Robocop 17 (July 1991)

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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 review (at the time, I think Orion was going out of business, so maybe the liaison was busy).

It’s a painfully bad comic book, worse than any of the previous ones in fact. It might be the worst issue overall.

I really miss Alan Grant’s writing.

CREDITS

Private Lives; writer, Simon Furman; penciller, Lee Sullivan; inker, Harry Candelario; colorist, Gregory Wright; letterer, Ken Lopez; editor, Rob Tokar; publisher, Marvel Comics.

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Robocop 15 (May 1991)

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It’s not a terrible issue. So far it’s probably Furman’s best, only because it’s an all-action issue. The inking is a little better this time too. Maybe it’s the lack of thought balloons for Robocop. Robocop thinking kind of ruins it, at least the way Furman writes his thinking.

It’s not particularly clear but it reads like evil triumphs over good here, that the corporate bad guys get away unpunished. It’s hard to say. Furman uses a news story to wrap up the issue (much like Marvel’s adaptation of the first movie does) and the whole thing–the three parter this finishes–feels like a tv pilot. It pretends to be gritty, but it’s really super positive and smiley.

Sullivan has some nice work, visible through the mediocre inks and the plotting makes it more readable than usual.

It’s a more tolerable read than usual, if still absent merit.

CREDITS

Ashes!; writer, Simon Furman; penciller, Lee Sullivan; inker, Harry Candelario; colorist, Gregory Wright; letterer, Ken Lopez; editors, Bobbie Chase and Rob Tokar; publisher, Marvel Comics.

Robocop 14 (April 1991)

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Ok, so this issue of Robocop is a little more interesting than usual–a little more interesting, maybe, than any licensed property comic outside of Dark Horse’s Star Wars ones where there was a “enhanced continuity” or whatever LucasFilm called it–this issue of Robocop features one of the series’ mainstay characters, the sidekick and token black executive, Johnson, going bad.

It means next to nothing to anyone who isn’t a Robocop fan (the third film ignores the Marvel comics continuity, apparently–and unfortunately) but it’s a big deal. It’s also amusing because the opening shot of the character looks like an Obama campaign poster.

Anyway, otherwise there’s a lot of lame stuff, like Robocop’s partner still not getting to him and some evil military cyborg who’s got daddy issues.

Sullivan draws some amazing panels and the inks just fail him, over and over and over again. It’s tragic, really.

CREDITS

Dreams; writer, Simon Furman; penciller, Lee Sullivan; inker, Harry Candelario; colorist, Gregory Wright; letterer, Ken Lopez; editor, Bobbie Chase; publisher, Marvel Comics.

Robocop 13 (March 1991)

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Maybe I was too rough on Furman last issue–I ought to be saving my bile for inker Candelario, as this guy completely wrecks Sullivan’s art. Having gone over ten issues with Sullivan inked well, seeing this disaster is just … upsetting.

But Furman, well, Furman’s not terrible. He’s got a handful of decent scenes. There’s some really stupid stuff in it like the Sergeant from the movies being more interested in OCP orders than being a good cop and a mystery bad guy out to get Robocop. Not to mention Robocop’s partner being in a single, totally useless scene.

It’s an action issue from an era where action issues weren’t the norm. The result is a banal, with more bad than good, comic book.

Furman does incorporate the movies well, but it’s like he never read Alan Grant’s issues. The ones far superior to the ones he’s creating.

Blah.

Blah.

CREDITS

Past Sins; writer, Simon Furman; penciller, Lee Sullivan; inker, Harry Candelario; colorist, Gregory Wright; letterer, Ken Lopez; editor, Bobbie Chase; publisher, Marvel Comics.

Robocop 12 (February 1991)

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I guess I shouldn’t be surprised Furman lacks Alan Grant’s deft touch, since the new editor basically said he would. Furman’s Robocop is, as a protagonist, pretty lame. The series is now a sequel to Robocop 2, but Furman’s Robocop is still all bent out of shape about having been turned into Robocop, something the second movie kind of dealt with. I mean, it ends with him grinning.

The book’s also got a new inker–Harry Candelario–and he looks lousy over Sullivan’s pencils. Robocop isn’t goofy looking, but regular people’s faces lack definition. It’s incredibly boring artwork.

Furman’s also setting up a big conspiracy–flushing the bigger story Grant had been working on–but it’s a licensed property so who knows how much interference they got.

Lots of movie callbacks here, to remind the reader it’s Robocop, even if the character only resembles him visually.

It’s a big snooze.

CREDITS

Purgatory!; writer, Simon Furman; penciller, Lee Sullivan; inker, Harry Candelario; colorist, Gregory Wright; letterer, Ken Lopez; editor, Bobbie Chase; publisher, Marvel Comics.

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