The Maturation of (Regenerating) Degenerates: Deadpool Assassin #1

The following is my review of Deadpool: Assassin #1, which was posted on PopMatters.com.

When it comes to gratuitous violence and genuine heart, Deadpool is in a class all his own. In fact, it's not unreasonable to say that Deadpool, as both a character and a concept, goes out of his way to stand out and isn't afraid to be obnoxious about it. Regardless of whether his name and design was derived from Deathstroke, he's someone who does more than most to stand out in a sea of Wolverine, Superman, and Batman rip-offs.

Thanks to two successful movies and the inherent likability of Ryan Reynolds, Deadpool's star has never burned brighter. It's safe to say that in his efforts to stand out, he has succeeded. His mask, his tumor-laden face, and his propensity to break the fourth wall are now every bit as iconic as Wolverine's claws or Captain America's shield. He has nothing left to prove. He's earned the right to brag and gorge on all the chimichangas he wants.

As much as he's achieved, Deadpool always finds ways to stay busy and entertain. Most of those ways still involve the kind of destruction and vulgarity that would get most characters fined by the FCC, but he never does it out of pure malice. He's not Sabretooth, Norman Osborn, or Dexter Morgan. He's crazier than a sack of ferrets, but he still maintains a code of conduct that sets him apart from less scrupulous mercenaries. Those who undermine that code are likely to be on the wrong end of Deadpool's guns, katanas, and toilet humor.

That's both the setup and the appeal of Deadpool: Assassin #1. Cullen Bunn and Mark Bagley put Deadpool in a position to further set himself apart by showing that there is merit to having a code of conduct as a mercenary. That process involves a hefty bit of bloodshed and mayhem, but anything other than that just wouldn't be true to Deadpool's increasingly powerful brand and he does plenty to maintain it in this story.

Bunn and Bagley don't try to reinvent the regenerating degenerate. They just put him in a situation where he can do what he does best, which means being in close proximity to far less ethical mercenaries and evil ninjas. For Deadpool, that's like mixing chocolate and peanut butter, but with several extra sides of carnage and bloodshed. It's every bit as potent as it tries to be.

These crude, but colorful basics give Deadpool: Assassin #1 plenty of entertainment value. However, there are some other side-plots thrown into the mix that keep it from being a generic story about a Deadpool-centric shooting spree. One involves Deadpool's old friend Weasel, whose life has taken a far more domestic turn. He still works with Deadpool and still provides him with plenty of opportunities to shoot things, but he's got other priorities. In revealing those, Deadpool himself reveals something striking and potentially profound.

Being so unhinged and eccentric, Deadpool never comes off as one of those guys who plans for a simpler future that doesn't involve as many explosions. Between his skills as a mercenary and his fourth-wall breaking awareness, he rarely shows interest in settling down, retiring, or taking up a hobby that doesn't require heavy firearms.

He operates on a moment-by-moment basis, going from one job and/or wisecrack to the next. While he may occasionally mix things up by joining the X-men or marrying a succubus, Deadpool still acts primarily on an impulse. Even with the limited ethical standards by which he operates, he's not known for his foresight any more than he's known for his choice of underwear. Wherever there's violence to be had, he tends to gravitate towards it. With an unstable mind and a body covered in tumors, that's kind of how he has to be.

That's what makes his admission that he's getting bored with mercenary work so striking. He still makes clear that he loves killing unscrupulous mercs and ninjas, but that's not enough for him anymore. He claims he's only doing a few more jobs before he moves onto something else. It's not clear how serious he is. It's like Peter Parker saying he doesn't want to be Spider-Man anymore, but that sentiment goes away the second he has an excuse to change his mind. Unlike Peter, though, Deadpool isn't known for responsible decision-making.

That makes the plot surrounding Deadpool's changing priorities seem tentative, at best. Nobody, fictional or otherwise, can buy that he wants to retire to his own tropical island and sip margaritas for as long as his healing factor allows him to live. He gets bored too easily, enjoys dangerous surroundings too much, and makes too many impulsive decisions. While that makes his antics fun to watch, it also makes any effort to settle down less believable.

To some extent, Weasel's situation reflects that. He's no longer a former Hydra agent who just happens to be friends with an unhinged mercenary. He's got a stable job, a wife, and an overall easier life that involves less killer ninjas and more credit card bills. It's less hectic, which Deadpool claims to want, but Weasel never gives the impression that it's very fulfilling.

If anything, he sends the message that settling down can make a man feel domesticated. This doesn't impact Deadpool's intentions or his ninja-fighting skills, but it does throw shade on the idea that seeking a less damaging occupation comes at a cost. It also establishes that if Deadpool really does attempt to hang up his katanas and guns, he'll end up changing his mind faster than Peter Parker ever did.

Long-term intentions aside, still provides plenty of value in terms of giving Deadpool fans what they want. Bagley's artwork makes it colorful while Bunn's dialog makes it witty. It checks all the necessary boxes for a fun, engaging Deadpool story. It tries to do more and while it lays a foundation, it doesn't offer much in terms of clues. He's still doing mercenary work, as only he can, but what does someone like Deadpool do when he wants to move onto a new endeavor?

That question goes unanswered in Deadpool: Assassin #1. More than anything, it puts Deadpool in a position to mix things up again. It probably won't result in him getting a job as a tax attorney or a janitor, but if it leads him to novel forms of violence, then it can only help the potty-mouthed merc in his never-ending struggle to overshadow Deathstroke.

Final Score: 7 out of 10

Overpriced, Chaotic, and Undeniably Entertaining: Deadpool #7

The following is my review of Deadpool #7, which was posted on PopMatters.com.

The comic book industry has come a long ways since the days of Saturday morning cartoons, Richard Donner movies, and campy TV shows starring Adam West. There have been periods of growth, thanks to the tireless efforts of Sam Raimi and Christopher Nolan. There have been periods of darkness, thanks to the more forgettable efforts of Joel Shumacher and Brett Ratner. In the era of billion-dollar blockbusters and post-credits teasers, there have been very few constants. One of them is the irreverent humor of Deadpool.

Spider-Man may grow up, get married, get unmarried, and run his own company. Superman may wear red underwear, marry Lois Lane, have his marriage to Lois Lane undone, and date Wonder Woman. Gwen Stacy might become relevant again, despite being dead since the disco era. Deadpool, however, remains committed to the same deranged, bombastic persona that has given Ryan Reynolds a chance to redeem himself after the Green Lantern movie. It's almost hard to imagine that Deadpool was once labeled a Deathstroke rip-off.

With a movie coming out and a growing to-do list in the comics, Deadpool #7 offers a giant-sized plate of chimichangas to those who have come to appreciate his not-so-unique brand of humor. Like Seth MacFarlane, Deadpool built his career on telling the kinds of jokes that got most kids sent to the principal's office in grade school. That humor might be labeled as immature by those who eat their chimichangas plain and with no guacamole on the side, but Deadpool always found a way to appeal to the inner 8-year-old in all of us.

Deadpool #7 does plenty to cater this appeal while offering plenty of bonus material in the process. Most of that bonus material is somewhat forgettable, but it doesn't take away from the overall entertainment value of the finished product. Deadpool is described by some of his own fellow mercs as "an unfocused, impatient, chaos monkey." In terms of an over-arching narrative, there couldn't be a more appropriate description of Deadpool without including taco meat and spent bullet casings.

There's no way around it. The story that unfolds in Deadpool #7 is chaotic and unfocused. For any other character in any other medium, this would seriously undermine the story. For Deadpool, however, it's entirely appropriate. In fact, it embodies the primary appeal about Deadpool. In the same way Michael Bay movies gratuitously exploit CGI and Megan Fox's sex appeal, Deadpool exploits the chaotic violence around him with an irreverent humor that has undeniable entertainment value.

