Category: RoboCop
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RoboCop is terrible. It’s long, it’s poorly directed, it’s badly acted. One almost doesn’t want to acknowledge it because then it has to be discussed. At least in how it does contain some subjects ripe for discussion. Like how a badly doctored script can create frustration at missed potential. Missed potential, however, being a euphemism…
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I’m not sure how I’d describe Killian, Williamson’s long-in-the-tooth antagonist in Robocop, but soap opera tough guy might be the best description. There’s no depth to the character, which is starting to get really annoying. Though Magno’s design for the him does look a lot like an eighties tough guy, which fits in with it…
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Seeing Robocop run–he gets upgraded–reminds of two things. First, it’s like running zombies. Second, it’s a little like Batman on ice skates. It’s just too much. Magno’s art is stronger than it has been in the last few issues so he’s able to tone it down and keep the action grounded, but it’s still too…
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It’s a bridging issue. An undercover cop goes after Killian–in one of Williamson’s most unexpected moves, the character (who everyone is accusing of being an undercover cop) turns out to be an undercover cop just in time for the cliffhanger. Robocop gets beat up by the new ED–209, which has a silly name I can’t…
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Once again, there are occasional moments where this issue of Robocop feels a little bit too much like Robocop 2. Not even the action, but the way Williamson is moving things along for Murphy. The evil OCP conspiracy, him having to get fixed. In terms of action, however, there is an ED–209 fight and Murphy…
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Williamson does a couple unexpected things this issue. First, he brings a level of what one has to call Robocop 2 ultra-violence–well, technically Magno brings it–but Williamson wrote the scene. It's a big hero moment for Robocop and it's awesome. Robo saves the day. Then Lewis turns around and figures out a way to save…
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This issue is the best one Williamson’s written so far. It’s not Magno’s drawn; he’s better than last time but there are still a lot of perspective issues. They make the body proportions look off when they aren’t. It’s too bad. The issue opens with a flashback to villain Killian’s youthful offending days. It’s a…
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Robocop continues to have problems, but this issue they're different ones. For instance, Magno's art isn't as detailed. He's concentrating on foreground figures and letting the backgrounds go loose (with a handful of splash page exceptions). And his figures get flatter as the issue progresses. But Williamson is doing better with Robocop and Lewis. Most…
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This comic is way too short. It’s frustrating too because creators Joshua Williamson and Carlos Magno go out of their way to show they know how to do a Robocop comic. Magno’s art is excellent, nice amount of grit, nice amount of visual reference to the first movie and especially the actors (without being desperately…
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So Ed Brisson gets the job of sending the original Robocop into the sunset. My first thought–he does an admirable job, though he could have easily turned it into three issues. He’s got a lot of ideas for how to bring things together. And that spark, even if it’s hilarious fan fulfillment, leads me to…
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I feel bad for the creators on Robocop: Beta, it’s not their fault the comic fails, it’s just the nature of pointless movie tie-ins. Otherwise it’s not a bad comic. It’s even got a good reveal at the end, it just doesn’t have anything else going for it. Ed Brisson’s able to give it a…
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Is Memento Mori the best of Boom!’s terrible Robocop remake tie-ins? Maybe. It’s definitely the first one where the art engaged. João Vieira has the appearance of an interesting style. Cartoonish, almost. He really doesn’t–he just fakes it on the good panels and the rest are really pedestrian. But until one figures out the art,…
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Again, not having seen the new Robocop movie, it’s hard to say who’s responsible for the nonsense of To Live and Die in Detroit. It could be writer Joe Harris. He certainly does write some terrible exposition about the Motor City and juxtaposes it against the lame action and activities of Robocop. Robocop, it turns…
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There are a lot of acknowledged accomplishments to Robocop. Pretty much everyone identifies Rob Bottin and Phil Tippett. Bottin handled the startling makeup, Tippett did the awesome stop motion. Director Verhoeven gets a lot of credit–rightly so–and Basil Poledouris’s score is essential. Big scene or small, whenever Poledouris’s music kicks in, the film hits every…
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Okay, it’s a movie tie-in but it’s a prequel and a sequel. Who knows? The new Robocop isn’t out yet so is it even possible to gauge whether Michael Moreci and Jason Copland got the tone right… because they don’t create one of their own. Moreci follows around Robocop’s human handler–or so the character seems,…
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It’s an all art issue. It’s an all action issue too, but there’s not even the regular amount of witty banter for an action issue. So it’s just Öztekin doing a fight scene between Robocop and various cyborgs. All the cyborgs look alike. Robocop does have some special gear and there are a couple plot…
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It’s funny how interesting art changes things in terms of pacing. Not just good art; there are plenty of comics out there with good art and bad pacing and the issue doesn’t work out. But with good, interesting art? Take this issue of Last Stand–Grant skirts over a big plot development because it’s better to…
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Wow, what a downer issue. In a lot of ways, it seems like a rejection of the reader’s expectations, which Grant had only recently raised–and only if the reader is familiar with Robocop 3. But this issue? This issue reaffirms the reader has no idea what’s going on. Unfortunately it does feel rushed. Some of…
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When I got done with this issue, I looked at the indicia to make sure I was remembering correctly and there really are four whole issues left. I’m a little sad it isn’t five, because this issue is phenomenal. Grant’s script, except some of the stuff with the corporate guys, mostly keeps out of artist…
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I’m going to regret making this statement. I’m liking Robocop: The Last Stand. At first I was confused with the art choice–Korkut Öztekin has a punky, very indie art style and it doesn’t seem to fit Robocop. But it works. He goes for these great caricatures on the characters, who writer Steven Grant is writing…
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I think Dynamite has succeeded where Marvel, Dark Horse and Avatar have failed… they’ve made the worst Robocop comic ever. Given a relatively free slate, Dynamite has come up with a setting for their Robocop sequel no one even slightly competent might have expected. If I remember right, the TV show had better ideas. Most…
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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…
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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…
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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…
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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…
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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…
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Furman goes episodic here. I mean, TV episodic, maybe the five minutes before the opening titles role. It’s all about cops going crazy and whatever it is driving them crazy also effects Robocop so there’s a cliffhanger with him about to shoot a bunch of people. Sullivan inks himself here, which is an improvement over…
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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…
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Wow, what an issue. The villain has a TV for a head. Luckily, Robocop kills him without thinking much about it and so there won’t be any further appearances by… oh, right, Furman doesn’t even give him a name. Umm… Mr. TV Head. And then there’s the really stupid part where Furman decides “The Old…
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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…
The Stop Button 