Tag Archives: Alan Grant

In one of the letter pages, the editor said Robocop would never meet up with any Marvel superheroes (I guess the licensing worked differently than that Spider-Man crossover with the Transformers) and this issue kind of shows why it wouldn’t work.

The last two issues have been about costumed vigilantes. Some of them are silly, some of them aren’t. And in the issue, it turns into a huge bloodbath. Grant tells this story without making any kind of comment on the superhero comic other than generally–he doesn’t point out the absurdity in the superhero comic as a concept–it’s not like there’s a scene where the Joker just shoots Batman.

It sets up Robocop a little different than the traditional comic book, as these issues sort of dismiss the idea of Robocop as a “comic book superhero.” Instead, it’s something else.

It’s a good issue, though occasionally obvious.

CREDITS

Vigilante! – Part 2: Rough Justice; writer, Alan Grant; penciller, Lee Sullivan; inker, Kim DeMulder; colorist, Gregory Wright; letterer, Richard Starkings; editor, Bobbie Chase; publisher, Marvel Comics.

So Alan Grant did Westworld with dinosaurs before Michael Crichton? There’s a dinosaur park in this issue, which came out a few months before Crichton’s novel, and, strangely, things go wrong. They go wrong for different reasons, but still… this issue could have been called “Robocop vs. Jurassic Park.”

There’s a lot of action here and a lot of–well, it’s not procedural, but it’s Robocop solving the mystery, but instead of it being an investigation with revelations, it’s an investigation with action sequences. Grant does a fine job with it, adapting the procedural both for the comic medium and Robocop as the protagonist.

Still, I miss seeing Lewis in the comic.

Sullivan’s dinosaur art is nice and the whole thing works well.

I mean, if you don’t dwell on Robocop’s internal dialogue, which is still way too human. The Judge Dredd influences come back too, with Robocop street judging.

CREDITS

Robosaur; writer, Alan Grant; penciller, Lee Sullivan; inker, Kim DeMulder; colorist, Steve White; letterer, Ben One; editor, Gregory Wright; publisher, Marvel Comics.

Grant’s resolution to the Robocop at war thing is surprising.

First, the big revelation (of why the Arabs aren’t really the bad guys) is good enough I’m not even going to spoil it. Second, he’s got a very mild, conclusion (albeit some lame lines about Murphy being a good cop again). Third, he introduces cybernetic Un-Men. They’re part machine gun or part moped. They’re perfectly disgusting and I don’t believe they’re suited for desert warfare, but I’ve never seen anything quite like it.

I don’t know if I’ve mentioned Sullivan’s art much since I’ve been reading these comics, but he does a fine job. Some of it’s a little loose, but this issue has a fantastic fight scene between Robocop and an ED-209. Sullivan makes the combatants both technologically bulky and graceful; he also has a lot of opportunity for scenery here and does well.

Surprisingly creative issue.

CREDITS

War – Part 2: War Crimes!; writer, Alan Grant; penciller, Lee Sullivan; inker, Kim DeMulder; colorist, Steve White; letterer, Richard Starkings; editor, Gregory Wright; publisher, Marvel Comics.

Robocop goes to war. It’s an interesting idea, Robocop being used as a military weapon–leased out by his owners, instead of policing–but Grant seems more concentrated on the action potentials for this issue. There’s a lot of suggestions the morality of it will come into play next issue, but for now, it’s Robocop versus weird and wacky war weapons (he fights these motorcycle troopers who look like they’re out of a Road Warrior cartoon).

Grant seems to be revealing up the backstory gradually–it seems like a bunch of starving African refugees are going to Spain, who’s either refusing them or sticking them in concentration camps–and it’s hard to believe there’s not going to be some kind of double cross. Not with all the foreshadowing.

So, points for concept, deductions for common sense–what about sand in Robocop’s gears and such.

Grant should’ve thought of that one.

CREDITS

War – Part 1: War Monger!; writer, Alan Grant; penciller, Lee Sullivan; inker, Kim DeMulder; colorist, Steve White; letterer, Richard Starkings; editor, Gregory Wright; publisher, Marvel Comics.

Grant runs a subplot throughout this entire issue–riots caused by poisoned soda pop–just to fill in time and to give a sense of time progressing. It’s a technique way too nice for a Robocop comic, especially one featuring a fight between Robocop, a cyborg gorilla (what did I just read with a cyborg gorilla–B.P.R.D.: 1946) and a cybernetically enhanced fight promoter. Yes, I really did say cybernetically enhanced fight promoter (Grant gives him noirish narration, but whatever).

Again, the weak point of the comic is Grant’s Robocop characterization. He’s unstoppable in mind, just not unstoppable in body, so at least there’s some chance of danger for him, but the infinite mental resolve is… well, I can’t decide if it’s annoying or lame.

Grant’s making him too perfect, without the slightest tinge of regret over being stuck in his cyborg body.

Still, it’s readable for discerning Robocop aficionados.

CREDITS

Dead Man’s Dreams; writer, Alan Grant; penciller, Lee Sullivan; inker, Kim DeMulder; colorist, Steve White; letterer, Richard Starkings; publisher, Marvel Comics.

Grant’s approach to this series–Robocop on a case–is nice. I mean, his future isn’t the greatest thing ever (again, I think it’s just rehashed Judge Dredd trappings), but there’s a procedural aspect to it. All of the Robocop thought balloons are a problem, as Grant has completely humanized the character–he’s just a guy turned into a robot, with full access to his memories and emotions.

The smiling Robocop on the second or third page is a little goofy too.

But the specifics this issue–Robocop trying to recover the captains of industry’s stolen dream tapes–is a little bit lame. Grant hasn’t established how law enforcement works in the comic; in this issue, Robocop isn’t so much a peace officer as an errand boy who occasionally gets to fight crime.

There’s also a fair amount of retconning of the source film to make for drama.

Still, okay.

CREDITS

Dreamerama; writer, Alan Grant; penciller, Lee Sullivan; inker, Keith Williams; colorist, Steve White; letterer, Richard Starkings; editor, Gregory Wright; publisher, Marvel Comics.

The Comics Code approved this one? Robocop kills people left and right throughout.

Hmm.

On we go.

The issue ends with Robocop and Lewis making kissy faces at each other. Apparently, all Robocop writers (except the guys who wrote the original movie), want to introduce this plot element. I’m not complaining. It’s better handled here than elsewhere, it’s just odd. He’s a cyborg, come on.

Besides the idiotic lack of response to the vigilante robots from the rival corporation, this issue’s pretty good. Grant’s got his dialogue more in check with Robocop and there’s some nice moments with petty corporate officers, just like in the first film, which translates well to comics here. I’ve never heard of Sullivan before but he does a fine job.

The only bad scene is Lewis freaking out over Robocop’s injuries. The continuity between this comic and the film is too thin for the scene.

CREDITS

Murphy’s Law; writer, Alan Grant; penciller, Lee Sullivan; inker, Kim DeMulder; colorist, Steve White; letterer, Rich; editor, Gregory Wright; publisher, Marvel Comics.