Module 3: Filipino Komiks

Republic of the Philippines

PALAWAN STATE UNIVERSITY
Puerto Princesa City

PSU-CUYO

Philippine
Popular Culture
GE-Elect 2
BEED II-A&B

Time Frame: 2 weeks

(10.20.21-11.04.21)

Lesson 4

Mary Chelsea C. Daga

Instructor

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Module 3: Filipino Komiks
OVERVIEW

Comic books have been one of the important mirrors of Philippine culture.
First appearing as early as the turn of the 19th century, Filipino-made illustrations in
the form of editorial cartoons were seen as a form of political expressions. In its 80 years of
existence, the Philippine komiks has provided more than fun and entertainment to its millions of
readers. A large number of series, especially in the American colonial era, problematized taken-
for-granted realities shaped by the people's colonial experience. The post-war years witnessed the
production of more serials which mirrored the complex series of transformations that Philippine
society has undergone.
In this lesson, the students will have insights about the history of Philippine komiks
and its evolution, how it became popular to the masses, and get to know more about the
famous comic characters and creators.

LEARNING OUTCOMES

1. Identify the different komiks published in the Philippines.

2. Recognize the creators behind the Filipino Komiks.
3. Familiarize with the Famous Filipino Komik Characters.
3. Express your thoughts about the Filipino Komik that made an impact to you.
4. Make a comic strip.

LET US EXPLORE

Activity 1.1
(1 whole sheet of paper)

Directions: Give 5 Filipino comic characters that you know and give their distinct
characteristic.

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Module 3: Filipino Komiks
THE HISTORY OF PHILIPPINE KOMIKS

          In the simplest definition, komiks is a form of reading entertainment popular in the
Philippines. The word komiks is the vernacular equivalent of the English “comics” or “comic
book.” It also refers to a form of illustrated stories portraying various characters and topics
from experiences in everyday life to different kinds of adventures, exploits and heroism, to
dramatic or humorous scenes. It can be a very short story or a quite lengthy novel. Since its
beginning in 1922, komiks has been the Philippines’ cheapest form of entertainment, until its
decline in the late 1990s.
“The Monkey and the Turtle”
written and drawn by National Hero, Dr. Jose Rizal

Reading materials containing humorous

parody started in the Philippines during the mid-1800s, when propaganda against the Spanish
friars in particular and the Spanish government in general were circulating among the
Filipino masses. Even the Philippines’ national hero, Dr. Jose Rizal (1861-1896), drew satires
and parodies directed against the abuses and scruples of the Spanish friars.

CARABAO RENT OR SOCIO-POLITICAL HERB?

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 Module 3: Filipino Komiks
          Based on historical records and existing relics so far gathered, a publication
titled Upa[n]g-Kalabaw with a Spanish subtitle, Semanario Satirico (Satirical Weekly), was
in circulation in 1907. The title which may literally mean “Carabao’s rent” obviously,
"satirically," pertains to the worth of public opinion.
During those times, the rental for a carabao may be
equivalent to 20 centavos, which is its tag price. The
tabloid-like magazine was released every Saturday, with
office at Number 42 Concepcion Street, Quiapo (Kiapo),
Manila. It contained caricatures of well-known
personalities of the era, socio-political in theme, but had
some semblance of comics dialogue in Spanish and
Tagalog. The caricatures were drawn by Jorge Pineda
(1879-1946).

Two issues of Upa[n]g-Kalabaw,          

July 27 and December 28, 1907.

KOMIKS STRIPS BY FERNANDO AMORSOLO

The earliest regular komiks strip in the Philippines, on the other hand, was that of Si Kiko at
Si Angge, written by Iñigo Ed. Regalado (1888-1976) and illustrated by Fernando
Amorsolo (1892-1972). It was first published in an obscure
news magazine titled Telembang subtitled Lingguha[n]g
Mapagpatawa at Manunukso (Weekly Humorist and Jester),
the circulation of which lasted 111 issues spanning for about
three years (1922-1924). According to author and art
historian Alfredo R. Roces and American history professor
Alfred W. McCoy, the magazine contained hilarious stories,
caricatures, and cartoons, most of the drawings
and illustrations of which were drawn by Fernando
Amorsolo and Jorge Pineda. The title “Telembang” is a
Caricatures of Manuel L. Quezon, Tagalog word for the loud sound of church bell.
Emilio Aguinaldo and Sergio Osmeña
on the cover of Telembang           The Regalado and Amorsolo Komiks strip, Si Kiko
at Si Angge, was a hilarious cartoon series about a husband
(Kiko) and his nagger wife (Angge) and their differing
views on Philippine society and politics. It also reflected the life of the Filipinos during the
middle years of the American rule in the Philippines.   Regalado thus would be the first writer
and, Amorsolo, diverging from his painting, the first illustrator of regular comics strips in the
Philippines.

