Deathstroke has good reason to be angry. I
had high hopes after reading my first Deathstroke,
but #16 opens with an over-used narrative trope that I absolutely HATE. It launches with an action-filled
moment – a battle between Slade Wilson and rival hitman Deadline – and then
immediately flashes back to previous point in the overall narrative, to lead up
to this opening scene.
This
gimmick has been used in comics and TV shows – Smallville and Battlestar
Galactica, most notably. I interpret it as the writer telling the
audience, “Showing you the climax first is my best idea of hooking you.” It
spoils the end, and I don’t know anyone who enjoys spoilers.
With
comic books, it also enables the artist to repeat the same panels. The artwork
is good, and the coloring has been toned down so as not to detract (see
previous issue’s review), and it would continue to keep me engaged, assuming
the writing does as well.
And
the irony is that the previous ended with a battle between Deathstroke and
rival hitman Deadline. Why not simply continue with that same scene. Slade
Wilson tried to buy Deadline off the contract, but Deadline is too committed to
the rules of the trade to ever back out of job, regardless of the payday or the
end result.
I
still think the title has something going for it, but this latest issue
completely negates what was accomplished previously. There was an impressive
spike, followed by a major disappointment.