Robocop 22 (December 1991)

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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 movies), but not to any successful end. He’s running the series off a cliff out of sheer incompetence (though I think some of these decisions must be editorial, they’re too stupid not to be).

Again, some lovely Sullivan art and some fine human potential. Furman wastes both.

CREDITS

Beyond the Law, Part 2; writer, Simon Furman; artist, Lee Sullivan; colorist, Gregory Wright; letterer, Ken Lopez; editor, Rob Tokar; publisher, Marvel Comics.

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Robocop 21 (November 1991)

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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 him, making him look good. He doesn’t spend anywhere near as much time on the regular people, which is a problem.

Furman packs the issue with newscasts and details about the foreign dictator and it’s a bunch of fluff. He’s pretending to have layered this story but didn’t.

CREDITS

Beyond the Law, Part 1; writer, Simon Furman; artist, Lee Sullivan; colorist, Gregory Wright; letterer, Ken Lopez; editor, Rob Tokar; publisher, Marvel Comics.

Robocop 20 (October 1991)

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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. What’s important is Robocop turning off the robot parts and trying it human.

Under a better writer, it’d be a fantastic issue, because the things Furman’s talking about are interesting, the things he’s investigating.

He’s just not a writer who can make it work in Robocop.

CREDITS

The Cutting Edge; writer, Simon Furman; artist, Andrew Wildman; colorist, Gregory Wright; letterer, Ken Lopez; editor, Rob Tokar; publisher, Marvel Comics.

Robocop 19 (September 1991)

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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 it was. It doesn’t matter much, since Furman’s a boring writer. He’s mildly competent–he knows to have the police sergeant reflect once the brainwashing is over–but there’s nothing particularly striking about it.

Oh, wait. No, he sucks… I forgot all about the super-villainess.

CREDITS

Mind Bomb, Part 2; writer, Simon Furman; artist, Lee Sullivan; colorist, Gregory Wright; letterer, Ken Lopez; editor, Rob Tokar; publisher, Marvel Comics.

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