Deathstroke: Suicide Run (Comics) | Review

Immediately after the explosive finale of God Killer storyline, DC Comics throws Slade into consequences he can't shoot his way out of. Writer/artist Tony Daniel (Deathstroke: Gods of War, Detective Comics: Faces of Death) continues his New 52 run with a storyline that strips away Slade's advantages and tactical superiority.

Suicide Run arc isn't about Slade taking contracts or hunting targets with precision. It's about watching the world's most dangerous mercenary get cornered by forces that know exactly how he operates, weaponizing his reputation and methods against him in brutal fashion.

Daniel escalates the personal stakes dramatically while maintaining the vicious action that made God Killer work so well. This creates a direct continuation that rewards readers who followed the previous storyline, building on established consequences rather than resetting everything between major story arcs completely.

What makes Suicide Run compelling is how it forces Slade to adapt in real time while dealing with fallout from God Killer. Everyone knows what he's capable of, which means they've prepared to counter his tactics. The arc shows consequences that actually matter for once.

The story opens with Slade Wilson on the run from multiple parties who want him dead for what happened during God Killer. Government agencies, mercenary organizations and supernatural forces all have reasons to eliminate him. What should be straightforward survival becomes infinitely more complex than expected.

Slade discovers he's been set up by someone who orchestrated everything to force him into a specific position. He has no good options. The setup is elegant and brutal, exploiting Slade's tactical mindset where every choice leads to catastrophic consequences for someone.

Daniel targets Slade's weaknesses rather than strengths to structure this as a psychological trap much like a physical one. Rose Wilson gets kidnapped by Harley Quinn, which only complicates Slade's already impossible situation. Their father-daughter dynamic gets tested under pressure as Rose attempts to pursue conflicting agendas.

The emotional stakes feel earned rather than manufactured, building on established history without rehashing old ground. The arc introduces an antagonist who understands Slade, someone who's studied his patterns and anticipated his strategies with surgical precision.

This isn't just another villain with superior firepower or mystical abilities. They've prepared counters for Slade's usual tactics, forcing him to improvise against an opponent who stays three steps ahead. Every encounter becomes a mental chess match where Slade's losing ground.

Suicide Run also brings back characters from earlier issues of New 52 Deathstroke series while introducing Suicide Squad members like Deadshot and Amanda Waller. These aren't just cameos for nostalgia's sake. Each returning character has legitimate reasons for involvement and specific roles that advance the plot naturally.

The suicide mission that gives this arc its title involves Slade accepting a contract that's clearly designed to kill him outright. He knows it's a trap. Everyone knows he knows it's a trap. But the terms force him to walk into it anyway because refusing would result in worse outcomes.

What follows is Slade attempting to thread an impossible needle, completing objectives that seem designed to be mutually exclusive while dealing with Task Force X interference. The mission parameters keep shifting as new information is revealed, forcing adaptation. Daniel showcases Slade's tactical genius and limitations.

Betrayal becomes a recurring theme as allies reveal agendas and enemies offer unexpected assistance. The arc subverts typical action story beats by making trust a weapon against Slade. Characters he relies on turn at critical moments while former enemies provide crucial support.

The climax brings everything to a head with confrontations building since God Killer's events began. Slade faces multiple threats simultaneously while working with limited resources and zero backup. The resolution doesn't provide clean answers or completely reset the status quo.

Daniel also explores the heavy cost of Slade's lifestyle through this arc with more depth than usual stories do. The constant violence, broken relationships and moral compromises visibly pile up over time. Suicide Run forces Slade to confront what he's sacrificed for his reputation and whether the trade-off was actually worth it.

Tony Daniel's artwork maintains the gritty aesthetic established in God Killer while adapting to Suicide Run's different tone. The visuals emphasize isolation and desperation, using shadows and confined spaces to create claustrophobia. Action sequences remain brutal and kinetic.

Character expressions carry emotional weight, particularly during confrontations between Slade and Rose. Daniel uses facial work and body language to convey tension and unspoken history. The artwork handles quiet character moments as effectively as explosive set pieces.

Writing keeps momentum tight throughout Suicide Run, avoiding unnecessary exposition while providing context for newcomers jumping in. Dialogue feels natural and purposeful, revealing characters through conversations rather than explaining everything directly to readers. The script trusts readers to follow complex plotting.

Panel layouts become chaotic as Slade's situation deteriorates, using fragmented compositions and sharp angles to convey psychological pressure. The visual storytelling mirrors Slade's mental state, creating a cohesive experience where artwork and narrative reinforce each other.

Suicide Run delivers a compelling follow-up to God Killer that shifts focus from cosmic threats to personal consequences. Tony Daniel crafts a storyline that tests Slade Wilson's limits, exploring psychological warfare and impossible choices rather than escalating action.

Character work elevates this beyond typical mercenary-on-the-run plotting. The complicated dynamics between Slade and Rose provide emotional grounding while betrayals keep the plot unpredictable. Daniel handles the ensemble cast effectively without losing sight of Slade's central journey through desperate circumstances.

The artwork and writing maintain quality established in God Killer while adapting to Suicide Run's different tone. Visuals emphasize isolation, while the script keeps pace tight and dialogue purposeful. Daniel's unified vision benefits both action sequences and quieter moments.

Worth reading if you want Deathstroke stories prioritizing consequences and character development alongside action. Suicide Run proves Tony Daniel understands what makes Slade compelling, delivering an arc that respects longtime fans while advancing the larger narrative.

Deathstroke: Suicide Run is collected as Deathstroke Vol. 3: Suicide Run trade paperback, gathering (New 52) issues #11-16 published by DC Comics. You can find physical copies at local comic-book shops, bookstores and various online retailers. Digital editions are available on Amazon Kindle, ComiXology and DC Universe Infinite.