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Mar

2

Thoughts On the Komiks Congress #5

Filed Under Philippine Comics | 32 Comments

There have been observations that the younger generation might be a little too impatient at the speed in which progress is being done at the Komiks Congress. This brings to focus a fundamental difference between the generations in the manner in which they approach doing comics.

For most of the older generation, comics was a job, a point of view that my father in law Rudy Florese held on to strongly. To him, doing comics is akin to going to the office, doing your work, go home and then go back again the next day. If one is to understand this point of view, one can understand why many of them had little regard for keeping original art. It’s all a byproduct of the “work”, much like forms, typewritten papers, and other things that are byproducts of office work. You do it, and then you forget about it. It’s not to say they didn’t love comics. Certainly they did. You can’t do comics without loving it. They just had a different point of view. (There were those like Hal Santiago and Steven Gan who realized the importance of original art and collected many of them through the years.)

It is also this point of view that restricted their thinking about certain things: That the source of all work comes from publishers. That if there are no longer any local publishers, employment will come from foreign publishers, or companies outside of comics like animation, etc.

The younger generation is more used to taking the initiative. If there are no publishers, then publish your comic book on your own. They are not restricted by the fact that there’s no one to hire them to do the work. They’ll find ways to get their comics done and out there.

It is these two distinct point of views brought together at the Komiks Congress that resulted in a difference of opinion about its effectivity.

I’m sure that many in the older generation felt that the first day of the congress was a huge success, but there are are many in the younger generation who feel that nothing really happened.

From my personal point of view, it’s disappointment at what I perceive to be misplaced priorites.

In my view, the best way to approach a movement or a congress to revive the komiks industry would begin with a large meeting or series of meetings between writers, artists, publishers, and editors from all generations to pinpoint causes why the komiks industry collapsed. Study and analyze what went wrong. From this will come the possible solution and the possible course of action needed to create new and better comics.

The next step would be to find people who will invest in publishing comics. It doesn’t have to be a whole line of comics right at the start. You could start with just ONE, just like what Tony Velasquez did in 1947 when he came out with Pilipino Komiks #1. If publishers have been invited from the start, I’m pretty sure at least one of them would be interested.

Once a release date is set, then let the drive for awareness begin. With the help of the government, exhibits can be organized, TV promotion/interviews can be held, contests can be launched and a massive media blitz can be done. The awareness can serve two purposes. One is the awareness of komiks, it’s creators and their work, and another is promotion for the upcoming new comic book. Contest winners will be the first artists of the first issue.

But the reality is far different. The awareness drive came first.

The awareness drive made people aware of komiks and it’s older generation of creators (which is good), but it also gave a wrong impression of comics history wherein the existence of a new 15-year old industry by a younger generation of comics creators has been excised altogether (which is bad).

And in a first day of congress in which nothing concrete yet has been accomplished towards the revival of the komiks industry, Carlo J. Caparas announces that “BUHAY NA ANG KOMIKS!” (Comics is Alive!).

One can justifiably ask, “Really?” So where are these comics? Are they for sale now? If I go to the store right now I can buy these so called comics?

It’s just frustrating to me that the grandstanding is coming first before any serious work has been done. Grandstand all you want later, when we have SOMETHING to show for it.

I am not impatient at the speed in which things are getting done. I am frustrated that less important things are given more priority than those that are more important.

I am also a bit suspicious at how Carlo J. keeps going on about thanking GMA, the Philippine President, for her “support” for Philippine Komiks. He seems to make it a point to mention it at every opportunity.

Ok, then, just exactly how has GMA “supported” Philippine Komiks? Or is the support something she said or “promised”?

Don’t mistake me. I’m one of the few who marched here in San Pablo, and among the many who marched in EDSA to depose President Erap. I was willing to give GMA the benefit of the doubt when she assumed office. But since then she’s developed a frustrating reputation for making promises that she cannot keep. I would not trust any promise she might make with regards to komiks.

The National Book Development Board and the National Center for Culture and the Arts are the government agencies that have so far shown that they do support comics in both words and actions. The help that they have so far given in holding the exhibit and featuring the congress on TV on several occasions have been terrific.

Awareness is good, but now the work really begins. In this regard, how can the government help?

During the congress, one of the things that a few government agencies have promised is to have some comic books made for the information campaign for their respective departments.

And that is great! That means jobs for our artists. But that is hardly a commercial venture. You would not be able to build a viable commercial industry on it.

One concrete thing that the government can do is to give a tax holiday of at least six years to all comics publishers, as suggested by web comics artist Jonas Diego. This will allow the publishers to make more profit and strengthen them financially and enable them to survive. If GMA can facilitate this, then it would be fantastic. This is one of those things where she can make good on her promises of “support”.

