Hard to believe, but a few people are taking issue with the word “Komikero” being used to describe comic book artists. I’d like to talk a little about it.
First, a little history.
Back in 2002, I was thinking of buying my own domain name. I didn’t want something like “gerryalanguilan.com” because it’s too long and a little too hard to remember (or spell). I wanted a name that describes me as a comic book guy. Of course, I knew “komikero” meant comedian. But I thought, what the hell. I’ll appropriate the word to mean comic book artist. And so I bought “Komikero.com” and used that as my website. It’s short, concise and easy to remember.
Over the years I noticed other people starting to use the word “komikero” to mean comic book artist. I thought that was awesome. Today it’s pretty much all over the place.
Of course, some people would take issue with it, insisting that “komikero” meant comedian and not comic book artist.
But think about this: What other term is used to mean “comedian”? Don’t they call comedians “comics”? Just look online. Here’s the definition of “comic”:
a comedian, especially a professional one.
“a stand-up comic”
synonyms: comedian, comedienne, funny man/woman, humorist, wit; More
synonyms: comic strip, cartoon, comic book; informalfunny
“the paper no longer runs his favorite Sunday comic”
If in the English language “comics” can mean both comedian and comic book artist, why can’t it be the same for the Filipino language? Why can’t “Komikero” mean both comedians and comic book artists?
I REST MY CASE!
It’s been a very difficult couple of months for me, physically. I caught pneumonia late last month and as I recounted in my last blog entry, it was truly horrible. After I wrote that blog entry I thought it was all over, but much to my dismay, it took far longer to recover than I realized. It became so bad it affected my schedule for inking Axis. Although I still inked more than half of issue #8, I have to thank Jason Paz for stepping in to help, and specially to Leinil Yu, who has been very understanding of my situation and gave me as much room as he could. Leinil tells me that we won’t be working on anything new until January so that comes as a huge relief for me because I truly need the break.
I wasn’t feeling so good the day before Komikon that I seriously considered not going and just let Ilyn and Zara take care of the table. I was still furiously working on Axis at the time and there were still a couple of pages to do. I decided to go anyway because my printer ink ran out and I had to get some from Manila. It turned out to be an incredible Komikon.
My doctor has advised me not to go to crowded places and if I did, I needed to wear a face mask. I didn’t wear a face mask, at least for most of Komikon. I just decided not to shake hands with anybody and just stay at my table and not wander around. I hope I didn’t offend anybody by doing so. It just couldn’t be avoided. I asked my friend Danry Ocampo to wander around for me instead and buy me comics. There were a few new potentially good titles that came out that day that I just had to get. So thanks Danry! I haven’t gotten a chance to read anything much yet except for Manix Abrera’s “14” which was fun and interesting. Oh yeah, JP Palabon’s “Pera” was also hysterical.
My childhood friend Dan Yatco came to Komikon to visit me (dude on the left at the photo above). We’ve been friends since Grade 6 (Grade 7 for him because I’m accelerated hehe). We were also friends and classmates in High School and then again in college. It was me who actually convinced him to take up Architecture because I couldn’t bear to go to a new university by myself. I don’t think he’s particularly interested in comics, but he reads them and goes to these events because of me and that’s really touching. Sometimes there are friends you make for life.
Now I feel much better and I probably will be able to do some bit of work. There is another thing I have to do for Graphic Classics that has also been delayed because of my illness. I can probably start doing that again soon. I’ll most likely take it easy and ease myself in, maybe just a few hours at a time in a day.
The last two weeks were just horrible. It started out as a cough that just won’t go away. I couldn’t sleep for all the coughing. And then I got fever. And colds. And the coughing got so bad that it started to disturb me in a way it had never done before. I had my x-rays taken and went to the hospital. It turns out I had pneumonia. Holy shit. I guess that explained it. I was flat on my back for two weeks on antibiotics, nebulizing three times a day. Today I’m feeling much better, but I felt terrible that I never had the chance to work at all the last two weeks. I suppose I needed the rest, but no I have to really catch up. I have lots of work to do. That’s what I’m thinking now. I’m voice is still rough from all the coughing torture I went through, but it’s recovering too.
I was told that pneumonia could kill. And it was really frightening knowing that a week ago while I was in the thick of it. There were moments when I swear I started considering giving all Ilyn all of my passwords. You can guess what that means. I’m glad that moment passed. It’s still too early for me. So much stuff yet to do.
