I thought I could review an issue of Deadpool. I hadn’t read an issue of Brian Posehn and Gerry Duggan’s Deadpool since I unceremoniously dropped it after issue #1. But I didn’t think that should stop me from picking up Deadpool #29, which claims on its cover that it’s a tie-in to Original Sin. I told myself that it would be OK. That maybe this would be a nice jumping-on point, and that I kind of like Deadpool, in principal. I thought I could do this.
Look, comedy is subjective. That needs to be said right away. Whatever else Posehn and Duggan are doing with Deadpool, they’re trying to be funny. And maybe you might read this comic and laugh out loud, or roll on the floor laughing. Maybe Deadpool #29 is exactly your kind of humor.
But it’s not mine. Oh man, is it not my sense of humor.
But I’m in. I’m committed! I’m determined to maybe try and write an objective review about Deadpool #29. Because maybe I’m willing to admit that, as far as comics go, it’s not that bad. Deadpool and his Monster Queen Bride have to find a way to stop a jilted Dracula, and part of that way involves traveling back in time to recruit Dazzler at the height of her pop music career! And Deadpool has a long-lost daughter! That first sentence is the sort of mind-numbing cool that the best, wackiest comics can pull off. That second sentence is the kind of drama that I would never expect a Deadpool comic to do, but would actually be pretty fascinating for the character. So the makings of a really wacky, fun comic are there…they’re just surrounded by horribly unfunny humor and really bad art. This is the kind of art that actively makes a comic book worse, I’m sorry to say.
And art, again, is kind of subjective. See for yourself:
So those jokes…I just…they’re not funny to me. Simple as that. “The reformation… of Motley Crue”? Dryly pointing out that Deadpool is “touched”? It just doesn’t work for me.
And the art, by penciler John Lucas, is just kind of sloppy and overly cartoony. I realize, obviously, that a Deadpool comic would benefit from being a little cartoony, but Lucas’ linework has a rush, almost scribbled look to it that feels vastly inferior to a more solid, steadied hand. It’s like he knocked out the issue as quickly as possible, not caring very much for faces or spacial awareness. At least the colors are nice and bright. Deadpool’s got a nice, red costume. But the art just looks too rushed for the action/slapstick style it’s trying to pull off.
How about another joke? Take this extended sequence later in the issue. Deadpool has just found out that it’s confirmed he had a daughter, and it’s hit him kind of hard. He’s on the SHIELD Helicarrier and finds Bruce Banner’s office down the hall, with Banner’s name tag on the door.
I get the joke (poop)… but how exactly is it happening? So this SHIELD agent is looking for a bathroom, and instead of going to where the men’s room is probably clearly marked on a Helicarrier, he finds himself heading down the hallway where SHIELD is keeping Bruce Banner. He doesn’t appear to be in any rush. He’s not holding his butt or complaining about the Taco Bell he just ate. He’s just kind of walking down the hall, maybe he has to go #1 or something. Then he sees the words ‘Mens Room’ hastily scribbled on a removable name tag on a random door. So this SHIELD agent, who should arguably be familiar with the real men’s rooms on the Helicarrier, barges through this door and…does what exactly? Is he the kind of man who starts unzipping his pants before he even sees the urinal? Does he just storm into every bathroom and drop trou with no recognition of his surroundings? Would he not open the door, see that it’s not a bathroom, and then leave like a normal human being?
No, of course he wouldn’t, because this is a Deadpool comic, and this is what Posehn and Duggan think is funny.
Or when Deadpool time travels back to the 80s to recruit original Dazzler on the night she recorded her live album, and runs into 80s Deadpool…
Like I said before, either you find it funny, or you don’t. That sort of humor pervades every single panel and every single page of Deadpool #29. Out of context, posted like this, it might be funny, but not when it’s woven into the story. So even while the plot itself is kind of insanely awesome, it’s dragged down by infantile humor and sloppy art. But the weird thing is, maybe insanely awesome plots, infantile humor and sloppy art are exactly what make for a good Deadpool comic. Maybe that’s exactly what Deadpool fans want to read.
I wouldn’t know, because I’m no longer one of them. I just think this series has been painfully unfunny.
Oh, and the tie-in to Original Sin is minimal at best.
Writers: Brian Posehn and Gerry Duggan
Artist: John Lucas
Colorist: Val Staples
Letterer: VC’s Joe Sabino
Rating – 4/10.