Written by Brian Posehn and Gerry Duggan
Art by Declan Shalvey
Colors by Jordie Bellaire
Review by Mike Duke
When last we spoke on the subject of Deadpool, I was unconvinced of his sincerity. When the Merc with the Mouth finally felt some sense of loss and sadness, it was hard for me to take seriously. This is partially because the turn happened toward the end of issue #18. In #19, we get a serious Deadpool all the way through, and it actually works.
The book begins with a quick, one page flashback and then we’re back in North Korea with Captain America, Wolverine, and Deadpool. They’ve split up to deal with different threats, and our pizza-faced hero confronts the villain. Most of the book is spent on this exchange: exposition, flashback, twist, denouement. We get to see some of Deadpool’s origin after escaping the Weapon Plus program, and there are some truly great Wolverine one-liners. And, in a very welcome twist, I found that Preston’s voice in Deadpool’s head served to be an interesting counterpoint to what was happening in-panel instead of just an annoyance. All in all, a very satisfying issue.
Again, the art is a welcome change in this arc. Actually, the whole arc was a welcome change. Declan Shalvey’s art is dynamic when it needs to be, expressive when it needs to be, and detailed when it needs to be. The colors in the issue were also quite good as the flashback pages were all in a kind of blue and orange monochrome that made them look distinct and interesting.
Buy it. For issue #18 I said wait and see, and I did, and it was worth it. This is a great arc that will read even better all at once or in trade. It was a definite step away from the formula that this new creative team had established in the previous issues, and in the end it was a welcome one. If you’ve been skeptical about Deadpool so far or you’re looking for a place to start, The Good, The Bad, and The Ugly is a great place to find what you’re looking for.