Rodski Patotski: Ang Dalagang Baby
Written by Gerry Alanguilan
Line Art and Colors by Arnold Arre
Title Design by Cynthia Bauzon-Arre
Published by Komikero Publishing
Rodski Patotski: Ang Dalagang Baby is available at the following outlets:
Comic Odyssey (Robinson’s Galleria, Greenhills, Bonifacio High Street, ATC)
Mt. Cloud Bookshop, Baguio
Comic Odyssey Online at this link
You can also buy it from me directly. Email me at gerryalanguilan at gmail dot com
You can also buy it from me directly at conventions. The next one is KOMIKON on November 15, 2014 at the Bayanihan Center in Pasig. Information about that event here.
Komikon 2014 Facebook Event Page here.
If you are a retailer and you wish to carry Rodski Patotski, please do get in touch with me at my email: gerryalanguilan at gmail dot com
This is a followup to my previous article, “Creating Your Own Characters is Creating Your Own Future“. It turns out there’s much more to say about the matter based on a few things I’ve read online.
It’s well and good to create your own characters, but great care must be given when looking for a publisher. There are still plenty of “old world” beliefs in the world of Philippine publishing including the belief that the publisher owns whatever you create.
For many decades creators simply were not aware that they were entitled to such ownership, considering what they do simply as a “job”. They write, they draw, the draw a paycheck and that’s it. A few creators probably don’t even think about it. They’re happy enough to have a paying job. And I think that’s perfectly all right. People didn’t know they were entitled to so much more for such a long time.
Now in 2014 though (and for many years now), creators can demand the right to own the stories and characters they create. And I think it’s really up to them to demand such things from their publishers. You can consider this a job if you want, but if you want a legacy, you have to demand it. I understand that you might not want to ruffle feathers, you just want things to go on as they are, but if you want something more for yourself, buckle up, ride the storm, and grab what’s rightfully yours.
For my entire career I’ve always avoided working for publishers who demand ownership of my creations, even if they say they simply own only 50%. I always refused. I own my work, 100%. In my view, the publisher only has the right to exclusively publish and distribute your work. All other rights belong to you. This includes movie and tv rights and other adaptations to other media.
There are publishers out there who are willing to accept such terms, but there are others who won’t. More often than not, I end up publishing my own work because that’s one of the ways I can ensure that I have complete control over what goes on with my creations.
And if you ever do find the right publisher for you, make sure you scrutinize your contract very well. It might help to consult a lawyer to help you understand completely what’s being offered.
Just make sure that the publisher only holds publishing and distribution rights. Other media adaptation rights belong to you. Make sure that you ask for a time limit to how long the publisher has your work. Three years, six years… whatever works best for you. Just make sure it’s in there.
Also pay attention to what’s written down with regards to their commitment to promote your work. Do they schedule signings, panels, and invite you to join conventions, festivals, etc? Promotion is one of the things that the publisher needs to commit to. You can help by doing promotions yourself. Every little bit counts.
And lastly, the contract works both ways. If they do their part, you also need to make sure you uphold your commitment to the terms of your contract. I think that’s only right and fair.
Whenever I attend a local comic book convention like KOMIKON, I feel so excited because I see so many young (and maybe not so young) people creating their own comics, using their own characters. The amazing variety of creativity is sometimes just breathtaking. Me and a bunch of guys back in the early 90s who began creating our own comics have no idea that this thing will be much much bigger today, 20 years later.
In this time, I’ve created lots of different characters like Eric from Wasted, Johnny Balbona, Humanis Rex, Timawa, the Elmer Gallo family, and Rodski Patotski. I plan on creating so much more.
Of course, there is the option to create new stories for classic characters, and I have done so previously with Lastikman and the little Darna story that Arnold Arre and I created. Working on Mars Ravelo’s characters was so much fun and also thrilling knowing that you are working on such iconic characters with so much history.
A lot of people hope that Arnold and I continue the work we did on Darna Lives! We actually have the option to do it if we wanted to. But I want to say right here that I was the one who decided that I didn’t want to. What Arnold and I did was simply to show the potential of what can be done with a Darna story. Hopefully, it would give future Darna writers ideas on how to do things differently, how to perceive and develop the character from a different and fresh perspective.
I wanted to create my own characters. I wanted to create my own Darna. When I work on characters by other people, I ensure the future of not only that character, but that character’s copyright owners. I get a one time paycheck and that’s it. Nothing more. I want to ensure MY future by creating characters that would act as my legacy, that would hopefully be something I can benefit from in the future. Characters I create become a personal creative investment. If a movie of ELMER or any of my works would be made in the future, it would be me who would benefit from it. If one day I can no longer work, they would be taking care of me. At least, that’s the plan.
