By Dan Brown

There’s nothing unusual about someone hiring Deadpool to carry out a contract killing.

But when his latest job takes him to Gotham City, that’s when comic fans know this is no ordinary assignment.

Deadpool/Batman is the latest comic-industry crossover. It shows what happens when the Merc With a Mouth (a Marvel character) crashes into the world of Batman (a DC creation).

Both companies are probably hoping that by joining forces they can introduce a new generation of comic readers to the concept of industry crossovers, thus cross-pollinating different fandoms. 

There’s a long tradition of superhero crossovers going back to at least 1976, when Superman fought Spider-Man for the first time. Since then, they’ve become a comic fixture. 

(And a cultural fixture – just check out the movies like Alien vs. Predator or Freddie vs. Jason.)

The story, illustrated by Greg Capullo and written by Zeb Wells, begins when Deadpool leaps through the very manor window where a bat once appeared, inspiring a young Bruce Wayne to avenge his parents by donning a batsuit.

Unaware of Wayne’s secret identity, the fast-talking Deadpool explains to Wayne he has been hired to off the Dark Knight: “Some guy who dresses like a bat? Which I’m assured is grim and creepy even though that’s clearly hilarious?”

(When the mutant assassin eventually comes face-to-face with the Caped Crusader, he admits he was mistaken. “Batman! You’re . .. terrifying. I hate myself for saying this, but the bat thing? It works.”)

Fans of Deadpool will be happy seeing him wield a katana in each hand, and Batman devotees will be satisfied to see him brooding. It’s quite a clash of tones.

In fact, those fans might find themselves questioning the book’s premise: These two don’t seem to have a lot in common, at least on the surface. Why have them become partners?

Doesn’t the crazed Deadpool have more in common with someone else in the Batman pantheon . . . his  nemesis, the insane Joker?

Yup.

Without giving too much away, the Clown Prince of Crime does make an appearance, with Deadpool labeling him a villain whose “brain is a neurospicy dopamine goblin with task paralysis and a lack of object permanence.” In other words, Deadpool and the Joker are perfect for each other.

There are also backup features in this book that pair more DC heroes with Marvel protagonists.

Wonder Woman teams up with Captain America, Green Arrow with Daredevil, Frank Miller’s Batman with Old Man Logan, and so on. The funniest moment among these pairings comes when Rocket Raccoon tries on Green Lantern’s ring: “Brightest day, blackest night, yada yada. Green flame on!” the genetically engineered woodland mammal cries.

Considering the main story is only 25 pages long, what I would have liked to have seen is for the publishers to devote those extra 16 pages to fully fleshing out the title team-up.

(There is also another crossover published at the same time as Deadpool/Batman called Batman/Deadpool, which I haven’t read yet.)

With more pages, they could have expanded what is essentially an appetizer into a full-fledged meal. 

Also, unlike the crossovers of my childhood, the current ones are published in a regular-size comic format, so they don’t feel as special as the jumbo ones of old.

Dan Brown has covered pop culture for more than 33 years as a journalist and also moderates L.A. Mood’s monthly graphic-novel group.