She can also direct the National Library to get rid of some funny ideas about the “lack of research value” of komiks, and that they should study more carefully what the purpose of the International Standard Book Number is all about, and is not within their right to deny any publication, specially comic books, this number.

Beyond that, what else can the government do? I’m open to ideas.

****

Getting back to the congress, I reiterate the need to study what went wrong with komiks, and investigate the reasons why the industry collapsed, as the first order of business.

John Becaro reports on a speech made by Mr. Deo Alvarez of Atlas Publishing at the congress, and the reasons he gave for the weakening of komiks. It is good that this has been brought up on the first day because this is the kind of thing that needs to be talked about right at the very start.

The reasons that Mr. Deo Alvarez gave are as follows:

1. ALL OUT WAR ON MNLF IN MINDANAO.
Sales and gross profit have declined 30% during the all out war against the insurgents called Muslim National Liberation Front in the Mindanao region.
2. THE MOUNT PINATUBO VOLCANIC ERUPTION.
Sales and Gross Profit declined a further 30%.
3. UNCONTROLLABLE INCREASE ON PAPER COST.
4. TV CONSUMPTION AND OTHER NEW ESCAPIST MEDIUM.
5. DECLINE ON KOMIKS READING.

First of all, it was rather brave of Mr. Deo Alvarez to come to the congress, representative and general manager of Atlas Publishing, the last komiks company to close its komiks division, ending the continuous run of several legendary comic book titles which began in the late 40′s. He considers himself the “villain” of the congress because komiks collapsed under his watch.

The guilt is understandable, but if we are to believe the 5 reasons he gave above, there should be no reason for any guilt. All the reasons he has listed are factors that had nothing to do with Atlas Publishing, nothing to do with komiks, and nothing to do with their management. All the reasons point to factors OUTSIDE the komiks industry. Look again: War, Volcanic Eruption. Inflation. TV, movies, computers. Decline of comic book reading.

If those are the true reasons for the decline of komiks in the Philippines, then there shouldn’t have been anything that Mr. Deo Alvarez, Atlas Publishing, or any other publisher, all the writers and artists, and the government, can do about it. Because no matter what we do, those reasons will still be there. There will always be war. There will always be volcanic eruptions, inflation, new technologies, etc. etc. and we will never succeed.

If that’s the case, why waste our time trying to revive comics?

The truth of the matter is, Mr. Deo Alvarez has forgotten to list one of the most important factors for the decline of komiks, at least those under Atlas Publishing, and that is the responsibility of Atlas Publishing itself, and its management.

Let us review once again his 5 reasons.

1. ALL OUT WAR ON MNLF IN MINDANAO.

There has always been all out war on rebels in Mindanao. When I went to Jolo in 1989 and stayed there for a week, I learned of it’s history and how the whole town was almost razed to the ground in the mid 70′s in a war between rebels and the military. And yet the 70′s are considered to be one of the most financially profitable period for komiks. Of course, I don’t know all the facts, but it is strange that komiks seems to be the only print publication affected newspapers and magazines continue to survive to this day.

2. THE MOUNT PINATUBO VOLCANIC ERUPTION.

Mr. Deo Alvarez is not the only person to offer up this reason for the decline of comics. I have heard it from at least 2 other people in the industry. It is possible, but once again, I find it strange that it is only komiks that seems to have been severely affected. In fact, I seem to remember noticing more tabloids and other print reading material come into existence at this time.

3. INFLATION.

Inflation is as constant in the universe as the rising and setting of the sun. It will happen whatever happens, all over the world and not just the Philippines. It should affect everything, and not just comics, here, in America, in Japan, everywhere. Again it is strange that inflation should help in the collapse of the komiks industry and yet all other print industries (that uses paper) still survive.

4. TV CONSUMPTION AND OTHER NEW ESCAPIST MEDIUM

Again, something that’s true all over the world. The comics industries of America, Europe and Japan are all healthy inspite of the rise of other “escapist” mediums, and yet it is only here in the Philippines has komiks collapsed completely.

5. DECLINE ON KOMIKS READING

I find this to be the strangest reason of all. The reason for the decline of komiks is that people are no longer interested in reading? I seriously doubt it. I have not even begun to talk about the new industry of comics that was developed by the young generation of creators, who have successfully managed to produce comics for 15 years, in a time of war, volcanic eruption, inflation, tv and computers and a supposed “decline” of komiks readership.

People still want to read comics. People miss comics. I have proved this time and again with every komiks exhibit we hold here in San Pablo. People from all walks of life mobbed us at our booth, fascinated with comics, and wondered where it went. And all of them were unanimous in telling us that they would still read comics if it was available, and it was good. So please, don’t give us this reason again.

Mr. Deo Alvarez, I put forward to you that it is more likely that one of the major reasons for the decline of komiks, specially those of Atlas Publishing, is the fault of Atlas Publishing itself.

In all your 5 reasons, you have blamed everything else, except your own product.

I already have demonstrated inspite of those 5 reasons, every other print publication, be it newspapers or magazines, have survived, except komiks.

We in the younger generation have successfully made comics, although on a somewhat limited scale, but successful nevertheless, even though we were subjected by all these 5 reasons you gave.

Clearly there is something more at play here rather than wars, volcanic eruptions, inflation, etc. etc.

I put it to you, with no offense at all intended, and I say this with much difficulty, that the output of Atlas Komiks for the past 15-20 years hasn’t really been very good. And in fact, the quality of your product has steadily declined through the years.

Going back to Reason #5, The Decline of Komiks Readership. Yes, that is true, your readership will certainly decline if you do not produce good product. That is only logical.

If I can be specific, the artwork is not very good. You have very talented artists, but most of them rush through the art. And they rush through the art because they are not paid very well.

The stories are repetitive and unimaginative. They have been told, rehashed and retold again. There’s nothing new. If there’s anything “new” then it’s derived from something else that became popular elsewhere, in an effort to cash in on that popularity.

The printing is not good. Colors and lines fall where they shouldn’t, causing double vision, dirt, and unreadability.

The paper is bad. It’s not pleasant to touch, and it looks old brand new.

I can probably understand the reasoning for this. You do not want to raise the price of your comic books because you want the majority of Filipinos to be able to afford it.

You yourself have said that the rise of the cost of paper is uncontrollable. And yes, there’s nothing we can do about it. Probably the time has come to shake this notion of “comics has to be cheap” out of our minds. Let’s retire it. And lets move on.

Everything is expensive nowadays, as in everything. A single motion picture is what… around 75 to 100 pesos in Manila? 60 pesos here in San Pablo. And yet the supposed “poor” masa can still afford to go. Even pirated VCDs and DVDs aren’t so cheap, and yet people still buy it. I can name other things that have also increased in price in the last 10 years and yet the masa still patronize them. Things like cigarettes, beer, transportation, Jollibee, TV, photographs, newspapers, magazines and many more. How about cellphones? They’re expensive things, with expensive loads, and yet you see tricyle drivers, public market vendors, even squatters using them.

Clearly, the Filipino masa can afford so much more than we realize or expect.

Why can’t we think the same thing with komiks? Komiks can certainly benefit from the price increase. You can pay your artists better (ensuring that they do better work), you can afford to print better looking comics with better paper. And you end up making a GOOD product. And the Filipino people would want to read that. If we are to be trapped in a vicious circle, then let it work for us, and let it benefit us.

I do know that Atlas has indeed done some experimentation, specially with K2K in 2001, and that would have been the start of something new and good. The failure of that experiment is something I don’t blame Atlas for, but on creative people involved who could not fulfill their commitments. That at least proves you were willing to try new things.

I think that same bit of thinking is needed at this time. I give FILIPINO KOMIKS #1, published by Rising Star as a prime example. They had the guts to publish a a better produced comic book geared for the masa, distributed nationwide, and surprisingly, priced it at 100 pesos. That’s quite a leap from the 18 pesos from one of the last Pilipino Komiks sold for in 2005. Even more surprisingly and more importantly, it SOLD. At last report, it’s been selling out in the provinces.

The answer to the problem of our komiks is staring us in the face right there, and Rising Star showed us, through their actions and great risk, how we can revive our industry. In fact, they have already started to.

I hope this isn’t interpreted as an attack on you, Mr. Deo Alvarez and Atlas Publishing. I’m only hoping that you could see that this is now a new world for comics. Many of the things that worked 20 years ago, may no longer work today. The failure of Atlas is due to its failure to adjust to new technologies, new philosphies, and new ways of approaching things. But I think its not too late. We in the younger generation would always be ready and willing to help.



Thoughts on the Komiks Congress #1
Thoughts on the Komiks Congress #2
Thoughts on the Komiks Congress #3
Thoughts on the Komiks Congress #4

Comments

32 Responses to “Thoughts On the Komiks Congress #5”

  1. Eusebio Yu on March 2nd, 2007 2:35 pm

    Hi Gerry,

    That’s quite a commentary. And every word of it true. Except maybe for the ‘ we in the younger generation…’ remark. Kidding.

    Anyway, my feeling is those reasons given for the decline/demise of the comic industry is pretty lame, if not downright wrong. You’re correct in saying that if we adhere to these reasons alone, then what’s the use of going on? Every business suffers. Inflation, economic slump, etc…
    We might as well just sit on our butts and wait for the end.

