Question: In the painting of The Creation of Adam, what does God look like?
About the article "The Creation of Adam", section "Composition".

Candidate passages:
The film is a "spoof of the creation of life".
Adam is a man who is created by the Hand of God and is put on this lonely planet.
He does silly acts and does all sorts of strange things.
When God realizes that Adam is lonely, he makes Adam a friend.
Adam, expecting it to be a woman, gets himself ready as if for a date only to find out his new friend is a penguin. 
The Creation of Adam is a fresco painting by Michelangelo, forming part of the Sistine Chapel ceiling, painted circa 1511–1512.
It illustrates the Biblical creation narrative from the Book of Genesis in which God breathes life into Adam, the first man.
The fresco is part of a complex iconographic scheme and is chronologically the fourth in the series of panels depicting episodes from Genesis.
It is the most well-known of the Sistine Chapel fresco panels, and its fame as a piece of art is rivaled only by the "Mona Lisa" by Leonardo da Vinci.
The image of the near-touching hands of God and Adam has become iconic of humanity and has been reproduced in countless imitations and parodies.
Leonardo da Vinci's "Last Supper" and Michelangelo's "Creation of Adam" are the most replicated religious paintings of all time. 
Milton first presents Adam and Eve in Book IV with impartiality.
The relationship between Adam and Eve is one of "mutual dependence, not a relation of domination or hierarchy."
While the author does place Adam above Eve in regard to his intellectual knowledge, and in turn his relation to God, he also grants Eve the benefit of knowledge through experience.
Hermine Van Nuis clarifies that although there is a sense of stringency associated with the specified roles of the male and the female, each unreservedly accepts the designated role because it is viewed as an asset.
Instead of believing that these roles are forced upon them, each uses the obligatory requirement as a strength in their relationship with each other.
These minor discrepancies reveal the author’s view on the importance of mutuality between a husband and a wife.
When examining the relationship between Adam and Eve, critics tend to accept an either Adam- or Eve-centered view in terms of hierarchy and importance to God.
David Mikics argues, by contrast, these positions "overstate the independence of the characters' stances, and therefore miss the way in which Adam and Eve are entwined with each other".
Milton's true vision reflects one where the husband and wife (in this instance, Adam and Eve) depend on each other and only through each other’s differences are able to thrive.
Although Milton does not directly mention divorce, critics posit theories on Milton's view of divorce based on inferences found within the poem, and, of course, the tracts on divorce Milton wrote earlier in his life.
Other works by Milton suggest he viewed marriage as an entity separate from the church.
Discussing "Paradise Lost", Biberman entertains the idea that "marriage is a contract made by both the man and the woman".
Based on this inference, Milton would believe that both man and woman would have equal access to divorce, as they do to marriage.
Feminist critics of "Paradise Lost" suggest that Eve is forbidden the knowledge of her own identity.
Moments after her creation, before Eve is led to Adam, she becomes enraptured by an image reflected in the water (her own, unbeknownst to Eve).
God urges Eve to look away from her own image, her beauty, which is also the object of Adam’s desire.
Adam delights in both her beauty and submissive charms, yet Eve may never be permitted to gaze upon her individual form.
Critic Julia M. Walker argues that because Eve “neither recognises nor names herself ... she can know herself only in relation to Adam.” “Eve’s sense of self becomes important in its absence ... is never allowed to know what she is supposed to see.” Eve therefore knows not what she is, only what she is not: male.
Starting in Book IV, Eve learns that Adam, the male form, is superior and “How beauty is excelled by manly grace/ And wisdom which alone is truly fair.” Led by his gentle hand, she yields, a woman without individual purpose, destined to fall by “free will.” 
Adam Hargreaves (born 1964 in Surrey) is an English author and illustrator living in East Sussex.
The son of Roger Hargreaves, he continues his father's popular "Mr. Men" series of children's books.
Hargreaves also served as inspiration for the series.
When at the age of six he asked his father "What does a tickle look like?
", Roger used that question to create the first book, Mr. Tickle. 
The missing depth is not the only factor that the critics deplore.
An important feature of Michelangelo's work which, in many places, has disappeared forever is the painting of the eyeballs.
Eyes appear in many instances to have been painted "buon fresco".
Wherever they have not been painted buon fresco but added "a secco", they have been removed by the restorers.
They are an essential part of the most impressive and famous of the frescoes, the "Creation of Adam".
Adam gazes at God.
God looks directly at Adam.
And under God's protective arm, Eve turns her eyes sideways in a look of admiration for her husband-to-be.
Again and again, Michelangelo painted telling gazes into the faces of his characters.
The eye sockets of the family in the Zorobabel lunette are empty as are the eyes of the man in the Aminadab lunette, but the removal that has caused the most distress to the critics are the eyes of the little figure in green and white who once looked out of the gloom above the lunette of Jesse.
Arguimbau says:Richard Serrin, in an essay entitled "Lies and Misdemeanors, Gianluigi Colalucci's Sistine Chapel Revisted" says: