Friday, February 10, 2006

Canossa College Fair Day 2


Canossa College Fair Day 2






Komikero.com will eventually have a separate section for Ilyn's Paper Basket paper crafts. This is a period of transition for her as it is for me, as we move away from our previous established livelihood into something different, but somewhat related.

This College fair is a testing ground for paper craft workshops that she intends to do on a regular basis, and the future site will be a portfolio/catalog of assorted hand made paper crafts like cards, post cards, envelopes, blank books, scraps books and so on.



It was a very interesting day. This particular girl was quite enthusiastic about the exhibit and hung around a lot checking out the art, the comics, and drew a lot. She saw a copy of Wasted and she was quite engrossed with it for quite a while. She returned it to me and said that it was OK, but my girls looked like guys. Ha! ha! WOW! Now that is honesty that I really appreciate. And right to my face. Such guts is something I rarely encounter, what with all these anonymous people roaming around.

She pretty much nailed it on the head as I do acknowledge that drawing girls is a definite weakness that I had been working hard to improve. So thanks! That really made my day. I gave her my site's address so she might well find this blog eventually.

Well, something else made my day a lot more interesting. Funny enough, I spent whatever time I could spare drawing Johnny Balbona when guess who turned up?




JOHNNY!!!

The prodigal Komikero returns! But jeez.. where's all the... uh... hair?

More tomorrow!

Thursday, February 09, 2006

Canossa College Fair Day 1


Canossa College Fair Day 1



I went to school at Canossa College, San Pablo city from Kinder to Grade 4. I hold far more affinity from this school than I do San Beda, where I continued by grade school and onto high school, and UST, where I took up Archtitecture. I'm a little put off that I can't really be considered a Canossa alumnus since I didn't finish grade school there. Nevertheless, this school holds the best memories for me in the entire time I was studying.

So I was rather happy to be coming back and holding an comics exhibit of mostly works by our classic artists, but some art from me and some of my contemporaries as well.



Someone commented somewhere that ...

"Putting up a virtual museum in the internet in honor of our comics greats is indeed laudable. But if the effect is only to produce bittersweet memories of the past and of pinings for glories long gone, I'm sorry but its not my cup of tea."

Yes it is my cup of tea and please, give me a whole thermos. In fact, give me a box of thermos full of this tea. It's simply excellent! To say something like that impugns on the value of worth of every museum on every subject, on every country, all over the world.

There is something good about preserving the aspects of our cultural history that characterizes us as Filipinos. The works of our great masters in comics are some of the most beautiful comic book art ever in the entire world. Their work must be preserved and displayed, so that Filipinos of today and in the future will be enriched by the knowledge and the experience that our cultural history had great worth and value.

These works are displayed not to pine for glories long gone, these are displayed so that they will inspire Filipinos today. To inspire our artists to aspire for greatness themselves because they know it is within their blood to do so. Our artists need not settle for artistic identities of Japan or America, because we have an artistic identity of our own. How would we know that or appreciate that if we are not even aware of these great works?

We have to know our past before we can move forward.

You should have seen the reaction of the kids who were at the exhibit today. These are kids weaned on anime on TV, who have most likely never heard of people like Nestor Redondo, Alfredo Alcala or Alex Nino. But they crowded the exhibit, marveling at how beautiful the art of Filipinos can be.

How can something like that be a waste of time and effort?


Ilyn's paper crafts booth. She made more money than me! :) But then again, I wasn't really selling anything except Humanis Rex and Sampalok posters.



More tomorrow!

Wednesday, February 08, 2006

Canossa College Fair


The Philippine Comics Art Museum will have a booth at the Canossa College 50th Anniversary College Day Fair, San Pablo City, starting tomorrow, February 9 until February 12, Sunday.

I'll be displaying originals and reproductions of vintage komiks art, as well as selling posters, post cards, and comics, while Ilyn will be selling handmade cards, scrapbooking accessories and other paper crafts.

I'll be there everyday from 8am to 5pm, where I'll be working on my pages for Johnny Balbona and Humanis Rex! If you're in the area, please feel free to visit!

******************

Rafael Kayanan has a blog!
http://rafaelkayanan.blogstream.com/

Tuesday, February 07, 2006

Nonoy Marcelo and Alex Niño


Huling Ptyk
Da Art of Nonoy Marcelo
Pandy Aviado, Sylvia Mayuga, Dario Marcelo
ANVIL Publishing, Inc

I believe this was published late in 2005, but it was only early this year that I was actually able to find a copy.

