Yes, the book is still chock full of sight gags and slapstick that seem as though they were lifted from rejected Tom and Jerry episodes, but Deadpool’s harebrained scheme actually feels like it was planned from the beginning instead of being improvised halfway through the writing process. Happily, this issue’s script comes in relatively close second place, ditching the much of the inanity of all six previous installments of this series for a degree of successful revisionist humor and – gasp! – plot. Even the characters’ more awkward postures manage to channel a certain Bronze Age accuracy. The poses, compositions, and attire that Koblish uses to adorn his pages are evocative of the nostalgic, late 70s/early 80s vibe on which this book depends. The halftones and flat, blocky colors are perfectly fitted to Koblish’s throwback art style. The high point of this story has to be the artwork by Scott Koblish and colorist Val Staples. The good news is that the book clocks in as the best issue of the NOW! relaunch the bad news is that the best of the relaunch still isn't as great as the series could be.
Instead of moving forward into the next arc, though, we’re given a retro-styled one-shot set during Tony Stark’s infamous battle with alcohol, recycling a concept from the “classic” Deadpool era. Writers Brian Posehn and Gerry Duggan return to the pages of Deadpool this week after proving that their Dead Presidents arc only felt interminable.
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