    I think, as you’ve stated in the past, the problem lies more on perception. If you ask an adult if he reads comics ( not the newspaper strips ), 9 out of 10 times, he will give you a weird, if not condescending look. They ( the non reading public) still think that comics are for kiddies. If we can get over this misconception , half the battle is over. If they can be made to understand that like films and books, comics is just another medium for entertainment. Like the formers, there are those for kids and for,adults repectively.

    Carlo Caparas, in his prime is probably one of the best, if not most prolific, writers of our time. His ‘mistake’ was thinking he’s a good film maker. These are two totally diff mediums. I’m not just saying this. His movies suck. I should know. My wife’s ( girlfriend back then )friend force her to watch one of those Kris Aquino massacre flicks. I had to tag along. Don’t get me started on what a pile of horse crap that was.

    To make this short( too late for that), I remember Charles Schultz use to say ” Peanuts isn’t for kids. It’s about kids. “

  2. Gilbert Monsanto on March 2nd, 2007 4:41 pm

    I would just like to add that during the 90′s we were not allowed to get our original pages. They said that it is company policy to keep it. What do they do? Shred the pages and sold it for be recycled. Isn’t this a crime? The pages some of the artists have right now, I guess they know the editors. One thing i don’t like during those days, The editors are writers as well, who some of my friend gossip that they reject some scripts and e\recycled the story and placed their name as the author. I am not sure if this is accurate but hey, no smoke, no fire right? and some artists are the godfather of some editors’ child and vice versa. Priorities now were so clear to us, why some artists and writers have all the fun :)

  3. Gerry Alanguilan on March 2nd, 2007 5:10 pm

    Eusebio… one of the rare times I actually walk out of a movie, it was a Carlo Caparas movie. And for someone who likes to watch B movies… movies that’s so bad it’s good, that’s saying something. His movies are so bad, it’s bad.

    Gilbert, the shredding of the original art is something na binaggit ko sa video na ginawa ko, along with your suggestion regards to royalties. Sayang hindi naipalabas sa congress. Sana maipalabas sa susunod na araw ng congress.

  4. Gilbert Monsanto on March 2nd, 2007 5:54 pm

    Sa Color stripping department naman, mababait mga tao diyan, kaso reklamo din nila nung 90′s di daw nagtataas sahod, tapos padagdag daw ng pa dagdag ng titles. kaya di sila magkandaugaga kaya maraming mali sa pagtama ng colors daw. Yun lang talaga ang kulang noon eh. Hindi pantay ang sahod sa dami ng trabaho. Kahit saan siguro hindi tama ito.

  5. Robby Villabona on March 2nd, 2007 11:26 pm

    Reason 4 is the strongest reason I see. Not just tv but video games and other electronic forms of entertainment, including cable TV. Just do the math and see where kids allowances are going, and compare that to where the allowances of the comics-reading kids of before went. Comics in the U.S. is not dead, but it is dying (market is shrinking slowly, average age of readers is in the 30′s). The only exception to the worldwide trend is Japan.

    I find reason #5 dumbest of all (even worse than Mt Pinatubo). That’s like a circular argument: “the reason people don’t buy comics anymore is there has been a decline in comics reading”. DUH!? So what on earth else were people buying comics for? Wrapping tinapa? I guess we can also attribute the decline of comics to the emergence of plastic bags in wet markets too.

  6. Jac on March 3rd, 2007 12:50 am

    So far it looks like the new face of Pinoy Komiks is to go for global competitiveness. But of course it still doesn’ answer the question how comics can be accessible to the masses.

  7. Sandy Sansolis on March 3rd, 2007 2:24 am

    Hey Gerry,
    Very well said. I just wanted to say that as a comic book retailer, I can tell you that 100 pesos nowadays for a quality komik(like Filipino Komiks #1) is actually very cheap. Publishers are so wrong in thinking that they have to keep komiks priced so cheap just so that the masa can afford it. They’d be surprised at what the masa can afford these days.
    Publishers definitely have to stop thinking in the past and they have to pay their artists well to create a great product. A quality product sells itself…even at 100 pesos per issue.

  8. arthur tanty on March 3rd, 2007 2:51 am

    To everyone,

    I attended the supposed first day (Feb. 22) at 3 pm and met a few creators like Nar Castro (who signed 3 komiks for me), Rene Clemente (signed one), Danny Acuna, Ernie Patricio, Yong Montano, Freddie Fernandez and a writer named Orly (forgot the surname. Sorry!) so it wasn’t a total loss. They had to leave early due to the postponement. What a cool bunch of guys. No one seemed younger than 60 and that seemed odd. I think I was the only fan who attended.

    I returned on the actual opening (Feb 27). The biggest revelation was seeing a big artwork (about 3 x 4 feet) of Caparas. I didn’t know he drew! Uso noon ang “massacre movies” so you shouldn’t have expected much from him. I think we should be grateful for the P300k he’s releasing from his own pocket which he didn’t say during his speech and I’m glad.

