, and I bug them a lot like “What do you do with him when people have to go into a building?”

And they’re like, “He goes into large buildings.” Yeah, I guess.

For me, [the hardest to write] in a lot ways is Ms. Marvel because that is a book I love so much. What Adrian [Alphona] and [G] Willow [Wilson] do on that book is so important to me. I think in twenty years she’s gonna be considered one of the great characters in superhero comics standing on her own.

I love Quake, and she’s one of my favorite superheroes. But Ms. Marvel is such a specific, singular voice. A lot of people have written Quake. I think of her as a [Brian Michael] Bendis character, but Jonathan Hickman’s run on her is really good. A lot of people have contributed. Ms. Marvel feels like just a few people’s visions, like Sana [Amanat] who edits it. That’s really intimidating, and her fans expect her to be certain things, which I want her to be.

But we’re also challenging the team in different ways. She’s gonna be challenged. I love her so much. In the book, we put [the Secret Warriors] through the wringer, and they don’t all get along. I don’t like writing her and Quake fighting. I kind of want those characters to be friends, and they’re not. They wouldn’t be in a lot of ways if you think about it. They have differing beliefs, ways of acting, and end goals. Quake is a spy, and Ms. Marvel is a superhero.

So, Ms. Marvel was a challenge for me because we want people who like the Ms. Marvel book to pick up Secret Warriors and feel like it’s their character, but it’s a very different setting for her. She’s out of her element a little bit, and that was hard.

GP: At the Secret Empire panel, they talked a little bit about Secret Warriors, and that the Inhumans are getting rounded up into camps. What are the implications of that plot point in light of the camps in Chechnya where gay men are being rounded up, tortured, and killed?

MR: It’s hard because everyone wants different things from comics. Some people really want escapism. Some people really want social commentary. Some people want things to be uplifting. You can’t do all of those things in a story.

What I like about Secret Empire is that there are facets to everyone. It’s a dark story, and it’s a story that’s controversial because it’s about the rise of facism and why a hero would become a villain. It’s a time when that stresses out a lot of people understandably, and there’s a lot of real world stuff that you can see on the pages.

What’s going on in Chechnya and the rise of white supremacy with more nationalism and more jingoism is obviously a problem. I’m a leftist. But we’re not the escapist book. If you want to see a happy, uplifting book, we’re not necessarily that book. We are about watching the people, who get stepped on, and the people, who are a little bit underappreciated, fight back and kick the bad guys in the face.

It’s hard to make the correlation with the real world because real people are dying and having their rights trampled on. I don’t think a comic can address that in a way that does what is happening in Chechnya justice. It’s a human rights violation, an upcoming holocaust, and a nightmare. And we’re dealing with a cartoon dinosaur. We don’t have the language emotionally to handle that in a way that is deserving of the magnitude of the event.

But if you wanna see the downtrodden fight back, that’s what Secret Warriors is. Everyone’s book has a different purpose, and that’s what our book has always been. They’re young. They’re kids with very diverse backgrounds and methodologies. They’re people coming together to fight back. That’s something I really believe in. People need to look out for each other and support each other as much as they can, which is why I wanted to write this book for that event.

GP: That team lineup is seriously stacked.

MR: I’m excited for it. I hope that some people read the book, and it’s inspiring. That’s sort of what we wanted to do. It gets dark, but there’s light at the end of it.

GP: Moving onto Kingpin, why did you decide to make the journalist character, Sarah Dewey, the POV character instead of Wilson Fisk?

MR: Wilson Fisk is my favorite Marvel villain by far. He’s a character who is always two steps ahead of everyone else. He’s controlling the chessboard, and if it’s his POV, there’s not going to be as much mystery. Knowing what the Kingpin is going to do takes away so much from him.

We talked about doing it from a superhero’s perspective or another gangster’s perspective, but I really love the idea of books like Marvels or characters, like Ben Urich. You can follow a character into this world and see [the Marvel Universe] from their perspective.

