Filipino Komiks are the illustrations of a nation rising to meet challenges. Each generation brings a set of conflicts which contribute to the building of the comic culture. From finding inspiration, mixing cultures together, to the lengths creators go to stay relevant. Some comics like The Filipino Heroes League might go along with the joke that the Philippines are a third-world country; but each series from this archipelago have its people’s drive for survival.
The Early Filipino Komiks
Like most comics, the Filipino Komiks begin as an extension of free speech. Pinoy national hero Jose Rizal was inspired by his travels throughout Europe; his illustrated version of Filipino fable The Turtle and The Monkey serves as the Philippines’ first comic by sharing space alongside Hans Christian Anderson classics. This story about outwitting a more physically adept opponent fits rather well with the country’s comics as a whole. Much of its history beginning with the Spanish colonists tell stories of outwitting an oppressive status quo.
Through the Philippines’ history, the exposure to different media allow komiks to develop. During the 1890s comes the satirical magazine styles from the US and Britain. This gives way to the comic strips on newspapers, spearheaded by Romulo Ramos and Tony Velasques’ series The Misadventures of Kenkoy. Kenkoy details a satirical lifestyle of a Filipino man, as the Philippines adapt its identity to the US. Unlike Velasques’ The Kalipapi Family that embraces Imperial Japan.
The Komik Golden Age
With Imperial Japan’s defeat in WWII, the Philippines get exposure to the American comics. With characters like Superman generating interests among the people, they decide to translate and distribute the stories through magazines. Well this and Filipino folklore in magazines like National Children’s Classics. Eventually both materials run out, so the Filipino identity and Superheroes combine into new epics. The most notable among them is Darna.
Darna is a Philippino Komiks character created by everything that comes before. Mars Revelo originally created her as Varga to recapture Superman’s heroism. All while basing the character around Filipino identity by dressing Varga in the style of the Philippines’ flag. But what really defines Darna is how she speaks against mandate. After Revelo ends business with his editor he retools Varga into Darna. What better way to say these characters are different other than channeling the Shazam (Captain Marvel) vs. Superman debate? Which despite not adding to the case, the franchise encounters its own problems in the 70s.
The Modern Struggles
As dictatorships go, President Ferdinand Marcos prevented free speech including comics. At least before a local Comics Code comes into play which prevents Martial Law from censoring Pinoy series; even if this prevents mature series coming out. Because who wants to go through the propaganda scandals again? Some Komiks creators like Tony Velasquez meanwhile flee the country. These latter artists get renown in the US with their contributions to the US Market. Tony DeZuniga for example serves as co-creator to DC’s classic cowboy Jonah Hex.
Unfortunately, things weren’t looking so great for comic artists in the Philippines. Sure Ferdinand was forced into exile and democracy came back, but Filipino Komiks barely have an audience. With manga and Western comic imports filling the void, publishers didn’t want to take chances with change. Unless they were newspaper strips like say Pugad Baboy. Even names like Darna rely more on TV and cinema than Komiks. Yet the Filipino creatives don’t take this lying down.
Filipino Komiks Culture Resurgence
With comic fans beginning young, these creative minds begin to develop themselves into movements. The Komikero Artist Group forms the Philippines first Comic-Con. Its success leads to years of annual events throughout the country. With renewed interest come movements to enrich the industry. The Komiks Caravan eventually works with organizations like the NCCA to preserve Komiks. Because the National Commission for Culture and Arts recognizes the medium as a part of their culture. All so new generations of creatives could have better support including scriptwriting and storyboarding.
It seems to have worked considering the formation of Komikon where these people gather to mingle. At least until the Covid-19 pandemic hit with convention goers being notable victims. Plus with the death of important figures like Gerry Alanguin and Danry Ocampo, things were looking bleak.
Community Over Industry
Community certainly sounds more like a socialist word these days. To be honest, whenever I hear that word it begins to sound more like cult. But there is a silver lining to it as well when it comes to komiks. Because of how much endorsement and support their peers get, some series like Trese get acclaim. This is to the point of serving as Netflix’s first adaptation of a komik and getting international publishing. Not bad considering its humble beginnings with photocopy distribution.
More series like the Mythspace and Filipino Heroes League franchises also rise. Thanks in no small part to displaying the series on the internet. From webcomics to ebooks, the people celebrate every new creation on CNN. All of which display how the Pinoy folklore and heroes are always close.
What’s Next?
As of now, only time can tell what comes next for Filipino Komiks. But with events like the Covid-19 pandemic getting in people’s way, expanding is certainly on the list. Only a few komiks go beyond the borders, but that’s okay as long as some people leave some pointers for others. With the amount of Pinoy comic artists in companies like Marvel and DC, this may change. I mean the classic Filipino superheroes have an app game. So the next time you think komiks are another set from a third world country; try to recognize the struggles these fans and creatives go through to rebuild themselves.
Thanks for coming to the end and as always, remember to look between the panels.