    Gerry, I’m surprised you didn’t bother to go! I’d like to emphasize that according to Mr. Deo Alvarez, separate surveys were done (a decade apart? I don’t remember.) to show decline in readership of printed material like newspaper, magazine *AND* comics so it’s *NOT JUST COMICS.* I think they were establishing a pattern. I have an older collector-friend (in his late 40s) who grew up in the province. They didn’t have much to entertain themselves with (I think he mentioned radio) so komiks was a big hit. Though it’s not the case in the US, I believe that movies are also on a decline here. TV, video games and the internet provide more variety, I’m afraid. To emphasize this, the new X-Men, when they started out in 1975, had a 250 k print run. Jim Lee era X-Men had a print run of about 1 million but a recent printing statement of X-Men declared about 120 k or 8 of 9 collectors have left since the peak! Sure, Lee’s gone but the title’s still one of Marvel’s top sellers so you can imagine how the comic industry as a whole is declining. Sabi ko nga sa isang collector: “We’re a dying breed.”

  9. Gerry Alanguilan on March 3rd, 2007 3:24 am

    Arthur, I was supposed to be there… via a video presentation that I spent a lot of time doing. Knowing that very few people would have the opportunity to speak, I collected video material from many young creators introducing themselves and having their say, and editing it together for a short video to be shown at the congress. Everything I wanted to share is all there. It would have been a much better way of offering my say as opposed to being there myself. Pero di pinalabas, which is disappointing, pero I’m assured na papalabas sa 2nd day.

    I also specifically said I was grateful for Carlo J’s 300K donation. I’m just concerned that it is not being used as effectively as it should have been. If the revival of komiks is the primary objective, then use that money to PUBLISH comics. Contests would serve to bring attention and publicity, and some money to the winners, but we will not revive and build a new comics industry on it.

    Sometimes I wonder why we still bother, if comics is truly dying. I guess comics is irrevocably in the blood of many people, including me.

    Hey, are you the same grey haired Arthur I always see during signings?

  10. Jonas Diego on March 3rd, 2007 11:49 am

    In my opinion, one of the reasons for the continuing success of comics in Japan is the diversity of genres they have. There’s romance, sci-fi, action, adventure, etc.

    There’s virtually something for everyone.

    Could it be that one of the reasons why our own readership declined back then was that because Komiks offered more of the same (time and time again)in unattractive format and packaging to an audience whose taste grew increasingly sophisticatedbeing exposed to a bigger world via radio, TV, and now the internet?

    On one hand we’re seeing all these amazing new things on DVD and the web. On the other we have the same tired plot with the same stereotypical characters.

    Books have survived Radio and TV and I also think it’s because of the sheer diversity it offers.

  11. Gio Paredes on March 3rd, 2007 9:03 pm

    I think that we should look at this conflict between Comics V.S. T.V., Movies, Internet, Toys and Video games more closely. In my opinion, they compliment each other. When I was growing in the 80’s, I was a G.I.Joe fanatic, I bought action figures as much as I could. It was only in the 90’s when I was in college that I saw that there were, G.I.Joe comics. And from there on, I collected comics and toys at the same time. That also goes for Video Games, Movies etc. They compliment each others, why do you think Hollywood is now investing so much with comic book based movies (Spiderman, X-Men, Fantastic 4,Hellboy, Superman etc.). It’s because those characters are already established in the comics world. They have already a market. People will not going to watch Ghost Rider because they have already a comics of it. Or people that owns an X-Men DVD/VCD would stop buying comics, or stop playing X-Men related video games. It is more likely that people would search for Hellboy titles because they were intrigue by the movie.

    The bottom line is, if you create a good product. People will buy it. Even how poor they are.

  12. AJ Garrovillo on March 3rd, 2007 11:50 pm

    The grandstanding you mentioned might have caused more harm than is first apparent. Telling an audience that “all is well na” doesn’t exactly raise the awareness and concern the movement is supposedly aiming for.

    —
    I completely agree with what you said about poor readership because of a poor product. The Philippine talent pool is way capable of creating good comics, they just gotta be motivated to do so. *makes the “datung” hand gesture*. haha.

    Local magazines make money almost purely by advertising, meaning that only the printing and distribution costs are handed down to the readers. That’s why they’re able to sell 100++ page full-color issues at affordable prices (100 pesos/issue).

    But the thing is, advertisers –which could also be regarded as investors– will only put their money into popular things, which brings us back to the importance of having a good product.

    Now, let’s say we have a good product, but investors/advertisers aren’t yet convinced they should help further it’s run. That’s where the government, as well as the generous donations of others, can help the most. the NCCA has a grants program which could provide the venture capital for culturally important endeavors such as the revival of Philippine Komiks. One has to do the paperwork for it though, but I doubt it’s really that hard.