Sarah is a journalist, who’s not a perfect person. She’s had some problems in her life and has fallen on some bad times. She’s coming out of an awful, failed marriage. The idea of Kingpin to Sarah is that she knows he’s a bad guy, but he’s good to her. Not everyone is a hero, but is the Kingpin going to be a hero to her?

I want the reader to wonder if he’s going to be a good guy in the end. I think the Kingpin definitely has the capacity to be a good guy. You can’t forgive past deeds, but he has all the trappings of a classic hero.

GP: You really believe in him.

MR: In a lot of ways, yes. I said to someone once, “He’s almost a superhero.”

And they said, “No, he’s a monster.” Daredevil and Spider-Man want to save New York City by fighting in alleys. Kingpin wants to clean up New York City and make it a better place, but he’s in the whole city. He’s not in alleys, but he’s trying to make sure there aren’t warring crime factions in the streets. He’s trying to make it so the regular person doesn’t have this rough, violent city. He’s bringing a classier element of crime. Kingpin wants New York to be a nicer and safer city for the average person.

Well, [some might say], “He kills people.” But the Punisher kills people. Is the Punisher a superhero? No, but he’s on the other side of the line from the Kingpin. [Others say], “He’s trying to make a profit.” Tony Stark is trying to make a profit. He’s making technology that he uses as a superhero and vice versa.

I don’t think Kingpin’s a good guy, but he’s passionate toward a good thing. His methodology is wrong, and his moral compass is wrong. But that’s what’s fascinating. Can he fix it? Can he end up being a hero at the end of his story? I don’t know if he’s worth redemption, but I would like to see him try.

GP: You’ve written a lot of event tie-ins for Marvel, like the upcoming Edge of Venomverse and Civil War II: Kingpin. How do you balance serving the ongoing plot of the event with telling your own story?

MR: The short answer is that it’s the job. I grew up reading Marvel and liking them as a company. I love what superhero comics do. It’s really a tapestry and a huge picture that everyone is working in tiny portions on. It’s a challenge to be relevant to someone else’s story while telling your own satisfying story. That’s the challenge that I grew up loving, like “How do the X-Men deal with Civil War?”

GP: It’s like a puzzle.

MR: Exactly. When it works well, stories complement each other. When it doesn’t, things feel crazy and schizophrenic. I did the Civil War II: Kingpin book [with the idea that] the heroes are fighting so what does Kingpin do? How is he going to rise to power? Everyone is afraid to operate, and the Kingpin finds a way to operate. That’s what the book is about.

Do you need to read it to read Civil War II? No. Do you need to read Civil War Ii to read it? No. But I think if you understand both, there’s a nice complement. I think that’s the balance you should have. Don’t make anyone read anything else that they wouldn’t normally read, but complement each other if you can.

GP: That makes sense. You’re doing The Archies one-shot with Alex Segura and Joe Eisma. How are you bringing the world’s first “cartoon band” into 2017?

MR: Archie is sort of having a renaissance now and modernizing. The Archies and the Archie universe is really classic Americana. I grew up in New York City, and Archie didn’t feel like my childhood, it felt like Happy Days. That idealized sort of thing.

That evolves and changes, and what Americana is in the greater pop culture sense  is updated and changing. Hopefully, it’s more inclusive to people who aren’t white suburban kids. It’s nice to watch that. The Archies is about kids in a band, and it’s not perfectly idyllic. They struggle to put it together, and there’s conflict. It’s about Archie’s aspirations to make something of his talent. I think that’s something people can identify with.

You don’t want to make something that’s so current that it’s alien to classic Archie fans. But you don’t want to pick it up and feel like it’s anachronistic. A lot of it is the language and the visuals, and the way people interact. Not so much that they’re on Twitter.

GP: The main Archie does love using hashtags as plot points.