Huling Ptyk is a collection of previously published tributes on the life and times of Filipino cartoonist Nonoy Marcelo. It also includes excerpts from Nonoy's taglish column Ni Ha Ni Ho, and a tantalizing peek into Nonoy's unpublished masterpiece "Pansit Malabon", his loving tribute to his hometown.

Not strictly a linear biography piece, you get glimpses into Nonoy's life and character through the eyes of people close (and not so close) to him. The tributes can be at times touching and poignant, but they can also be at times funny, sad, scary, definitely informative, definitely inspiring.

The book is not strictly an art book either, as although there is a generous helping of Nonoy's art, many of them aren't reproduced as well as they could have. Some artwork are a bit pixelated or blurred, and many of them are reproduced so small for proper appreciation. But there are a lot of art that are reproduced large and clear enough that one who knows nothing of Nonoy and his art will get an idea of just how much of a genius he was.



Funny to the point of irreverence, these caricatures nevertheless capture the spirit of these people very well.


A sample of Nonoy's remarkable art for "Pansit Malabon".

Nonoy Marcelo trivia: He invented the terms "Ermat", "Erpat", "Tsokaran", and "Jeproks".

Huling Ptyk is available at National Bookstore, Powerbooks and I assume all major book stores. 202 pages, black and white and colored. I forgot how much it is, but it's around 800+pesos.

*****************************


The Orc's Treasure
Illustrated by Alex Niño
Writtem by Kevin J. Anderson
ibooks, inc.

Thanks to Woofy, I was made aware of the availability of this book locally, which surprised me because the release of this book has been postponed numerous times and the latest release date I had been aware of is for later this year. So to see this already released is a rather pleasant surprise.

I was able to get a poster of this book, signed by Alex and Kevin a couple of years ago, and I waited on pins and needles to get my hands on a copy. Dubbed by some as the "return of comics Legend Alex Niño to comics", Orc's Treasure is actually only the latest in a series of comics projects that heralded Alex's return to comics in this decade, which began with SUNN, also from ibooks, released in 2003.


SUNN
Illustrated by Alex Niño
Story by Steven A. Roman
ibooks, inc.

Regarded as a "manga" book, Sunn is ibooks' stab at a burgeoning movement of comics art that's sweeping the world. I can only speculate why a talented and original artist like Alex Niño would move in this direction. Perhaps his absence from comics have made him susceptible to pressure to use what many people consider to be the "popular style". Who knows? But the belief that manga is the popular style that could guarrantee a successful comic book is a business tactic that has been used exceedingly in many countries including the Philippines.

Alex makes a passable effort at aping manga on the opening pages of his chapters of SUNN (the first half is illustrated by Kevin Lau).

I'm used to really good manga art by Japanese artists. Katsuhiro Otomo on Akira, Goseki Kojima on Lone Wolf and Cub, Hiroaki Samura on Blade of the Immortal, and Masashi Tanaka on Gon are excellent examples of what I think to be the pinnacle of Japanese comic art.

I've got to be honest. Alex doesn't really do a good job of doing Japanese comic art. Perhaps let's just let the Japanese do it because no one else can do it better anyway. It's part of their culture. It's part of who they are as artists. It's in their blood. It's not in ours as Filipinos. And it's not in Alex Niño's. And Alex knows it. Because a few pages into his section of SUNN, he starts to shake off the "manga" in his art, and slowly lets his own unique style creep in, probably even beyond his own control. Alex just can't help but be original. THAT is what's in his blood.

Alex shakes off manga completely in his next project, God The Dyslexic Dog.


God, The Dyslexic Dog
Illustrated byAlex Niño
Written by Brian and Philip Phillipson

Properly warmed up, Alex finally lets it rip on this Bliss On Tap publication. Alex Niño is a wildly inventive illustrator, utilizing out of this world designs and mind bending layouts. Unfortunately, such emphasis on style and design sometimes makes his storytelling difficult to follow.

It's not that Alex doesn't know how to do it. Alex has demonstrated numerous times in his early career that he can tell a story extremely well. So he knows how to do it. Perhaps his art has evolved to such a degree, his mind works on such a completely different level, that it is him who might be frustrated with us for not understanding what he is doing.

Perhaps recognizing this, creator Philip Phillipson provides breakdowns from which Alex can build his artwork on. Looking over the comic book, one can easily see how conventional the panel work is. Conventional as compared to Alex's typical work, that is. Indeed, it does make the story easy to follow, and that's good because that's the ulimate purpose of a comic book.

But one cannot shake the thought that this is not pure Niño artwork. But that is exactly what we get with The Orc's Treasure.


