Spider-Man/Deadpool is one of the zaniest comic series Marvel produced in the last few years. Writer Robbie Thompson infused this series with a lot of fun ideas, including a final arc that broke the fourth wall in brand new ways. This finale, aptly titled Eventpool, is an epic event of its own while also bringing hilarious commentary on comic book events. The perfect way to go out for a Deadpool series.
So what’s it about?
The official summary reads:
The “INFINITE HOUSE OF CIVIL yet SECRET CRISIS WAR INVASIONS” begins here! The BIGGEST arc of SPIDER-MAN/DEADPOOL will shake the foundations of the Marvel Universe! Nothing will ever be the same after this! NOTHING! Spider-Man and Deadpool just BARELY make it back from the Negative Zone in the middle of an Event that the Marvel U’s heroes have already lost.
Why does this matter?
It’s the end of the run, but not the end of these characters. Or is it?! Robbie Thompson, Matt Horak, and Jim Towe are delivering a fourth wall-breaking, self-referential story here that shouldn’t be missed if you’re a comic lover.
Fine, you have my attention. What’s good about it?
This is an easy collection to pop into if you’re a casual fan, since it opens with a clean slate of sorts. The world is over and most of the heroes are gone. They were eaten by the Manipulator, a Galactus-like cosmic entity which may or may not be teleporting the heroes to another dimension. Deadpool’s fourth wall breaking ability is the next most alarming element when the series opens, as his powers of self-awareness are gone. It’s seriously freaking him out, which isn’t helping since Spider-Man needs him to focus. As the story unfolds they meet up with some colorful heroes, come up with some plans, and there’s even a pouch-wearing Deadpool to save the day too. All in all, this is a fun adventure with a huge twist.
This is the kind of story that you have to admire since the creators fully commit to their premise. It references the editor’s notes that can be obnoxious in their own right, makes fun of events and how it’s a cash-grab concept, and in epic fashion features multiple comic book covers as an homage to Marvel history. It’s a love letter of sorts to all things blockbuster, over-the-top twists, and the constantly evolving landscape that is superhero comics.
The art by Horak and Towe, with inks by Scott Hanna, Sean Parsons, and Jim Towe and colors by Brian Reber, follow suit. Horak’s art is very good at camera placement, increasing the drama of a moment that could otherwise be boring talking heads. Towe has a slightly thinner line and a sleeker look and it brings a heavy dose of superhero reality to life. The creativity and composition of the multiple covers that Deadpool and Spider-Man pop into in the last issue are quite inspired.
It can’t be perfect, can it?
I wish it was more packed with jokes. A Lost joke here and an Avengers: Infinity War joke there are good, but much of the humor hinges on Deadpool’s insanity. It’s fun to see Thompson reflect on how pop-culture humor gets old fast, but more of it would have made this a stronger comedic book.
Is it good?
A good finale that leans heavily into the fourth wall-breaking madness. Comic readers should check this out just to see the clever commentary on comics in general.
Like what we do here at AIPT? Consider supporting us and independent comics journalism by becoming a patron today! In addition to our sincere thanks, you can browse AIPT ad-free, gain access to our vibrant Discord community of patrons and staff members, get trade paperbacks sent to your house every month, and a lot more. Click the button below to get started!