This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
The origin story is a quintessential tale for any hero, whether they be major character who headlines movies or one that would only be familiar to the most knowledgeable comic book reader. Many of these stories are so well-known that many people know where Superman or Spider-Man got their powers from even if they’ve never picked up a monthly. But not all heroes enjoy such clarity when it comes to their origins, and such is the case with Groot. There seems to be no consensus on where Groot came from, so in All-New Guardians of the Galaxy 9 Gerry Duggan figures he may was well take stab at telling the story of Groot’s roots. Continue reading →
This article will contain SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
Releasing the same day as Secret Empire 10, Deadpool 35 is the first book that shows us a glimpse of the Marvel U the post-Secret Empire. It’s also the issue where Deadpool admits something that we’ve known since Steve Rogers ordered him to kill Coulson: Wade is heading for a fall. Continue reading →
Today, Patrick and Spencer are discussing Deadpool 3, originally released December 9th, 2015.
Patrick: The book responsible for shaping most modern improvised comedy is titled, simply Truth in Comedy. The title comes from the idea that the most honest reactions to unusual stimulus are going to be the funniest – essentially espousing that the truth is the ultimate punchline. That’s surprisingly poignant in a medium that could so easily be — and so frequently is — desperate performers mugging for a laugh. Real, sustainably funny scenes can only come from emotionally honest performances. But the title of the book actually implies something else: that the greatest truths can be found through the vehicle of comedy. I have yet to really come to a meaningful conclusion about why that is, but laughing with a character for long enough makes me sympathetic to them, and forges a connection between them and the audience. Deadpool is a fine case study of this phenomenon – through thousands of gags, and a handful of vulnerable turns, the audience is trained to trust and love him in a way we simply cannot extend to his facsimiles in the Mercs for Money. Continue reading →
Today, Taylor and Drew are discussing Deadpool 45, originally released April 8th, 2015.
Taylor: At the risk of sounding trite, a funeral is an event where people come together to celebrate the life of someone who has passed on. Even though most funerals are more somber than celebratory, the very nature of the event is to recognize someone who has died and to give those who remain closure. The much heralded Deadpool 45 is the issue where Deadpool dies and in many ways it acts like a funeral for Deadpool, even before the man himself has died. It offers closure to those who have read the series the past couple years and also reminds us just how much we ware going to miss the Merc With the Mouth, even if we know he won’t be gone for long. Continue reading →
Today, Drew and Taylor are discussing Deadpool 38, originally released December 3rd, 2014.
“I learned to recognize the thorough and primitive duality of man; I saw that, of the two natures that contended in the field of my consciousness, even if I could rightly be said to be either, it was only because I was radically both.”
Robert Louis Stevenson, The Strange Case of Dr. Jekyll and Mr. Hyde
Drew: The duality of man might just be one of the most central notions of all philosophical thought. Indeed, it might be one of the simplest — is man good, or evil? — but that doesn’t stop fiction writers from coming up with insanely complicated ways of approaching it. Scenarios like Dr. Jekyll’s or Bruce Banner’s are obviously artificial, but they allow us to ask questions that might not make sense in our day to day lives: what actually defines us? Is it our actions at our best? Our actions at our worst? Our sense of humor? Our intelligence? If any one of those things changed, would we be fundamentally different people? Deadpool 38 puts these questions front and center, as Wade’s newfound passivity continues to effect the people around him. Continue reading →
Today, Drew and Taylor are discussing Deadpool 35, originally released September 24th, 2014.
Then things started to get weird;
middle of the night he would disappear.
He’d come home smelling like bad guys
and that would make me really mad.
