Cliches and Cutlery in Deadpool vs. Old Man Logan 2

by Michael DeLaney

This article contains SPOILERS! If you haven’t read the issue, proceed at your own risk.

Story models repeat themselves, and that’s not necessarily a bad thing. For me, Deadpool vs Old Man Logan isn’t trying to be anything new or groundbreaking — but then again every comic book is someone’s first. Deadpool vs Old Man Logan 2 uses the X-Men staple of a military organization hunting “the chosen one” while the two mutant former weapons trade quips and shed blood. Continue reading

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Time Travel Mulligans in Despicable Deadpool 288

by Taylor Anderson

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

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Everyone knows there are paradoxes when it comes to time travel, but the very idea of time travel in a story comes with its own set of paradoxes as well. Chief among these paradoxes is the fact that any story being told is somewhat meaningless. Why? Well, if characters have the ability to time travel then they probably have the ability to go back in time and alter the story line they just took part in. This is the case in Despicable Deadpool 288 where all sorts of crazy shit happens, but none of it may matter at all. Continue reading

Violence Can be Funny in Despicable Deadpool 288

by Taylor Anderson

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

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Deadpool has always had an interesting relationship with violence. Its titular hero is one of the more bloody characters in the Marvel pantheon, yet he’s also one of the funniest. This means that at the same he’s committing atrocities, Wade Wilson is also cracking jokes. This relationship is easier to write than it is to draw. After all, how are you supposed to draw someone being killed and have it be funny? Scott Koblish seems to have figured that out, turning a bloody issue into one that somehow retains its humor in spite of (if not because) of its violence. Continue reading

The Art Makes the Issue in All-New Guardians of the Galaxy 12

By Taylor Anderson

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

Going to a comic convention can be a dangerous thing. No, I’m not talking about the festering cesspool that is the men’s bathrooms at C2E2 — I’m talking about artist alleys at present at all cons. With so many talented artists in one place, it’s easy to spot at least twelve pieces of art that catch your eye, which are a feast for the senses but a pain for your wallet. The thing is , it’s just hard to say no when you see a piece of artwork that appeals to you. Luckily, sometimes a monthly roles around that’s as easy on the wallet as it is on the eyes, as is the case with Guardians of the Galaxy 12. Continue reading

Despicable Deadpool 287: Discussion

by Patrick Ehlers & Taylor Anderson

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

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Patrick: There’s a principle in screenwriting called “save the cat.” That phrase refers to the act of unambiguous good a character needs to perform in order to win the audience’s sympathy. To use the idiom’s namesake as an example, as long as our hero has rescued a cat from a tree branch, any other morally dubious behavior can be forgiven. One shred of evidence that he’s a good guy is enough to trick our brains into believing that he must actually be good. This may sound like kind of a hack technique, but writers use it all the time, particularly since the rise of antiheroes. Our boy Wade Wilson gets them all the time — the audience can recoil at 95% of his actions, just so long as he protects a kid, helps and old lady, or saves a cat. Despicable Deadpool 287 throws that convention out the fucking window. This isn’t the hero Deadpool, this is the cut-throat, single-minded, merciless merc with the mouth. Continue reading

Loneliness Kills in Deadpool 36

by Patrick Ehlers

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

Despite writer Gerry Duggan’s insistence on filling out the supporting cast of Deadpool over the last five years, Wade Winston Wilson is a solitary creature. He’s his own worst enemy and his own best friend. Issue 36 shows a Deadpool at the end of his rope, pushed to an unfathomable level of isolation. This is where artist Matteo Lolli truly shines, showing Deadpool as a man apart from those he once called friend and family. Continue reading

Secret Empire 8: Discussion

by Spencer Irwin and Ryan Mogge

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

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Spencer: I’m writing this piece in the aftermath of one of the more horrific weekends in recent memory (Charlottesville), which arrives at the tail-end of one of the most horrific ten months or so of my lifetime. I don’t exactly feel an overabundance of hope right now, a sentiment shared by those trapped in Trump’s America and in the Hydra-Controlled America of the Marvel Universe alike. In Secret Empire 8, Nick Spencer, Daniel Acuna, Rod Reis, Sean Izaaske and Java Tartaglia finally bring the light of hope to their story, but I don’t know how well their methods translate to real life. Continue reading

No Funny in the Prose Gutters of Rocket 4

by Patrick Ehlers

This article contains SPOILERS! If you haven’t read the issue, proceed at your own risk.

The strength of Deadpool’s joke-telling is directly proportional to his awareness of the medium he’s in. He’s a fourthwall-breaking stinker, and love ’em or hate ’em — Deadpool’s shtick is is built on being knee-slappingly self-aware. But not every Deadpool story is a bucket o’ laughs, and Gerry Duggan’s run with the character has explored Wade’s darkness as effectively as his jovial irreverence. Writer Al Ewing taps into that same darkness in Rocket 4, leveraging the one thing Deadpool will always have reverence for — the form of the medium. Continue reading

How Lettering Sells the Loss in Deadpool 34

by Patrick Ehlers

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

Comic book creators have so many tools at their disposal for exploring sadness. There’s the acting of the characters, the framing of a panel, setting, color and even dialogue if it comes down to it. Throughout their run with The Merc With the Mouth, writer Gerry Duggan and artist Matteo Lolli have utilized every one of these tools to convey the extreme despair at the center of Wade’s life, and his climatic battle with Preston is no exception. The sky turns red, and all other color disappears, in the abandoned town of Pleasant Hill, setting a strong emotional tone for the battle. The previous issue saw Preston turning off her emotions (literally — she’s a robot and can just mute those things), but Lolli’s insistence on her steely visage actually ends up communicating more about the fatalism driving Wade’s fall from grace. Continue reading

Killing Has Consequences in Deadpool 33

by Michael DeLaney

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

Gerry Duggan and Matteo Lolli continue to propel Wade Wilson’s emotional journey forward in the face of all of the changes that Secret Empire has wrought. Deadpool 33 is bookended with Wade Wilson dealing with aspects of his Hydra-ruled life, but the substance of the issue comes in the form of a flashback. Continue reading