Spider-Man/Deadpool #6

While fans wait for the second act of "Spider-Man/Deadpool" to start, Scott Aukerman and Reilly Brown step in for an incredibly funny, self-aware issue that follows the tradition of "flashback" issues from the regular "Deadpool" series. The "Comedy Bang Bang" host follows Deadpool as he's summoned to Hollywood to produce a film about his life, while Brown seems at home drawing Deadpool once again and makes the issue a blast by inserting a lot of visual gags.

Aukerman settles nicely into this issue. Deadpool's metatextual awareness is a perfect vehicle for the writer's comedy; from the first page, characters comment on their own behaviors and misdirect conversations from panel to panel. The Salmon Stunt Man -- a goof on the Silver Surfer -- offers Wade the chance to come to Hollywood and proves he's on the up-and-up by declaring he's not a supervillain because "it's against the law to lie about that." The opening scenes are fast-paced setup to get the titular duo to Los Angeles, which is where the writer takes off. There's are some viral-worthy jokes, like the double page spread of Deadpool and Spider-Man crossing the Fox lot on a golf cart as actors dressed as Wolverine and Storm wonder why the other heroes don't ever interact with them and the very timely gag about Captain America's allegiances. Aukerman also lampoons actor-slash-diva behavior with Donald Dryans, the mustachioed Ryan Reynolds lookalike playing Deadpool, who berates the producers for script changes that excise nude scenes which render his squat training useless.

Spider-Man is along for the ride in all of this, but he's mostly relegated to sidepiece work in the plot. The web head already had a similar story in Brian Michael Bendis' "Ultimate Spider-Man" run, so he gets a chance to play a reactionary character here. Aukerman gives him some fun moments, like crashing the "Comedy Bang Bang" set and declaring that it is canonically his favorite television show, though I would buy that logic even if the writer didn't use the moment to have himself and Weird Al meet Marvel's mismatched duo.

It's nice to see Brown drawing Deadpool again. His rendition of the character is a little bulkier than he has been in recent years, but the suit, character acting and layouts are all a nice callback to his work on the underrated "Cable and Deadpool." Brown sneaks in a lot of comedy; while Dryans is the most obvious joke, the director of the film looks a lot like "Deadpool" director Tim Miller and the producer Katz N. Berger sure looks like former comics writer and Hollywood producer Jeff Katz. However, the aforementioned double page spread is his best moment. The final page also has a panel commenting on "Batman v Superman: Dawn of Justice" that should get some Reddit upvotes.

Everything wraps up nicely in "Spider-Man/Deadpool" #6, leaving us to ponder the title characters' fates once Joe Kelly steps back in. As this is a much broader take on Spider-Man and Deadpool than the nuanced stuff Kelly has been writing, the issue doesn't address anything that has happened in the series to date. It's very funny, though, in the spirit of many Jordan D. White-helmed issues of "Deadpool." This installment is not about character development or solving any Marvel NOW! mysteries; in the words of Poison, this issue ain't nothin' but a good time.

Superman Smashes the Klan Revives the Man of Steel's Most Obscure Villain

More in Comics