I admit I do still continue to work on other people’s characters at Marvel and DC. That of course, is what I would consider my day job. I love doing it so it’s more than simply a day job, but with the money I earn from it, and the free time I have outside of it, I would create my own characters and comics.
My mom passed away on May 28, 2014. I made a note of it in the panel of this Avengers page I was inking at the time. I wrote the date and the time of her passing.
She had been feeling somewhat sick for a week, but we all thought it was just one of those things she experienced from time to time. We believed she would eventually get better, and that she would eventually go back to her gardening and things would be OK.
She went for a check up on the morning of that day and her lab results showed she was low on hemoglobin. Her doctor, who also happens to be my doctor, recommended she be admitted so she can have a transfusion. She was in the middle of the transfusion when she suddenly had a cardiac arrest. It was 9:15pm. My dad was there, but I was at home.
Ilyn and I rushed to the hospital to see my mom being given CPR as she was being wheeled to the ICU. Dad was standing there, shell shocked, not knowing what to do. He felt as helpless as I did. We were called up to the ICU where the doctor greeted us. He told us mom was gone. Just like that.
I’m trying to remember what I felt at that moment. I felt, I don’t know, blank? Like I was speechless in my mind. The doctor was talking but all I heard were words. My mind was somewhere else. I sat down. My dad seemed to be in denial. He was talking about other things, trying not to get to grips with what just happened. I tried to convince myself I was dreaming, that I needed to wake up. I wanted to wake up. I asked Ilyn if I was dreaming, and she said that I wasn’t.
I didn’t cry then. That came later on the car on the way to the funeral home to pick a casket. I just let go. I had to let it go. I knew I couldn’t keep it inside. I worried for my dad who still seemed to be denying it to himself. I wanted to see him cry, I wanted to see him let go because then I knew he was starting to really deal with it. He eventually did. As I did.
My mom was a very strong character. We frequently butted heads all throughout my life, but it was nothing acrimonious or long lasting. We disagreed on a lot of things. She wanted me to be an Architect. She frequently meddled in my love life. She would often burst into my room and pick at things. But she was ultimately supportive of my choices, as much as she grieved over some of the decisions I made in life.
She didn’t want me to be an artist at first. And it was the source of a lot of our contention. I stuck to what I wanted, and I eventually won her over when I started to make money from my art and my comics. I guess that’s what she always wanted. For me to be able to support myself. I only had to prove I could do it, no matter what I did.
I knew my mom was proud of me and my accomplishments. And I’m so happy she got to see the things I’ve done with my little comics. I can’t forget how happy she was when my Elmer won those awards and how it allowed me to travel the world. I can’t forget how happy she was during the Supercrooks signing with Mark Millar.
And when Rodski Patotski: Ang Dalagang Baby came out, it made me so happy that my mom sat down to read the entire book non stop in one sitting and she told me that she liked it.
I wish I could have said goodbye. I wish I could have said that I loved her one last time.
I couldn’t talk about this online when it happened. I didn’t want to post about it on Facebook or on Twitter. I don’t know. I just didn’t want to. But I did let close friends know and that was enough for me. I’m so thankful for those who sent me messages and to those who came and visited and be with us during that difficult time. I’m not the friendliest person around, but I’m grateful to the friends that I do have.
To clarify some misinformation being spread about Francisco V. Coching and his qualifications for being National Artist specially through the column of Nestor Torre, contending that:
“And there are those who oppose Francisco Coching’s selection for visual arts, because they regard him as more of an illustrator than a creative artist.”
I wish to inform these obviously misinformed people (or rather prejudiced elitists?) that Coching was more than just an illustrator. He has in fact, written all of the stories he has illustrated. He was a true auteur who was in full control of every aspect of his stories, presenting a full and unfettered vision of just one man.
More than that, all but a couple of the more than 50 komiks serials he WROTE and ILLUSTRATED were adapted into motion pictures.
Below are screenshots of only a handful of motion pictures based on Coching’s work:
For the better part of a few decades, Coching was one of those movers and shakers of popular Philippine culture. Not only did he helped direct it, he also helped express and immortalize it.
Beyond that, Coching was also one of the most influential artists whose work has inspired most artists who came after him including many of the greats this country has produced: Nestor Redondo, Alfredo Alcala, Alex Niño right down through the generations right down to me, and probably even beyond.
