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Deadpool #6

by  in Comic Reviews Comment
Deadpool #6

Okay, go and read CBR’s preview of this issue, including the recap of last issue, before reading this review. Don’t worry, I’ll wait right here.

All set? Everyone back? Good. Now, I wanted you to read those preview pages, because they illustrate both Daniel Way’s potential as a writer and why this comic is pretty bad. The issue begins without showing the fight between Tiger Shark and Deadpool, opting instead for a not-at-all-funny dream sequence and then a gratuitous-yet-funny shot of Deadpool being poked with a stick by a little kid. An interesting choice by Way and one that works.

But, then, notice the exchange between Tiger Shark and the guy feeding the sharks at the aquarium. It is very clear by the end that Tiger Shark intends to feed the guy to the sharks, but Way decides that, here, he will give us a completely unnecessary waste of a page to show that, yeah, Tiger Shark threw that guy to the sharks and people saw the results. Why? Is it supposed to be funny? What purpose does it serve? I don’t know.

In those scenes, we get two glimpses of Daniel Way, one where he goes for something a little original and funny while maintaining a darker perspective, and one where he goes for something utterly pointless and gratuitous that just wastes a page because it’s nothing but an attempt at something violent and “dark.” Now, look at the star-rating I’ve decided upon and take a guess which Way writes the rest of “Deadpool” #6.

Maybe if any of the senseless violence was funny, I would have enjoyed this issue, but it wasn’t. Here I thought “Deadpool” was supposed to be a funny comic. And my tastes run dark when it comes to humor, so it’s not a case of liking the old, lighter, more breezy “Deadpool” comedy, it’s a case of this not being funny and, in fact, just being brainless. Not fun, not simple, plain old dumb.

Paco Medina’s art isn’t much better, falling into a style that would have looked at home at mid-’90s Wildstorm. However, that style suits the writing on the book, which also reminds me of mid-’90s Wildstorm now that I think about it. Medina does show some restraint when depicting a woman who works at a homeless shelter that Deadpool falls for, limiting himself to what looks like a plausible bust-size when his style suggests that, normally, he would favor something much larger.

Turning “Deadpool” into a darker book was a choice that made a lot of sense considering his job as an assassin but, instead of gallows humor, Daniel Way opts for gratuity and senseless violence. The opening three pages actually show some promise of wit, but the remaining 19 pages reveal them as nothing more than an aberration.