This one is quite muddy.
A mildly tragic backstory lacking in basic detail. An afterthought of a villain character. A hopeless heroine. And an average menagerie of events whose arrangement hearkens contrivance, despite the obvious need for something more.
ROSE is a typical genre-comic whose story is way too large for its characters. In turn, the characters cannot keep up, the reader cannot keep up, and the creative team resorts to various leaps in logic or ugly, narrative conveniences to keep everything apace. In six chapters, ROSE yearns to be the heroic fantasy one can only muster after years of painstaking effort. The result is all too recognizable, which is not necessarily a good thing.
A despot in an out-of-the-way kingdom dethrones the current royalty, and uses magic to hunt and execute other magic users. Along the way, this new queen exhibits cruelty, neglect, and a thirst for power that ensures the decline of anyone not privileged to reside within her inner circle of soldiers and sycophants.
Naturally, the peasants would have it otherwise.
ROSE makes an attempt at overlaying a mythical backstory of seasoned warriors and their giant beast familiars onto the current milieu of a land in ruin. And while the tale of a young woman (Rose) whose village is burned and whom must take up arms with the local rebels is easy to digest, the pattern and rhythm of the book's Great Power Within You cliché is tiring from the onset.
Perhaps if the dialogue wasn't so gaudy and stilted, or the pacing so damningly oblique, or the motivations of the despot, Drucilla, so canned, then the book might not have felt so awkward for so long. Readers only need a moment to discern they're in for a long haul with this one.
For example, the second chapter rouses the usual fair of the heroine-to-be feuding with new allies and fleeing new foes. But in the middle of all this, the book drops a single, solitary page of Drucilla in monologue, barking platitudes to a then unidentified man in dungeon chains. This one page is so superbly out-of-place that it's almost funny.
Except, it's not. The interlacing of this one scene disrupts the story's rhythm, fails to explain or sort out the antagonist's motivations, and as one later considers, speaks to the book's poor structure on the whole. This won't be the only time one wonders if whole pages were cut or edited out of the final production . . . but as for the case with ROSE, there are other occasions in which the sequence of events is clearly off or abruptly cut short, and one is left guessing as to why.
Another example would be how a majority of the story is set in the forest. What forest, how big is it, and how close is this forest to Millhaven (the only city named in the book) or the castle (where Drucilla resides)? The details are scarce, which conveniently permits characters to either flee endlessly or to coincidentally smash into one another depending on the needs of the story. Indeed, if the boundaries of the setting are not established, then why can't Rose become lost in the forest, suddenly close he eyes and concentrate for five seconds, and then find her mythical puma familiar standing ten feet away? It's a cheap trick.
ROSE does this a lot, if not always in the same way. The titular character frequently gains new abilities (or new courage) when it suits the conflict. She is a fabled guardian and a keeper of magic, but her ignorance of her skill set makes it difficult for readers to genuinely believe she can, spontaneously, heal a man who was stabbed through the chest, among other things. Indeed, if the boundaries of the character's agency are not established, then why shouldn't she be able to shoot fire, levitate, and employ some other manner of clairvoyance or extrasensory perception? That one's a rather expensive trick.
Altogether, this is neither a consistently written nor an evenly paced book. Much of the story dynamics are rushed, and many of the character interactions are the stuff of a genre brainstorm session.
At least the art is nice. Guara has a clear talent for purposeful facial expressions and kinetic action scenes, a highly desirable combination of skills. Medieval violence seems right up this artist's wheelhouse (e.g., functional character designs, setting/environment details); too bad the script is all over the place.