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 Öztekin’s way. Not in a bad way, like Grant is lazy–he isn’t. He writes some funny stuff for the little kid, who was weak last time but is the perfect sidekick for Robocoo this issue. I just mean Grant lets Öztekin go wild.

Whether it’s a car chase or a dialogue sequence in the diner with Robocop’s friends, Öztekin always makes the right move. There are maybe three perfect panels in the car chase; fantastic.

And the Robocop repair sequence is wonderful. Öztekin’s style, by being so wrong for Robocop, is perfect for it.

CREDITS

Writer, Steven Grant; artist, Korkut Öztekin; colorist, Michael Garland; letterer, Ryan Ferrier; editors, Alex Galer and Eric Harburn; publisher, Boom! Studios.

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 as caricatures anyway.

So the art works.

The issue I had, first off, was Grant apparently doing a sequel to his years old Robocop 2 adaptation from Avatar. I don’t think it’s an exact sequel and Grant doesn’t waste time recapping or even doing exposition. He does a fantastic job leaking details about the new ground situation–Robocop is a renegade out trying to help people, Nancy Allen is dead, the evil corporation is after Robo.

There’s also a terrible cliffhanger. Grant doesn’t even try to make it dramatic. He just stops the comic.

CREDITS

Writer, Steven Grant; artist, Korkut Öztekin; colorist, Michael Garland; letterer, Ryan Ferrier; editors, Alex Galer and Eric Harburn; publisher, Boom! Studios.