LIWAYWAY, THE “DAWN” OF KOMIKS

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On November 23, 1922, Ramon Roces began
establishing a chain of vernacular magazines with
the publication of a weekly Tagalog magazine
titled Liwayway. The Liwayway was actually an
offshoot of an earlier illustrated magazine
called Photo News, containing news, essays, and
prose and poetry. The name “Liwayway,” given by
its novelist-editor Severino Reyes (1861-1942), aptly
An issue of Liwayway (January 29, 1944) means “dawn” to symbolize a new beginning. It was
during the Japanese Occupation. in this illustrated magazine that Reyes’ “Mga
Kuwento ni Lola Basyang” became the favorite of
readers and established itself as one of the most
followed series in Philippine publication history.
On January 11, 1929, the
character Kenkoy, conceptualized by
Romualdo Ramos, was brought to life by
the brush and ink drawing of Antonio
“Tony” Velasquez (1910-1997), who was
barely 19 years old at the time.
The Album nang mga Kabalbalan ni
Kenkoy (Album of the Antics of Kenkoy)
was first serialized in the supplementary
pages of Liwayway. The character
Francisco “Kenkoy” Harabas, Rosing,
Ponyang Halobaybay and Nanong
Album n(an)g mga Kabalbalan ni Kenkoy
Pandak became such popular hits that sold at 30 centavo on its first run.
other komiks characters were
eventually created.

          Gregorio C. Coching (1889-1961), a considered legend

in the field of story-writing during the post-war era,
wrote Batibot na Anak ni Dumagit and Buhay ni Penduko,
which was illustrated by Francisco Reyes. A modest
illustrator himself, Coching did the graphics for his Ang
Kidlat ng Silangan in a semi-comics form.
Illustration was a hobby in Coching’s Liwayway days
that he fully exploited later when he drew his own komiks
series Hara-Siri, a tale of a self-proclaimed sultana of
Marawak seeking revenge on a Muslim sultanate during the
Madjapahit Era (serialized inTagalog Klasiks, May 6 –
Gregorio C. Coching’s “Hara-Siri” August 26, 1950). He founded, Balaghari (1948), what may
on the cover of Tagalog Klasiks #30 be considered as the third true komiks in Philippine
(August 26, 1950)
publication history, after Halakhak Komiks and Pilipino
Komiks.

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Module 3: Filipino Komiks
THE TERM “KOMIKS”
          The word “komiks,” as a vernacular term, was invented a few years after comics strips
were already appearing in different publications in the Philippines. The earliest possible
mention of “komiks” as a term to describe an illustrated reading material is in the
publication, Mabuhay (Ang Aliwan ng Bayan) in 1933. Before the term “komiks,” such
reading materials were commonly called “babasahing aliwan” (reading entertainment) by its
publishers and patrons.
          The word komikero, on the other hand, was also developed to mean a person who is
good at narrating humorous tales. Later it was tagged as the Tagalog equivalent of a
“comedian.” For comics workers such as writers,
A New Year (1937) issue of Tony
inkers, illustrators, and artists as a whole, the Velasquez’s
correct term, according to the Surian ng Wikang “Album ng Kabalbalan ni Kenkoy.”
Pambansa, should be komikista.
          The illustrated lampoons, parodies and satires during the Spanish, post-Spanish and
American-Occupation eras were injected with comical attribution that they became a source
of entertainment. Regalado and Amorsolo’s “Si Kiko at Si Angge,” more than a reflection of
political and social viewpoints, also contained comical and amusing situations. Such
situations became a label of some sort as well as a guiding standard for an emerging public
reading material.

THE APPEARANCE OF KENKOY

        
  The Romualdo Ramos and Tony Velasquez’s “Kenkoy” series that began in January
11, 1929, and several materials that followed were mostly “comical” in nature, and thus
another vernacular word – kengkoy (“funny person” as differentiated from a comedian)
and kakengkuyan (funny antics) – became a word of mouth. The coinage of the
words kengkoy and kakengkuyan precedes that
of komiks by a few years.

       
   Kenkoy is the longest running story in the komiks
industry and has since been the epitome and symbol
of what komiks is to ordinary Filipino people. The
name has
been a by-
word in pop
culture synonymous with komiks itself. Velasquez,
for his part in illustrating the series, is considered the
“Father of Philippine Komiks.”

          In fact,
“Si Kenkoy at si Rosing” on a
the character
Fletcher’s Castoria laxative print ad.
lives on long
after its
creators passed away. It had its own komiks,

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Module 3: Filipino Komiks
the Kenkoy (Pocket size) Komiks, which began in January 19, 1959. It had several revivals
afterwards. In the 1970s, when the TV series “Six-Million Dollar Man” and “The Bionic
Woman” were big hits on TV’s evening primetime, Kenkoy had a taste of cyborg adventure
with his son in “Si Kenkoy at ang Kaniyang Bionic Kid,” illustrated by Celso Trinidad in the
pages of the magazine Modern Romances & True Confessions. In the early 1990s, Kenkoy
reemerged inside the pages of Pilipino Komiks in the series aptly titled “Di Ritarn op
Kenkoy” (colloquial Tagalog for “The Return of Kenkoy”).

