Marvel presents Deadpool: Seven Slaughters #1, a feature-length anthology comic comprised of seven short Deadpool-centric stories by seven all-star creative teams. “Possibilities” sets the premise for the series of one-shot stories, with Deadpool mulling over all his realized and potential multiverse selves, written by Cullen Bunn, illustrated by Phillip Sevy, with colors by GURU-eFX. “Tuesday” is written by Justina Ireland, with pencils by Greg Land, inks by Jay Leisten, and colors by Frank D’Armata, ostensibly covering an average Tuesday in the life of Deadpool, which includes contract killing, cyborg-babes, and an annoyingly clichéd mercenary. Deadpool co-creator Rob Liefeld is the illustrator and story-writer behind “Lady Anime,” wherein Deadpool battles an old foe from Liefeld and Fabian Nicieza’s original X-Force run in 2004, scripted by Chad Bowers, with colors by Romulo Fajardo Jr. “Walking Papers,” forces Deadpool to face off against Domino, and his conscience — written by Cody Ziglar, illustrated by Federica Mancin, with colors by Bryan Valenza.”No Spider Blues” is written by Steve Foxe, illustrated by Gerardo Sandoval, with colors by Protobunker’s Dono Sánchez-Almara, about Deadpool wiggling through a loophole to fulfill a contract and protect his undisputed best friend Spider-Man all at the same time. “Tunnel of Love” follows Deadpool teaming up with Diamondback and Outlaw to help the Morlocks out with an infestation problem, written by Gail Simone, illustrated by David Baldeón, with colors by Protobunker’s Dono Sánchez-Almara. Finally, in “Love At First Slaughter,” written by Marc Guggenheim, illustrated by Whilce Portacio, with colors by Arif Prianto, Deadpool takes a job thwarting A.I.M. and meets the super-powered killer of his dreams, Sanction. Each story in Deadpool: Seven Slaughters #1 has a limited scope of ten pages and is lettered by VC’s Joe Sabino.”No Spider Blues” is the fifth story in Deadpool: Seven Slaughters #1, a creative interlude that takes place in current continuity, with Deadpool breaking into The Limbo Embassy of New York City. The interdimensional diplomacy office has been established and managed by Madelyne Pryor, Queen of Limbo and clone of Jean Grey, since the events of the Spider-Man/X-Men crossover Dark Web. Foxe sets down a relatively complex plot at a lightning pace, doing great work to establish Pryor and Limbo through implicatory exposition. Foxe also dangles the lede of “No Spider Blues,” letting the reader make educated guesses about Deadpool’s target and intentions through allusive monologuing, which is clever and rewarding for long-time fans. The reveal itself is well-executed, toeing a line between contrived and comedy that feels unrestrained but takes no small amount of skill to land from a writing perspective, using the tension between puerile giddiness and taut violence to create a feeling of cavalcade when the writing is actually very tightly controlled.
Marvel presents Deadpool: Seven Slaughters #1, a feature-length anthology comic comprised of seven short Deadpool-centric stories by seven all-star creative teams. “Possibilities” sets the premise for the series of one-shot stories, with Deadpool mulling over all his realized and potential multiverse selves, written by Cullen Bunn, illustrated by Phillip Sevy, with colors by GURU-eFX. “Tuesday” is written by Justina Ireland, with pencils by Greg Land, inks by Jay Leisten, and colors by Frank D’Armata, ostensibly covering an average Tuesday in the life of Deadpool, which includes contract killing, cyborg-babes, and an annoyingly clichéd mercenary. Deadpool co-creator Rob Liefeld is the illustrator and story-writer behind “Lady Anime,” wherein Deadpool battles an old foe from Liefeld and Fabian Nicieza’s original X-Force run in 2004, scripted by Chad Bowers, with colors by Romulo Fajardo Jr. “Walking Papers,” forces Deadpool to face off against Domino, and his conscience — written by Cody Ziglar, illustrated by Federica Mancin, with colors by Bryan Valenza.
“No Spider Blues” is written by Steve Foxe, illustrated by Gerardo Sandoval, with colors by Protobunker’s Dono Sánchez-Almara, about Deadpool wiggling through a loophole to fulfill a contract and protect his undisputed best friend Spider-Man all at the same time. “Tunnel of Love” follows Deadpool teaming up with Diamondback and Outlaw to help the Morlocks out with an infestation problem, written by Gail Simone, illustrated by David Baldeón, with colors by Protobunker’s Dono Sánchez-Almara. Finally, in “Love At First Slaughter,” written by Marc Guggenheim, illustrated by Whilce Portacio, with colors by Arif Prianto, Deadpool takes a job thwarting A.I.M. and meets the super-powered killer of his dreams, Sanction. Each story in Deadpool: Seven Slaughters #1 has a limited scope of ten pages and is lettered by VC’s Joe Sabino.
“No Spider Blues” is the fifth story in Deadpool: Seven Slaughters #1, a creative interlude that takes place in current continuity, with Deadpool breaking into The Limbo Embassy of New York City. The interdimensional diplomacy office has been established and managed by Madelyne Pryor, Queen of Limbo and clone of Jean Grey, since the events of the Spider-Man/X-Men crossover Dark Web. Foxe sets down a relatively complex plot at a lightning pace, doing great work to establish Pryor and Limbo through implicatory exposition. Foxe also dangles the lede of “No Spider Blues,” letting the reader make educated guesses about Deadpool’s target and intentions through allusive monologuing, which is clever and rewarding for long-time fans. The reveal itself is well-executed, toeing a line between contrived and comedy that feels unrestrained but takes no small amount of skill to land from a writing perspective, using the tension between puerile giddiness and taut violence to create a feeling of cavalcade when the writing is actually very tightly controlled.
#REVIEW #Marvels #Deadpool #Slaughters
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