The Orc's Treasure interior art.

Here we see pure unfettered Alex Niño art that's evident on every single page. Employing layouts reminiscent of his work for Warren two decades ago, Alex adds linework that I could consider simplified, but no less detailed. Alex also introduces some rendering sensibilities he must have employed more often in his recent non-comics work which enriches this, his most recent comics work.

Not surprisingly, some of his storytelling is a bit tough to follow, but it's now a characteristic of his art I have come to accept. However, I was able to read the story in one sitting, not really as distracted by the art as I had expected.

Kevin J. Anderson weaves a really good story that had me engrossed from beginning to end. The end came somewhat a little too quickly though, as I came away from it feeling something was lacking, that something was yet left to be told.

I have no idea what this book has in relation with JRR Tolkien's Lord of the Rings. Although the term "orc" was used long before Tolkien was born, Tolkien was the first one to associate it with an ugly filthy, generally evil bipedal humanoid being. The same kind of creature that call themselves "Orcs" populate "The Orc's Treasure". There is a human realm called "ROHEM", and peace-loving (but short) elves.

I got this copy from Comics Odyssey in Robinson's Malate. 172 pages, black and white. $24.95 US.

Get it from Amazon.com

If you're a fan of Alex Niño, this book is recommended. If you're a fan of Philippine comics art, this and Nonoy Marcelo's Huling Ptyk is highly recommended.

Monday, February 06, 2006

Art Geroche, Comic Book Artist #4 Response


Art Geroche
Philippine Comic Art Portfolio

Art Geroche is one of those artists I haven't featured in this site until now. He's part of a newer generation of comics illustrators (with respect to Nestor Redondo's generation) who exhibit a style of art that have evolved out of the homegrown style so common during that time. I actually don't have any local komiks with his art on it, only a few DC published horror stories, and the art portfolio that Steve Gan published a while back.

I think his art is remarkble in its realism, a level of which is not too common in their generation of artists or even generations before.

In Comic Book Artist #4 David Roach writes of Art's art:

"Apparently something of a late bloomer in the Philippines, Geroche was too late for DC's horror boom, only managing six strips before the line went under. But what strips! Geroche's dark, vibrantly expressive work was a mix of Gene Colan, Doug Wildey, and the Spanish grand master, Jesus Blasco. That he should have done so little for the US is a real tragedy."


"The Ghost of the Man Who Never Was!"
Secrets of Haunted House Vol 6. #21
February 1980
DC Comics


"The Great dark God Rises Again"
Secrets of Haunted House Vol. 7 #38
July 1981
DC Comics

*******************************

I was very surprised and a little puzzled that Art Geroche's son would post on Dennis Villegas's blog and say hurtful and unfounded things about me and my contemporaries, contending that artists like me do comics for the money, and that I can't possibly REALLY love what I am doing because I'm off in America doing their American comics. He continues to note the merits of illustrators like Hal Santiago and other Liwayway magazine illustrators and suggest their 2005 and 2006 works and the works of other "classic" artists be featured in his blog.

I guess it's apprent that he had yet to visit this site before he found Dennis' site, because if he did, he would realize much of what he was thinking about me were simply downright wrong. Hal Santiago, Jun Lofamia, Rod Lofamia, Abe Ocampo, Rico Rival and many other current Liwayway artists and other "classic" artists are regularly featured on this site for several years, and in fact, there is a whole online museum I put together devoted to celebrating their contribution to Philippine comics.

Why did I decline inking Ultimate Hulk and Wolverine for Marvel inspite of it being offered to me, and decided instead to concentrate on doing my own work for publication right here in the Philippines, if I was doing it for the money?

Why do I continually do comics locally for little or no pay at all if I didn't have any great love for comics?

I'm just a little frustrated that some people would go off saying hurtful things about people without checking out if what they are saying is true or not. I hope that when one of these days he does a search on the work of his father, it would lead him here and see for himself.

I realize that he based his opinions on comments made by writers for the Comic Book Artist Magazine #4, the magazine I had been mentioning here quite a bit because it was almost entirely devoted to Filipino comic book artists.

There have been some points about some articles written there that I objected to in my mind, but perhaps blinded by sheer joy in seeing an American publication putting the spotlight on fellow Filipinos and their work, I was probably too excited to say anything about it.

But now, seeing that these same points are now being taken out of the whole and used against me and my contemporaries, I feel that I have to say some things in our defense.

This is a somewhat edited copy of a letter I sent to the magazine's editor.