THE SPROUTING OF BULAKLAK

          On April 14, 1943, the first issue of Bulaklak (Hiyas ng Tahanan) was released by the
Social and Commercial Press owned by Beatriz M. de Guballa. Similar to Liwayway, it
featured prose stories and serials, poetry, entertainment news, komiks supplement and other
regulars such as crossword puzzles, caricatures, health and other tips. The komiks section
of Bulaklak featured illustrated serials such as “Huling Patak ng Dugo” (story by Luciano B.
Carlos, scripts written by J. N. Evangelista and illustrated by Ben S. Maniclang),
“Mambabarang” (written by J. N. Evangelista and Emil Quizon Cruz, and illustrated by Tony
de Zuñiga), “Bella Vendetta” (written by Joven Linda Santi, Mario del Mar and Carlos
Crispin, and drawn by Tony de Zuñiga), “Maryang Sinukuan” (written by Narciso S. Asistio
and drawn by Jose Pascual. It was also made into radio series aired on DZBB AM radio), and
“Sa Lilim ng Watawat” (written by Artemio Marquez and illustrated by Ben S. Maniclang. It
was adapted both in radio and movie. The radio version was written by Emilio Mar Antonio,
while the movie version was filmed by Sampaguita Pictures.).

Four decades of Bulaklak.

          It was also in Bulaklak that Mars Ravelo (1916-1988) wrote and drew some of his
earliest komiks stories such as “Ric Benson” and “Varga” in 1947, and “Bagong Daigdig” in
1948. Ravelo’s popular sitcom “Rita” was also first seen in Bulaklak. When Ravelo pulled
out the series, Bulaklak tried to continue it under the title Ritarits written by Emil Quizon
Cruz, but failed to attract the same readership.
          Much later, in 1970, Ravelo would acquire the rights to publish Bulaklak through his
RAR Publishing House, and retitled it Bulaklak at Paruparo.

HALAKHAK AFTER WORLD WAR II

          The readership of the komiks increased after World

War II. The first regularly published comic book or komiks
was the short-lived Halakhak Komiks, first released on
November 15, 1946.
          Barely recovering from the devastation of the war, the
Philippines desperately needs a boost on its psyche. There

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Module 3: Filipino Komiks
was probably no time for leisure. Many of the local publication closed shops during the war.
Many writers and cartoonists were out of work, including one by the name of Isaac
Tolentino, a satirical cartoonist who used to work with the Tribune, Vanguard, Taliba (T-V-
T) publications, and the Philippine Free Press. While looking for work, he chanced upon
Attorney Jaime Lucas, owner of Universal Bookstore. Together they conceptualized
publishing a comics magazine that will make people laugh. Hence, the
title Halakhak (Laughter).
Tolentino became the editor of the first true regular komiks in the Philippines. He
stayed on up to the eighth issue before transfering to the Manila Post. Tony Velasquez took
over up to the 12th issue (only 10 were ever published). It was in Halakhak that we first
witnessed the adventures of the comically unique superhero “Siopawman” by Larry Alcala
          

THE RISE OF THE PILIPINO

Barely a month after Halakhak released its last issue (April 15, 1947), Don Ramon
Roces organized Ace Publication specifically to publish komiks. Although Roces was
apprehensive at first, because of what happened to Halakhak, he was impressed by the
confidence of Tony Velasquez, whom he appointed to manage the komiks publication. On
May 27, 1947, Roces gave Velasquez 10,000 pesos as initial budget to start the company. A
small office in one of the vacant rooms in the old Liwayway building in Sta. Cruz was
provided, and there Velasquez started his work and Ace Publication was born.
          The first komiks to come out of Ace’s printing press was Pilipino Komiks, which was
quite appropriately titled by Velasquez. It was the second regularly published reading
materials that contained fully-illustrated stories and to be called a “komiks.” The title letter
print (or what we called today as “font”) of the word “komiks” was Velasquez’s own
creation, probably revised from the later issue of Halakhak. Succeeding komiks would use
this letter print for their cover title.
          The first issue of Pilipino Komiks hit the streets on June 14, 1947, with initial print of
10,000 copies. Published fortnightly, at 25 centavos a copy, Pilipino Komiks was easily
affordable even to the man on the street and the first issues were sold out. Included in the first
issue was one of the longest-running serial komiks novels in the Philippines, “DI-13” (a take-
off of the famous American detective cartoon character Dick Tracy) authored by Tony
Velasquez’s brother Damy and illustrated by Jesse Santos. Also included were Vicente
Manansala’s washed paneled story of “Prinsesa Urduja,” Amadeo Manalad’s “Makisig,” Cris
Caguintuan’s “Lagim,” Fred Carillo’s “Daluyong”, Larry Alcala’s “Kalabog en Bosyo,”
Hugo C. Yonzon Jr’s “Ang Buhay ni Aldabes” and Jose Zabala Santos’ “Lukas Malakas.”
Velasquez had his own contribution in the two-page “Nanong Pandak” (an offshoot
of Kenkoy) strip.

          On the eighth issue of Pilipino Komiks, Gregorio C. Coching’s son, Francisco V.
Coching, who decades later would be acknowledged as the “Dean of Filipino Komiks
Illustrators,” joined the staff of illustrators with “Paloma,” his first comic strip in Ace
Publications. By the eleventh issue, the print order for Pilipino Komiks reached 25,000
copies. For some time Pilipino Komiks dominated the comic book market in the Philippines
and had no competition. It is in the pages of Pilipino Komiks that many of the unforgettable
characters and classic series were founded.

