Robocop: Last Stand #6 is where the comic finally gets around to one of the main Robocop 3 plot points (and advertising focuses). The jet pack. Flying Robocop. The way Grant handles it is to bake it into an even bigger cyberpunk-y but mainstream sci-fi moment. This plot point, however, seems to have come from the pilot movie for “Robocop: The Series,” which was written by the original film’s screenwriters and may well have been their Robocop 2. See, the Robocop fan hat is every present and often shameful.
So the issue has Robocop getting his wings, fighting the Japanese cyborg in his helicopter fleet (again with the helicopters) as the people of Old Detroit fight the final OCP cop push. Grant structures the Old Detroit stuff like a subplot to Robocop’s subplot about going renegade. It barely makes a ripple anymore, especially since that not-jet pack twist is so big.
Grant’s also got his villain—who he and Oztekin still can’t imbue with any personality, which is still a big problem—but the pacing of all the action is great. There’s villain versus good guys at OCP, there’s Robocop versus helicopters and karate cyborg, there’s the imminent massacre of innocent people. Grant and Oztekin set up the stakes—so maybe Grant put in just enough time with the regular folk—and then just set the issue spinning.
The finale, with Robo getting ready for the last battle (not stand), is awesome. So basically Last Stand goes #1 through #5, then #6 and #7 (#8 is a detached epilogue). All it needed to be complete is another two issues to open it. Instead it’s sporadic but not episodic, just a bunch of great action. This issue, where Grant has to engage with the infamous Robocop 3 jet pack, is sort of a victory lap. Grant and Oztekin got the comic through a lot, earning a lot of trust, so why not the jet pack. Oztekin’s take on it, visually, is pretty cool; I mean, it’s Robocop-in-a-jet-pack but whatever. The helicopters are more of a problem.
It’s also impressive they’ve got Robocop positioned as the big hero for the finale given how detached Grant’s narrative distance to the character has been throughout.