Cloak and Dagger 4 (January 1986)

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I can’t believe Marvel didn’t relaunch Cloak and Dagger during the Bush years. It’s a neo-con wet dream (complete with discreet racism, with Cloak being the evil black, corrupting Dagger, and cops beating witnesses).

This issue is, I think, my first Cloak and Dagger ever. I wasn’t missing much. They’re both really annoying. She’s holier than thou and he’s, well, nuts too. The whole thing reads like a PSA on acid, which I kind of understand, but not really. I get the intent–superheroes versus drugs–but it’s so utterly simplistic, even when it tries to be complicated, it’s just annoying.

I mean, you want to tell me no comic book creators ever dabble in recreation drugs? Please. I’m sure some blog about it today. Cloak and Dagger lumps them all together because it’s propaganda; it’s not even well-written propaganda.

And Leonardi’s art is super bad at times.

CREDITS

Ultimatums; writer, Bill Mantlo; penciller, Rick Leonardi; inker, Terry Austin; colorist, Petra Scotese; letterer, Ken Bruzenak; editor, Carl Potts; publisher, Marvel Comics.

Robocop vs. the Terminator 4 (December 1992)

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Wow, so good old Frank Miller coming through here with a happy ending and a dumb joke and just an awful comic book. There’s so little story in this issue, you’d think it was coming out today instead of back in the early nineties.

Miller’s script reads like fan fiction, if I understand what fan fiction reads like–my understanding being totally based on the jokes made about fan fiction. What’s most interesting about the entire series is how the Robocop licensing worked. The Terminator stuff, apparently Miller got to do whatever he wanted because who cares what one’s going to do with a Terminator license (it wasn’t a Terminator 2 license). Robocop, not so much.

Simonson’s art’s real loose this issue too. Lots of whacked out body part proportions of Robocop; Simonson keeps it tighter for the human beings.

This series must’ve made someone out there stop reading comics.

CREDITS

Writer, Frank Miller; artist, Walt Simonson; colorist, Rachelle Monashe; letterer, John Workman; editor, Randy Stradley; publisher, Dark Horse Comics.

Robocop 6 (August 1990)

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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.

CREDITS

War – Part 2: War Crimes!; writer, Alan Grant; penciller, Lee Sullivan; inker, Kim DeMulder; colorist, Steve White; letterer, Richard Starkings; editor, Gregory Wright; publisher, Marvel Comics.

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