THE TWINKLE OF BITUIN

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Module 3: Filipino Komiks

          Due to the success of Ace Publication’s Pilipino Komiks, other publishers started

venturing into komiks publishing as well. Ilang-Ilang Publication joined the market with the
first issue of Bituin Komiks on May 7, 1949, but after 11 issues, F. J. Quiogue Publication
took over. It is the fourth komiks to join the bandwagon with its first cover page featuring the
character Sianong Sano illustrated by its creator J. Zabala Santos.

Another renowned Filipino painter, Mauro “Malang” Santos (1928-2017), aside from
being one of its editors also contributed cartoon strips, “Tiks” and “Awitawa” in Bituin.

The fourth komiks in the Philippines,         

Bituin komiks (May 7, 1949)
KOMIKS ONE AFTER ANOTHER
Ace Publications, on the other hand, expanded; more
staffs were hired; and acquired temporary accommodations in the
sprawling compound of the Capitol Publishing House, Inc. The
success of Pilipino Komiks was followed by the publication
of Tagalog Klasiks on July 16, 1949. The maiden issue, priced at
25 centavos a copy, included among others “Mga Kuwento ni
Lola Basyang: Maryang Makiling” by Severino Reyes and
Maning de Leon, and “Isang Libo’t Isang Gabi” (a Tagalized
reprint of One Thousand and One Nights).
Arcade Publication released its first issue of Aksiyon Komiks on
February 21, 1950, while Silangan Publication released the
maiden issue of Silangan Komiks on March 15, 1950.
          Two more komiks, on the other hand, were released by Aksiyon Komiks #20
(March 1, 1951)
Ace Publication: Hiwaga Komiks (October 5, 1950),
and Espesyal Komiks (October 20, 1952). Other komiks also
started in the early 1950s, among them, Pantastik
Komiks (October 25, 1950), Manila Klasiks (June 23, 1951), Extra Komiks (August 20,
1951), Aliwan Comix (September 1, 1951), Mabuhay Komiks (September 11, 1951), Super
Klasiks (December 15, 1951),  Marte Komiks (March 5, 1952), Kidlat (Aliwan ng Bayan,
June 2, 1952), Luz-Vi-Minda Klasiks (June 25, 1952), Oriental Libangan Komiks (July 5,
1952), and Atomik Komiks (October 25, 1952). Many, many more komiks by various
publications followed.

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Module 3: Filipino Komiks

All first issues: (from left to right, top to bottom)

Hiwaga Komiks (October 11, 1950), Pantastik Komiks (October 25, 1950),
Mabuhay Komiks (September 11, 1951), Super Klasiks (December 15, 1951),
Kidlat, Aliwan ng Bayan (June 2, 1952), Luz-vi-minda Klasiks (June 25, 1952),
Oriental Libangan Komiks (July 5, 1952), Espesyal Komiks (October 20, 1952)

          During the 1960s, Graphic Arts Publication introduced Aliwan Komiks (October 29,

1962), Pioneer Komiks (December 3, 1962), Holiday Komiks (March 23, 1963) and Pinoy
Komiks (May 23, 1963). Other notable komiks publisher included G. Miranda and Sons
Publishing Corporation, Bulaklak Publication, PSG Publishing House, RAR Publishing
House and Islas Filipinas Publication.

The first four komiks published by Graphic Arts:

Aliwan, Pioneer, Holiday and Pinoy Komiks.

          By mid-1960s there were at least 25 to 30 komiks in

circulation at any given day with a readership patronage of no
less than two million.

THE GOLDEN AGE OF KOMIKS

          Beginning with success of Pilipino Komiks onward to
the 1950s, original illustrated stories kept coming in from
would-soon-to-be legends in the field like Francisco V.
Coching, Tony Velasquez, Severino Reyes, Mars Ravelo, Jose

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Zabala Santos, Fred Carillo, Nestor Redondo (1928-1995), Pablo Gomez (1931-2010),
Clodualdo del Mundo (1911-1977), Jim Fernandez, Ben Maniclang, Elpidio Torres, and Jesse
Santos (1928-2013).
          It was in the 1950s that the Coching father and son made their marks in the industry.
Gregorio, the older Coching, was well into his 60s, but his mind and pen had not slackened
with the encroaching age. In Donya Geronima, a popular serial in Espesyal Komiks illustrated
by Afredo P. Alcala (1925-2000), he transported a supposedly Greek mythological character
– Hectopeles – to a Katipunan Revolt setting and provided
Gregorio C. Coching’s “Donya love interest through Naida, the diwata (fairy) of Ilog Pasig
Geronima” (Pasig River), and Donya Geronima, the leprous and
on the cover of Espesyal Komiks #9
(February 9, 1953) spiteful sculptress who formed Hectopeles from stone.
         