Coching was merely an illustrator? You must simply be out of your mind.
Francisco V. Coching has finally been declared a National Artist via Proclamation 808.
BY THE PRESIDENT OF THE PHILIPPINES
PROCLAMATION N0. 808
DECLARING FRANCISCO V. COCHING (POSTHUMOUS) AS NATIONAL ARTIST FOR VISUAL ARTS
WHEREAS, the 1987 Constitution of the Republic of the Philippines provides for patronage of arts and letters by the State;
WHEREAS, the Order of National Artists Award was established under Proclamation No. 1001 (s. 1972) to give appropriate recognition and prestige to Filipinos who have distinguished themselves and made outstanding contributions to Philippine arts and letters;
WHEREAS, the Order of National Artists Award is jointly administered by the National Commission for Culture and the Arts and the Cultural Center of the Philippines, acting as the Order of National Artists Award Secretariat, by virtue of Proclamation No. 1144 (s. 1973) and Republic Act No. 7356 or the “Law Creating the National Commission for Culture and the Arts”; and
WHEREAS, the works and achievements of Francisco V. Coching has left a lasting influence on the succeeding generations of younger cartoonists and his comics as popular art has helped forge the practice and consciousness of Filipino as a national language.
NOW, THEREFORE, I, BENIGNO S. AQUINO III, President of the Philippines, by virtue of the powers vested in me by the Constitution and existing laws, upon the joint recommendation of the Cultural Center of the Philippines and the National Commission for Culture and the Arts, do hereby declare Francisco V. Coching as National Artist, with the privileges and emoluments attached thereto.
IN WITNESS WHEREOF, I have hereunto set my hand and caused the seal of the Republic of the Philippines to be affixed.
DONE in the City of Manila, this 20th day of June, Two Thousand and Fourteen.
(Sgd.) BENIGNO S. AQUINO III
By the President:
(Sgd.) PAQUITO N. OCHOA JR.
To be honest, I can hardly believe it. I previously wrote a pessimistic post about Coching and his chances of becoming a National Artist in this blog post. I’m very very glad to have been proven wrong, and I’m very happy to realize that the Philippine government, as well as the NCCA respects komiks enough (at least in this case) to have made this possible.
This is kind of a big deal because finally, not only did Coching receive this distinction, but it also elevated Philippine komiks as something to be respected and celebrated. That komiks is truly a part of, and an important part of Philippine culture.
Congratulations to the Coching Family, congratulations to the Filipino people, at Mabuhay ang Pinoy Komiks!
Jessica Zafra is an acquaintance of mine for many years now. Today I was kind of shocked to hear of the news of her hospitalization and the call to friends to help her out because, as the article pointed out, “As is the case with almost all artists who work freelance, Jessica does not have health insurance.”
If you want to help out, you can donate. Check out this Facebook post on how to do exactly that.
I wish Jessica all the best and I hope she gets better soon.
She belongs to my generation of writers and artists, and our generation is slowly edging towards that age where we become susceptible to all kinds of illnesses. It’s inevitable. Our body does fail over time. We can take care of it by eating right and exercising, but we can really only do so much. One day, all of us will get sick.
That said, I do feel I have to say something about freelancers and health insurance. And the seeming acceptance that those two terms cannot exist in the same universe.
As a freelancer, YOU CAN have health insurance. You just have to do it voluntarily. And it doesn’t really cost all that much.
Here in the Philippines we have the state backed PHILHEALTH. I know, Filipinos have a general distrust of government, specially when it comes to trusting them with our hard earned money. It is corrupt and money does go to the pockets of corrupt politicians. But believe me, despite glitches here and there, PHILHEALTH is one of those government things that actually work well in the country. I’m not just saying it. It’s based on personal experience. I know there’s a bit of problem with Philhealth right now, but I’m confident it’s nothing that can’t be resolved.
I’ve had Philhealth since 2003. I was paying P300 quarterly, which is only P1200 a year. Today you pay P600 quarterly, which is P2400 year. If you start now, you can start benefiting from it nine months from now. If you are ever hospitalized, Philhealth will take care of a significant amount of that.
For example. Back in 2011, I was hospitalized. I ran a hospital bill for P90,000.00. Philhealth took care of P40,000. That’s a TON of help. I mean, where the heck can you get P40,000 just like that?
It can be daunting at first because of all the paperwork, but I tell you guys it’s all worth it.
If you feel you’re more comfortable with private insurance firms, then by all means! But to be honest, I trust them less than I do government. And yes, that too is based on personal experience. But in any case, at least get some form of insurance. Your future self will be thanking you one day.
