By R.E. Embuscado

Compartmental fiction is a theory of the comic-novel or art and literature, which deals with a communal view where the picture of humanity would be paralleled, and be related to the totality of life in dissectional relationship between natural and mythological existence, residing in a global perspective; where, the impoverished dreams and visions of the poor, could be historically chronicled, and be permitted to dwell in the light; where, every culture like the Gypsy’s nomadic serenity of openness, which were slaughtered and destroyed in the western and eastern Europe’s remotest dark-wasted territory, as many times witnessed by Nuclear Man, has been neglected, distorted and passed away from reality -and, are socially and culturally broken. Their cultural life is a historical battlefield.

The same can be said of Japayuki-Geisha’s desperate struggle when she searched for the archipelago’s uncharted cultural-historical line, in which the truth that she knew could point toward a democratic life. Her dream to reclaim the sovereignty of Malayu nation or to obtain freedom by beating up against oppression until it becomes part of the world-civilization, which has been forsaken for many centuries, five hundred fifty years of colonial slavery, gives her a moral strength. This is a long time to finely construct sovereignty from slavery. And, it takes more than a whole life to revisit the extent of the Malayuan’s suffering -on that dream of fostering sovereignty, which will be illuminated in the comics and the novel, Japayuki-Geisha takes up her courage in the spirit that was overflowing with vivid light.

Japayuki-Geisha saw the Filipino’s fragmented images of life as a work of fiction; all the historical forms are manifestations of social-cultural distortion and political corruption. Filipino history is a fiction. And, Filipino itself is a fiction. Everything, from the Philippine democracy to constitutional framework, are fictional works.

The fictional -mythology of the modern world is entwined with the antiquity of the dark ages. Its history is written far more as a constitutional assemblages of fictional rights to be divided between the universal family and the one of a kind super-race society – given this life is portrayed in the right to worship modernism, all with a mask of an avant-garde face, not an axis-face -like Axis Man. The declaration of independence of the new-modern crusader can’t recognize that conception of human liberty and equality in the cultural and religious essentiality of the axis society – or context of kinship and relations of natural existence as a distinguishing feature of their literary, religious and historic foundations. “The new-modern crusader’s attempt to revise their beliefs or historical traditions," according to Axis Man, “has no significance, for its objectivity does not matter whether the poor people is torn to suffering or death. This is not a new- modern enlightenment movement but a DARK-MODERN AGE – Because, It suppresses the entire axis race.”

The new-modern political strategists, artists writers or novelists, which establishes ties with Hitler or Stalin-like intelligentsia by employing its content in the form of political propaganda, turning it not only into its opposite but also into the same straightforward evil-direction, has become so deeply involved in chaotic-grieving fictional drama that takes away the important feature of the Axis race culture: sovereignty or freedom. They wholly expresses the modern idea of distortion, closely bound up with political and social, economic conditions, in the sort of minimal historic form; they paralleled the Aris images with the avant-garde like character in a discriminating way; and through surreal transformation, by the very forms of universal spirit, quality, art for art’s sake short-sighted process, they stroll away from inner chaos to portray their outer – spiritual arrogance – by stretching it in the gospel of war.

The mystery that resided in the sky, groping in Myth Man’s imagination, will fall through the light and darkness of his life. And yet Myth Man does not stumbled upon the temptation that he has to transform into another life, where he could be seen in reality as a modern creature of spiritual -illusion, who speak the tongue of an everlasting universal-shrine, which is expressing a feature of destruction. He cried out in darkness, and distanced himself from the chaotic godlike -warrior or false prophets -or, the rest of the pure blooded creature on earth. Me has no angel like-identity, which illuminate, all together, bright lines that cling to the sky; and, there is nothing in his heart and wisdom that tends to project his personality into a spirited -man.