 The young Coching, for his part, became a master of

bringing to life ancient heroes, legendary characters and folklore tales in both stories and
illustration. Francisco Coching’s Hagibis, a series similar to Edgar Rice Burroughs’ Tarzan
of the Apes (1914), lasted for 15 years in the pages of Liwayway magazine. His Lapu-Lapu,
which first appeared in Pilipino Komiks on April 24, 1954, was a grandiose portrayal of the
Philippines’ first hero, Lapu-Lapu; his love, exploits and battle against the Spanish fleet led
by Fernando de Magallanes (c. 1480-1521).
Francisco V. Coching’s “Lapu-Lapu”
          It was also in this remarkable era that Mars Ravelo on the cover of Pilipino Komiks #180
wrote Roberta, which narrated the misfortunes of a (April 24, 1954)
young orphan, and Darna, the most beloved Filipino
superhero of all time. Ravelo, prol, also gave
us Bondying (a childish man who, at first refused to grow up, then fell in love, and in the
process gained maturity), Dyesebel (a mermaid thrust into human society because of love and
at the end became human), Facifica Falayfay (a bakla whom love eventually transformed
into a real man), Jack and Jill (revolved around the adventures of a tomboyish girl and an
effeminate boy), to site a few. In the 1950s alone, Ravelo had written more than a hundred
komiks novels: “Jungle Boy,” “Berdugo ng mga Anghel,” “Basahang Ginto,”
“Cumbanchera,” “Konde Artemius,” “Villa Viejo,” “Raul Roldan,” “Silveria,” “Rebecca,”
“Mariposa,” “Ang Biyenan Kong Amerikana,” “3 Sisters,” “Mambo Dyambo,” “Kiko,”
“Inspirasyon,” “Boksingera,” “Hootsy-Kootsy,” “Kontra Partido,” “Eternally,” “Diyosa,”
“Baby Bubut,” etc. Ravelo's works were so many that nobody really knows the exact number.
          Pablo S. Gomez (1931-2010) brought to the readers Kurdapya (Tagalog Klasiks, 1954-
1955), a tragic-comical story about a girl with a face only a mother could love. It was a local
version of the ugly-duckling-turned-into-a-swan theme. This was successfully followed
by Gilda (Pilipino Komiks, 1955-1956), a story of the many sufferings of a woman driven by
bitterness and poverty to strike back against the world. Next came Torkwata (Hiwaga
Komiks, 1956-1957). All three classics were illustrated by Nestor Redondo, and were
successfully made into movies.
THE EMERGENCE OF PINOY SUPERHEROES

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          The first fictional Filipino superhero on record
is Ipo-Ipo, which first appeared in the magazine
called Magasin ng Pagsilang (Magazine of Birth) on
April 5, 1947. It was created by Lib Abrena and Oscar
del Rosario. It was published nine weeks ahead of
Cris Caguintuan’s Lagim (Pilipino Komiks #1, June
14, 1947) and three-and-a-half-month ahead of Mars
Ravelo’s Varga (Bulaklak #17, July 23, 1947).
Though Siopawman, a cartoonized comical superhero
created by Larry Alcala (1926-2002), was published
almost half-a-year earlier (Halakhak Komiks #1,
November 15, 1946), it was really not considered a
genuine superhero in the true and “serious” sense of the word. It was, nonetheless, the
pioneer in the genre of Filipino superheroes, the first one to be tagged a “superhero” in
komiks, albeit, a funny one.
The emergence and consequential popularity of Pinoy superheroes extended
the “Golden Age of Philippine Komiks” further to include the 1960s up to late-1970s, but this
is left to the arguments of both literary historians and komiks aficionados. Ravelo and Gomez
continued to dominate the komiks pages with their stories, and Alcala, Redondo and Coching,
with their illustrations. It was in these decades that we saw the beginning of many of the
modern Filipino superheroes. Darna was now accompanied by Isputnik (1962), Captain
Barbell (1962), Flash Bomba (1967), Lastikman (1968), Tsandu (1968), and many more.
There’s even a peculiar superhero named Captain Suicide (created by Rex Guerrero and
drawn by Rico Rival), donning a pajama-like costume (1965). It was also in this era that the
character Captain Philippines (a Captain America
look-alike attributed to Alfredo P. Alcala) was first
seen, albeit, in the movie Captain Philippines at Boy
Cris Caguintuan’s “Lagim” on the cover of
Pilipino Komiks #60 (September 17, 1949) Pinoy (1965). So does  Babaeng Kidlat (Lady
Lightning, 1964), Mighty Rock (1969), and the 1970s
now-immortal Carlo J. Caparas’ creation, Ang
Panday, illustrated by Steve Gan, and made into a
series of movies, which originally starred movie king Fernando Poe Jr.

KOMIKS POPULARITY  

          The popularity of komiks steady grew from the 1950s up to the middle of 1980s as it
became the Philippines’ cheapest form of entertainment. The first issues of Mga Kabalbalan
ni Kenkoy was sold at 3 centavos each from 1929 to mid-1930s. From late 1940s to the
1950s, komiks like Pilipino Komiks, Tagalog Klasiks, Bituin Komiks, Hiwaga
Komiks, Aksiyon Komiks, Pantastik Komiks, Mabuhay Komiks, Super Klasiks, Luz-Vi-Minda
Klasiks, Oriental Komiks, Espesyal Komiks, Filipinas Komiks, Sampaguita Komiks, Pilipino
Klasiks, Educational Klasiks, Ligaya Komiks, etc., were tagged at 25 centavos per issue.

