Deathstroke is back in his element. It’s been a strange road for Slade Wilson lately: from being left in a vegetative state after Dark Crisis, to whatever Deathstroke Inc. was about, to playing the “Big Bad” in the recent Titans arc. However, Tony Fleecs and Carmine Di Giandomenico are finally putting him back in the spotlight. Deathstroke the Terminator #1 is a gritty, high-octane start for DC Next Level, reminding us that the world’s greatest assassin doesn’t need a team to be interesting. Give him a target and a paycheck, and he’s good to go.
Is Deathstroke #1 a Good Starting Point for New Readers?
You don’t need a PhD in DC lore to jump into this one. While Christopher Priest’s 2016 run is still the gold standard for complex family drama, writer Tony Fleecs takes a different path here. He’s leaning into the “assassin-first” vibe but still keeping the supporting cast front and center. The issue opens with Rose Wilson and Wintergreen having a heart-to-heart. They realize Slade is off-balance. He’s a guy who needs a mission to function, even if that mission leaves a trail of bodies across the DCU.
The issue moves fast. Slade is back on the job, surrounded by an arsenal that would make a small country jealous. His first target is a whistleblower from Cale Industries. If that name sounds familiar, it’s because Veronica Cale is a classic Wonder Woman villain. Fleecs nails Slade’s voice early on with a dry joke about the target being a divorced father of three. It’s the kind of dark humor you’d expect from a guy who kills for a living.
What Makes Tony Fleecs’ Version of Slade Wilson Different?
Fleecs isn’t trying to make Slade a hero. He leans into the fact that Slade is a sociopath. The most effective part of the writing is the journal Slade keeps for Rose. It adds a layer of humanity without softening his edges. Slade’s relationship with his children has always been twisted. He shows he cares in the most unhinged and violent ways possible. That family dynamic grounds the book and keeps it from being just another mindless action comic.
There’s a moment during a fight with the Body Doubles that felt a little off, though. Wintergreen mentions the duo has a healing factor, and Slade says that means he doesn’t have to hold back. Since when does Slade Wilson ever hold back? He’s a professional killer. Whether he’s fighting a god or a mook, he usually goes for the throat. It’s a minor nitpick in an otherwise solid script, but it stood out.
How Does Carmine Di Giandomenico’s Art Style Fit Deathstroke?
The art in this book is electric. I’ve had mixed feelings about Carmine Di Giandomenico in the past. His work on The Flash felt a bit cluttered because of the Speed Force effects. Here, his kinetic style is perfect for a high-stakes underworld story. The action is dynamic and incredibly easy to follow. There’s a scene where Slade launches a truck off a parking garage to crush some guards that looks absolutely gnarly.
Colorist Ivan Plascencia and letterer Wes Abbott deserve a lot of credit for the book’s energy. Plascencia bathes the action in crimson and orange, making every explosion feel hot. Abbott’s sound effects, especially a massive KABOOOM, really sell the impact of the violence. My only gripe is the size of the journal entries. They’re a bit small and can be a struggle to read if the lighting isn’t perfect. Aside from that, the book is a visual powerhouse.
Should You Buy Deathstroke the Terminator #1?
This debut doesn’t reinvent the wheel, but it’s a return to form. Slade feels dangerous again. He’s move-for-move the coolest mercenary in comics, looking like a version of Captain America who decided to cash in on his skills. The issue ends on a cliffhanger that sets Slade on a collision course with a new enemy. If he was “empty” before this, he’s pure rage now. That’s a bad sign for the rest of the DC Universe, but it’s great news for readers who want a gritty, grounded action series.
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Review: ‘Deathstroke: The Terminator’ #1 Slade Wilson’s Gritty Return to Form
This debut doesn’t reinvent the wheel, but it’s a high-octane return to form. Slade feels dangerous again. He’s move-for-move the coolest mercenary in comics, looking like a version of Captain America who decided to cash in on his skills. The issue ends on a cliffhanger that sets Slade on a collision course with a new enemy. If he was “empty” before this, he’s pure rage now. That’s a bad sign for the rest of the DC Universe, but it’s great news for readers who want a gritty, grounded action series.
