Deadpool #11 is one of the greatest comics I’ve ever read. Seriously. Titled, “With Great Power Comes Great Irresponsibility,” Joe Kelly artist Pete Woods dump Deadpool through time into Amazing Fantasy #15. Or at least that world.
Deadpool and Blind Al use hologram projectors to pose as Aunt May and Peter Parker, stuck in the past, while Weasel works with the Great Lakes Avengers on getting them back to their rightful place in the timestream.
By the way, issue #10 is not too shabby either—the GLA are the perfect team to try to take down Deadpool. They’re useless and incompetent, and he’s nuts.
But why is #11 so great? The melding of art styles, the way it pays loving tribute to the Stan Lee/Steve Ditko years while still recognizing how silly and corny they could be, and the chance to insert Marvel’s most modern character into the world of its most classic. Spider-Man IS Marvel—everything about him epitomizes the brand. And Deadpool is…Not. He’s as close to indie as Marvel ever got, even if in recent years he’s been sanitized for your protection. In the 1990s, there was simply no other character like him in the world of the big two. So bringing these icons into conflict was absolute brilliance.