I don't think I've ever had the opportunity to get into a deep, subtextual and referential discussion about the work. Frankly, I think it could very well be an exercise in futility and frustration, as I've long felt that this is the densest, most literate thing he's ever written, along with being his most creative and experimental.
It's interesting that as he gets older, his work becomes more streamlined, less referential. It's less conceptually crowded, relying more on universal themes and imagery, both in his mainstream and company owned work. Not to say it's getting stupider - though I'd argue that compared to what he was doing in Doom Patrol it's much less creative - but he's really gotten rid of the obvious literacy, the esoteric references, the wide ranging and erudite driving force.