I classify Marvel and DC’s crossovers into three tiers. Tier 1 usually involves a storyline that runs through a whole line of comics, like the Superman or X-Men titles. Tier 2 crossovers bring together two or more characters from different titles – usually, this happens when a writer is tackling two or more titles. Tier 3 are the big guns, like One World Under Doom or Absolute Power. Deadpool #11, which begins the “Pools of Blood” crossover, falls squarely into Tier 2.
After a brief brush with death, Wade Wilson is back in the land of the living and seeking a weapon that can kill the man who killed him. He and his daughter Ellie have taken on a job that will get them closer to replenishing their funds. The only problem? That job is killing Miles Morales, aka Spider-Man. And while Deadpool might not have any qualms about putting Miles down for the count, Ellie’s not so sure.
I freely admit that I had to get caught up on Cody Ziglar’s Deadpool run before picking this title up; Deadpool is a character that I’ve run hot and cold on over the years. But I do love Ziglar’s run on Miles Morales: Spider-Man, and seeing Miles interact with the Deadpools is darkly hilarious. Deadpool even offers to cut off his arm and bleed out so he can trick his contact into thinking Miles is dead, which is something only Deadpool would think of.
Marvel
But apart from the boundaries of good taste being pushed, Deadpool #11 also shows Deadpool wrestling with the decision to kill Miles…especially when Ellie raises her objections. This leads to some genuine conflict: Deadpool, being a mercenary, wants to get paid. But he also wants to have a connection with his daughter. This communication shows that Deadpool is more than guns, jokes, and swords, and gives Ziglar an emotional anchor for the superhero antics.
Deadpool #11 also looks gorgeous thanks to Andrea De Vito’s artwork. The standout moments are when Miles enters the picture. Not only does De Vito capture his speed and his power – there’s an entire set of panels dedicated to Miles webbing up Deadpool’s katanas, webbing his face, then sending him and Ellie flying into a wall with a powerful kick – but it also highlights how Deadpool and Ellie work as a team. They move as a singular unit, waiting for the right moment, and then move in for the kill.
De Vito even manages to highlight how cool Miles’s new suit is, particularly in the final page. It helps that Guru-eFX makes the scenery shine – quite literally, as the action is taking place in broad daylight. Joe Sabino also sets up a nice difference between Deadpool’s signature yellow word captions, which remain snarky as ever, and Ellie’s, which are bright pink and laser focused.
Deadpool #11 is both the beginning of a Miles Morales crossover and proof that the Merc with a Mouth has a soft side. It’s also packed with plenty of action and humor, making this a solid read. If Ziglar keeps this up, I might start collecting a monthly Deadpool comic.
You must be logged in to post a comment.