          The existence of komiks was also a big help for the local film industry as it provides an
infinite source of original stories. As such the “Golden Age of Philippine Komiks” coincided

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in a decade or so with the “Golden Age of Philippine Movies.” The komiks also served as a
thermometer for the public’s interest and acceptance, as well as a preview to the would-be
film version. Komiks was so popular during those times that several surveys showed that an
average of 73 households out 100 has at least three issues of komiks at any given time.

 
THE BOMBA KOMIKS EXPLOSION

          In the middle part of komiks’ Golden Era also appeared adult-oriented komiks, which
contained from soft to hardore porn. The late 1950s to early 1960s saw the appearance of
pocketsize magazines, sometimes called “Sex Mini-Mag,” containing pictures of nude
women, sexual acts, and explicit erotica with controversial themes ranging from adultery to
incest. Although Tiktik, a magazine that began in 1948, already showed some form of soft
pornography in its so-called “true to life” crimes of passion contents, it was far milder than
what is shown and be read in the Sex Mini-Mags.
          In March 1964, Akda Komiks came ito being. Published by Futura Inc., it is considered
as the first komiks containing illustrated adult contents. Although it did not show any frontal
nudity, Akda Komiks contained stories about illicit affairs and suggestive sexual acts. Soon
afterwards, pornographic komiks started appearing on the sidewalks of Avenida, and later on
newstands throughout the country. They were called “Bomba” komiks.
          The term “bomba” (bomb) was given a colloquial meaning of “nude” or “hot”
(sexually), a little milder than the term “porno.” After Akda Komiks, others, with more
explicit materials followed: Basal (1964), Paralumang Ligaw (1964), Nimpa (1965),
and Lahat Pag-ibig (1966). The year 1969 saw the birth of the so-called “pilyo (naughty) but
clean fun” publications like OA Komiks and Pogi (Magazine for men). It also saw the
explosion of several other reading materials containing either softcore sex stories or explicitly
illustrated pornographic materials in the market, perhaps, due to the sexual number-term
“69.” Titles including Barako (Magasing Lalaking-Lalaki), BF (For Adults
Only), Bold, Censored, Dyagan, Exclusive, Kyut, Playboy Komiks, Sex-See, Topless, Toro,
etc., had its first issues on this year.

Graphic Arts’ Aliwan 5-Star Komiks Magasin, Ace’s Love Story Illustrated weekly

Magazine
and Atlas’ Lingguhang Darna Komiks, three of the popular komiks of the 1980s.
          
Quite a number of komiks stories ended up in films and later on as telenovelas. The
popularity of komiks assured film producers that movies based on hit komiks stories would
also be successful commercial ventures.
          In the 1970s and 1980s, top film companies such as Regal Films and Viva Films
produced a lot of movies that were based on komiks stories penned by Mars Ravelo, Pablo S.

BEED-II Philippine Popular Culture 13

Module 3: Filipino Komiks
Gomez, Elena Patron, Gilda Olvidado, Ramon Marcelino, Ofelia Concepcion, Nerissa
Cabral, Carlo J. Caparas, Lualhati Bautista and Pat Reyes.

THE STRUGGLE TO SURVIVE

            During the late 1970s to the 1980s when the komiks industry in the Philippines started
to decline, then First Lady Imelda R. Marcos took it upon herself to help. Two main causes
were cited for the decline, the exodus of Filipino artists to the U.S. and other countries to seek
greener pastures, and the skyrocketing costs of paper and ink. The government tried to help
through subsidies to komiks productions, giving of incentives to Filipino artists, and the
creation of new and alternative fields – animations, children and history books illustrations,
advertising tie-ups, stage plays, and films – for the komiks workers.

THE LAST HURRAH

          After the EDSA Revolt, censorship on published
materials was said to have slackened. Hence, the
proliferation of hardcore pornographic materials, including
komiks of this type, in urban sidewalks all over the country.
Contrary to what we were made to believe, however, there
exist a very real restriction imposed on publication,
subliminal to public knowledge. Articles, stories, even
illustrations in komiks, magazines and newspapers
bordering on criticisms against the Cory Aquino regime,
against the American meddling in Philippine political
affairs, and similar topics, were not allowed to be
Atlas’ Super Action #16
(December 1999)
published. There was even a time when priests and nuns
featuring Darna on the cover. were used to discourage the public from reading komiks.

One by one, local komiks publication started

folding down rather than leveling up to compete in the
international market. Serialized stories were slowly replaced with the so-called Puro
Wakas (all one-issue short stories). Some publishers even ventured into
Tagalizing Marvel and D.C. comics issues, but this backfired because it was unacceptable to
local
komiks fans, especially when the quality of paper used was very poor. With no more
interesting stories to patronize every week, Filipino readership also waned.
Not even the revivification of Darna in Atlas’ Super Action, albeit in adulterated
storylines, was able to bring back the public enthusiasm on komiks. This was not at all the
character Darna’s fault, but the lackluster way the publisher marketed the materials in the
emerging new era and new brood of audience.

