Spider-Man/Deadpool #27
Writer: Robbie Thompson
Pencilers: Chris Bachalo, Scott Hepburn & Marcus To
Inkers: Livesay, Al Vey, Wayne Faucher, Victor Olazaba, Scott Hepburn, Chris Bachalo & Marcus To
Colourists: Chris O'Halloran & Ian Herring
Letter: Joe Sabino
Publisher: Marvel Comics
Rolling smoothly into its second mini-arc, the Thompson/Bachalo edition of Spider-Man/Deadpool delivers more plot twists, more Chameleon, and, surprise, more tentacle monsters!
Actually, this is more like Thompson & Bachalo's Team Deadpool Occasionally Guest-Starring Spider-Man. That's not necessarily a bad thing. Five issues in, Robbie Thompson has proven to be better at scripting Deadpool than Spidey, and the man is no slouch at scripting Spidey. This title is all about humour and Mr. Thompson knows where the mother lode of funny is. Yet he's not content to crack jokes and call it a day; in this issue, he takes a deeper look at the tragic side of Deadpool along with the comedic.
Deadpool and his merry band of broken toys (plus Kate, the Sensible One) set their sights on another treasure trove of abandoned SHIELD goodies. Wade finds it reasonably easy to fight his way into the suburban Area 14, but of course, there's a spider waiting in the vaults below.
(Marvel Mega-Nerd Digression: These creators are concentrating heavily on SHIELD's uncanny and weird assets. Shouldn't they be hip-deep in those goofy offshoots the Directorate has for weirdo stuff? Where's STAKE? Where's ARMOR?)
Besides healthy lashings of humour, Mr. Thompson's script also offers up quality Deadpool characterization. There's a Conversation o' Meaning in the comic's final act that's just achingly good. And the unfolding storyline is as twisty as Mr. Bachalo's monsters; the last pages of this issue need close reading to make sure you pick up on all the wrinkles in the plot.
The art indulges Chris Bachalo's tastes quite heavily. I'm sure he had some significant input on the script given the nonstop cavalcade of Cthulhoid critters this title has featured since he and Mr. Thompson took over. He's no slouch at portraying more conventional heroics, though. I particularly like how expressive he makes Deadpool and Spider-Man's masks.
Scott Hepburn and Marcus To do a remarkable job of matching Mr. Bachalo's style without getting lost in it. They're responsible for the Helicarrier scenes, and while their slice of the Spideypool world is a little less weird than the stuff out in the field, it looks every bit as good. Character designs are extremely consistent through the art transitions - something I really appreciate.
Though the colours by Chris O'Halloran and Ian Herring have the kind of deep texture that I love, the intensity of the palette is all over the place. Wintry scenes above Area 14 are under-saturated to imply bleak weather, but a few of the indoor bits (particularly aboard the Helicarrier) are almost violently vibrant. I think the two colourists could have collaborated better.
Robbie Thompson and Chris Bachalo deliver a Deadpool-heavy issue. It uses both humour and pathos to paint a deeper picture of Wade. While the creators have successfully hoisted this title back up to the respectable heights of its Kelly/McGuinness days, this is very much a Chris Bachalo show. This story (both the longer arc and this issue) should be quite satisfying - so long as you've made peace with the steady stream of creepy crawly tentacle-y monsters Spidey and Deadpool run into.
Pencilers: Chris Bachalo, Scott Hepburn & Marcus To
Inkers: Livesay, Al Vey, Wayne Faucher, Victor Olazaba, Scott Hepburn, Chris Bachalo & Marcus To
Colourists: Chris O'Halloran & Ian Herring
Letter: Joe Sabino
Publisher: Marvel Comics
Rolling smoothly into its second mini-arc, the Thompson/Bachalo edition of Spider-Man/Deadpool delivers more plot twists, more Chameleon, and, surprise, more tentacle monsters!
Actually, this is more like Thompson & Bachalo's Team Deadpool Occasionally Guest-Starring Spider-Man. That's not necessarily a bad thing. Five issues in, Robbie Thompson has proven to be better at scripting Deadpool than Spidey, and the man is no slouch at scripting Spidey. This title is all about humour and Mr. Thompson knows where the mother lode of funny is. Yet he's not content to crack jokes and call it a day; in this issue, he takes a deeper look at the tragic side of Deadpool along with the comedic.
Deadpool and his merry band of broken toys (plus Kate, the Sensible One) set their sights on another treasure trove of abandoned SHIELD goodies. Wade finds it reasonably easy to fight his way into the suburban Area 14, but of course, there's a spider waiting in the vaults below.
(Marvel Mega-Nerd Digression: These creators are concentrating heavily on SHIELD's uncanny and weird assets. Shouldn't they be hip-deep in those goofy offshoots the Directorate has for weirdo stuff? Where's STAKE? Where's ARMOR?)
Besides healthy lashings of humour, Mr. Thompson's script also offers up quality Deadpool characterization. There's a Conversation o' Meaning in the comic's final act that's just achingly good. And the unfolding storyline is as twisty as Mr. Bachalo's monsters; the last pages of this issue need close reading to make sure you pick up on all the wrinkles in the plot.
The art indulges Chris Bachalo's tastes quite heavily. I'm sure he had some significant input on the script given the nonstop cavalcade of Cthulhoid critters this title has featured since he and Mr. Thompson took over. He's no slouch at portraying more conventional heroics, though. I particularly like how expressive he makes Deadpool and Spider-Man's masks.
Scott Hepburn and Marcus To do a remarkable job of matching Mr. Bachalo's style without getting lost in it. They're responsible for the Helicarrier scenes, and while their slice of the Spideypool world is a little less weird than the stuff out in the field, it looks every bit as good. Character designs are extremely consistent through the art transitions - something I really appreciate.
Though the colours by Chris O'Halloran and Ian Herring have the kind of deep texture that I love, the intensity of the palette is all over the place. Wintry scenes above Area 14 are under-saturated to imply bleak weather, but a few of the indoor bits (particularly aboard the Helicarrier) are almost violently vibrant. I think the two colourists could have collaborated better.
Robbie Thompson and Chris Bachalo deliver a Deadpool-heavy issue. It uses both humour and pathos to paint a deeper picture of Wade. While the creators have successfully hoisted this title back up to the respectable heights of its Kelly/McGuinness days, this is very much a Chris Bachalo show. This story (both the longer arc and this issue) should be quite satisfying - so long as you've made peace with the steady stream of creepy crawly tentacle-y monsters Spidey and Deadpool run into.
A Look Inside
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