*************************

Hello Jon!

I finally managed to find time to settle down and write a reaction to the various articles written in the magazine. I remain amazingly pleased and amazed that it took Americans to put much value in the work of Filipino artists.

I do have to provide a different point of view with regards to David Roach's opinion about the current generation of artists:

"With a very few exceptions, the Filipino invasion of comics is now over, and their '70's heyday is either ignored by collectors or misunderstood. In recent years, a third wave of creators has entered the US, but I suspect that few readers are aware that the likes of Whilce Portacio, Leinil Francis Yu, Jay Anacleto, Lan Medina and Gerry Alanguilan are indeed Filipino. Their art reflects the US Comics Mainstream of the past decade rather than their own visual heritage, and they clearly work in a different artistic tradition, with little in common with their predecessors. This is probably good for them commercially, but it means that the traditional Filipino style is all but dead. So for the purposes of this article I shall deal with only with the first two waves of Filipino artists."

David Roach goes on to list all Filipinos who have worked in US comics and describes their work.

I wholeheartedly agree that the traditional Filipino style is all but dead. It is a fact that I personally grieve over, and I try my best not to let at least the memory of it die out by putting up my online museum of Philippine comics art. I welcome this issue of your magazine wholeheartedly because it gives due importance to a movement of art that is historically significant in comics.

But I do think it a bit unfair that any other artist who does not fit the writer's idea of "traditional" Filipino style to be unworthy of further mention in his article, dismissing a new movement in Philippine comics art which may well be considered by future writers ignored and misunderstood by writers of today.

And I think misunderstood may well be the right term for it.

I have nothing but great respect for the work and accomplishments of our old artists, but to say that the "Filipino comics invasion is now over" would hardly be factually correct.

In fact, this new generation of artists have managed to penetrate markets that the previous ones have only rarely managed to. While the earlier generations may well have been unfairly pigeonholed only into mystery, horror, western, sci fi and war titles (but at times dominating them completely), this current generation of artists have managed to work on mainstream titles that have been rarely, and in most cases, have not been previously touched by Filipinos.

These are titles like X-men, Wolverine, Superman, Batman, Hulk, Fantastic Four, etc. Earlier generations may have worked on them as inkers, but hardly never as pencillers as the current generation are for the most part doing.

They are working as pencillers, aside from those titles already mentioned, on Spawn, Fables, Battle of the Planets, Tomb Raider, House of M, Planet Hulk, Elektra, Ultimate Hulk and Wolverine and so many more, titles that are at the upper end of the commercial comics market.

The invasion is much more penetrating and much more invasive now than it ever was before.

To require these artists to conform to a "traditional style" before their contributions can be considered valid and worthy (at least as far as this article is concerned) is grossly unfair. It's true that many of them reflect the comics mainstream of the past decade, but please don't forget that Whilce Portacio, a Filipino, was part of the movement that created the predominant style of the 90's comics mainstream in the first place. Such a contribution cannot be and should not easily be dismissed.

Additionally, to require Filipino artists today to carry the "traditional style" before their contributions be considered valid and worthy is tantamount to restricting creativity. Artists should be allowed to grow, to find their own voice, to carve their own individuality and be unique, not just be another player in a larger tradition of a "style".

If one looks closely at the art of Whilce Portacio, one will realize that, even though it owes very little to previous Filipino artists, his style owes very little to any American, European and Asian artist either. It's totally unique and there is nothing else in the comics industry like it.

If one looks very closely on the art of Lan Medina and Roy Allan Martinez, one will realize that they owe more to traditional Filipino art than what is easily apparent, but they have managed to gather up much of their own creativity to create something unique.

Jay Anacleto... well, there's simply no one else like him.

Leinil Francis Yu, influenced as he is by many western artists, he is still able to create work that is uniquely his own. He is an artist just like any American or European artist: they are influenced themselves by what they like. And they all create something that can only be identified with them.

There is hardly anything in common between their styles to identify them as belonging to one movement of style, but why is that considered a bad thing?

Variety is a triumph of creativity. Nothing becomes predictable, and the potential for something new and fresh never ends.

I believe the artists I listed above are doing really good, visually remarkable work. The quality of their art can stand toe to toe, and even far surpass any current Western and Asian comics artist. To dismiss their work simply because their art owes little to early generations of Filipino artists simply isn't right.

This message is a plea for a second look, spoken by an artist who is part of a generation of artists that is in danger of being dismissed because I believe that we are misunderstood and overlooked. I am by no means saying that we are better than our previous generation of Filipino artists. Far from it. Indeed, I think many of them are far superior to us artistically in many ways. But I believe we are nevertheless doing work that has much worth.