  13. Gilbert Monsanto on March 4th, 2007 10:17 am

    Madness, Gerry. Madness hehehe

  14. Jonas on March 4th, 2007 10:21 am

    “Our house, in the middle of the street…” :D

  15. Gerry Alanguilan on March 4th, 2007 10:26 am

    Gilbert:

    “Madness. Sometimes there is something you’ve been doing and still love doing until now without making sense.”

    Kala mo nalimutan ko na no? he.he.

  16. Gerry Alanguilan on March 4th, 2007 10:29 am

    Jonas… inside joke namin ni Gilbert yang “Madness…” Dati pag sasabihin ko yang word na yun nag fe-freak out na sya. At least ngayon medyo OK na nya. he.he. Sabihin ko sayo sa Wednesday. :)

  17. Jonas on March 4th, 2007 10:41 am

    He he he! OK. :D

  18. Gilbert Monsanto on March 4th, 2007 7:48 pm

    Nooo! ” freaked out kunwari! ” hehehe Pero ganun pa rin ang dedication ko sa MADNESS na iyan hahaha.

  19. Tintin Pantoja on March 5th, 2007 12:58 am

    Hi Gerry!

    I was flipping through your thoughts on the recent Philippine Komiks congress and was particularly intrigued with your disappointment regarding the ‘second class” status of younger comic artists who publish their work in English rather than Tagalog, are probably influenced as much by manga and superhero comics as well as komiks, and who may not have published professionally (not surprisingly, I belong to this group, so I’ll be biased I favor of them).

    Not having been to the Philippines in four years, I can only conjecture about the state of the industry, so please forgive me my mistakes.

    I’m guessing that the majority of this ‘younger generation’ of comic artists, which includes yourself and Alamat, are largely self-taught and self- publish (aside from overseas superhero work for hire). I’m guessing that most Filipino publishers, which operate on shoe string budgets, don’t have the money or conviction to invest in comics. Meanwhile, traditional komiks publisher have gone bankrupt, refused to change with the tastes of cosumers and have consequently lost their readership after decades of decline. Most Filipino comic professionals work for foreign markets, so despite the large number of Filipino comic professionals, there are actually very few Filipino comics.

    I don’t believe the problem is a lack of readers. As you demonstrate with FILIPINO KOMIKS and Mango Jam-– while not being runaway successes- they both seem to at least break even. The widespread popularity of Alamat comics and manga in the Philippines and Southeast Asia also points to an untapped market. What the Philippine industry lacks seems to be a viable product and a viable distribution system.

    Distribution to major bookstore chains as well as comic book shops in the Philippines tends to favor large publishers, who tend to be very conservative in what they publish. Most innovation will probably occur amongst self-publishers and people outside the current industry, and this is probably where we’ll see the creation of viable product that will sell both domestically and internationally. But how to get this product to audiences?

    I guess this brings me to the heart of my rambling, which is, how do new people and ideas enter the local comic industry? Are stores receptive to independent product by so-called amateurs? Are there conventions, galleries, clubs, or conferences where local artists can gather to sell their wares, network, and swap ideas? And are there local publishing outlets to keep local artists from being scalped by foreign publishers once they achieve international standard of skill . Are there magazines, anthologies or talent scouting contests that will discover and reward new talent? Lastly, is the current industry ready to accept these new ideas, or persist in generational and genre snobbery (superhero v. art comics vs. manga, webcomics vs. dead tree comics) based on superficial differences?

  20. Tintin Pantoja on March 5th, 2007 12:59 am

    As an aside , I also noticed a tendency to segregate and marginalize female comic book artists. Mango Jam, while an interesting product, strikes me as a female ghetto. It’s like, “well put you ladies over here, so you don’t bother us with the rest, okay?” kind of feeling. I don’t see any female creators on the roster of Alamat or gomanga or that recent Siglo book. I don’t see links to works of Karen Kunawicz or Andrea Grant (of the hugely popular webcomic, No Rest for ther Wicked) on your blog. I’m hoping that the younger Phlippine comics industry doesn’t make the same mistake the American Direct Market industry has, in ignoring, marginalziing and insulting female readers and creators.

  21. Gerry Alanguilan on March 5th, 2007 1:00 am

    Hello Tintin!

    There is a huge Komikon every year, along with other events like Toycon, Sci Fi Con, the upcoming OZine Fest, The Rod Con and many other events where independent publishers can have the chance to sell and promote their comics. Most comics stores like ComicQuest, Comics Odyssey and Druid’s Keep are very open to independent creators, setting aside a prominent part of their shop to their display. And there are plenty of female comic book creators here working and not just in Mango Jam. Maybe you could try and visit the country again sometime, preferrably in October for the Komikon. You just might be surprised. If you have comics you want to sell, I can introduce you to the shop owners.

