Deadpool has a knack for breaking the fourth wall. He’s been doing it since his inception, but recently, Deadpool discovered a terrible truth: he and those around him are simply figments of a fevered collective imagination and shared culture that continues to spawn their adventures. He took it upon himself to relieve the Marvel Universe of itself dreadful self-contained and pre-planned existences.
In the past few months, we’ve seen Deadpool attempt to kill everyone and everything in the Marvel Universe to rid himself of his own wretched existence and save those around himself from the same fate. We’ve seen him hack and slash his way through a litany of literary ligaments that hold together the skeleton of great literature that seemingly encouraged and influenced the Marvel Universe in its various ways.
Also, it’s hard for me to say there are spoilers. I mean, I can tell you exactly how things happen in the issue, or even in the two series that lead up to it, Deadpool Kills the Marvel Universe and Deadpool Killustrated. But honestly, it’s just Deadpool killing as much of everything as he can. It’s a comic that holds no sway on those around it, one that is simply created to entertain in the goofiest Deadpool fashion possible.
Still, there are technically spoilers ahead.
As we’ve all seen over the last 20 years, Deadpool is really good at killing. Like… really really good. I don’t think it’s going too far to say he made be the best killer ever. He’s so good, he can even kill himself.
Well, not himself, per se. He is able to kill alternate versions on himself from across the multiverse.
In the opening pages of Deadpool Kills Deadpool #1, we see an alternate Deadpool (one clad completely in a black, skin-tight, stitched-up Michelle Pfeiffer Catwoman version of his normal costume) already on the ball, throwing Headpool into a microwave to destroy him.
Quick cut to “Real” Deadpool (from Earth-616) fighting Ultimatum, mainly biding his time until the cavalry arrives. Instead of Avengers, X-Men, or any other useful team of heroes, we see that it’s actually the Deadpool Corps to the rescue!
Except they don’t really rescue anyone. In fact, they lose Dogpool, but Deadpool manages to outwit the Black Deadpool, using his own transportation tech against him to teleport one-half of his body to another universe. Deadpool steals what he calls an “Anti-Deadpool” gun and hops into the Bea Arthur (the Deadpool Corps ship) for a rousing getaway.
Of course, on board along with the various versions of Deadpool is the Watcher, who begins to let “our” Deadpool in on what’s happening as the issue draws to a close.
All in all, the issue is just as fun as any in the other parts of the so-called Deadpool Killogy, and maybe a bit more entertaining. It always wraps around onto itself as some sort of strange social commentary on the oversaturation of Deadpool within the Marvel identity, something that has happened almost constantly since his debut. But maybe, it’s not. Maybe it’s just a fun little comic about all the Deadpools trying to kill all the other Deadpools, almost like a Civil War composed completely of Deadpools.
You can’t have any clue how fine I am with that.