Tag: ruth redmond

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    The Unstoppable Will vs. The Unstoppable Mouth

    The main difference between The Punisher and Deadpool is motivation. Both appear to be sociopaths. But Frank Castle is driven by vengeance and Wade Wilson’s main concern is his paycheck. Neither wants to admit how deeply they are actually driven by emotion.

    In Deadpool vs. Punisher #1, Fred Van Lente serves up a script that puts these two on opposite sides of an ambiguous moral scenario.

    Wilson and Castle are very familiar with each other’s work. Wilson thinks Castle is a “self-righteous, sociopathic, shoot-first-ask-questions-never, humorless, fascist hard-ass.” Castle views Wilson as a “motor-mouthed, muddle-headed, arrested adolescent with delusions of competence.”

    See the World. Fill it Full of Bullets

    Deadpool vs. Punisher #1 opens with Punisher working undercover at an underground illegal gambling club. “VS.” is a place where degenerates gather to place wagers on superheroes. Some names on the board include Spider-Man (original, probably), Captain American Falcon, and Guy who thinks he’s Hercules.

    After Punisher violently shuts down the club, he gets the information he’s been after. That’s when the desperate club manager gives up details on The Bank in order to save his own life. The Bank is Castle’s true target. But he’s also Wade Wilson’s accountant, money launderer, client, and close friend.

    Pere Perez’ artwork suits the script perfectly. And there are plenty of background details, but not so many as to distract from well-planned action sequences. In addition, he nails the expressions on the unmasked characters. Perez brilliantly telegraphs nuanced expression through Pool’s mask and body language.

    Van Lente sets up an interesting “best of five rounds” scenario. With a clear winner in each of the planned five chapters, Deadpool is playing with a loaded deck. With his regenerative abilities, he can afford to lose four of five battles and still come back for the next installment. Punisher doesn’t have the same luxury.


    Deadpool vs. Punisher #1, Marvel Comics, April 12, 2017, Written by Fred Van Lente, Art by Pere Perez, Color by Ruth Redmond, Letters by VC’s Joe Sabino, Cover by Declan Shalvey and Jordie Bellaire, $3.99

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    Review: Deadpool #9 and Deadpool #10

    Deadpool #9Deadpool #9 picks up right after the previous issue, with Deadpool in a fight to the death with Sabretooth. Less than five pages in I was laughing uncontrollably. The first few pages serve as a nice break from the more serious storyline of why Deadpool is chasing after Sabretooth. In classic Deadpool style, this issue didn’t hold back on the gore, violence, and overall twistedness that we are all familiar with.

    As usual, Deadpool inadvertently kills, injures, or mentally traumatizes someone wherever he goes. (spoilers) in this case, it involves Deadpool and a school bus full of children. Watching two nearly indestructible a**holes try to kill each other can be incredibly entertaining. Especially when one of those is Deadpool. The story then reverts to its more serious arc, giving insight into Deadpool’s and Sabretooth’s past. While both men hate each other, they are similar in many regards, which this story begins to explore.

    A nice surprise in this issue is the appearance of another X-man. While the previous issue seemed rather confined to its own world, Deadpool #9 begins expanding into a larger universe. Given how self-contained the Deadpool movie was, it’s interesting to how Deadpool fits into a (slightly) larger world. The comic ends with Deadpool’s bloodlust unquenched, and Sabretooth thinking he can actually talk with Deadpool.

    deadpool #10Deadpool #10 proves that Deadpool is very, very determined to kill Sabretooth, and his efforts are starting to garner unwanted attention. Beginning right where the previous issue left off, with Deadpool and Sabretooth attempting to have a heartfelt conversation. (Spoilers) it doesn’t go well. Once again, Deadpool ends up chasing after Sabretooth, however this time, he causes some minor collateral damage. And by minor I mean a cop car, two helicopters, a semi, and several traumatized civilians.

    As Deadpool causes more trouble, other characters in the Marvel universe begin to take notice, and they quickly realize that someone needs to stop him before he causes too much damage. Tying things into a larger universe enhances both the overall story, and Deadpool’s character. It puts him in a larger context, and shows other people’s opinions of him, which are normally not great.

    Sabretooth also underestimates how serious Deadpool actually is about killing him, and the issue ends with quite a cliffhanger.

    In my opinion, these two comics were a significant improvement over the previous issue. This was in part due to the fact that to begin reading a series on issue #8 will almost undoubtedly leave one confused. Personally I liked issues 9 and 10 more because they focused more on the conflict between the two characters. This focus on the two characters added depth to both, and made for a more enjoyable read. It also allowed for the writers to open up the world by introducing new characters while maintaining a frame of reference.

    While Deadpool provides a good amount of laughs in the moment, after a while it becomes rather monotonous. I enjoy the slapstick humor and senseless violence of Deadpool, however it can be challenging to write about.

    Deadpool #9: Writer: Gerry Duggan. Artists: Matteo Lolli, Ruth Redmond.

    Deadpool #10: Writer: Gerry Duggan. Artists: Matteo Lolli, Iban Coello, Ruth Redmond.

    Review by Ben Getchell.

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