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.

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.