4,0
Crítica: http://www.planocritico.com/critica-deadpool-a-guerra-de-wade-wilson/ ( )

4,0
Crítica: http://www.planocritico.com/critica-deadpool-a-guerra-de-wade-wilson/ ( )

4,0
Crítica: http://www.planocritico.com/critica-deadpool-a-guerra-de-wade-wilson/ ( )

4,0
Crítica: http://www.planocritico.com/critica-deadpool-a-guerra-de-wade-wilson/ ( )

If there’s a character that sums up what Grant Morrison’s termed the ‘dark age’ of comics it’s Deadpool. Created by Rob Liefeld, enfant terrible (emphasis on the terrible) Deadpool combines frankly tedious ultraviolence with half-arsed postmodernism, the character being self-aware enough to know he’s a comic strip character. Often that’s just an excuse to add a layer of funny to the violence, an easy way to fit a quip in and unless you’re playing with layers of reality and unreliable narrators it quickly becomes tedious.

Fortunately Duane Swierczynski’s interested in exactly that, which is the book’s saving grace. In all honesty aside from the playing with the concept of an unreliable narrator this book isn’t for me – I’m at the point where I find ultraviolence tedious and don’t particularly like the Jason Pearson’s scuzzed up artwork. Gore as a spectacle became tired a long time ago, particularly if you’ve watched a horror film in the last twenty years. Maybe I’ve been too immersed in culture but even the last few frames of the story weren’t particularly fresh (to pick an obvious antecedent: the Buffy episode ‘Normal Again’). Perhaps I’ve just been reading mainstream comics too long and even the ones which aim high don’t appeal now…. actually no, it’s probably just the quipping psychopathic antihero. Kudos to the writer for a brave attempt but in the end even a fondness for postmodernism can’t get me past the central character being an archetype of everything I least enjoy about comics. ( )