Comic of the Week: “Deadpool/Batman” #1

This comic’s selection as our Comic of the Week should come as no surprise. After all, Batman is one of DC’s biggest names, and Deadpool consistently sells well at Marvel, so the only thing keeping them from crossing over was the usual industry rivalry/rights issues between the two companies. But every now and then, we get a Marvel/DC crossover, and we’re lucky enough to get it again in “Deadpool/Batman.”

“Deadpool/Batman” #1 is written by Zeb Wells, with art by Greg Capullo, inking by Tim Townsend, and colors by Alex Sinclair. However, that’s just for the main story, as there are several smaller Marvel/DC crossover stories within the comic. These are written by Chip Zdarsky, Kelly Thompson, Kevin Smith, Al Ewing, Frank Miller, and Ryan North, and illustrated by Terry Dodson, Gurihiru, Adam Kubert (with Frank Martin on colors), Dike Ruan (with Moreno Dinisio on colors), Frank Miller again (with Alex Sinclair providing colors), and Ryan Stegman (with Frank Martin as the colorist).

In short: Marvel and DC brought in some of their bests (and also Frank Miller) to make these crossover stories happen.

Which leads to the big question: is “Deadpool/Batman” actually good?

Well, yes, absolutely. Zeb Wells captures both Batman and Deadpool nicely, creating a fun crossover that lets both of them do what they do best. It’s a fun, well-paced story, and while it doesn’t do anything unexpected or provide new insights into either character, it’s still highly entertaining the whole way through.

The story itself is pretty simple. Someone has hired Deadpool to kill Batman, they fight, they team up, there’s a sudden-but-inevitable betrayal or two, Joker’s involved, but Batman (and Deadpool, technically) win in the end. All the while, Deadpool is making snarky remarks while Batman replies in deadpan seriousness.

But with a one-issue crossover story, no one’s expecting anything else. We get exactly what we came for, and it’s a delight the entire time.

While it is amusing to see Deadpool’s commentary on the different aspects of Batman’s story, like the bat-signal, his young sidekicks, etc, it’s the way the characters bounce off each other that makes the comic work so well. Batman and Deadpool are pretty much opposites, so Deadpool’s nonstop banter makes Batman’s seriousness all the funnier, and vice-versa. We get similar effects when Deadpool meets Commissioner Gordon (yes, he’s no longer Commissioner in the comic canon, but this is set in a non-canonical generic point in Batman’s history). Then, when the Joker enters the picture, he and Deadpool get to go back and forth with their own distinct forms of insanity.

In short, the character work makes this comic a blast.

Of course, the artwork does plenty to make “Deadpool/Batman” work as well. Greg Capullo’s illustrations work wonders for both Batman and Deadpool, creating some fantastic scenes and showcasing both characters brilliantly.

Early on, for instance, there’s a moment where Deadpool bursts through the Wayne manor’s windows, mimicking the scene of the bat that inspired Batman. The full moon’s light illuminates the panel while casting Deadpool in shadows, making him all the more impressive while the shards of glass seem to fly off the page. Similarly, when Batman makes his entrance, it’s in a one-panel page that has Batman delivering a dramatic punch to Deadpool’s face.

Throughout the comic, the action is fluid and dynamic, and panels are composed for optimal dramatic effect. The use of lighting and shadows works perfectly for a Batman comic, making use of the darkness without making it hard to see. Similarly, the character designs and set pieces are nicely detailed and brimming with personality, bringing every scene to life.

Alex Sinclair’s color work complements Capullo’s illustrations, adding a vibrancy to every image. Not only do the scenes with Batman make great use of shadows and lighting, but once Deadpool and the Joker get involved, the reds, greens, and purples pop off the page to make every moment easy on the eyes.

In short, this is exactly what you’d hope for from a Deadpool/Batman crossover comic. Both characters get chances to shine, they play off each other nicely, and the artwork is fantastic.

Now let’s look at the other Marvel/DC crossovers in the comic. These are smaller stories, giving us bite-sized crossovers, such as Wonder Woman and Captain America, Daredevil and Green Arrow, and a personal favorite, Krypto the Super-Dog and Jeff the Land Shark. While bite-sized, each story is fun and full of personality, giving each character a moment to shine.

For instance, the Wonder Woman/Captain America crossover gives us a story where the Marvel and DC universes are one, and has the two meet each other in World War 2, taking us on an emotional trip through the bonds the two would build in this what-if world.

For another story, the Green Lantern/Rocket Raccoon story is short and goofy, showing the utter chaos Rocket would get up to with a Green Lantern ring. The Daredevil/Green Arrow story is filled with Kevin Smith’s clever dialogue and plenty of action, showing off the characters in action while letting them banter a bit.

Also, Frank Miller has a section where Batman and Wolverine fight too. It’s mercifully short, and is mostly just the two shouting at each other while very large sound effects cover silhouettes of them fighting, but considering the overly bulky designs we get when they’re not shrouded in darkness, I’ll take the silhouettes. Alex Sinclair’s color work remains solid, at least, adding atmosphere and some nice color effects to Miller’s illustrations, so it’s not all bad.

A personal favorite is simple but adorable: Krypto and Jeff playing ball. While that’s all there is to the story, the bright, colorful, and slightly anime-esque artwork by Gurihiru makes it a visual delight, and Kelly Thompson’s scripting leads to a well-paced story that lets both of the goodest boys in comics have fun and show off what they can do.

The shortest story, at only three pages, is a callback to the days of Amalgam Comics, featuring “Logo,” a combination of Wolverine and Lobo. Ryan North is a personal favorite writer, and Ryan Stegman’s artwork brings the character to life in excellent detail, so the two of them make a short but sweet introduction for a character that I wish we got more time with.

It’s rare for us to get a Marvel/DC crossover comic, so it’s worth noting and celebrating when we do, especially when it’s a great comic. “Deadpool/Batman” and all its backup stories are incredibly fun, with an all-star team of top-tier writers and artists (give or take Frank Miller, and no, I will not cut him some slack just because he wrote “The Dark Knight Returns” nearly 40 years ago). For fans of both comic companies, or even just fans of either character, this is a must-read.