Nobody is going to mistake the story that unfolds for Watchman or Saga. That said, there is an actual story within the circus-like chaos that is Deadpool's life. His profile is rising in the Marvel universe and not because of anything Ryan Reynolds is doing. He's expanded beyond being a one-man mercenary operation and assembled a team called the Merc for Money. On the surface, they look like cos-players who are the complete antithesis of Ocean's 11, but their colorful, cartoonish presence is entirely fitting for Deadpool.

Despite being the founder, leader, and visionary behind the Mercs for Money, Deadpool spends most of the main story in Deadpool #7 being distracted. It's not the kind of distraction caused by excessive sugar or a lack of Adderall either. Deadpool, like every other character that tried to leech off of Wolverine's popularity, has a fragmented memory. Unlike Wolverine though, Deadpool has a sense of humor about it and that sense of humor creates the bulk of the entertainment value.

Deadpool goes about his reckless and destructive business with a casual bravado that never feels arrogant or egotistical. He'll casually sit back in a car and chat about his issues while the Mercs for Money get into a gun fight with Hydra. He'll stop shooting his machine guns into an army of Hand ninjas in order to ask a few questions, even though he has an axe lodged in his skull. Such an overly casual approach to such violence might not win him any allies at local PTA meetings, but it will make for plenty of entertaining moments.

These moments aren't well-organized, nor should they be in a story that reflects the living chaos that is Deadpool. There are times when they're difficult to follow, even if they are appropriate within the context of a Deadpool story. There is still a cohesive theme in the end that helps tie the chaos together, albeit barely. It helps set up Deadpool's next mission in a way that promises more gratuitous violence. If that's the primary measure by which all Deadpool stories are judged, then this one certainly qualifies.

The main story in Deadpool #7 acts as a testament of sorts to the entertainment value of Deadpool's narrative. As a means of justifying the $9.99 price tag, it also comes with a number of bonus stories that explore stories from other members of the Mercs for Money. Some of these bonus stories are more entertaining than others. Most are fairly forgettable, but they do at least add some extra depth to Deadpool's team.

None of them are as colorfully deranged as Deadpool himself, but that might be for the best. The Marvel universe can barely contain one Deadpool and Ryan Reynolds can only capture the essence of one non-Van Wilder character at a time. These other characters certainly have potential and personality. They just aren't going to inspire the same level of creative cos-playing that Deadpool inspires at every comic con.

Deadpool's story is still the primary selling point in Deadpool #7 and that story checks all the necessary boxes. The forgettable bonus stories don't detract from this selling point in any way, but they aren't going to make anyone feel better about the bloated price. It's still an entertaining Deadpool story, complete with obscene violence and unrepentant immaturity. As the failure of Wolverine Origins definitively proved, we wouldn't have Deadpool any other way.

Final Score: 8 out of 10

Deadpool #23 - Viva Las Vegas!

Even though the Marvel Universe has been going through catastrophic shifts that are making many shit bricks on a weekly basis, the Deadpool series has been an island of stable awesome. It really doesn't matter what's going on around this series, Deadpool will still carry himself with the same level of entertaining awesome that makes every comic such a joy to read. Deadpool #23 continues that tradition and does it Las Vegas style!

With Dark Reign over there's a party going on and everybody is celebrating. There seems to be some extra 4th wall breaking from random characters commenting on how the grim and gritty nature of recent comics is finally lifting. It's almost as if the artists rendered critical fans and gave them a few lines to unload on the Marvel writing staff. Naturally, they have them taking potshots at characters like the Punisher and Deadpool. As Marvel's grimmest and grittiest, they rightfully epitomize this nature that can have fanboys arguing for days on end.


Skipping whether the arguments are valid or not, this is where Deadpool comes in. Even though the comment was made off-hand, the man was watching and as we all know Deadpool has a calm, reasonable way of dealing with such critics. He blows them the fuck up.


