Deadpool Kills The Marvel Universe One Last Time is the fourth and (potentially?) last entry in the Deadpool Killology series that started back in 2012. Throughout its multiple entries, Bunn and his creative teams have created an entirely new category in the Deadpool mythos: Deadpool, or “Dreadpool”, as he’s sometimes called, finding himself being manipulated ad nauseam into killing swaths of Marvel heroes. Whether they’re classic heroes, twisted takes, or fan-favorite alternate-timeline variants, he kills them all, always. And it’s usually a great time. But this installment doesn’t fully reach the height of its predecessors, as Deadpool fatigue begins to creep its way into comic book stores.
This book likely would have existed even without the renewed post-movie marketability of Deadpool; Bunn has always delivered reliably sharp, entertaining minis in this corner of the Marvel line. But One Last Time arrives carrying the weight of that legacy, and with it a fundamental question: why revisit this premise again now? The series opens with that burden front and center, inviting readers to consider whether there’s still something new—or emotionally resonant—to mine from Deadpool’s multiversal chaos.
Bunn sets the tone from the first few pages: cosmic stakes, goofy humor, and a damaged version of Deadpool. It isn’t necessary to have read the rest of the Killogy series to understand this comic, but it doesn’t hurt to go and catch up. Much of Deadpool’s humor is meta, and references from general-knowledge Marvel as well as internal references pile up quick in the dialogue.
Marvel
Deadpool’s purpose in this book doesn’t feel as strong as in the other series. The villain in One Last Time is mostly absent, with the pages instead being mostly Wade’s conflict-ridden inner dialogue and his battles with individual heroes. This adds to the general lack of propulsion this book has; Deadpool doesn’t seem particularly driven to do all this killing. But each time he does, it’s always met with consistent humor as well as really fun art.
The art in this book is really strong, especially in the character designs. This version of Deadpool has a slightly pared down look, and there seems to be something missing behind his oddly lifelike eyes. It gives Wade a Michael Myers-like aura in this book as he stalks the halls of the multiverse looking for his next victim. The layouts encourage a good reading flow, with plenty of action that occasionally breaks across the page. This book might not add many developments to the Deadpool mythos, but it definitely adds an aesthetic statement in its characters designs and unique use of color. Deadpool’s “victims” are interesting enough, and their power sets make for a fun RPG-like level-up system as each one is added to Wade’s visual arsenal.
Marvel
Reading this book alongside other current or recent Deadpool comics isn’t an entirely convincing experience, though. There isn’t much about One Last Time that feels fresh. The craft on display is strong, as expected, but the core concept and structure of this miniseries feels a little played out. That wouldn’t be an issue if this book really fought for itself to stand out from other similar stories, but it doesn’t. Enough narrative attention is devoted to the novelty of the alternate-world heroes flying by on each page that the story begins to feel interchangeable with other recent multiversal outings. How many more times can Marvel ask us to get excited about “Oh, look, it’s so-and-so’s body with so-and-so’s powers”?
In the end, One Last Time feels less like a bold finale for the Killology series and more like a competent but familiar encore. The craft is solid, the character work occasionally sharp, and the visuals undeniably fun—but the series’ once-innovative multiversal carnage now struggles to stand out in a Marvel landscape saturated with similar premises. Longtime fans of Bunn’s Deadpool epics will still find plenty to enjoy, but this installment ultimately reads more like a well-executed victory lap than a reinvention of the formula.
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