 Startin g in
2001, the
komiks of
Atlas

Three of Atlas Publishing’sBEED-II

last prints: Philippine Popular Culture 14
Pilipino Illustrated Stories #3240, Tagalog Illustrated Stories #2762,
and Espesyal Illustrated Stories #2602.
Module 3: Filipino Komiks
Publishing had a change of face. For unknown illogical reason, the “komiks” in the title was
removed and replaced with “Illustrated Stories.” Pilipino komiks became Pilipino Illustrated
Stories; Tagalog Klasiks became Tagalog Illustrated Stroies; Espesyal
komiks became Espesyal Illustrated Stories, etc. It lasted up 2006. The last one to fold
was Pilipino Illustrated Stories, which in the latter part was only published on “Specialized
issues” containing illustrated information about current events and trends.

The first three issue of Charm, c. 2003.

        
  Atlas Publishing also ventured into producing an English colored comic, as well as
compiling the classic works of the komiks’ “Golden Age” and published them into book
form. Terry Bagalso's Charm  was released into circulation on June 9, 2003. In 2009, they
released Francisco V. Coching’s “Lapu-Lapu” (formerly serialized in Pilipino Komiks). Both
ventures, however, lacked marketing and the ventures failed. Other proposed titles never
made it into prints. After this, Deo Alvarez, then General Manager of Atlas Publishing, was
even quoted as saying, “The komiks industry is dead!” When in fact Atlas Publishing, the
largest komiks producer in the Philippines, could have save the industry had it done
production and marketing strategies parallel to what the comics producers in the U.S. and
Japan had done. Instead it limits itself to low-cost production and tie-up adaptations of
foreign comics. It has lost its pool of great writers and artist because it virtually surrendered
its objectives. It became a publishing company with no vision and no marketing strategy. The
result – total failure. Atlas Publishing closed shop in 2013.
GOING ONLINE
          The attempt to go online, where komiks had not gone before, also met
drawbacks. National Bookstore, which took over ownership of Atlas Publishing, planned and
envisioned to put Atlas komiks online. In one of Atlas Publishing Artists and Writers
Reunions, Benjamin Ramos, NBS top brass, talked about the online projects. It, however,
didn’t materialize. A few publishers tried this route but similarly encountered the same
disappointment.
          Those who envision to put komiks online may have overlooked the research and
studies regarding this venture. A 2010 random survey of 2,500 komiks enthusiasts in malls,
schools, coffee shops, MRT and LRT stations, etc., revealed that 59.84% of the respondents
still want the physical komiks. They still preferred one they could hold in their hands while
reading. It’s quite a hassle for them to download and print the online komiks. Only 13.96%
favors digital komiks and 26.2% are okay for both. It is also an established fact that reading
materials like the komiks are considered collectible. As such, “physical” printed copies are

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Module 3: Filipino Komiks
valued more than the digitally saved images. This is the same reason cited in the research
study “Why Kindle failed in China?”
          Marvel, DC and other major comics publishers didn’t concentrate on online publishing.
The studies showed that it was not their priority. The “physical” and printed comics was, and
still is, their main frontline. For two decades now, Marvel comics is being sold at a price
considered impossible due to combined editorial and printing cost even if the number of
copies runs into hundreds of thousands. In another thesis, “Komiks: Patronage, Interest and
Opportunities,” it was supposed that Marvel was subsidizing their comics issues to maintain
patronage. One sentence summed up the logic behind it – “Patronage maintains interest; and
interest maintains opportunities.” In fact, the subsidies put into printed comics are readily
offset by the high revenues obtain through these “opportunities” – animations, films, tie-ups,
endorsements, etc.

Activity 1.2 (1 whole sheet of paper)

TRUE OR FALSE
Directions: Write TRUE if the statement is correct and FALSE, if not.
1. The earliest regular komiks strip in the Philippines was “Ang Panday”.
2. Komiks became the Philippines’ cheapest form of entertainment.
3. Arcade Publication released its first issue of Aksiyon Komiks on February 21, 1950.
4. The first fictional Filipino superhero on record is Lastikman.
5. Siopawman, a cartoonized comical superhero created by Larry Alcala.
6. Mars Ravelo wrote Roberta, which narrated the misfortunes of a young orphan.
7. Fred Alcantara drew some of the great classics in Philippine komiks like Dyesebel.
8. Pablo S. Gomez was the writer of Kurdapya.
9. The first komiks to come out of Ace’s printing press was Pilipino Komiks.
10. “Komiks,” were commonly called “babasahing tanawin.”

FAMOUS FILIPINO KOMIK CHARACTERS

1. Darna is a fictional Filipino comics superheroine created by writer Mars
Ravelo and artist Nestor Redondo. Darna's appearance is distinctive and
iconic: she usually wears a red bikini or shorts with a gold star in each
brassiere cap; red helmet with ruby encrusted gold winged medallion; gold
bracelets; a golden medallion belt with a loincloth in the middle; and red
boots. Darna is widely considered as a Filipino cultural icon and the most
celebrated superhero character in the Philippines.
2. Captain Barbell is a
fictional Filipino  comics superhero created by writer, Mars Ravelo and
artist Jim Fernandez. His characteristics are similar
to American ficti onal superheroes Superman, DC Comics' Captain Marvel,
and Thor but Ravelo based his backstory on Captain America. He first
appeared in Pinoy Komiks #1 on May 23, 1963. He also appeared
in Kampeon Komiks.