MR: But it doesn’t rely on those hashtags. The main book doesn’t, and we don’t. We want it to feel like a modern and to give it to people who haven’t read Archie in years to jump right in.

GP: I have one last question about the We Can Never Go Home sequel. What can fans of the original miniseries expect from the sequel, and because you had those playlists in the back of We Can Never Go Home, what music are you listening to while scripting the new series?

MR: A lot of people when they were done reading We Can Never Go Home thought it was truncated and cut short. That’s definitely not true. We didn’t want do more; that was the story we wanted to tell from day one. Josh [Hood], Patrick [Kindlon], Tyler [Boss], Jim [Campbell], and I wanted to do a book that was essentially about growing up.

There’s no finality to growing up. I feel like it’s an ongoing process. It can be a frustrating and heartbreaking one. An important thing for me going back to those characters’ world is not to end it or say what we didn’t say before, but to say something different.

I don’t want to talk about it too much, but the sequel is going to focus on some different characters. Madison and Duncan will be in it, but it’s a journey from a different perspective that relates to them. It takes place a year later in 1990.

As far as the music, I haven’t started working on [a playlist]. I’m a little nervous about it. I put a lot of my favorites in the first volume so there are gonna be some deeper cuts in this one. It’s all punk rock stuff from 1976, 1977 to 1990. We have some new characters so I’m hoping to throw in some different genres. I hope people are into it.

It’s coming out either the end of this year, or the beginning of next year. We want to make sure there are no delays, and that it’s the best book it can be. We don’t wanted it to be rushed. Josh is such a brilliant artist, and I want him to have time to do his absolute best. People are impatient, but we hope the book pays off in the end.

Matt Rosenberg is currently writing Kingpin for Marvel Comics and 4 Kids Walk Into a Bank for Black Mask Studios. He is also writing the upcoming Secret Warriors series for Marvel along with a story in Edge of VenomverseThe Archies for Archie Comics, and another volume of We Can Never Go Home for Black Mask Studios.

You can find Matt’s website here, and his Twitter here.

Listen to Matthew Rosenberg Talk Comics with Graphic Policy Radio on Demand

On demand: iTunes ¦ Sound Cloud ¦ Stitcher

Matthew Rosenberg is coming to Graphic Policy Radio! Hosts Elana and Brett are joined by Rosenberg to talk about his career in comics, his comic series 4 Kids Walk Into a Bank and We Can Never Go Home from Black Mask Studios, what it’s like to write a certain Kingpin of crime for Marvel.

Matthew Rosenberg was born and raised in New York City. The son, nephew, and brother of writers, he naturally spent the first 10 years of his professional life trying to avoid the same fate as them. After years of directing music videos, managing a print shop, touring the world managing bands, working at a comic shop, and co-owning a small indie record label, the fates have finally left him two choices; write comics professionally or starve to death trying. Armed only with his freakish knowledge of all things comic book and a complete lack of desire to do anything else, Matthew now finds himself a comic writer. You can follow him on Twitter @AshcanPress.

Matthew Rosenberg Talks Comics with Graphic Policy Radio LIVE This Monday

4 KIDS WALK INTO A BANK #1 CoverMatthew Rosenberg is coming to Graphic Policy Radio! Hosts Elana and Brett are joined by Rosenberg to talk about his career in comics, his comic series 4 Kids Walk Into a Bank and We Can Never Go Home from Black Mask Studios, what it’s like to write a certain Kingpin of crime for Marvel.

The show airs LIVE this Monday at 10pm ET.

Matthew Rosenberg was born and raised in New York City. The son, nephew, and brother of writers, he naturally spent the first 10 years of his professional life trying to avoid the same fate as them. After years of directing music videos, managing a print shop, touring the world managing bands, working at a comic shop, and co-owning a small indie record label, the fates have finally left him two choices; write comics professionally or starve to death trying. Armed only with his freakish knowledge of all things comic book and a complete lack of desire to do anything else, Matthew now finds himself a comic writer. You can follow him on Twitter @AshcanPress.