Gerry Alanguilan

*******************

Reviving a Comic Book Industry


Reviving a Comic Book Industry


This is a coincidence. A few blogs are talking about this same thing right now, most notably Dennis Villegas' excellent Pilipino Komiks blog. But I wrote this article while I was ailing, long before Dennis posted his, so this is by no means a reply to it or to any comments posted in reply to it.

Mr. Alanguilan,

I read your site with great interest. It's one of those sites I visit to keep me up to date on whats going on in local comics. I express my disappointment that the current batch of comics from so called writers and artists doesn't live up to the accomplishments of comics of many years ago. How can our comics industry be revived by comics that come out only once in a while? Many of these comics are of very poor quality, and only a chosen few are really good, but even those come out only once every year. I hope everyone takes doing comics more seriously and make our industry great again. More power!

Thanks for the email, Dan. This deserves an answer, but I hope it's allright if I talk about this here because it's something I've been wanting to talk about as well, but first, I have to mention something related...

In his blog, Reno Maniquis defends creating comics for the "love of it", reacting to an opinion that doing comics just for the "love of it" may not be enough to revive the comics industry.

All right.

I think nobody ever really said we were doing our comics to "revive the Philippine comic book industry"? Who told everybody to expect this from us?

None of us woke up one morning thinking, "Oho! I will revive the comic book industry! To accomplish this goal, I will do THIS. I will do THAT." Wouldn't that be insanely and grossly egotistic of us to believe ourselves wondrously talented, skillful, and knowledgeable enough to dare to make it our #1 objective.... to revive a national industry?.

I apologize if we have disappointed you by not living up to your expectations, but they are expectations we never even dared to have for ourselves, let alone strive for.

It's an unrealistic and an unfair expectation, and how could anyone to put *that* on our shoulders? We only wanted to write stories and draw pictures because it's fun. And we love doing it. Now all of a sudden we're expected to be responsible for the resuscitation of a whole industry? Get a GRIP. Get a SERIOUS grip! Please!

The expectation to come out with comics on a regular basis is another objective we never really set out to achieve. Some of us do, but many others don't. Some of us want to take our time, not out of ego, or out of feeling "superstar" as some people seem to think, but out of desire to just do a really good job.

A fact that people need to bear in mind, specially those used to how it was in the old days, is that the comic book industry of decades ago is different from the industry today. When once it was pertinent to come out with comics week after week, the industry today now allows for works that can be read complete in a few issues or in just one go, "graphic novels" that can be reprinted over and over as demands require.

The sooner you start judging us for the work that we actually do, as opposed to judging us according to what you expect of us, the less disappointed everyone will be.

You know, a lot of these kids just love comics, and they love making them. Many of them aren't getting paid to do it. In fact, they're putting out money from their own pockets just to make them. And the older guys... they have their day jobs at the advertising agency or the call center, and in their free time they do comics, as opposed to resting, sleeping or goofing off. They do COMICS of their own volition, and not for money. And I think that's a great thing. It results in some really bad comics, but there are a few with startlingly surprising potential.

It would be grossly unfair to expect more from them other than a really good job. And it's grossly unfair and to dismiss their work because they don't live up to your lofty expectations. It's cruel and it's hurtful.

We're comic book artists. That's what we do. We're not businessmen with the economic acumen qualified enough to tackle something as daunting as reviving an industry. We need people with money, and businessmen that will invest in us as creatives. We need more people like THEM.

I speak for myself, but yes, I do it for the love of it. I quit inking American comics in part to concentrate on creating my own comics to be published right here in the Philippines. I don't make it my objective to revive the local comic book industry. I can't afford to think like that. I just hope to create comics as best I can do them. That's ALL I want to do. I hope to create comics that I can't be ashamed I have made. Comics I'll be proud to show around as something *I* have done. Would they be good? I can't be the judge of that, but I'll make damned sure that I do my absolute best. That's all I can really do. And that's the only thing anyone can reasonably expect from me.

If I manage to, in my own little way, help revive the industry, even for just a little bit along the way, then wow, that would be fantastic!

Please don't misunderstand. Don't get the impression that I *don't* want the comic book industry to be revived. I do. But to actually make that as an objective (as opposed to just make good comics)? I believe that to be a wrong headed way of going about actually reviving an industry. It's superficial, and no one can realistically hope to have anything good and lasting to result from it.

Writers and artists should only concentrate on creating good work. That's the only thing they should ever consider.

