Heh...I always liked the inclusion of future tech and robots for the simple fact it adds a factor of "anything can happen".
What's REALLY funny is that Grant himself wrote this two weeks ago:
When I was just starting out trying to write comics, I pitched a western. A short piece, maybe six pages. A vignette. A basic western gunfight, set up very quickly, stalled for pacing, then abruptly finished, with all the HIGH NOON style nonsense trimmed out. (I hate HIGH NOON, and, yeah, I know it's supposed to be some brave parable about McCarthyism, though you could interpret it as an anti-Commie tract if you like; for a real anti-McCarthy western, see Nicholas Ray's JOHNNY GUITAR.) Painfully not original, unfortunately, but I had the whole layout in mind: angles, transitions, cuts. (This was before I'd much worked with artists; the idea that an artist might view the necessity of certain things differently than I did hadn't yet occurred to me.) In other words, a matter of style. I believed I had figured out how to put impact into it via style, and this would lift the story above average. It wasn't my take on the content that was so different, it was the intended delivery. And I really wanted to do it. I'd never played in that playground before. That alone made it all new again to me, and that couldn't help but make it feel new to the readers, right?
The rest of the article is HERE
He then goes on to state some does and don'ts and the importance of the "hook".
Guess what, Steven? The anachronistic setting is PART of the hook!