Undeadpool #2: The Road To Saint Louis

Last month’s Undeadpool #1, written by Tim Seeley and drawn by Carlos Magno, riffed on slasher stories and campfire horror with just a tinge of teen drama to make the not-so-new Undeadpool a “monster in the woods.” This approach effectively brought out Wade Wilson’s comedy, introduced new characters, and set the groundwork for a storyline rooted in tension and atmosphere. So, how does November’s Undeadpool #2 match up?

With Wade and his new pal Fearless (who was introduced last issue) traveling across the revelation territories in hopes of reaching Saint Louis before Wade’s mutant-eating cravings take over, Undeadpool #2 continues to bring out the tense ambiance that was present in issue #1. However, a story can’t survive purely on “vibes alone,” so Tim Seeley (Nightwing) uses a detour as the equivalent of a “holiday episode” to give both readers and the two characters a short reprieve from the “will-he-eat-her” or “won’t-he-eat-her” dynamic.

This short departure from the road to Saint Louis is used both as a way to bring out more of Deadpool’s on-brand humor and to develop the character of Fearless, who up until now was more of a stand-in or a McGuffin (plot device), if you prefer. This is all interrupted, or rather is cut short at just the right time to prevent lengthy exposition by the arrival of a new threat. At the end of the last issue, we caught a glimpse of Cable, a longtime ally and occasional frenemy of Deadpool. Naturally, and as suggested by the cover art, Cable is a major player in issue #2.

Speaking of artwork, Carlos Magno’s (Doctor Strange of Asgard) inks and pencils are fantastic in this issue. The line work is neat but with a slight edge that builds into the horror atmosphere. However, that edge disappears in moments of warmth and dialogue to keep characters at the front and center. The action in the inevitable superhero fight scenes manages to be fluid and use a lot of objects in the scene as part of the action itself, such as snapping floorboards and tossed teddy bears. This, combined with the colors by Guru eFX, is a treat visually. Cable’s glowing bad eye (or good eye, depending on how you look at it) shines like a flashlight in the dark dystopian revelation territories, while the rips of Wade’s Deadpool costume are also given additional texture by the color work.

If the second issue of Tim Seeley and Carlos Magno’s Undeadpool had any glaring shortcomings, it would be the character of Fearless. After her introduction and horrific survival in last month’s Undeadpool #1, the seed for a character arc that painted her as a survivor just doing their best was planted pretty effectively. But so far, Undeadpool #2 failed to deliver on that much and chose to focus on the titular character himself. This is fine, but it limits Fearless’ growth and longevity as a character, potentially spoiling her fate in future issues for perceptive readers, as a lack of character growth typically indicates a short tenure in a title.