You know how sometimes a story will open with a scene that takes place a little in the future and tease the issue's big outcome? Yeah, I'm rarely a fan of that method of storytelling and it's exactly how DEADPOOL #33 begins. That said, co-writers Gerry Duggan and Brian Posehn have impressed me and then some with this volume, so I shrugged my pet peeve aside and hoped for the best. Thankfully, they delivered. Now, it's a little tough to discuss this without treading into somewhat spoilery territory, but I'll do my best.
The situation with Wade Wilson's daughter isn't quite as emotional as you'd expect (they delivered some seriously powerful bits in The Good, The Bad, and The Ugly, after all), but there's just enough heart thrown into this issue which mostly consists of absolutely insane action and solid laughs. It's a tightly paced conclusion and juggles just all of the tones and elements you've come to expect from this book very well. Absurd gore? Check. A nice dose of levity? Check. Just enough depth to show Wade Wilson isn't a complete joke? Check. Everything I've come to love about this book's writing is present in this chapter. It's also funny to see the vampire plot -- something which I've said feels like filler in this arc -- is basically cast aside in a humorous way and the two writers once again open the door to a new -- and hopefully great -- storyline.
The crazy amount of action allows artist John Lucas and colorist Val Staples to really let loose. These two make sure the violence is so over-the-top yet still relevant to the narrative. Deadpool isn't just slicing fools apart because he can -- he's doing everything and then some in hopes of protecting his daughter. It's exaggerated moments like those that really compliment Lucas' more cartoon-ish style. You're so focused on the action and how shockingly effective it's being deliver that complaints about character work are mostly pushed to the side. I mean, with one slice, Deadpool cuts off part of a guy's head and slices another person in half. Stuff like that is so crazy that you can't help but stare. Plus, Staples makes sure all of this bloodshed and more emotional moments are matched with completely appropriate shades. Even if you're not fond of the pencils, you've got to respect the coloring put into this one.
When it's not exaggerated violence, Lucas' fluctuating character work -- most notably with heads and facial features -- becomes very distracting. His style is most definitely unique -- there's no denying that -- but when we're dealing with gripping conversations and more compelling scenes that aim to capture our emotions, you can't help but be taken totally out of the moment as you note the shape of one character's head or see a mutant's face drastically change from panel to panel. The narrative made the wise choice to stray away from the vampire madness and focus on Deadpool's daughter, but unfortunately, the pencils take away from the overall quality of the read.
The merc with a mouth's mission to protect his daughter reaches a bloody, funny, and slightly heartfelt conclusion. You have to respect the fact that, since the very first story arc, Duggan and Posehn have been telling stories that take a toll and stick with Wade. He's not simply moving from one mission to the next -- there's connections between each and every one of them and, as remarked in this issue, they're bringing some change to the character. This story may not be as strong as some of the previous arcs and the pencils will be too distracting for some, but it has a satisfying conclusion and I'm stoked for the next "lost" issue -- those are always a total blast!