and Orion struggled to agree on a story, with the studio turned off by the gritty parts of Neumeier and Miner's draft. Stone also stopped Company Man to work on Talk Radio (1988), making Neumeier and Miner no longer involved at Orion. 1988–1989: Frank Miller's RoboCop 2 In order for a sequel to still be possible, Orion had to sign a waiver to develop other RoboCop scripts, and, before he was fired, Neumeier recommended two popular comic book authors and artists to write them: Alan Moore and Frank Miller. Although Moore rejected the offer under the reason of "I don't do movies," Miller accepted and started writing his own script, which went through four drafts. Davison hired Miller through his company Tobor Pictures initially to write RoboCop 3, only for the comic book author to write RoboCop 2 after Miner and Neumeier's firing. Miller, a year before the original film's release, became popular for his edgy, "tragic hero" take on the Batman character, a style also suited for RoboCop. Though there are no reports of Miller taking influence from The Corporate Wars, both drafts share multiple traits: they begin their plots during the holiday season, follow a battle between corporations and poor citizens, depict an entrepreneur trying to buy governments (for Miller's screenplay, a city's government instead of a country's), have Asian hackers as RoboCop's sidekick (in Miller's case, a Japanese teenager named Keiko McFarland), and have a violence-causing drug selling throughout society. Miller's first draft was less comic and had a bigger emphasis on corporate fascism than the final film, with the last showdown pitting RoboCop against OCP forces instead of RoboCop 2. It was enjoyed by Davison for its grittiness, "inventive action," humor, and politics; however, Orion rejected it as "unfilmable" and brought in a screenwriter of the violent western film The Wild Bunch (1969), Walon Green, to re-write it. Cut material included backstories for Anne Lewis and the marriage between Alex Murphy and his wife Ellen. Miller later used his treatment as the story of his own series of RoboCop comics published in the 2000s. Development RoboCop (1987) producer Jon Davison was skeptical about doing a sequel to RoboCop. He had a negative opinion on sequel films, finding most of them worse than their predecessors and disliking not being able to make a different movie in order to produce another product audiences of the first film were