Marvel’s Perfect Couple: A Tenacious Telepath and a Mouthy Merc?

“The middle people are trying to live their lives as best they can, coping and hoping. I think the middle is sick and tired of the fringes. Religious extremists. Political extremists. Corporate extremists.”

This is all part of an exclusive interview with Cable, due to be released upon his death, which is scheduled incredibly soon, much to the surrounding public’s surprise.

It seems that his powers have become amplified and he now sees it as his duty to make the world a better place in “The Burnt Offering,” the second trade paperback in the series, collecting “Cable & Deadpool” no. seven through 12.

Nathan has become extraordinarily powerful, it seems, and seeks to utilize his new philosophy primarily on Providence, a floating island to which he invites the world’s leading scientists, philosophers, philanthropists and writers, among anyone else who is interested.

All émigrés couldn’t be more thrilled at their newfound locale of utopian bliss, but the world’s governments are less than trusting, especially since Cable’s issued a demand to destroy all nuclear weapons.

They insist that he is manipulating the minds of the public; he responds that he hears the people’s calls and they are crying for change. The men in power call him a power-hungry tyrant; the masses think of him as “the savior.”

So it isn’t surprising that S.H.I.E.L.D. begins to throw everything they have at his base, though Nathan even manages to bring those respective members to his side, including his on-and-off lover, Domino.

Meanwhile, the wily Wade Wilson continues to throw the proverbial katana into Cable’s plans, though never without a trusty one-liner, at all times using his immunity to telepathic invasion to his advantage. Even his apparent teleportation-bond to the psychic-from-the-future hardly serves as a deterrent.

Representing Fabian Nicieza’s long-awaited return to the X-Characters (Cable sort of counts), “Cable & Deadpool” is a perfect blend of wit and philosophy, as the two seemingly polar opposites complement each other so well: Nathan dreams of a world united in utilitarian bliss; Deadpool wants to have some fun.

To fully highlight this epically successful example of entertainment, Patrick Zircher lends his fluidly expressive pencils to the vocal pages of the paradoxical paperback.

With an ensemble cast toward the storyline’s end, it becomes increasingly obvious that it lacks the very studiousness that’s haunted the pages of the X-Books for nearly a decade: the ironic combination of shock value and predictability. For this, alone, this trade is more than worth a read.

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