We also want to hear what you have to say and what’s on your mind. Tweet us questions @graphicpolicy.

Listen to the show as it airs live tonight.

Review: We Can Never Go Home TPB

WE CAN NEVER GO HOME 1High school is never an easy road to navigate, in fact for me, I can remember being a very confusing time. You can never really appreciate the saying” It’s the journey, not the destination”, until after the fact and this time in any young person’s life is where this philosophy is most in action. I remember having some really fun times, and some not so very fun times. I think for most comic book readers, this is was about the time, where we struggled with staying true to ourselves.

This was about the time, I got interested in girls and playing sports, so my interest started to wane, and eventually I chose the two over comic books.   I would not pick them back up again until I introduced my daughters to reading through comic books, much like how my father taught me. I often wondered, if I had not gone down that path, what books I would have read up to this point. I also wondered what ever happened to those kids whose lives were never easy during high school.

We Can Never Go Home, pretty much asks the same question, but only if those kids had superpowers and actually use it for private gain. We are introduced to Madison and Duncan, two teenagers who are very much different, as Madison is pretty much the popular girl in school, while Duncan is loner kid in school, who has no friends. They meet one night, where they not only find out themselves of their powers but of each other, and end up with an accidental death, a drug deal gone wrong, and a bag full of cash. By the end of the story arc, it is a story that is equal parts Pretty in Pink and Marvel’s Runaways.

Overall, a strong story, that is both fantastical and relatable, and never lets up for one second, giving the reader quite a ride. The writing by Matthew Rosenberg and Patrick Kindlon is sharp and witty, providing levity in an otherwise dark story. The art by Josh Hood and Brian Level is alluring and enigmatic, a perfect complement to this complex book. Altogether, a strong story with beautiful illustrations, that everyone should read.

Story: Matthew Rosenberg and Patrick Kindlon Artist: Josh Hood and Brian Level
Story: 9 Art: 9 Overall: 9 Recommendation: Buy

Black Mask Studios provided Graphic Policy with a FREE copy for review

Preview: We Can Never Go Home Vol. 1: What We Do Is Secret

We Can Never Go Home Vol. 1: What We Do Is Secret

Artists: Josh Hood & Brian Level
Writers: Matthew Rosenberg & Patrick Kindlon
Colors: Amanda Scurti & Tyler Boss
Letters: Jim Campbell & David C. Hopkins
Cover: Michael Walsh
160 PAGES. $9.99
IN COMIC STORES: 12/9

Written by rising star writers Matthew Rosenberg (Archie Meets Ramones, upcoming Our Work Fills The Pews) & Patrick Kindlon (QUAKE: S.H.I.E.L.D. & upcoming I Hear It’s Bad Everywhere), drawn by the brilliant Josh Hood (JLA: Scary Monsters, Venom), and deftly colored by Amanda Scurti (Fresh Romance) and Tyler Boss (Lazarus), WE CAN NEVER GO HOME has emerged as one of the true breakout hits of 2015. With critical praise, constant sell outs, ridiculous ebay prices for back issues, and passionate fans, WE CAN NEVER GO HOME is something special. Recently announced to be continuing next year, this first volume is sure to be on a lot of peoples “must have” lists this year.

WE CAN NEVER GO HOME 1

Preview: We Can Never Go Home #5

WE CAN NEVER GO HOME #5

Artists: Josh Hood & Brian Level
Writers: Matthew Rosenberg & Patrick Kindlon
Colorist: Tyler Boss
Letterer: David C. Hopkins
Cover: Michael Walsh
IN COMIC STORES: 12/2

All roads end.