I can't afford to think in terms of "reviving an industry" because I feel it would only compromise my work. I'd be forever chasing the elusive brilliant idea that would make comics sell like hotcakes in the country's current economic realities. I'd be forever analyzing markets, trends, fads, things I really don't believe in, in the hopes of reviving an industry. I would just be frustrated, and it would create an unbearable atmosphere that would prevent me from being creative and do the best at what I really want to do. And that is writing and drawing comics.

My personal goals I consider audacious enough as it is. In two years, I hope to write and draw at least just TWO stories that I hope would sell well, and that would have a lasting quality that it would endure long after I'm dead. That's a tall order for me. I can only hope to be able to do it, and I'll kill myself trying to.

If I am to be judged, then please, judge me for the work I do, not for the glorious future you expect us to achieve.

Here is a graphic list of the work I'll do in 2006.
http://komikero.com/2006projects.html

It's by no means a complete list, as there are many other things I can't talk about at this point.

Komikero Feb Meet


Komikero February Meet!

Brgy. Sta Catalina (San Dig)
San Pablo City
February 5, 2006


From left: Mr. Doroteo Alanguilan, Henry Anima, Rene Enriquez, Edjee Mendoza, Zara Macandili, Mylene Panagsagan and me!


Rene naligaw.


Paakyat.
Rene: Wag nyo ako iwaaaaan!!!


Sa itaas.


Rene: Tingnan mo Henry o... ang LAKI ng kanyang...
Henry: Oo nga ano!!


Pababa.


Ang tatlong balimbing.


Paborito talaga pakinggan ni Rene ang April Boys sa kanyang IPod.


Nakatulog. Andun pa rin sya hanggang ngayon.

Sunday, February 05, 2006

Commentary on Anonymous Writers


The Value of Opinion
A Commentary on Anonymous Writers


The value of "opinion" has certainly gone down in the last 10 years.

It was only a decade or so ago that widely disseminated opinion came by way of TV, magazines, and other publications, be it through a TV commentator, newspaper columnist, or letters sent to the publication, all of which have benefited from some sort of editorial scrutiny. Indeed, many national broadsheets required the letter senders to provide a real name and a real address as a pre-requisite for publication. It is, after all, the credibility of their station or their publication that is at stake. Opinion had value, because you knew newspapers would not hire just anyone to write an "opinion" about current events, about the state of the world, about entertainment or business or sport. They hired people who knew what they were talking about. People who were experts in their fields by virtue of their education, experience, and accomplishments.

Today, anyone and their pet poodle can log on the Internet, create a blogger account and spout off opinion that can be read all throughout the world. Today, everybody has an opinion, and everybody fights for their right to have that opinion. Right now, billions upon billions of opinions on varied subjects are being transmitted and read by billions upon billions of people all across the globe courtesy of the Internet. People can even do it without revealing their true identities and they can still have their say.

In many ways, it's terrific, because you get to have a listen to the great throbbing life blood of the world, uncensored, vibrant, and unfettered. Everybody gets to say what's on their minds, everybody gets to have their opinions widely read. So it's great!

But it's also becoming very difficult to discern just who is talking trash, and who is talking sense.

It's literally a jungle out there and if you don't have anything in place to make sense of it all, you'll certainly drown. And the safeguard I have personally put in place for myself is take anonymous writers with a grain of salt.

First, a definition of what I consider to be "anonymous".

I've been asked before, "How do you know if the person is anonymous? How do you know if the name he is using is real?

Generally, "anonymous" is someone I don't personally know, who uses a name other than what his true name is. People who I have met in person, who uses a name other than his real name online, I no longer consider anonymous. That's because I know who he is, I know what he looks like and I know what his girlfriend and his girlfriend's mother look like. I know where they live. People who uses names other than their real names, who leave links to their sites or blogs which contain their photos, personal information and anything that points to him as a unique individual, I no longer consider *too* anonymous. That's because I know what they look like, and when we meet in person, each of us would know who the other is and the things we have said. People who are famous, but I've never met, I also don't consider anonymous.

Basically, someone who is *not* anonymous (according to my own definition) is someone who knows that I am aware of who they truly are when they give me an opinion.

It is their opinions I respect over anyone else's.

I really don't put much stock and credibility towards anyone who doesn't tell me who they are online. Their opinions are just OK, be they praise, criticism, or insult. I can't deny that these opinions don't affect me, but it's just a little frustrating because their thoughts would be of much more worth to me if I knew who they are. I don't take them seriously, and for the most part, I don't really make much effort to discuss weighty issues with them, unless I find an opportunity to talk about matters where I perceive my words to be misunderstood, or as jumping points for matters I've always wanted to talk about, written for the benefit of everybody, anonymous or not.

