BY G. CONNOR SALTER

Mano Sotelo is a visual artist, author, and educator with over 20 years of teaching experience in higher education. His practice uses visual storytelling as both a contemplative and philosophical tool, addressing themes of transformation, inner conflict, and reconciliation. Mano’s artwork has been displayed in museums such as the Alexandria, Tampa, Coos, and Tucson Museums of Art. His work has also received recognition in national and international juried competitions, including The Artist’s Magazine and International Artist Magazine. Mano has presented at spirituality and arts conferences at the University of Oxford, Harvard Divinity School, and Sapienza University of Rome.

His latest project, The War in Heaven, is a graphic novel depicting the cosmic war between Michael and Lucifer. He was kind enough to answer a few questions about its themes and composition history.

Interview Questions:

For those who have not read the graphic novel yet, can you summarize the basic plot of The War in Heaven?

The basic plot is: “After a third of Heaven’s angels rebel, a fearful archangel struggles to save Heaven, humanity, and his older brother from absolute ruin.” The story is an allegory, exploring one’s relationship with reality. The war represents internal conflict, while Heaven symbolizes the present moment. Ultimately, it is the transformative journey of two brothers—one seeking indulgence, the other peace.

What initially interested you in writing The War in Heaven?

Ultimately, I sought to understand whether it’s possible to find lasting peace in the face of conflict.

I have always been interested in belief systems—philosophy, psychology, religion, mythology, and more. When I faced a major life crisis, I began to reflect not only on my personal struggle with conflict but also on humanity’s long history of conflict and our inability to find lasting peace.

It doesn’t take long to identify instances of both external and internal conflict. Externally, we see it in actual wars, as well as in politics, race, economics, natural resources, religion, and other ideologies. Additional examples can be found in mass media, including news, movies, TV, books, cartoons, and video games. Internally, psychological conflict emerges from struggles with emotional regulation, fears, desires, addictions, self-talk, and our reactions to constant technology and other stimuli.

There have been a variety of works that imagine the creation of the earth and the combat between rebellious and devout angels. Did you draw on any particular stories for inspiration—Paradise Lost by John Milton, for example?

I started with the story found in the New Testament, Revelation 12:7-12. I always had an interest in that story; specifically in Michael’s courage and faith, and Lucifer’s selfishness and arrogance. Traits that represent qualities inherent in all humans.

How long did it take you to write the graphic novel, from start to finish?

It took about five years to get to the publishing stage. I teach art full-time, so I worked on the book whenever I could. Looking back, I almost wish it had taken longer. It was a challenging yet very enjoyable process.

Were you able to draw on fellow artists to critique or develop your work as you went?

I chose to keep this project to myself because it was about looking within and questioning my own beliefs and life experiences. My artistic practice often involves both a contemplative and observational approach—making observations about my inner and outer realities, and then using visual art to gain a better understanding of those dynamics, concepts, and questions. Much like art therapy, I’ve found visual art to be incredibly transformative, helping us understand aspects of our lives that are difficult to put into words, such as existential or emotionally charged challenges.

Your other book-length art project is The Collective Truth, which was released in 2025, but with some artwork going back to 2007. What are some factors that affect how long a book takes you to complete?

For me, the process takes time because there are many steps, and each one is important. First, it’s about asking the right questions, followed by outlining. Then comes researching different perspectives, drawing from my own experiences, and assimilating all that information. Next, I focus on being as thoughtful and precise with my words as possible, because it’s not just what you say, but exactly how you say it, that matters. After that, there’s the drawing process, which includes rough sketches, research, and final drafting. Finally, there are the revisions—first draft, second draft, and so on.

How did the process for producing The War in Heaven compare to the process for creating The Collective Truth?

Both projects were introspective, using visual art to present and reflect on personal and societal beliefs and behaviors. They provided opportunities to examine my values and beliefs, and critically assess them.

The War in Heaven was different in that it was driven by narrative, requiring a clear beginning, middle, and end, along with dialogue between characters.

At least in the early pages of The War in Heaven, you seem to take a very classical approach to depicting angels—beautiful human-like creatures with wings, the kind of beings we often see in Renaissance paintings by Raphael or Michelangelo. Did any particular artists influence the look you attempted?

Yes, Western artists were definitely an influence. Living in the United States, I wanted the audience—the readers—to have an immediate sense of familiarity with the characters, as familiarity fosters connection. The book incorporates many concepts from different belief systems, so I wanted the story’s foundational look to feel familiar. Linking new ideas to something familiar is a common approach. It helps one understand how new perspectives can apply to their own life.

