The Hellgate of Art: Batman/Deadpool Ferry

America is the land of multiculturalism, so a great deal of socio-political intrigue lies in America.

Many issues arise in traffic-heavy America, such a illegal immigration, taxation, censorship, and jurisprudence centralization.

Americans favour art that caters to laissez-faire populism dialogue, since such dialogue caters to multiculturalism and facilitated mercantilism.

Comic book art is a great example of laissez-faire populism, since it presents characters/avatars that symbolize politics colloquialization. Such characters include Kingpin (Marvel Comics), a ruthless tycoon, Mr. Freeze (DC Comics), a mad scientist, Red Skull (Marvel Comics), a fascist/terrorist, and Poison Ivy (DC Comics), an eco-terrorist.

Two special American comic book characters, Demogoblin (Marvel Comics), a spirit-troubled glider-soaring ghoul, and Two-Face (DC Comics), a disfigured fanatical vigilante, symbolize American anxieties regarding etiquette and leadership.

Understanding how Demogoblin and Two-Face comprise the proverbial left-hand and right-hand of American magic illuminates how Americans celebrate the marketing of art.

Therefore a Demogoblin/Two-Face confrontation represents a prophetic 'Villainy Gate of Hell.'

Who is the gatekeeper?

My vote goes to Batman (DC Comics) or Deadpool (Marvel Comics).

Not entirely sure how these two here are examples of Americans celebrating the marketing of art more than other characters out there, especially Demogoblin.
They certainly reflect and express big issues, but compromising the proverbial left-hand and right-hand of American magic?