Robocop 23 (January 1992)

robocop-23.jpg

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 could have cared less–they didn’t renew the license, I’m guessing–but… wow. It’s an awful comic book. Anyone involved with the writing and editing with any shame should have used a pseudonym.

Even after all these issues, this one’s utter lack of quality surprises me.

CREDITS

Beyond the Law, Part 3; writer, Simon Furman; artist, Lee Sullivan; colorist, Gregory Wright; letterer, Ken Lopez; editor, Rob Tokar; publisher, Marvel Comics.

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One thought on “Robocop 23 (January 1992)

  1. Oh no, another shitty Robocop comic! Be still my beating heart! Although I’ve never read one, (none that I can remember anyway), my reaction to the details here is this:

    Late eighties and early ninties were the peak period for flushing out comics to the public, or at least fans, who were gobbling them up as fast as DC & Marvel could make them. The huge amount of titles produced (also reflected in today’s market as well) meant that each company was producing more titles than they have the facilities to do on an at least readable basis. Robocop has one more deficiency going against it being a licensed entity. These are among the least profitable for them to produce unless they sell gangbusters, and I don’t remember anything except for Star Wars giving those types of return. Hence, with the smaller pool of talent and a smaller budget for creators in the first place, licensed comics like Robocop (and it’s ilk) are pretty much destined from the start to achieve mediocrity and head downward from there. Were there any decent licensed comics? Sure, when you have a decent budget for top name creators who are initially inspired by what they are doing. But that doesn’t usually last long. This is probably true of most comics, unfortunately.

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