    The Siglo books do include a number of female creators, by the way. Alamat began as a group of friends who paid for the printing of their own comic books. That’s still how it is. I am sure that the lack of female creators in Alamat is not because we intentionally shunned them. In fact, we welcomed them whenever any joined because so few seemed interested, committed, and good enough. The female creators just were and are not there. And if there are, they have not applied with us. I know of a lot of terrific female artists, but they’re not working in comics.

    My blog list is simply a list of friends, and an incomplete one at that. They’re not meant to be a commentary or comprehensive list of any sort.

    If you look in the archives, once in a while I would feature artists who have impressed me. They could be men or women. It really doesn’t matter. It’s the work I look at. If their work impresses me, I feature them. If any particular Filipino artist (male or female) isn’t mentioned in my blog, it can mean only three things… I haven’t heard of them (like Andrea Grant), their work hasn’t impressed me, and the third, I’ve seen they’re work and I’ve been impressed, I just haven’t gotten around to writing about it. I haven’t even begun to show in this blog all the artists that I found to be terrific.

    Your observations on Mango Jam, if I may say, are far from what the reality is. The existence of Mango Jam and it’s unique set up I would not interpret as segregation as female creators can choose to work where they like. And they do. Maybe Karen is a better person to talk about this, but based on my experience with Mango, I get no sense other than a desire to make really good comic books. They have other comic books like Mwahaha which also features female creators. Your distance and lack of first hand knowledge, aided perhaps by not so good experiences in the US has perhaps unfairly colored your impression of us here in the Philippines.

    It’s understandable that you would have such views of marginalization, coming from the American comic book industry, that you are wary of encountering the same thing here. A visit could take care of that rather quick.

  22. Gilbert Monsanto on March 5th, 2007 1:01 am

    Mango JAM was actually an Idea I pointed out to Mr. Yonzon to feature how good Pinays are in creating comics. I told him that if women can work together it will be great. I was thinking that cute ladies with talent will be eye candy to guys and an unifying influence to the ladies. I was taken out of the project, and it is all good since it should be done the way it is, by girls :)

  23. hai on March 5th, 2007 4:56 am

    “And are there local publishing outlets to keep local artists from being scalped by foreign publishers once they achieve international standard of skill (cough* Seven Seas* cough).”

    My my, Tintin. You make it sound like we’re the bad guys :p Seven Seas has helped a lot of talented pinoy manga artists when they were left “homeless” after Questor and Culture Crash (the leading local manga publishers at the time) folded.

    Seriously, no local publisher can match what Seven Seas offers these talented people. Seven Seas has also hired several female creators that are currently working on their own titles. With the exception of Madeliene Rosca, you don’t see them in the site lineup yet because their projects are still being kept under wraps.

    We hire people based on their talent and dedication to the craft regardless of their age, sex, or religion. Of course you’ll have to be incredibly talented and have parents’ permission if you are under 18.

    And since I’m ranting about seven seas, I have no choice but to plug the site.

    Head over to Seven Seas Entertainment for your pinoy manga fix:
    http://www.gomanga.com

  24. Nostalgia Manila on March 5th, 2007 6:44 am

    Gerry,

    Kamusta sir? I featured your excellent article here on Nostalgia Manila. So how what is the extent of the komiks industry collapse? How many of the original pinoy komiks titles (we all loved growing up) have vanished? Meron pa bang Funny Komiks? Yung Nik-Nok diba? And that Super Kalabaw character that could fly and had boxing gloves, what was his name? (Pasensya na I haven’t been back in Manila since the late ’90s) How many publishing houses have been affected and have been forced to close? Could you list some famous titles that have been discontinued?

    It’s great to know that there are people like you out there who spread the awareness, and who give valuable insight, clear analysis, and helpful solutions to this sad crisis. Would love to hear from you!

    Always,
    –NM

  25. Gerry Alanguilan on March 5th, 2007 8:30 am

    Hello NM.

    Unfortunately, the collapse of the old komiks industry is all but complete. The titles you mentioned, and literally every other comic book that used to be popular before… Pilipino Komiks, Tagalog Klasiks, Wakasan, Hiwaga, Espesyal… all of that are now gone.

    The only thing left still standing is Liwayway, which is as you know, not strictly a comic book.

  26. arthur tanty on March 6th, 2007 6:19 am

    Gerry,

    Ako nga iyon. Not really gray but salt and pepper hair. Started graying in my teens.

    Remember the Rogue sketch I asked from you back during Gaiman’s event? Got one from Beatty and she looked like a Japanese! The Golden-designed costume she wore up to Paul Smith’s era she also wore during the Secret Wars (Bachalo’s return to the X-Men gave her this retro costume too). I asked him: “Does it take you longer to draw women?” To which he answered: “Yes.”