The opening of the story seems to broadly fit the way creation is depicted in the Book of Genesis, but you also offer interesting descriptions of the “Qadissin, the all knowing watchers,” names and details that reminded me of Islamic theology and also of concepts from the Book of Enoch. Did you draw on various religious traditions to develop your story?

Yes, many belief systems contributed to the world-building of The War in Heaven. Concepts from Jainism, Islam, Hinduism, Judaism, Zoroastrianism, Mesopotamian traditions, Buddhism, Norse mythology, Greek beliefs, Pre-Columbian Mesoamerican cultures, and Christianity were all incorporated.

Good and evil spirits appear across both Eastern and Western traditions. Angels and demons—often seen as embodiments of good and evil—go by many names across different religions. Some of these include devas and asuras, mara, igigi, daemon, malak, jinn, and shaytan. Additionally, there are numerous specific names for good and evil deities. These energies can also be seen as representing the superego and the shadow.

In The War in Heaven, these entities serve symbolically to represent a psychological and spiritual journey, where the battles between angels and demons mirror our internal struggles between clarity and confusion, love and fear, conflict and peace.

Did you consciously attempt to follow a particular religious tradition, or look for ways to intermix ideas? If the latter, did any principles guide how you intermixed ideas from different traditions?

No, I wouldn’t categorize the book as religious in the traditional sense. There’s no prescribed ideology or doctrine. When writing the story, I grappled with questions about concepts like “right and wrong,” “conflict and peace,” and “truth.” I think those questions became my foundational guides, and from there, I began my research.

You have an interesting article on your website about the importance of contemplative prayer, and painting as a product of the contemplative experience. How does making art derive from contemplation for you?

I believe contemplation and the visual arts naturally complement each other. In conventional observational drawing or painting, the artist must attentively observe their subject, noticing the unique characteristics that distinguish it from everything else. The same approach can be applied internally when observing a thought. With enough attention, observing a thought can reveal many unique characteristics.

Stories about angels often seem to be about both the past and about the present—for example, the apocalyptic war in heaven in Revelation 12 that can be read as a larger apocalyptic narrative taking ancient readers’ concerns and putting them in a cosmic framework. Does your graphic novel reflect any topical concerns—the way people view faith today, for example?

I’m not sure if this fully answers your question, but The War in Heaven spans a vast period of time, from the beginning of existence to the present day. As the story approaches modern times, topics like technology come into focus—specifically, how it is used to create simulations, whether in video games, movies, or more broadly with AI. Technology can be incredibly useful in many ways, but it also has the potential to be destructive.

Our devices provide countless distractions, pulling our attention away from meaningful reflection, relationships, and inner growth. The constant flood of notifications, entertainment, and superficial online interactions can leave us overstimulated and fragmented, making it difficult to cultivate silence, focus, or genuine human connection. What begins as a tool for convenience and leisure often becomes a subtle form of dependence, shaping how we think and even how we value ourselves.

At the same time, technology amplifies humanity’s capacity for destruction. Beyond the obvious dangers of advanced weaponry, there is the subtler erosion of truth and trust through the widespread use of technology to spread misinformation or manipulate public perception. In these ways, technology does not merely extend human ability; it can magnify our most harmful tendencies. This tension—between creation and destruction, liberation and enslavement—is a key element of the modern chapters of the story, linking contemporary struggles to the larger spiritual conflict that The War in Heaven seeks to portray.

I understand you were able to present your work in April 2025 at the Spirituality and the Arts conference hosted by Harvard Divinity School. Anything you can share about that experience?

I was very fortunate to participate in that experience. My favorite part was the learning involved—learning about different perspectives, beliefs, art, and the many ways we use both art and spirituality to communicate and make sense of our shared experience.

I also appreciate presentations and teaching because they demand a certain level of intellectual rigor. A common sentiment is that if you want to learn something, you should teach it. I agree with this, as teaching requires you to slow down and articulate many aspects of a topic. And just when you think you’ve covered everything, there’s always a student who asks a great question, revealing another layer to consider.

Any upcoming projects that you can share?

The War in Heaven was recently released, so I’m still in the early stages of marketing. Beyond that, I’m looking forward to returning to painting. While the final product—whether a book, painting, or exhibition—is something to appreciate, there’s really nothing quite like the experience of being at the easel, creating. It’s the process—the act of creation itself—that I enjoy most.

The War in Heaven is available from all major book retailers, and more information is available on Mano Sotelo’s website.