WE CAN NEVER GO HOME #5 Cover

Space Riders & We Can Never Go Home Collections Hit Shops in November

This November two of the most talked about indie comics on the year will see release as collected editions. Space Riders and We Can Never Go Home have both sold through multiple printings, been critical darlings, and become legitimate cult hits. Now they will be in comic shops in time for the holidays. And what makes a better gift to friends and family than stories about space pirates in flying skulls on a quest for revenge or teenagers robbing and killing their way across the American heartland?

Both books have helped define what Black Mask is in many ways and we are proud to be releasing these beautiful collections to reach new readers and offer cool bonuses to existing fans. Both books will only be available in comic shops in 2015.

From the galactic core to the outer quadrants, one name strikes terror in the hearts of evil beings everywhere: The Space Riders! Sailing the cosmos in the Skullship Santa Muerte, Capitan Peligro and his fearless crew deal harsh justice to the scum of the galaxy while searching for the hidden truths of the universe! Collecting the four sold out issues of the psychedelic revenge tale from the minds of Alexis Ziritt and Fabian Rangel, Jr!

The story of two teenagers, a mixtape, a stolen car, a fully loaded .45, strange abilities, dead drug dealers, and their money. A dark and modern story about getting lost and finding yourself on the backroads of America. Collecting We Can Never Go Home #1-5 by artist Joshua Hood, and writers Matthew Rosenberg and Patrick Kindlon.

Space Riders Vol 1 We Can Never Go Home Vol 1

Preview: We Can Never Go Home #4

WE CAN NEVER GO HOME #4

Artist: Josh Hood
Writers: Matthew Rosenberg & Patrick Kindlon
Colorist: Tyler Boss
Letterer: Jim Campbell
Cover: Michael Walsh
IN COMIC STORES: 8/26

A love letter to the type of stories nobody tells anymore, We Can Never Go Home is a coming of age tale for misfits, a crime story for the innocent, a road story for the aimless, and a comic about strange abilities from another point of view. It is the story of Duncan and Madison, 2 high school kids who get in some trouble and decide to go on the run together. Mixtapes, stolen cars, .45’s, superpowers, dead drug dealers, their money, and the backroads of America.

When you are on the run, robbing and killing, sometimes things go really wrong.

WE CAN NEVER GO HOME #4 1

We Can Never Go Home 1, 2, & 3 Are Going Back To Print… Again.

Black Mask‘s breakout hit series We Can Never Go Home will have all 3 issues going back to print in advance of issue #4 hitting shelves this month. With each issue selling out at Diamond before it hits stands despite hefty overprints, demand has continued to grow.

On July 29th, We Can Never Go Home #1 third printing will hit shelves alongside second printings of #2 & #3. The new printings have all new, wraparound, connecting covers by the amazing Tyler Boss. If people want to make sure their local comic shops are getting them they have to place their orders this week.

A love letter to the type of stories nobody tells anymore, We Can Never Go Home is a coming of age tale for misfits, a crime / road story, and a comic about strange abilities from another point of view. It is the story of Duncan and Madison, 2 high school kids who get in some trouble and decide to go on the run together. Mixtapes, stolen cars, .45’s, superpowers, dead drug dealers, their money, and the backroads of America.

WE CAN NEVER GO HOME #1 (3rd Printing)- MAY158186
WE CAN NEVER GO HOME #2 (2nd Printing)- MAY158184
WE CAN NEVER GO HOME #3 (2nd Printing)- MAY158185

AND DON’T FORGET ISSUES 4 & 5 ARE COMING SOON-
WE CAN NEVER GO HOME #4 (1st Printing)- APR151163
WE CAN NEVER GO HOME #5 (1st Printing)- MAY151065

WE CAN NEVER GO HOME #1 (3rd Printing)

artist: Josh Hood
writers: Matthew Rosenberg & Patrick Kindlon
colors: Amanda Scurti
letters: Jim Campbell
cover: Tyler Boss
Order Cutoff: 7/6
On Shelves: 7/29
Order Code: MAY158186