An anonymous blogger contends: "It's not important who I am, but what I say."

I'm sorry, but for me, that is a load of CRAP.

And I'll tell you why.

Let me review. I've already demonstrated how much the value of opinion has gone down in the last 10 years. Because of the exceedingly inordinate amount of opinions freely available online, I have to learn to discern what is bullshit and what is not. And the one safeguard I think could help me with that is to seriously consider opinions only by those who offer their true identities.

I have several reasons why I think this is important.

1. Reputation. By freely giving my opinions on matters of comics and related matters, from my take on manga vis-a-vis Filipino comics art, Intellectual Property Rights, artistic integrity, etc., I put my reputation as a comic book creator, and as a human individual on the line. People know who I am, who my friends and family are, and how to get in touch with me. An anonymous writer online risks what?

Nothing.

By putting my career and my life at stake by the things I write, I believe it gives my opinion much more weight because I stand by it with my life. An anonymous writer risks neither his life, nor his reputation. ("Life" in this context doesn't mean biological life, but the physical, mental, and spiritual experiences that constitute existence: Everyday life.)

As a writer whose identity everybody knows, I take great care to be correct and respectful and, according to my own standards, moral in the things I say. I don't always succeed, but I always take personal responsibility for it. Saying the wrong thing can backfire on me and haunt me for the rest of my life. Freed from any responsibility and risk to his own life, the anonymous writer can afford to be less respectful, less careful, and less moral and correct about the things he can say. Even though he may still write with a certain sense of decorum, their writings are still suspect, because they have all been written free from any social and personal responsibility.

When I give an opinion and put it online, that is now a permanent record of what I have said. Somewhere, somehow, those words will be preserved, even if my original posts have been deleted. And it will be connected with me for as long as I live. And for an equal amount of time, I would have to be responsible for those words and the consequences they bring. For an anonymous writer, he can just easily disappear and create another identity for himself somewhere else, easily avoiding having to face any consequence of his words, ditching any responsibility for them.

How credible can anything they say ever be? Speaking of which...

2. Credibility and Trust. If a publisher like say, DK Publishing, wants to come out with a book on how comic books are created, do they approach Mr. Herbert Gooblegabber, computer analyst, comics hobbyist with an amateur DeviantArt account or someone like Dave Gibbons?

Do they hire the expertise of someone who hasn't published anything but knows all about creating comics because he read Scott McCloud's Understanding Comics or would they rather hire Scott MCloud himself? Or if he's unavailable, someone like Barry Windsor Smith or here in the Philippines Pablo S. Gomez or Steve Gan?

I think the answer is pretty obvious. You don't get someone who has second hand knowledge in comics to write a book about creating comics, or teach students about creating comics. You get someone who has actually created and published comics, because they know, above anyone else, how to do it successfully. That only makes sense doesn't it?

Anybody can have an opinion, but I would think that opinions of those who have experience in comics would have much more weight than those who haven't. For people who are forthcoming about their identity, it's easy to see who among them have the qualifications and those that don't. Our published works and accomplishments are all a matter of public record.

But how about Zlackbot333, 6mindfree9, or Tungga Bote, anonymous writers on the web? How can we trust what they're saying to be correct, no matter how eloquent they may seem to be, when their identities are hidden from us, depriving us of any sensible way of checking their qualifications? For all we know they're just bullshitting us, making everything up. What they say may well be factual, they may even turn out to be someone extremely qualified and experienced. But if they remain anonymous, we will never know. What they are saying may indeed be true, but I'd be far more trusting of someone like Dennis Villegas, than someone like Tikol Titi.

If they cannot trust the veracity of their opinion by putting their real identities on the line, how can we expect to trust whatever they say?

3. Fortitude. Many writers choose to stay anonymous so they can strike out at objects of their ire free from retaliation. Such a tactic is suspect, because one can surmise that such writers won't have the same fortitude to say the same things when their true identities are exposed.

Political writers during wartime, or during oppressive regimes have more reason to hide their identities because their physical lives, and the physical lives of their families would be at stake. But opinions about comics? Give me a BREAK. Nobody is going to kill you for THAT. The only thing you need to be concerned about is to be answerable and be responsible for the consequences of the things you write. And I'm sure, none of them would be life threatening.

Defenders of anonymous writers contend that writers tend to be anonymous because their thoughts would subject them to attack.