Cars Can Be Blue, Dating Batman
Drew: It goes without saying that the lives are superheroes are kind of weird — that’s the reason they’re of interest — but they’re often so removed from any frame of reference that it’s easy to forget just how strange a superheroes daily life actually is. Over the last year and a half, Deadpool has learned that he has an estranged daughter, befriended a group of mutants engineered using his DNA, mourned the loss of his baby mamma, gotten married, and antagonized Dracula. It’s a long, strange list that only feels more disjointed when they’re listed together like that, which is of course what Gerry Duggan and Brian Posehn do in Deadpool 35, hanging a lantern on just how weird it is to be Wade Wilson. Continue reading →
Today, Spencer and Patrick are discussing Deadpool 27, originally released April 9th, 2014.
Spencer: We all have that one friend whom we love dearly, but who’s clearly a huge jerk. What’s fascinating about having a friend like this is what happens when they fall in love and/or get married. It’s a strange thing to experience; there’s joy at seeing your friend happy, but there’s also a bizarre feeling of unease and dread. Can this last? Is it for the best? Should you warn their boyfriend/girlfriend about what they’re getting themselves into? (Pro-tip: Don’t do this). As sad as it is to say, there’s this odd feeling that maybe the whole thing is just a very bad idea. This is the situation Deadpool’s friends find themselves facing in Deadpool 27. Yes, Wade Wilson is getting married, and it’s exactly as strange as it sounds. Continue reading →
Today, Patrick and Greg are discussing Deadpool 25, originally released March 12th, 2014
Patrick: In high school, I did theatre. Like a lot. Acting, directing, writing, set building, lighting, sound, Vice President of the Drama Club — I was a damned theatre rat. It was great, I loved it and built my whole life and identity around it. But I was also kind of a jerk in high school. At the height of my jerkishness, the director of our theatre program told me that she used to think I was funny, until she realized I was just mean. Which is a harsh thing for a teacher to say to a child, but I’m sure I was asking for it. I was socially destructive, and alienated all of my friends in that world. It was the nuclear option: I had hurt too many people to stay in that circle. So I bailed — on my hometown, on theatre, on all of those people that used to be my friends. Was I acting out of self-preservation or was I protecting my friends from further exposure to my toxic attitude? Deadpool 25.NOW shows Wade’s world melting down around him in the most predictable way, as the Merc with the Mouth is unable to find peace in resolution. He too bails, and whether its a selfless or selfish act is heartbreakingly ambiguous. Continue reading →
Today, Drew and Patrick are discussing Deadpool 23, originally released February 12th, 2014.
Drew: I like to think that I’m an open-minded guy when it comes to art, but I’m actually proud of the fact that I’ve never seen any of Jason Friedberg and Aaron Seltzer’s films. Frankly, the commercials alone embarrass me enough to scare me off. That’s not an embarrassment of prudishness — I can make dick jokes until the cows come home — but of intelligence: the grasping, desperately hackneyed pop culture references those movies are built on bring me closer to tears than laughter. Unfortunately, that brand of humor has dominated parody films over the past two decades, leaving only a few exceptions — like Edgar Wright’s Cornetto Trilogy — that even attempt to respect either the genre it’s sending up or the audience’s intelligence. Deadpool’s tendency to break the fourth wall has long made him the most likely source of parody in the Marvel universe, and that parody lived up the its potential for depth in the recent “The Good, the Bad, and the Ugly” arc. Unfortunately, this arc finds ‘pooly once again aiming for yuks in the cheapest ways possible. Continue reading →
Today, Scott and Mikyzptlk are discussing Action Comics 27, originally released January 8th, 2014.
It’s tempting to see your enemies as evil, but there’s good and evil on both sides in every war ever fought.
Scott: That’s a line from this new Game of Thrones Season 4 trailer (Don’t click this if you aren’t caught up with the show, there are some possible spoilers). It brings up a good point about how irrational wartime mentalities tend to be, and about the importance of looking at things from a foe’s perspective. I think it holds true on a person to person basis as well. There are two sides to everyone, and no matter how prevalent the evil in an enemy seems to you, if you look harder you will see some good in them. Action Comics 27 is something of a study on this theory, as every seemingly ill-intentioned character is revealed to have at least some heart. Continue reading →