    I attended the komiks congress because I couldn’t pass up meeting creators (and hopefully get their sketches too; got 7 in total: 4 on Feb. 22 and only 3 on Feb. 27). Some just didn’t feel like drawing though). Being a komiks fan like myself, my sister attended too. She told me many students flocked to Joe Mari Moncal because he asked them if they wanted sketches. Inside the auditorium he said that it was good thing we all went inside the dimly-lit auditorium or else he didn’t stop drawing. Of course I asked him for one. Hehe. I just don’t really remember his work because he didn’t work for Funny, my childhood favorite.

  27. Tintin Pantoja on March 6th, 2007 12:24 pm

    By the way, about my comments, I’m sorry if my poor wording offended anyone, aprticularly about my mention of Seven Seas. I wasn’t being critical of Seven Seas as a company when I implied they had scalped Filipino artists away from thge local market; I merely meant that most local artists of skill who want to make a living from their art mostly turn to working for international markets rather than the Filipino one. Because there simply isn’t a profitable pinoy market right now. So I’m actually agreeing with you, Hai, when I say that by hiring local artists everyone benefits- the artists, the readers, Seven Seas. But Seven Seas belongs to an international market, not a domestic one.

    And that hasn’t been news since the seventies, with Marvel and DC, if I’m not mistaken.

  28. p.guzmanos on March 7th, 2007 9:45 pm

    Hi all,

    I would like to share my interpretation of reason number 5 as presented by Mr. Deo alvarez on feb 27 at the Komiks Kongress:

    “5. DECLINE ON KOMIKS READING”

    I take this as a decline in reading amongst Filipinos, not just with comics but with other materials as well — reading in general, ie. reading of books, novels, poems, printed material. I didn’t include in my understanding popular materials like magazines and newspapers.

    Again I am just presenting my understanding of his words.

    Also, i remember Mr. Alvarez added in his list of reasons the uncreativeness of writers/artists in their komiks stories (same cliche plot every issue and plots that don’t match up with the times). however he didn’t tackle how the low pay and loads of work the artists experienced affected the said uncreativeness.

    Again that’s how i understood him.

  29. Gerry Alanguilan on March 8th, 2007 12:26 am

    Thanks for your thoughts, Mr. P. Guzmanos.

    If Mr. Alvarez’ assertion that one of the reasons for the decline of comics is the uncreativeness of the artists/writers, he has to realize that the reason for such uncreativeness is the astoundingly low pay… it’s a circular argument that just gets tossed round and round.

    My belief on this is… you get what you pay for.

  30. kc cordero on March 10th, 2007 8:57 am

    gerry,
    may ginagawa akong article ‘atlas:1989-1996′. ito ‘yung time na nasa atlas pa ako at ang mga obserbasyon ko sa pagbagsak ng atlas sa ilalim ng pangangasiwa ni deo alvarez. maraming komiks historians ang nakapagtataka na hindi inilalagay ang taong ito na NUMERO UNONG DAHILAN ng paghina ng komiks sa bansa.

  31. alex abular on March 15th, 2007 1:11 pm

    Hello Gerry,
    I was there at the Kongreso ng Komiks last Feb sa Intramuros to see these great old masters in flesh and their works (but you’re not there i believe) and admire them very much. Hindi ko na naabutan yong pagsasalita ni Deo Alvares na according to them na taga Atlas (pardon, i’m not a komik artist, but i dream of becoming one)pero matunog ang usapan pagkatapos ng forum. You’re right, yong mga reasons nya are not really valid. Sila talaga yong pumatay eh, i read mostly of these thru Randy Valiente’s blog. P150 pesos na nga lang daw nun eh pino-postdated check pa, hindi talaga makatarunga at kung may pamilya kang binubuhay eh siguradong magugutom.

    Hindi ko alam kung possible ito, pero dapat magkaruon ng documents of compensation (katulad ng UAP) ang mga writers, artists and others sa ganitong propesyon.

    Kinapalan ko ang mukha ko nun at nakipag-usap sa mga old masters (Abe Ocampo, Al Cabral, Perry Cruz, Karl Commendador, Jun Lofamia [thanks to Randy Valiente for introducing them to me]) esp Mang Abe, na nagwork sila sa animation after the collapse, and for me this is one of the saddest thing that happened to lokal komiks industry.

  32. alex abular on March 15th, 2007 1:14 pm

    Hello Gerry,
    I think na mention mo nun na you’re planning to reprint ‘El Indio’ ni Francisco V Coching? Sana matuloy na ito, gusto ko rin magkaroon ng printed copies ng mga old masters natin. Thanks