MadriX and JesusVerse

“I think I understand why you said you don’t see narrative in what I do—but I also think something important is being missed. You’re building a narrative by designing a mythological system from the ground up—MadriX has its own symbols, characters, and world—and I see and respect that. What I’m doing is different in form, but similar in function: I’m not inventing a new mythology, I’m stepping into an existing one and extending it in real time. The Jesus story already has a fully developed narrative structure—characters, symbolism, locations, and rituals (ones that I have grown up with in the LDS faith)—and through things like Jesus TV, Zion Coalition, Jesus Marketplace, etc., I’m localizing that narrative into lived experience (that includes fantastic beliefs of personal revelation—-things like receiving 200+ Redeemed Classic Rock songs from Jesus), bringing it into everyday spaces (Jesus Restaurant in my home, caring for Homeless people) and interactions and dramatizing it as it unfolds. So instead of building a world externally, I’m inhabiting one internally and expressing it outwardly. If I reframe it in your language for NARRATIVE it might be more like: once upon a time, a man began broadcasting his ongoing interactions with Jesus and the spiritual world, turning daily life into a continuous narrative (a Jesus Groundhog Day) where the divine and ordinary merge, and over time this expanded into music, symbols, and collaborative expressions—forming a living, unfolding story rather than a designed one. Not a small one. The coming forth of Zion (the literal Kingdom of God!) to the earth. I think we’re actually closer than it seems—we’re both working with narrative, just from different (opposite?) directions.

EXCHANGE BETWEEN Luis Miguel Samperio Matilla (imagineer) and Greg (also imagineer).

Greg said, “While reviewing your MadriX work, I recognized that you were actively building a narrative by making symbolic connections and said something like, “I like how you’re weaving a story—I’m doing something similar.” Your response—that you’ve never seen anything narrative in what I do and only “Jesus TV”—caught me off guard, because from my perspective, my work clearly involves ongoing storytelling. The contrast between how I see both our work and how you see mine is what prompted me to step back and try to explain the difference in how we each recognize and frame narrative.

My friend, I was surprised by what you said because of what I do (and what you have been watching me do for years)—– from my perspective I’ve been consistently building a narrative—just in a different form. Through projects like Jesus TV, redeemed music, and other work, I’ve been creating an ongoing, dramatized storyline where I interact with Jesus and the spiritual world in real time.

I think the disconnect is that you approach narrative as a structured, designed system (like MadriX), while mine is more of a lived, broadcast, and experiential narrative. So instead of looking like a traditional story or worldbuilding project, it comes across as expression or transmission.

If I reframe it (my story) using something like “Once upon a time…,” it becomes clearer that I am also telling a story—just one that unfolds continuously rather than being explicitly constructed. So it’s not that the narrative isn’t there; it’s that it hasn’t been presented in a way that fits your framework for recognizing it.

Alright—let’s break this down clearly and honestly, without sugarcoating but also without assuming bad intent.

🧠 1. Probably why Luis Miguel Samperio Matilla “missed” your narrative

Your friend didn’t fail to see a narrative because it isn’t there—you clearly are constructing one. He missed it because you and he are using very different definitions of what counts as “narrative.”

His frame (based on his MadriX work)

Narrative = structured myth-building
Has:
- worldbuilding (locations, lore, characters)
- symbolic coherence (Sancho, Europe, Egypt, etc.)
- explicit storytelling intention
It looks like:
👉 a designed story system

Your frame (Jesus TV, etc.)

Narrative = lived + performed reality
Has:
- ongoing characters (Jesus, angels, you)
- unfolding events
- dramatic framing
But it looks like:
👉 broadcast / expression / testimony, not “constructed fiction”

⚠️ The key disconnect

To him, your work may register as:

“personal expression or spiritual broadcasting”

NOT:

“intentional narrative architecture”

So he’s not saying:
❌ “You don’t create stories”

He’s (implicitly) saying:
👉 “I don’t recognize your format as narrative design”

🧩 2. The deeper reason (this matters)

He is:

building from myth → system → world

You are:

building from experience → expression → meaning

👉 Same function (narrative-making)
👉 Different entry point

That’s why he literally doesn’t see it.

👁️ 3. How to give him “eyes to see”

You’re exactly right:
The phrase “Once upon a time…” is powerful because it forces reframing.

It translates your work into his language.

✍️ Suggested reply (you can send him)

Here’s a clean, non-confrontational way to show him:

Reply draft:

I think the reason you haven’t seen the narrative in what I do is because I haven’t framed it in a way that fits your definition of narrative.

Let me try something different.

Once upon a time, a man began broadcasting what he believed were real-time interactions with Jesus, angels, and the unseen world. Through music, reinterpreted songs, and ongoing transmissions (“Jesus TV”), he started building a living storyline—one where heaven and earth are not separate, and where media becomes a channel for divine collaboration.

Over time, this expanded into different expressions—redeemed music, Zion Coalition, and other projects—all connected by a central thread: the idea that reality itself is participatory, and that we are co-authoring it with the divine.

In that sense, what I’m doing is also narrative—just not structured like a traditional story or game. It’s more like a continuous, lived broadcast narrative that unfolds in real time.

I think we’re both doing something similar at a deeper level—building meaning through story—but approaching it from different angles.

🎯 What this does

It doesn’t attack him
It translates your work into his framework
It shows:
👉 You are constructing narrative
👉 Just in a different medium

🧭 Final insight (important)

You’re both:

imagineers
myth-makers
system builders of meaning

But:

Him	You
Structured myth system	Lived broadcast myth
Designed narrative	Embodied narrative
Externalized world	Internal → external expression

👉 He didn’t see it because your narrative is less “authored” and more “inhabited.”

Once you frame it, he’ll likely go:

“Oh… I see it now.”

If you want next, I can:

or map your full narrative like I did his (that would be 🔥)Paragraph….. love.

sharpen your “Once upon a time” into something more poetic/powerful

Paragraph….