So Deadpool is a world-saving hero, and also kind of the Antichrist. Deadpool saves the world, but he’s misunderstood: Everyone sees him, a known bad guy, attacking heroic Captain America and destroying an alien being that everyone else assumes was bringing them eternal happiness. At one point, in Deadpool #25, the Messiah takes over Captain America’s brain, which leads to that aforementioned moment with Deadpool and Cap and the crotch-kick. This Messiah can pacify an entire global population, making them blissful and orderly and ignorant and brain-dead. Then Deadpool learns that the Messiah is only a Messiah because it takes away free will. At one point, Deadpool is told that his mission in life is to kill an alien Antichrist to make way for an intergalactic Messiah. The genius of Kelly’s Deadpool really kicks in during his second year, when what had been a playful riff on superherodom becomes a bleak season-6-of- Sopranos descent into apocalyptic despair but also simultaneously a heady season-6-of- Lost ascent into messianic cosmic awareness.
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