Robocop 1 (January 2010)

I think Dynamite has succeeded where Marvel, Dark Horse and Avatar have failed… they’ve made the worst Robocop comic ever. Given a relatively free slate, Dynamite has come up with a setting for their Robocop sequel no one even slightly competent might have expected. If I remember right, the TV show had better ideas. Most of the Robocop staples (from the first film) make an appearance. But writer Rob Williams seems like he’s going through a checklist, not actually incorporating the elements into the story. I’ve been reading Dynamite’s Ennis books and some of their other stuff, so I guess I’ve expected…

Robocop 23 (January 1992)

Yeah, it’s awful. Lewis doesn’t appear in the issue. Robocop doesn’t go to Detroit. The entire issue, for him, is set on an Aztec pyramid; something along those lines. Robocop spends most of the issue talking about what it means to be Robocop. What I find most amusing about the comic is how everything Furman worked on–this intricate frame job, Lewis’s romantic interest in Robocop, even the development of a more recognizable police force–gets flushed here for a really lame comic book. Worse, Robocop’s out of helmet for most of the comic so Sullivan’s art on him is weak. I realize Marvel…

Robocop 22 (December 1991)

Furman can’t wrap up the comic in an issue, which is what Marvel’s Robocop has left so he’s undoubtedly going to leave some things hanging. Or he’s going to force it all into one issue, which is going to be a disaster. The series is wrapping up to be incredibly silly. When Marvel got rid of Grant, who brought the series into a more realized future, and brought in Furman to eighty-six those futuristic elements… well, I don’t know what artistic possibilities Robocop had, but it at least read well. Furman more fully utilizes the licensed property elements (more characters from the…

Robocop 21 (November 1991)

So when the series started Robocop 2 hadn’t been released and the Old Man was still a good guy. Now he’s a bad guy. But still not as bad as he was in Robocop 2. This issue ends with him manipulating Robocop into assassinating a foreign dictator. Meanwhile, Robocop’s cracking heads (but not enough to really find his wife and kid) and the cops are under assault and Robocop’s abandoned them in general and Lewis in particular. I don’t see Lewis’s crush working out for her here. Sullivan’s back, inking himself and Robocop looks great. Sullivan spends a lot of time on…

Robocop 20 (October 1991)

Who is Andrew Wildman and why has he ruined my Robocop? Regardless of Sullivan relatively slipping, this guy is a joke. His faces are pure amateur. I suppose his figures are a little better. This issue is a waste of time, but kind of shouldn’t be. It’s a continuation of the previous one–Robocop’s wife and child have been kidnapped, Lewis wants to tell him “how she feels”–but there’s nothing but recaps of those items. It’s all a bridge, but it’s a bridge with its own events going on. There’s some group of rich guys plotting murders or something. It’s not really important.…

Robocop 19 (September 1991)

So we finally get Lewis and Robocop about the suck face and it turns out it’s a stupid brainwashing thing? Or, worse, we don’t even find out if it’s a stupid brainwashing thing. It’s never followed up on, instead Furman has Robocop’s human mind battle his computer mind in a scene straight out of Superman III (with some Empire Strikes Back visuals–Luke in Vader’s helmet–thrown in). It’s Sullivan inking himself again, which runs hot and cold. The art’s nowhere near as strong as when Kim DeMulder inked him on the first ten or twelve issues. It’s okay, but it’s not great like…

Robocop: Roulette 4 (March 1994)

Dark Horse’s Robocop ends here. Finally. It’s not a bad issue, definitely the best in this series and probably overall (the competition isn’t particularly steep, however). It helps Jeff Butler handles some of the art chores. I don’t know who he is or what else he’s done, but he’s better than Byrd. There’s some unintentionally funny moments here, especially when they rip off a scene from Robocop 2. A brief post-mortem on Dark Horse’s Robocop, since there’s nothing else to say about the comic book (it’s bad, but not godawful): There’s no continuity. Just a general reference to the movies, especially the…

Robocop 18 (August 1991)

Furman goes episodic here. I mean, TV episodic, maybe the five minutes before the opening titles role. It’s all about cops going crazy and whatever it is driving them crazy also effects Robocop so there’s a cliffhanger with him about to shoot a bunch of people. Sullivan inks himself here, which is an improvement over the latest issues, but is a mixed bag. Some of his faces don’t look very good (a definite improvement, just not as strong as when the series started), but there’s a lot of great detail. I don’t think I’ve ever seen Robocop look so good, for example.…

Robocop: Roulette 3 (February 1994)

Byrd’s art is pretty awful, but it’s a surprisingly okay issue. Even taking all the stupidity into account, Arcudi does manage a couple all right moments here, like when Robocop goes back to the scene of his own murder. There’s also a lot of cop talk, not related to Robocop, and it passes the panels. It’s not exactly filler, just more of Arcudi doing whatever he can to avoid making Robocop the protagonist in his own comic (which isn’t bad, necessarily, the first Robocop spent a lot of time with other characters–except they were interesting, Arcudi’s are not). Maybe the time between…

Robocop 17 (July 1991)

Egads that’s bad. I was all set to say nice things about the art, but then Candelario’s inks made that one impossible. It’s a terribly written comic book. Besides having a really stupid plot, it’s just got the most atrocious dialogue imaginable. As a sequel to Robocop 2, it’s somewhat interesting–and it does flesh out Lewis’s character more than the movies ever did, giving her a gambling addict ex-husband, which seems really weak for her character and not anything one would believe in anything but a licensed comic book. I think whoever oversaw Marvel’s treatment of the characters napped through this script…