Back in the 80’s I spent almost an entire day going from Greenhills to Makati and finally to Cubao just look look for a copy of Marvel Team Up #150 with a cover by Barry Windsor Smith. It was a long, hard day, full of frustration, sweat and spent money. I finally found a copy of it at National Book Store in Ali Mall. It felt like a victory. It felt like triumph. All the hardship that went into it was worth it.
Today it’s so easy to get a copy, specially if you’re into digital. You just punch a few buttons from the comfort of your air conditioned room and within a minute, you have a copy in your iPad.
If you want a hard copy, you can just just punch in a few buttons at Mile High Comics from the comfort of your air conditioned bedroom and within a few days the copy is at your doorstep.
The younger generation is deprived of the thrill of the hunt, and the euphoria of finding it. And I feel bad for them because it’s an experience that’s not only fun, it also builds strength of character. If you work hard for something you want, the rewards, and the experience you get from it have much more value.
It’s too late to go back to how it was in the 80s of course. It would be idiotic of anyone to assume that’s what I want.
But this generation has to find other ways, alternate ways of making you work hard for what you want. They need to have that experience. This age of convenience has has made it possible to have a soft and entitled generation. A generation who always had it easy. A generation who never had to work hard for anything. A generation who believes that’s how things are and that they’re entitled to it. The danger of this for future generations is something I cannot even imagine.
Because PLDT has been screwy for the past couple of weeks, specially after that crazy April 28 thunderstorm, my Internet has been mostly down. I had wanted to update this blog earlier, but it was just not possible. We’ve been pretty insistent on calling repair early on and PLDT has visited us twice to check things, but this seems to be a problem that they have extreme difficulty solving.
Well, whatever. As long as this interruption of service reflects on our phone bill, I won’t freak out too much. I did freak out early on, but I just got tired of it.
It was Free Comic Book Day last May 3. I never got a chance to talk about it. It’s a special FCBD for me because I was this year’s editor of Comic Odyssey’s free comic book giveaway. I had proposed to have it magazine sized with interviews and comics.
Awesome cover by Elbert Or, right? :)
I was able to bring on board guys like Whilce Portacio, Jay Anacleto, Leinil Yu, and Mark Torres to contribute pinups. But a lot of the actual work was by my team of Andrew Villar and Jon Zamar, who did the nitty gritty of putting together the comics and layout the entire thing. I came up with the interview articles.
I do this because I’ve pretty much committed to FCBD with Comic Odyssey in perpetuity several years ago. It’s when I give back to the best comic book store and comic book shop owner I’ve had the pleasure to visit and meet. Sandy Sansolis of Comic Odyssey is so passionate about comics and sharing comics that I want him to be successful in his business. The more successful he is, the better it is for us comic book fans here in the Philippines.
I think I’m still feeling a little dazed from Summer Komikon. It was probably the most physically stressful time I’ve had at a Komikon. My allergies were pretty bad that it’s embarrassing, specially since I had to talk to people a lot and do a couple of interviews. My bad knee also didn’t spare me and I had to walk around with a cane. People started calling me “Don Gerardo”. I hope it doesn’t catch on. I think I will be using that cane more often from this time on. It’s also embarrassing that I forgot the names of a couple of people who were, at some point, closely acquainted with me. I feel really bad about it.
Bad vibes out of the way, it was also one of the most spiritually rewarding Komikons I’ve been to because we launched “Rodski Patotski: Ang Dalagang Baby” and we sold a lot of copies. At a rough estimate, we sold around 300 copies, plus 100 copies of Wasted. The early feedback has been overwhelmingly positive. It feels just great knowing Rodski came alive in the minds of people. That’s what I really take away from this. That things I create find a life of its own outside of me.
Rick Olivares reviews Rodski for the Philippine Star. Thanks Rick!
Bad knee notwithstanding, I did try and manage to snaggle up a few things from other creators, a few of which was given to me (thanks very much!) The output this year has been very impressive. The quality of writing and art, and the quality of formats just keep increasing with each passing year. Here are the stuff I got, which is only a fraction of what was available at the event.
I post comments on titles I’ve already read (or are currently reading).
I’ve only read like 15 pages of this so far and I’m really liking it. Jim’s art is very impressively detailed and the story by Jay is very easy to follow. Unlike a lot of the Black Ink titles available, this one seems like it’s complete in one book, which makes it a nice, compact package that can stand on its own.
