Title: Frank Miller’s Robocop
Genre: Graphic Novel
Year: 2007
Pages: 210
Origin: read on an iPad
Nod Rating: 2 nods out of 5
The success of 1987’s Robocop spawned a host of dubious
sequels that confirm the law of diminishing returns in a movie series. Before
the terrible made-for-TV movies of the later 1990s, the Robocop "franchise" once stood at the
point of enduring commercial and critical success. In the hope of creating an
engrossing sequel, producers called in the help of comic-book artist Frank
Miller.
However, rather than take-on Miller’s (always) interesting
ideas, the producers carved up his script and used various elements in two
films. The legend grew that Miller’s vision was one that would have satisfied
audiences, leading to a rising call for his work to be created in the form of a
series of comics. And so the demand brought forth a nine issue series published
between 2003 and 2006: Frank Miller’s Robocop.
But, with a catch. Yes, it is based on Miller’s script and
original ideas. Yet it does not contain his comic-book writing or art-work
(obviously, distinctive hallmarks of Miller’s work). Instead, we have Steven
Grant (writing duties) and Juan Rose Ryp (art duties).
Certain plot elements will be known to viewers of the
Robocop sequels: a city full of corruption, evil corporations (the infamous
OCP), the police and other public services crumbling and full of mistrust, and
Robocop’s quest to regain his lost humanity. Regrettably, none of these areas
are developed beyond simple ideas. Instead we are “treated” to lots of fighting
(Robocop shooting various people and battling bigger robots). Violence attempts
– and fails – to cover the absence of a sustaining plot.
As could be expected from Miller, the result is chaotic and
dark. The themes of a near-future that has decayed and become overrun with
crime is one continually referenced in Miller’s work. Furthermore, we have the
inter-slicing of media and TV commentary that was used so effectively in
Miller’s The Dark Knight Returns. However, rather than a cutting-edge device
and revolutionary – as it was three decades ago – the result there is tired and
clichéd.
As for the art-work, it attempts to create a highly detailed
waste-land of a city. However, the panels are filled with dense and unimportant
features, all of which becomes an annoyance that prevents the story proceeding
at an adequate pace. In the climatic fight sequence the action is actually hard
to follow, leading to some confusing sighs from the Worm. Never a good sign, he
can tell you!
Very much hyped, unfortunately Frank Miller’s Robocop fails
to live up to the lofty expectations of the fan-base. The script does not
pay-off all of the years of misplaced hope. But perhaps it is the character
that is at fault: apt for a one-off movie, rather than a failed “franchise” of
half-arsed films, animation and heartless comic-books. It looks increasingly
likely that the character of Robocop will not join other great protagonists of
fiction – an Othello and Sherlock Holmes – and will remain an interesting idea
that entertained for a two-hour period back in the 1980s.
