Okay. I'm generally caught up, and have a little time before going to bed.
First, I haven't met any tattoo artists who are also comic book artists. And, just because you're a tattoo artist doesn't mean that you're good. There are a lot of people that Marvel/DC pays for art that many would not find good. Rob Liefeld. 'Nuff said.
I didn't look at the layouts. I had no reason to, because the script was going to change. Not only was the script going to change, but so was the layout because of the artist. Go give that to a strong artist who knows what they're doing, and they'll say thanks, and probably look at it curiously before doing what the script and their instincts tell them to. Like I said, it's a waste of time to give to someone.
The captions didn't need to be torn down. They just needed to be continuous. They're not. Stopping and starting doesn't help you one bit. If you're going to tell the story, tell it. Don't do it in fits and starts. It ends up being choppy and unenjoyable (and choppy isn't what you're going for).
I will never call 9 panels too much, depending on what's going on. As you can see, I never called you on padding the panel count on the page, although I could have. If you're doing nine panels on a page, that's fine as long as each panel says something. You could have 30 panels on a page, and I wouldn't raise an eyebrow if each panel was necessary. So feeling like you needed to put them down visually for me as an editor again tells me that you think I don't know how to do my job.
It may not be what you intend, but that's what you're saying. If they're for you, that's fine. Keep it to yourself.
As for making something salable versus effective and meaningful...two things.
First, if you're going to go through the trouble of making a comic, you're making it to be read. Unless you're going to go through the hassle and expense just to give it away, you're going to sell it, hoping to at least break even. So, even if you want something to be effective and meaningful, you also want to be able to sell it. Having someone buy your work is the biggest vindication a creator has.
Second, you just agreed with everything I and others wrote, which tells me you agree that there was little here that was effective, let alone meaningful.
If you want to be effective and meaningful, then I suggest more writing on your part. Learn the constraints of the medium. Work with different artists and learn to write to their strengths. If you treat it as a hobby, as something you're only semi-interested in, you're going to write like you're only semi-interested in it, and lackluster will beat effective and meaningful every time.
If you want to be effective and meaningful, then you have to write a story that is. This isn't.
And finally, being interesting is never a moot point when you're writing. If you're telling a story, you want someone to stay to finish it. If you're trying to get someone to pick up the tab with the creation, you have no choice but to be interesting to the editor, whose job is to not only tell if the story is salable, but if it is commercial enough to warrant the expense. If you're self-publishing, you're trying to interest someone into buying it. If you go back and read Lee Nordling's articles on pitching, he says to know which part of the sandbox you're trying to play in. That's not only for pitching, that's for self-publishing, as well.
Yes, you create, but you also want to be seen and heard. Just because you made it doesn't automatically mean it's worthwhile. Just because you built it does not automatically mean they will come. Yes, interesting means different things to different people. However, you can still be interesting and be technically proficient. The two are not mutually exclusive.
Know what you're doing first, and then the other things will start to sort themselves.