“Best Philippine Komiks” is a pretty bold claim. Thankfully enough, with names like Manix Abrera, Budjette Tan, Kajo Baldisimo, Bong Redila, Emiliana Kampilan, Paolo Fabregas, Elbert Or etc contributing to this book, it more than lives up to it. This collection is definitely some of the truly best Komiks to come out of the Philippines in 2014. I haven’t read it through and through, but the variety in this book makes it a perfect cross section of the best the Philippines has to offer.
Not strictly a comic book but a joke book with artwork that accompanies each joke. It sports a really nice Bong Redila artwork on the cover (Bong is fast becoming one of the most excellent Filipino cartoonists around), plus other art by guys like Macoy, Freely Abrigo, Randy Valiente and Mel Casipit himself on most of it. It’s actually very funny.
JP continues to offer some seriously uncomfortably funny stories, plus a character that will probably sear into your memory and haunt you in your dreams. I’m still going “OMG” whenever I see a visual image of it.
This is a very surprising comic book because it’s so different from anything else other local creators are currently doing, and it’s a huge departure from Aaron’s previous work, Gwapoman. This universe seems well thought out and very complex. Presented in full color, this is a very ambitious piece of work that’s a pleasant surprise to witness in local comics. I knew early on Aaron had the potential to be one of the big talents in the future of Philippine comics, and with this comic book he starts to fulfill that potential.
It’s also worth noting that the last two titles presented above have been printed and in full color. Local comics is definitely leveling up.
Public Facebook Summer Komikon 2014 Photo Gallery by Jonas Diego.
Thanks and congrats again to the organizers of KOMIKON. Inspite of the bad traffic, inspite of many Manila residents have already left for the provinces for Holy Week, I think this year’s Summer Komikon still pulled off a decent sized crowd. The event itself seemed to have proceeded without any visible problems. Security has been vastly improved. Great job all around!
It’s 4:22am as I write this. The Wasted Box sets are not yet done, but they will be at some point in the day. Rodski books are all set downstairs. We’ll be bringing 600 of those, 100 will go to Comic Odyssey for them to sell at their stores. I know 500 copies is optimistic, but that’s how I prefer to be, just in case! I’ll also be bringing 150 more copies of Wasted, along with a bunch of original artwork for sale.
I slept at around 10:30pm and woke up at around 1:30am. I’ve been drawing the Wasted sketches for the box sets as well as doing the letters. I printed out the list of Rodski pre-buyers as well as the Komikon ingress form. I’m still trying to think of what I may have forgotten… I’m sure I’ll forget something.
I still have to do a Wasted commission I’ve owed to someone since November. I still have to price more original artworks, cut the certificates of authenticity for the box sets, look for the reserved copies of Batch 72, and maybe a blog entry. Oh yeah, here it is.
All of a sudden, I’m nervous. I have absolutely no idea what kind of reaction “Rodski Patotski: Ang Dalagang Baby” is going to get at this Summer Komikon on Saturday, TWO DAYS FROM NOW! I’ve always said I have strived to satisfy myself first and foremost, and if I was able to do that (satisfy myself), then I’m sure it will find satisfied readers as well.
But Rodski is a huge, HUGE risk. It’s the first full color book I am self publishing. At 2000 copies on it’s first printing, the cost of printing it was extraordinarily high. I could have bought a new car with that kind of money. Thank goodness the printer allowed me a deal that would make paying it much more easier. Would I break even? Would I make enough money to actually pay Arnold? Would it make enough money to pay off all my other debts?
I’m relatively confident that we will sell all of that eventually and if we do, I’ll be able to fulfill a lot of my financial obligations. I’m confident because it’s Arnold who’s drawing it, and he’s done a spectacular job. I think people will see that.
The book arrives here at the house tomorrow, and I’m very excited to see it.
While Rodski is a huge risk, I think RIZAL would be a much higher one. But that’s a story for another year. I’m already psyching myself up for that one!
Right now, Ilyn and I are busy putting together batch 2 of the Wasted Box Sets. Ilyn more than me because I also have an inking job to think about. So I’m inking, and doing the hand written letters and Eric sketches. Sara is helping out with the reproduction of the photographs and Wasted extras booklet.
Browsing Facebook I see a lot of other comics folk burning the midnight oil trying to finish their own books. It’s amazing to see such creativity and drive over something that’s driven by the love of something. So much new Philippine comic books coming out this Saturday. It’s truly a great time for Philippine comics. I’m so glad to be part of it.