The Fact of Life - Page 1. Yes

Intoduction Part 1

Big thanks to The Xeric Foundation for covering this feast. They are very cool to care. There are surprises yet in the world, and PapaWolf says, "Up with each, down with all."
A Statement of Purpose (for the Xeric Foundation).
The Short. I suppose my purpose (other than to exercise a daimon of "inner necessity") is to extend comics into a language visual and verbal of a surrealist prose poetry under the influence of cheek. I am telling stories about the life of a soul that is spiritually independent of any God, a soul mortal and insular. A place where God is what you see, a place so painfully steeped in love it might make the language of observation utterly visible.
Comics…right?

The Long (defining my terms …and such). The subconscious is what is conscious. We are, when we are conscious, mostly un-conscious. The Subconscious : if to be conscious is a pitcher suspended in the deepest of the ocean, to then title the ocean as a subset of the pitcher … is parody. Our small island of awareness is much more of a sub-conscious realm within our Self then our Self is within us. The subconscious (better called the soul) is a perceptive function of our awareness that misses nothing, recording every layer of perception and then feeding needed parts back to us by way of dreams, desires, and visions, essentially creating our life as a dialogue. Though the dialogue is mostly a one-way conversation, there are ways to influence the soul, though its predilections are mostly preset from the perceptually rich experiences of childhood. Art is the closest approximation to that language of the soul, and the "Metaphor" gathers and speaks the most imagery in the least effort. The soul's conversation moves like water, the path of least resistance …down. If you will talk to the soul, you will speak the-most-in-the-least and be willing to go downward. Down where things are so carefully lit and praise is the only sustenance.
Surrealism speaks a figurative poetry (best described in the tradition of Lorca, Neruda, and Rumi), that reads the world as a conscious conversation, and maximalizes the distance within metaphors. I belong to this athletics.
I am approaching comics (time-served) from art as apposed to approaching art through comics.
A friend of mine had a copy of "God's Man" when I was a kid; I hated it with a studied affection, and feasted on its hellish sadness for an eternity. What I think impressed me the most was the amount of "inner-necessity" (a Kandinsky thing) observable in the work, and the amount of serious that went into it. No smallest part of it was less hellish than another.