In one of the letter pages, the editor said Robocop would never meet up with any Marvel superheroes (I guess the licensing worked differently than that Spider-Man crossover with the Transformers) and this issue kind of shows why it wouldn’t work.

The last two issues have been about costumed vigilantes. Some of them are silly, some of them aren’t. And in the issue, it turns into a huge bloodbath. Grant tells this story without making any kind of comment on the superhero comic other than generally–he doesn’t point out the absurdity in the superhero comic as a concept–it’s not like there’s a scene where the Joker just shoots Batman.

It sets up Robocop a little different than the traditional comic book, as these issues sort of dismiss the idea of Robocop as a “comic book superhero.” Instead, it’s something else.

It’s a good issue, though occasionally obvious.

Thank goodness, DeMulder’s back.

Grant’s doing another multi-part story here, with Robocop trying to deal with OCP (his bosses) inspired vigilantism. It’s a little strange, just because it’s in a comic book so you’ve got the protagonist fighting the traditional protagonists of the medium. There are some absurd vigilantes and then some more serious ones–it’s never clear where the more serious ones get their wonderful toys.

Robocop’s sergeant shows up in this issue–maybe the first time he does in the Marvel comic series, I can’t remember–but still no Officer Lewis (did Grant forget he implied romantic tension between her and Robocop in the series’s first issue?).

There’s some weak dialogue from Robocop and the gang emphasis reminds a little too much of the previous issue, but it’s fine. I’m a little less impressed than usual, just because the vigilante stuff is so contrived and so silly.

Wow, I really miss Kim DeMulder. Keith Williams inks this issue and it really doesn’t work. Robocop’s definition is silly, he looks clunky instead of streamlined. Worse are faces. I was lamenting the lack of Robocop’s partner, Lewis, in my response to the previous issue, but she’s here all the time and it never feels like it. There’s an almost complete lack of personality to the issue, something I’ve got to the point of not expecting with Marvel’s Robocop. Though there was a Roxy Music poster on a wall, which I found interesting (I think it’s the first such reference in the series).

The story’s a solid little episode. OCP, the big company, is trying to lower property values by inciting gang violence; Robocop and Lewis get involved and then have to try to save their CI too. It’s a fine done-in-one.

Grant’s Robocop continues to be readable.

So Alan Grant did Westworld with dinosaurs before Michael Crichton? There’s a dinosaur park in this issue, which came out a few months before Crichton’s novel, and, strangely, things go wrong. They go wrong for different reasons, but still… this issue could have been called “Robocop vs. Jurassic Park.”

There’s a lot of action here and a lot of–well, it’s not procedural, but it’s Robocop solving the mystery, but instead of it being an investigation with revelations, it’s an investigation with action sequences. Grant does a fine job with it, adapting the procedural both for the comic medium and Robocop as the protagonist.

Still, I miss seeing Lewis in the comic.

Sullivan’s dinosaur art is nice and the whole thing works well.

I mean, if you don’t dwell on Robocop’s internal dialogue, which is still way too human. The Judge Dredd influences come back too, with Robocop street judging.

Grant’s resolution to the Robocop at war thing is surprising.

First, the big revelation (of why the Arabs aren’t really the bad guys) is good enough I’m not even going to spoil it. Second, he’s got a very mild, conclusion (albeit some lame lines about Murphy being a good cop again). Third, he introduces cybernetic Un-Men. They’re part machine gun or part moped. They’re perfectly disgusting and I don’t believe they’re suited for desert warfare, but I’ve never seen anything quite like it.

I don’t know if I’ve mentioned Sullivan’s art much since I’ve been reading these comics, but he does a fine job. Some of it’s a little loose, but this issue has a fantastic fight scene between Robocop and an ED-209. Sullivan makes the combatants both technologically bulky and graceful; he also has a lot of opportunity for scenery here and does well.

Surprisingly creative issue.

