Stillanerd Reviews: Spider-Man/Deadpool #18 review
By Mike McNulty
As Deadpool makes one last effort to save Spider-Man’s soul, Joe Kelly and Ed McGuinness pass the torch on the series they created.
Spider-Man/Deadpool #18
“Itsy Bitsy Part 5”
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Writer: Joe Kelly
Penciler: Ed McGuinness
Inkers: Mark Morales and Jay Leisten
Colorist: Jason Keith
Letterer: VC’s Joe Sabino
Cover: Ed McGuinness and Jason Keith
Title Page Design: Mandy Maderos
It’s been twelve issues (actually eighteen) over a year-and-a-half (because some issues had substitute writers and artists), but the creators behind Spider-Man/Deadpool are taking a bow. No, Marvel isn’t cancelling the series; it will just be under new management. Besides, its obvious that writer Joe Kelly and artist Ed McGuinness had a single epic story with a beginning, middle, and end in mind. They might as well go out on a high note and not overstay their welcome.
But is Spider-Man/Deadpool #18 that high note? That all depends on how you read it. Taken together with the other eleven issues that Kelly and McGuinness (along with Mark Morales and Jason Keith) have crafted, it’s a satisfactory enough conclusion. But as a single comic book issue unto itself? Well … it could’ve been a bit better.
Credit: Ed McGuinness, Mark Morales, Jay Leisten, and Jason Keith (Marvel Comics); from Spider-Man/Deadpool #18
[Spider-Man/Deadpool #18’s] thematic components, while understandable within the confines of a serialized comic book, came across a little cynical.
Like #17, the plot is pretty much the same. The marriage-erasing demon lord, Mephisto, has engineered an elaborate scheme to obtain Peter Parker’s soul. The insane female Spider-Man/Deadpool clone, Itsy Bitsy, is driving the wall-crawler into almost abandoning his no-killing rule, while the Merc with a Mouth is trying to stop him. In other words, it’s a continuation of the long, three-way battle from last time.
Of course it’s pretty obvious (and not much of a spoiler) to say Spider-Man doesn’t kill Itsy Bitsy. Instead, Deadpool, to save Spider-Man from eternal damnation, condemns himself by doing the deed himself. I won’t say how, of course, but suffice to say, it does involve some decent, clever misdirection.
But I must confess, I don’t know how I feel about this outcome. From a character standpoint, it’s consistent with who Deadpool is. Moreover, it shows how far he’s willing to go towards preventing others from following his path. He even acknowledges how taking a life, even if it was to save Spider-Man, is a step backwards for him. And yet, it’s also this open acknowledgment that he’s regressed in his development which doesn’t sit right with me.
Credit: Ed McGuinness, Mark Morales, Jay Leisten, and Jason Keith (Marvel Comics); from Spider-Man/Deadpool #18
…what passes for story is extremely thin. However, the dialogue is excellent and individualistic for each character.
Nor does it sit well seeing Spider-Man coming around towards accepting that Deadpool prevented him from becoming a murderer by committing murder. All that does is make Spidey look like a hypocrite. But in fairness, we do get a great silent panel where Spider-Man breaks down over what he almost did. Not to mention, it’s a genuinely nice moment seeing Spidey hugging Wade, promising he’ll do right by Wade’s sacrifice.
Moreover, I do think its thematic components, while understandable within the confines of a serialized comic book, came across a little cynical. Because if I understood the ending correctly, it used the moral of “don’t become something you’re not” as an argument for Marvel to not grow and develop their own characters. After all, other than becoming better friends, both Peter Parker and Wade Wilson are essentially back to who they were in #1.
I also have mixed feelings with regards to the overall narrative. Like #17, what passes for story is extremely thin. However, the dialogue is excellent and individualistic for each character. Being this involves Deadpool, his lines are appropriately full of biting wit, asides, and subtle innuendo. Itsy Bitsy, being that she’s partly Deadpool’s clone, has a similar personality. But Kelly instills her words with a dark, disturbing edge, which perfectly reflects her psychosis and her effectiveness at pushing Spidey’s mental buttons.
Also, the way Kelly opens this issue is fitting as it is clever. It’s very reminiscent of The Twilight Zone and Tales From the Crypt, revealing Deadpool isn’t the only denizen of the Marvel Universe with self-awareness and fourth-wall breaking abilities.
Credit: Ed McGuinness, Mark Morales, Jay Leisten, and Jason Keith (Marvel Comics); from Spider-Man/Deadpool #18
Do I think Spider-Man/Deadpool #18 could’ve been a better send-off for [Joe] Kelly and [Ed] McGuinness? Yes, but their send off was still satisfying all the same.
Likewise, the art in this comic is superb, and not because McGuinness’ ability in maintaining consistent body proportions, having clean line work, and a proper usage of foreshortening. The appearances of the characters themselves set the tone. The kinetic fights wouldn’t be as intense without the horror of Itsy Bitsy’s post-regeneration metamorphosis. Nor would the comedy wouldn’t be as effective if Weasel didn’t look cartoonish, or if Deadpool didn’t wave good-bye to Spidey with an armless sleeve.
It’s also the way McGuinness adds details that, instead of just passing it over with a quick glance, make you do a double-take. Take, for example, how he draws Deadpool’s hand still poised as though he’s holding a gun after Spidey yanks it out of his grasp. Or how consistent the cuts are in Spider-Man’s armor after Itsy Bitsy attacked him with thin razor wire. McGuinness didn’t have to illustrate such things, but that he did makes the difference.
Do I think Spider-Man/Deadpool #18 could’ve been a better send-off for Kelly and McGuinness? Yes, but their send off was still satisfying all the same. It will be curious to see whether this series chronicling the adventures of Marvel’s most talkative comedic superheroes will continue to endure. Or whether it will have the same spark and vitality under a new team of creators. After all, it was Kelly and McGuinness who helped make this series into such a success.
Stillanerd’s Score: 3.5 out of 5
Next: Stillanerd Reviews: Spider-Man/Deadpool #17 review
Stillanerd’s Nerdy Nitpicks (possible spoilers)
Credit: Ed McGuinness, Mark Morales, Jay Leisten, and Jason Keith (Marvel Comics); from Spider-Man/Deadpool #18
No, Mephisto. I didn’t do those cruel, inhumane things to beetles and ants. I just picked them up and move them closer to the spiders so they could eat them.
“Wretched insect of a man!” So even Marvel’s version of the devil mistakes spiders for insects instead of arachnids. But I guess “insect of a man” sounds more melodramatic.
I think you’ve got your retconning methods mixed-up there, Weasel. Mephisto didn’t use mindwiping during “One More Day,” if that’s what’s you’re referring to. He changed history. Since no one can remember what came before, I guess that’s a “mindwipe” of sorts.
Um … it’s oil and vinegar that tastes good on a salad, not “oil and water.” Though, personally, I prefer ranch.