Extra pages and two stories — what’s not to love about Deadpool this week? Well, if it’s not good, then nothing!
We check on that for you, of course: Deadpool #21 — is it good?
Deadpool #21 (Marvel Comics)
So what’s it about? Check out our official Marvel preview if you’re feeling up to it.
Why does this book matter?
Gerry Duggan writes the first story so we know we’ll likely get a fun story with some great dialogue. Ian Doescher writes the second story and written in iambic pentameter so we know it will be read in high school classes and nerd houses alike. What’s not to love?
Fine, you have my attention. What’s good about it?
Lil early for Santa, no?
The opening story is quite fun as it captures the Deadpool Christmas spirit and the fun and awkward relationship of Deadpool and Bob, Agent of Hydra. It then transitions to a story about Madcap, a character who will be a primo character in future issues, and this issue serves as his origin story. The long and short of it is this: Madcap is like Deadpool, but sadistic. (And he used to be part of Deadpool’s psyche.) Duggan has a fun scene with Emily Preston and Deadpool and a rather hilarious zoo scene with booping villains. I’ll say no more to avoid spoiling the humor, but it’s great fun and you’ll undoubtedly hear the voice of Ryan Reynolds as the story progresses.
The second story is tricky to read through, as it is in iambic pentameter (to the best of my knowledge), but using the language is great fun. It plays on the sophisticated nature of that writing with the silly nature of Deadpool quite well.
The art by Bruno Oliveira does quite well to capture the emotions of Deadpool and the fantastic clothes of the era. The ghosts who pop up look fantastic in their somewhat translucent and magical look and feel. There’s a lot of flair and personality due to the art.
The art in the main story, by Matteo Lolli, captures the fun and superhero look of the character. He nails a Deadpool with a unicorn mug and crime scene time nicely too. The real win of this section is a bit of cell phone checking Deadpool does that captures his rage and ridiculous texts quite well. There are also hidden gags in the issue (like Deadpool on posters with a blonde wig) that are fun.
It can’t be perfect can it?
The Shakespearian second half does require a bit of patience and dedication to get through. It’s not so much the story as the language, as it requires you to decipher and break it down a bit to enjoy. This type of speak is purposefully verbose, but can get a little dry and slow because of that.
See what I mean?
Is It Good?
This is another good issue that’s funny, clever, and well written. I can’t say everyone will love the second half due to the need to get through Shakespearian language, but overall Deadpool #21 is another good installment.