Publisher: BOOM! Studios
Writer: Joshua Williamson
Artist: Carlos Magno
Release Date: 7th January 2015

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RoboCop does the single most violent thing I have ever seen him do on page 3 of this issue, and it is glorious. Your move, The Sun.

Carlos Magno’s art in the early pages really captures the sense of a running battle (afforded by Robo’s new, less-restrictive leg design), with action moving fluidly between cover and enemies.

Detective Lewis’s subplot brings the true heart of any RoboCop tale, with the Police facing seemingly insurmountable odds, yet being restricted and unable to act. Magno’s facial work is at its best in these scenes, with likenesses seeming far more natural now that the series is a good few issues in. The aesthetic of the RoboCop universe is still being held to, with the reader never in question as to which film universe they are witnessing thanks to the amazing art design.

While RoboCop’s physical intimidation during an interrogation shows the fear he inspires in criminals, I would have liked to see Murphy talk the criminal into fearing what he could do. To see Murphy build up his own legend would be a great way to see him come to terms with his new life. Another slightly disappointing story element is the way in which Killian is caught out by Lewis, which could have come straight out of a CSI: Miami “enhance” meme. However, these are both balanced out by the way their inclusion or exclusion speeds up the pace of the book, which is really beginning to feel like it is heading into an unimaginably violent climax.

RoboCop #7 feels a little too convenient at times, but, like the moments in a film just before Act 3 really kicks off it places all of the players in just the right places to make what is coming next possible. That said, I really can’t wait to see what happens in Act 3 now.

Rating: 3/5.

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The Writer of this piece was: Andrew Stevens
You can follow Andrew on Twitter

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