REVIEW: ‘DC/Marvel: Batman/Deadpool’ Issue 1

DC/Marvel: Batman/Deadpool Issue 1 is a crossover anthology published by DC Comics, written by Grant Morrison, with art by Dan Mora, colors by Alejandro Sánchez, and letters by Todd Klein.

The featured story features Batman and Deadpool, but there are also backup stories. 

A John Constantine and Doctor Strange story is written by James Tynion IV, Joshua Williamson, and Scott Snyder, art by Hayden Sherman, colors by Mike Spicer, and letters by Frank Cvetic. A Nightwing and Laura Kinney story is written by Tom Taylor, art by Bruno Redondo, colors by Adriano Lucas, and letters by Wes Abbott. There’s a Harley Quinn and Hulk crossover written by Mariko Tamaki, art by Amanda Conner, colors by Tamra Bonvillain, and letters by Dave Sharpe. Finally, a Static and Ms Marvel story is written by G. Willow Wilson, pencils by Denys Cowan, inks by Klaus Janson, colors by Francesco Segala, and letters by Steve Wands. 

This version of the Batman and Deadpool meetup is very different from the previous one. DC/Marvel: Batman/Deadpool Issue 1 is even more meta. The plot is fractured, jumping around as both Deadpool and Batman try to figure out what’s happening. The first crossover was playful and teased about your original meetings between the companies. Morrison absolutely tears away at the fourth wall, all of the walls, and deconstructs comics and crossovers entirely. It’s a real exploration of comic book theory, written as a script and then fleshed out with Batman and Deadpool.

It’s mind-bending stuff that’s pretty well explained. At times, it loses sense, but the madness on display is what makes it so intoxicating. The comic exists on multiple planes of existence, accentuated by the villain chosen to bring the duo together. The pacing is very fast-paced, jumping between locations and states of mind, and it’s as unpredictable as possible. There’s no telling what comes next.

The last act feels special, wonderfully self-indulgent, and it’s one of the few times where Morrison gets away with it. It fits the concept of breaking the rules and making the laws of comics irrelevant.

Morrison’s script is spectacular. There are so many levels to it. There’s a cheeky humor that is mixed with the celestial, abstract nature of the story. Morrison leans into the understanding that anything can happen. There are some menacing villains and a delightful depiction of comic book creation within the dialogue itself. Morrison writes these aspects into the universe itself.

The writing for the characters is also brilliant. DC/Marvel: Batman/Deadpool Issue 1 is a very funny comic, and the conversations between Wade and Bruce are superb. Batman is gruff but has a few one-liners, and Deadpool’s fusion of crude commentary with just word vomiting is fantastic. The fourth wall breaking is taken to the extreme.

The art is terrific. Mora draws more superheroes at the moment than probably anyone else, and his designs of both Deadpool and Batman are excellent. But another word starts bleeding into the comic: Amalgam. A term known to both Marvel and DC fans because it’s the most famous merger of the companies in the past. To see that resurrected in an incentive way is magnificent. The locales are baffling because they change so frequently, yet Mora crafts exquisite detail into them.

Perhaps the best example of the detail is the list of madness on a certain wall, because subtly, it thoroughly explains what that wall is. The violence is twisted and extreme, but treated as secondary. The villain is just as skin-crawling and disturbing as their most recent media appearance. You have to pay attention to every single part of the comic.

The colors are stunning. Batman in DC/Marvel: Batman/Deadpool Issue 1 has a blue cape and cowl, so the classic red and blue contrast is on full display. Each location comes with an entirely new color palette, and the variety by Sánchez is phenomenal. The lettering has a lot of dialogue to deal with, yet it is as comfortable to read as possible.

The backup stories are just as entertaining, combining the heroes in delightful and fascinating tales. Surprisingly, the Constantine/Doctor Strange crossover has such a superstar lineup, with three absolutely incredible writers at the helm. Constantine visits the Sanctum Sanctorum for skulduggery. The difference in how both sorcerers practice is fantastic to read, but there are actually three plots and confrontations happening at the same time. The art beautifully conveys the grandeur that Ditko and others have established, alongside the sacrifices and seediness of Constantine.

The Nightwing and Wolverine tale is the second-best story in the anthology, trailing the main tale. It’s got outstanding energy from the start, with parallel narration from both vigilantes. Taylor, who has extensive and iconic runs with both characters, recognizes and explores their similarities. They are the children of famous legacies, often bearing names steeped in history and prestige. It’s a funny yet thoughtful comic that combines the best of Taylor’s adventures with either hero.

The Hulk and Harley story is fun and fast-paced, channeling the enthusiasm of Harley’s cartoon show. Hulk is huge yet harmless, with Conner giving him a grumpy face that is a delightful foil to Harley’s constant grin.

The final story in DC/Marvel: Batman/Deadpool Issue 1, featuring Ms Marvel and Static, sees Wilson return to the character she co-created in Kamala Khan. Both heroes feel protective over communities that are underrepresented and vulnerable, whilst also looking uncomfortable and stifled in their homes. It feels neighborly, and it’s a pleasant conclusion to the crossover.

DC/Marvel: Batman/Deadpool Issue 1 is an adventure through the mind of a true comics god. It felt so rewarding to see Morrison stretch their legs again for both Marvel and DC at the same time. The ability to be both brazen and subtle at the same time is extraordinary. The comic feels like a beautiful celebration of the union between the two companies and of the comic medium as a whole. It’s playful rather than cynical, excited rather than irritated.

The other stories are also creative and satisfying, if slightly short. But considering it felt like we would never get a DC and Marvel crossover again, to get two in one year is a triumph and hopefully heralds a new tradition.

DC/Marvel: Batman/Deadpool Issue 1 is available where comics are sold.