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Spider-Man/Deadpool #6


Spider-Man_Deadpool_Vol_1_6_TextlessSpider-Man/Deadpool #6 (Marvel Comics)

Of all of Marvel’s recent output, Spider-Man/Deadpool is easily the best. Like a buddy cop movie bitten by an irradiated spider and then given a ton of caffeine, the combination of the web-slinger and the Merc With A Mouth has lead to an extremely entertaining series, much in part to the work of writer Joe Kelly and artist Ed McGuinness. However, they’re not on this issue. BUT, the fill in team of Scott Aukerman and artist Reilly Brown are here with a premise that’s just as good one from Kelly and McGuinness: Deadpool takes his “buddy” Spider-Man to visit the set of his movie.

Yes, that’s right, this latest issue of Spider-Man/Deadpool gets Meta, even more than usual for Deadpool. Luckily for us though, Deadpool and Spider-Man work well in this format, and Scott Aukerman’s script is pretty great when it comes to the one-liners about comic book films and the way major studios treat our favorite heroes. Deadpool and Spider-Man end up on the set of Deadpool’s movie thanks to tip from the “Salmon Stuntman”, a new costumed character who is helping Deadpool “with no strings attached”. Tagging along as “Associate Producer”, Spider-Man and Deadpool eventually piece together the Stuntman’s plan to replace Deadpool so he has creative control and save Deadpool’s movie.

One of the strongest aspects of this issue is Aukerman’s interactions between Spidey and Deadpool. From the opening moments with Spider-Man’s reaction to Deadpool setting off his Spider-Sense, to Spidey explaining to a film exec what exactly it is about Deadpool that his “fans” respond to, there’s a lot of really funny and clever gags peppered throughout the issue. While some of the jokes are little much, a lot of them are really great and stick the landing. With so many comic book films hitting these days, this script is really timely, especially with some of the jabs at the Distinguished Competition’s recent movie and at studios that don’t always respect the source material of the characters they are adapting.

Reilly Brown’s art isn’t going to make you forget about Ed McGuinness (or make you mistake it for his), but it’s certainly a great fit for this issue. Brown is able to nail the physical gags that Aukerman puts into this issue, and his character work for Deadpool, Spidey, and other characters are really spot on. If McGuinness ever left this book, I’d be a-ok with Brown taking over.

While it’s a bummer that this issue of Spider-Man/Deadpool doesn’t feature Joe Kelly and Ed McGuinness, Scott Aukerman and Reilly Brown are worthy replacements for the two. They compliment each other well, have a great sense of how the characters work., and even throw in some really funny jokes about current comic book movies. In fact, it might not be a bad idea for some studio execs to read this issue before they start working on their next comic book movie adaptation.

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