Well, so what? What does that make me? I've been attacked plenty for my own opinions. I can say the same for Randy Valiente, for Reno Maniquis, for Jonas Diego. And yet we're still here and we still stand by the things we say, inspite of being attacked, sometimes even ruthlessly. What does that make us? What does that make them who remain anonymous?

John Byrne's opinions in recent years may have angered many in the comics community, and it has seriously affected the appreciation of his art, and unfairly colored the worth of his formidable body of work. But I've got to respect him because it takes balls to say what he says. I'm more of a fan of his now than I was before. He's a far braver, and far more credible man than any anonymous writer who attacks him will ever be.

4. Respect. I'm not looking for any special treatment, but I hope I can at least demand some human decency from whoever I am talking to. How can I ever feel I'm being respected as a human being when the person I'm talking to is wearing a paper bag over his head as he dishes out strong opinions about me and my work? It's demeaning, and it demonstrates a distinct lack of courtesy and decency.

Anyone who has strong opinions about the state of the Philippine comic book industry needs to stand up for what they say, instead of shielding themselves with a mask. There is really nothing to fear. No reason to hide. A few heckles here and there from anonymous trolls, a few well thought out arguments from colleagues, many violent reactions from others. So what?

Adversity is part and parcel of dishing out opinions. If you are unwilling to risk facing that adversity with your real identity, opting instead to hide behind a mask, then I can never trust you, I can never take your word to be credible, and I can never take you seriously.

Stick up for what you believe in with your face squarely in the middle and people will respect you for it. Have the human decency to show me your face when you pass judgment on me and *I* will respect you. I may hate you, but I will respect you, and I will have no cause to doubt your sincerity.

If anyone anonymous feels the need to reply to this with their own "opinion", be it here or in their respective blogs, then please feel free to do so. I didn't write all this to stop anyone from writing what they want, nor is this a campaign to deprive anyone the right to have their say.

But if you are not going to write your real name down, you already know what I think of you.

Looking For Bert Sarile's Family


Looking for Bert Sarile's Family


A message posted on my message board:

Sa lahat ng mga nakakakilala sa pamilya ni Mang BERT SARILE, lalo na sa anak niyang si NOLI, ipakibato naman kay ALQUIN PULIDO (taga-ABS-CBN) kung saan sila matatagpuan. May magandang proyekto si Alquin bilang pagkilala na rin sa kontribusyon ni Mang Bert sa industriya ng komiks bilang isang mahusay na kartunista. Maaaring makontak si Alquin sa CP#0919-4412767. Maraming salamat.

-Ofelia Concepcion

Saturday, February 04, 2006

Johnny Balbona is Back!



Absent from the latest issue of Mwahaha, Johnny Balbona is back! And back with a vengeance! I'm working on an extra long Johnny Balbona adventure for the Superhero issue where Johnny has an extra "hairy" experience! I'm also working on the next installment of Humanis Rex, page two of the one I had finished before I took a break.

So guess who else is back? Thanks for all the messages, they're all very much appreciated.

The Crest Hut Butt Shop online strips, however, will take a momentary break as I look for a suitable alternate host for the images. Inspite of my boosted bandwidth, I still almost exceeded my traffic limit towards the end of the month. "Gerry's Big Book of Disgusting Deaths" has been concluded however, and can now be read in one go.

My one week break gave me sufficient time to think and reflect, and I've come to the realization that well, I can't stand taking a break. Against my better judgment, I found myself squeezing in work here and there. It got so bad that I just had to get out of the house. I found the chance to *at last* get back to Megamall after so many months.

I finally finagled "The Orc's Treasure" illustrated by Alex Niño, and the Nonoy Marcelo biography book "Huling Pytk: Da Art of Nonoy Marcelo". Reviews forthcoming!

I also did some bit of writing that would eventually appear here as articles on stuff that have concerned me of late.

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I appreciate all advice sent to me about things I write here, but please bear in mind that I just like to rant and complain. I'm not really looking for sympathy, advice or relief goods, unless well, I ask for it, which I might do once in a while if I'm really stumped (or get really hungry).

I just like to rant that's all. I'm not called "Boy Reklamo" by some people for nothing. All of this is written after I've already done something about whatever I'm complaining about. This blog represents probably just 5% of my life, so a lot goes on that I never get to write about(or would I want to).

But even then, I do appreciate all messages and emails and letters to me and I'm grateful to know you all took precious time from your own lives to write to me, so please don't feel like I don't give a damn. All comments about my art are welcome of course, unsolicited or not.

Later.