This sets the tone for the comic, throwing the usual wit before the explosions begin. For once the exchanges are a little dry. Usually, Deadpool is able to throw some pretty memorable one-liners before he blows it all to hell. This time it was a little flat. But the pace doesn't slow down. Deadpool quickly gets into the spirit of Las Vegas and begins carrying himself as a high roller. For all the antics he's been privy too in the past, it seems so fitting. He's the kind of eccentric guy any Las Vegas veteran would recognize. You know, the guy who hovers over the craps or roulette table and draws a crowd of beautiful women and potential cocaine dealers while he's on a winning streak. He's the kind of guy casual gamblers either love or hate and it's hard not to hate Deadpool (if he's not in the process of killing you). Of course, that's a lot easier for the casino who are getting bilked by his winning streak.


Now if the movie "Casino" has taught society anything it's that Casino's hate it when people start winning big and if someone starts winning too much, Robert Dinero will call Joe Pesci to hunt you down and beat your winnings out of you with a baseball bat or whatever heavy object may be in the immediate area. The casino heads in this issue would make Michael Bay weep with joy because they don't just summon the usual thugs. They do what most greedy assholes do in comics. They get giant robots to do the work for them.


Now the next scene poses another difficult question. How do you get a guy like Deadpool away from the tables when he's winning big? The answer is simple. You exploit his greatest weakness: Bea Arther. A quick announcement about a Bea Arther look-alike contest goes out and Deadpool drops everything, grabs his winnings and runs out to partake. It's not the first time his love for Bea Arther has been a theme, but it is the first time someone has used it against him. And wouldn't you know it? The scheme worked like a charm. Deadpool arrives outside only to be confronted by a robot called "The House." Considering it's on the verge of copyright infringement for the much cooler "Dr. House" it's not the best name nor design for a robot. But it gets the job done. Deadpool gets beat to a pulp.


After the fight, the big revelation of the issue comes next. Who could be behind a robot of this power that uses the greed of Casino's for profit? No it isn't Whiplash or Justin Hammer. It's Deadpool's old friend Weasel. Now if you'll recall, Weasel hasn't always been on the good side of Deadpool's schemes. In his last appearance with this series he got dressed up in a bird costume and used as a side-kick to Deadpool's pirate scheme. And no, I'm not making that up and that's not a cute metaphor. That really happened. This is Deadpool we're talking about. That kind of shit is par for the course.


Now thankfully, Weasel doesn't turn out to be a complete douche-bag. After some witty exchanges, Deadpool slips out of his confinement and confronts Weasel. You would think a guy like him would shit his pants and tremble as was the case in the Pirate arc, but here he's pretty calm and collected. That doesn't seem to fall in line with the usual themes of a Deadpool comic and it's kind of disappointing to the reader. What isn't disappointing is the deal Deadpool proposes. Because even when he's had the shit beat out of him, Deadpool still finds a way to get his kicks and when giant robots are involved you know he's going to have some fun with it.

He strikes a deal with Weasel and they hatch a scheme. They employ the services of Grizzly to bust into a casino and cause a little havoc. It's no Oceans 11 and the action is not ball bustingly awesome, but it serves it's purpose. The casino summons their hero to deal with it and this time he brings along a sidekick named Wildcard, which without a doubt is a much cooler name for a robot.


More fighting ensues. Deadpool, who is operating the Wildcard robot, enjoys his newfound status and reeks all sorts of destruction. Can you honestly blame the guy? This is a casino that wrongfully besmirched the name of Bea Arther. Of course he's going to make them pay! While it seems he's on Weasel's side and that of the casino, there is a deeper purpose to the battle. Deadpool goes onto grab Grizzly and fly him up over the skies of Las Vegas for a little chit chat. There they can discuss their next plan for mayhem without the casinos listening in. It sets things up nicely for the next issue.


I've said it once and I'll keep saying it until it's no longer valid. Deadpool is one of the most consistently entertaining comics Marvel is churning out right now. He offers a much needed break from the gloom and doom of other Marvel characters who can't help but go from one fuck up to the inevitable redemption that comes later. Not that I'm against those stories, but every fan needs an outlet that will just make them laugh in the glow of sheer awesome. Deadpool delivers this outlet better than any other series.

