"The Sandman" and Ben Fibonacci's Hard Determinism versus Migelli Bin Origen's elusive notion of "Free Will"

Fibonacci likes the finer things is life, and likes to have the inside track.  It's the kind of "eff you, I got mine" reaction to the world that has robbed the light from his own particularly pit of habitation, leaving him in a dark hole.

Cause to re-evaluate?

Migelli Bin Origen dictates something of a push-pull illusion of "Free Will", that he may be in a cage, or may not, but either way, he ultimately decides the paraphrenalia that surrounds him in his cage.

Case in point:  Bin Origen drew a big picture on 12-inchX24-inch board.  The picture depicted a non-descript man, faceless, boring the world upon his back, but being slightly crushed by the girth and the combined mass of precepts of the world.

Fibonacci, then, seeing this, takes to his own hand, constructing over an old picture of an orange.  A "still life", he creates a "steal life" of a figure "lording over the world" with the orange supplanting the earth and the figure seemingly being knowledgeable or in control of so much of the world's f*ckery.

"I need to hurt him" Bin Origen wrote in his notebook, right in front of Fibonacci.  Bin Origen saw at once the immensity of the disagreement between the two art pieces.

Enter Sandman.

In control of even the least of his tiny constituent parts, the Sandman stood at Marvel Comics as someone bent on improving his success curve(the "eff you, I got mine" mindset), but then after the body count piled-up, his own conscious convicted him, making me wonder if he was a sin-conscious Southern Baptist.

Barracus would say that "You on the jazz, Hannibal.  People get hurt when you on the jazz."  Fibonacci, meanwhile, would increase his own illusion of strength as his personal situation deteriorates into nothing, sort of a "comfort blanket" of being right and in control: a way of angrily confirming your own anger, a "confirmation bias", a segment on Hannity, maybe, with the precedent and the host trading gushing compliments back and forth.

"You're a great American."

"Look to the ass-end of the chicken, Bin Origen."

That last quotation was Howard Kirvonnen, standing for his own dignity, but being depreciatory in enough of a sense to make him feel quite powerful within his own little dog house.  People say nothing good came out of the Hammentrot Salons, but clearly Howell Kirvonnen, bemoaning that sentiment, made a pure scream toward underlining the truth as he saw it, and that amidst so many other pretty treatises on phenomenology that came from the salons during the intervening decades.

"I knew him.  He bore me upon his back I know not how oft."

Back to Bin Origen's drawing of the man shouldering the burden, carrying an obviously great weight on his back, but standing just the same.