Robocop goes to war. It’s an interesting idea, Robocop being used as a military weapon–leased out by his owners, instead of policing–but Grant seems more concentrated on the action potentials for this issue. There’s a lot of suggestions the morality of it will come into play next issue, but for now, it’s Robocop versus weird and wacky war weapons (he fights these motorcycle troopers who look like they’re out of a Road Warrior cartoon).

Grant seems to be revealing up the backstory gradually–it seems like a bunch of starving African refugees are going to Spain, who’s either refusing them or sticking them in concentration camps–and it’s hard to believe there’s not going to be some kind of double cross. Not with all the foreshadowing.

So, points for concept, deductions for common sense–what about sand in Robocop’s gears and such.

Grant should’ve thought of that one.

Grant runs a subplot throughout this entire issue–riots caused by poisoned soda pop–just to fill in time and to give a sense of time progressing. It’s a technique way too nice for a Robocop comic, especially one featuring a fight between Robocop, a cyborg gorilla (what did I just read with a cyborg gorilla–B.P.R.D.: 1946) and a cybernetically enhanced fight promoter. Yes, I really did say cybernetically enhanced fight promoter (Grant gives him noirish narration, but whatever).

Again, the weak point of the comic is Grant’s Robocop characterization. He’s unstoppable in mind, just not unstoppable in body, so at least there’s some chance of danger for him, but the infinite mental resolve is… well, I can’t decide if it’s annoying or lame.

Grant’s making him too perfect, without the slightest tinge of regret over being stuck in his cyborg body.

Still, it’s readable for discerning Robocop aficionados.

Grant’s approach to this series–Robocop on a case–is nice. I mean, his future isn’t the greatest thing ever (again, I think it’s just rehashed Judge Dredd trappings), but there’s a procedural aspect to it. All of the Robocop thought balloons are a problem, as Grant has completely humanized the character–he’s just a guy turned into a robot, with full access to his memories and emotions.

The smiling Robocop on the second or third page is a little goofy too.

But the specifics this issue–Robocop trying to recover the captains of industry’s stolen dream tapes–is a little bit lame. Grant hasn’t established how law enforcement works in the comic; in this issue, Robocop isn’t so much a peace officer as an errand boy who occasionally gets to fight crime.

There’s also a fair amount of retconning of the source film to make for drama.

Still, okay.

The Comics Code approved this one? Robocop kills people left and right throughout.

Hmm.

On we go.

The issue ends with Robocop and Lewis making kissy faces at each other. Apparently, all Robocop writers (except the guys who wrote the original movie), want to introduce this plot element. I’m not complaining. It’s better handled here than elsewhere, it’s just odd. He’s a cyborg, come on.

Besides the idiotic lack of response to the vigilante robots from the rival corporation, this issue’s pretty good. Grant’s got his dialogue more in check with Robocop and there’s some nice moments with petty corporate officers, just like in the first film, which translates well to comics here. I’ve never heard of Sullivan before but he does a fine job.

The only bad scene is Lewis freaking out over Robocop’s injuries. The continuity between this comic and the film is too thin for the scene.

Alan Grant wrote Judge Dredd, which probably explains some of his Robocop. His Robocop is talkative and makes occasional jokes; neither facet particularly works.

But Grant’s Robocop isn’t terrible. It’s a sequel to the movie and, while some of the other film characters do appear, Grant’s taking things in his own direction. He’s got evil Robocops (maybe he saw the preview for Robocop 2), “extreme” fighters and gangs on flying motorcycles.

Still, he reins it in. His “Media Break” segments are spot-on; Grant’s future is flashy, but not so flashy it’s unbelievable Robocop might still be tromping through it.

Grant’s doing his own thing here–the episodic adventures of Robocop–and he’s doing a police procedural, just with Robocop occasionally shooting up an alley of bad guys. These bad guys, however, aren’t scared of Robocop. It’s like they’ve barely heard of him at times, which is a big problem.