As for this issue in general, the quality isn't up to par with recent issues. As great as the setting of Las Vegas is, there remains a noticeable lack of the usual wit that makes this comic so distinctively kick ass. That and naming a robot "The House" just seems completely unimaginative. It doesn't take away from the enjoyment of the issue, but it does leave some holes in what is definitely an entertaining story. It's nothing to go on a ten page rant over and it's nothing one solid issue can't fix.

Deadpool #23 gets a 3.5 out of 5 for continuing the high standards set by the Merc With a Mouth and coming up short in a few areas. It leaves plenty of room for more awesome in the next issue and since stories like Second Coming are becoming so dark, the Marvel Universe needs something like this. Deadpool may not wow readers with literary insight, but he'll still leave them laughing their asses off and feeling thoroughly entertained in the process. Nuff said!

Deadpool 22 Review - Small Town Awesome

Lately, it seems Deadpool comics are the only comics that offer pure entertainment rather than complex serious plots involving traditional superheroes. Not that there's anything wrong with those stories, but between stories like Siege and Second Coming there aren't too many comics that just make fanboys smile and laugh with pure awesome. It's all world ending emotional strain and heartfelt character deaths that tug at the heart of fans and creators alike. Granted, our arteries are hardened from years of awesome, but we do have our limits. There are times when we need the kind of crazy fun you can only get from a wise-cracking psychopath who can have a heart of gold along with balls of adamantium. Deadpool is one of those comics and issues like Deadpool #22 show why these comics are so much fun and give our hearts and arteries a much needed break.

Deadpool #22 is a departure from the previous few arcs where Deadpool has tried to join the X-men and Spider-Man. His efforts to be more 'heroic' have so far had mixed results at best. He still shoots, kills, and maims his way through ridiculous situations and cracks jokes about it in the process. The setup for this issue was not too elaborate. He was traveling on a bus through a small town in Georgia daydreaming about fighting Thor when the bus got pulled over and robbed at gunpoint. Leading the pack was your typical hillbilly stereotype with a special kick. He was able to blast Deadpool Electro style with a suite made up of car batteries. It's the kind of thing that only works in Deadpool's world.


So what does Deadpool do? While he rarely does the most logical thing in response, here it's a bit less crazy than usual. He goes to the police station only to find out the police were in on the attack and weren't going to do anything about it. Deadpool being Deadpool he took matters into his own hands and took over the station, naming himself sheriff in the process. It's a title that shouldn't mess well with his character, but he makes it work.


As usual, a pretty girl enters the picture who works for the Sheriff and helps Deadpool to take on White Lightning and his gang. She's unusually helpful and by unusual I mean she actually encourages Deadpool to find them and kill them. That should be a red flag. In comics, like life, whenever something looks too good to be true it probably is. Deadpool finds this out the hard way and gets set up when he takes down White Lightning. The Feds then show up and by traditional government logic, they go after the guy in the mask with the guns and the history of blowing stuff up. Only Deadpool could be so deranged that he would have the government actually act logically.

But authority figures are not without their redeeming qualities. Even though Deadpool is a wanted man, they actually listen to him (reminding readers once again that impossible things do happen in comics books) and he takes them to the police station where they end up arresting Deadpool's female ally. In exchange they conveniently stand by while he goes on his merry way. Again, only in comics will government be that reasonable.


So overall, does it work? Deadpool comics are one of the few comics writers have to actively try to make suck. Deadpool is an easy guy to write. He's nuttier than squirrel turds and he's hard to write out of character because pretty much anything goes for someone that crazy. That being said, this one-shot was a nice read. It wasn't quite as engaging as the previous issues involving other Marvel heroes. There were also scenes where it kept going back and forth to what was happening presently and what was happening in the past. That got pretty confusing after a few pages and became an outright distraction. It was basically the equivalent of trying to solve a crossword puzzle with one and a rubix cube with the other. That's not the kind of complexity you want in a Deadpool comic.

This series is always good for a solid read and this issue gets a 3.5 out of 5. It's definitely worth picking up. You'll get to enjoy a nice stand-alone story and if your from the south, you may just get a little offended in the process. So overall, Deadpool #22 is a good time and offers plenty of awesome.