WE CAN NEVER GO HOME #1 (3rd Printing)

WE CAN NEVER GO HOME #2 (2nd Printing)

artist: Josh Hood
writers: Matthew Rosenberg & Patrick Kindlon
colors: Amanda Scurti
letters: Jim Campbell
cover: Tyler Boss
Order Cutoff: 7/6
On Shelves: 7/29

WE CAN NEVER GO HOME #2 (2nd Printing)

WE CAN NEVER GO HOME #3 (2nd Printing)

artist: Josh Hood
writers: Matthew Rosenberg & Patrick Kindlon
colors: Tyler Boss
letters: Jim Campbell
cover: Tyler Boss
Order Cutoff: 7/6
On Shelves: 7/29
Order Code: MAY158185

WE CAN NEVER GO HOME #3 (2nd Printing)

Review: We Can Never Go Home Issues 1-3

we can never go homeIf you want to see how great comics book writers and artists emerge, read this series. There are some choppy parts, but there is also some solid writing, life-like illustration, and the coloring really brings it together. The choppiness is all part of the appeal of this series.

We Can Never Go Home was created by talented artists who, for the most part, have only a couple published works under their belt. Readers have the chance to really see creators experiment.

The series follows two teenagers on the run after a couple grisly encounters with an ex-beau, an abusive father, and eventually, the police. Oh, and there are some super powers involved.

Popular and pretty girl, Madison, an Asian-American girl adopted by a white family and plopped in the middle of an all white town. Let the alienation begin. However,  it seems that she has so far managed to fit in, dating the football star and working to get a full scholarship, all the while managing to hide her powers.

Then she meet Duncan– the schools weird kid–caught peeking at her and the football star making out in the car. It all spirals down from there. Fast forward through some realistic angst at school the following day, some gritty scenes, and the two find themselves on the run.

What I like about this series is they don’t hide from their characters. Writers Matthew Rosenberg and Patrick Kindlon do an excellent job of keeping Duncan, the weird kid, weird. They don’t fall into making him the likable, charming weird kid that for reasons unknown never makes it to popularity because, dang, he really is nice! Duncan is awkward, he is kind of arrogant, and he is frankly, a little creepy toward Madison. The reader can tell he wants her. Like any teenage boy would. A weird kid suddenly finds himself alone with the prettiest girl at school. The writers do not attempt to turn it into a happy ending text-book romance, at least not right away.

Then, the writers come through again when they portray Madison as harboring some real anger towards the kids at school and the town she has so easily won over. All the while being sort of detached and disgusted.

The story is a bit rushed, and it took me two reads to really understand what was happening. That, however, is another thing I like. We are watching writers grow. A very rare and special thing to see. I say grow because there is a lot of talent in this story.

Illustrator Josh Hood does a great job, the angles are fresh, and the scenes come straight off the page. Like the others, Josh Hood can be considered fairly new so readers have chance to watch an illustrator grow. There are some choppy pieces, but overall Josh does an excellent job of portraying a certain grit.

Colorist Amanda Scurti does an excellent job of making the atmosphere in this story, it wouldn’t be the same comic without her.

One more cool thing about this series: it comes with a Spotify mixtape–err, playlist! Tracks by the Buzzcocks, Adam and The Ants, The Specials, among others really sets a good tone, and speaks to the whole creative team’s punk/alt past.

With comics that come with a Spotify playlist,  or authors that have worked with rappers like Ghost Faced-Killah, and colorists that have worked on Alt-comics like Tank Girl, readers are  beginning to see creators bring their interests, outside of comics, into their work. I like it.

We are witnessing a new generation of comic creators, so buckle up.

Story: Matthew Rosenberg & Patrick Kindlon Art: Josh Hood Coloring: Amanda Scurti
Story: 8.0 Art: 7.5 Overall 8.0 Recommended Buy

Black Mask Studios provided Graphic Policy with a FREE copy for review

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