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Module 3: Filipino Komiks

3. Francisco "Kenkoy" Harabas is a Philippine comics character created by

writer Romualdo Ramos and cartoonist and illustrator Tony Velasquez in 1929.[1] Velazquez
continued the strip for decades after Ramos' death in 1932. Kenkoy was seminal to Philippine
comics and thus Velasquez is considered the founding father of the industry. [2] The
term kenkoy has entered the Filipino language to mean a joker, jester, or a hilarious person.
4. Lastikman, originally spelled Lastik Man, is a fictional character
and Filipino comics superhero created by Mars Ravelo and artist Mar T.
Santana. Lastikman or the original spelling of Lastik Man debuted in
comics format in Aliwan Komiks #56 (December 7, 1964). Based on DC
Comics' Plastic Man, and/or Marvel's Mister Fantastic from Fantastic Four,
Lastikman can also stretch and transform into many imaginable forms and
shapes he desires.
5. Pedro Penduko is a Filipino comic book character styled as a folk hero or
superhero, created by National Artist for Literature Francisco V.
Coching and debuted on the magazine Liwayway.
In his numerous incarnations, Pedro Penduko is an ordinary human being
with no superpowers. He is, however, resourceful and quick-witted in
battling evil forces. He is aided by a magical amulet (known as Mutya in the
television series). He is first introduced in the 1994 and 2000 films as a
descendant of a family of legendary heroes but is a coward.
6. The Panday (Filipino for smith) is a fictional Philippine comics character
created by writer Carlo J. Caparas and artist Steve Gan. His stories were
first serialized in the comic series Ang Panday ("The Smith") in Pilipino
Komiks during the late 1970s. The character, whose real name is Flavio,
became a Philippine pop culture icon since it was adapted to film (Ang
Panday) in 1980 with Fernando Poe Jr. portraying Flavio and Max
Alvarado as his archenemy Lizardo.
7. Dyesebel  is a Filipino comic book character, conceived by Mars
Ravelo and drawn by Elpidio Torres. Dyesebel is a mermaid, who
eventually gains full human form through a deal with a sea-witch.

8. Bondying is a comic book character created by Filipino graphic

novelist Mars Ravelo and first introduced by Pilipino Komiks on August
29, 1953. He is a large person who is still considered a baby.

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Module 3: Filipino Komiks

9. Zuma is a Filipino comic book character created by Jim Fernandez in 1974. The character

first appeared in a serial written by Fernandez entitled Aztec. From 1976 to 1985, Zuma got
his own series named Anak ni Zuma that was serialized in Aliwan Komiks published by
Graphics Arts Service Inc. with illustration by Ben Maniclang. The comics series was the
biggest best seller for Aliwan. Following this publication success, spin-offs and a 1990s
reboot about the character were published and it was further expanded in other media
including film and television.
10. Valentina is a supervillain created by Mars Ravelo and Nestor
Redondo who first appeared in the second episode of the Darna series
published in the Philippine comics Pilipino Komiks (issue #78, 1950) . One
of the most recognizable supervillainess characters in the Philippines, she is
the archenemy of Darna. She was originally a bitter, deformed woman born
from ordinary human parents with venomous snakes on her head that
appears to be like hair. When she grew up, she killed her parents and was
subsequently taken in by a serpent creature named Kobra. Valentina was
soon referred to as "goddess of the snakes."
11. Ipo-ipo ("whirlwind" or "tornado") is regarded as the first costumed and
first true Filipino comic book superhero. Ipo-ipo was created by Lib Abrena
and Oscar del Rosario in April 1947 as a reaction against Japanese military
invaders who occupied the Philippines in World War II and refused to
surrender even after the admission of defeat by Japan in 1945.

FILIPINO KOMIK CREATORS OF ALL TIME

1. Mars Ravelo - Ravelo was one of the most successful Filipino comic artists. He was the
creator of the famous superheroine 'Darna', and the highest paid comic artist of his time.
2. Antonio “Tony” Velasquez – is a Filipino illustrator regarded as the Father of Tagalog
comics and as the pioneer and a founding father of the Philippine comics industry.
3. Francisco Coching - Coching is by general consensus the greatest Filipino komiks
illustrator of all time. No other Filipino illustrator had elevated the art of komiks into a
valid art form.
4. Nestor Redondo - Redondo's mastery of the human anatomy is unequalled even among
local or foreign illustrators. Redondo is definitely one of the world's finest illustrators.
5. Alex Nino -Alex had a bad start in Philippine komiks since even the great Mars Ravelo
was not yet prepared for the revolutionary techniques Alex applied in his drawings. Yet

BEED-II Philippine Popular Culture 18

Module 3: Filipino Komiks
only Alex can do what he does. No one can duplicate his works especially on the sci-fi
and horror genre. Truly Nino is one of the greatest illustrators in the world today.
6. Alfredo Alcala - may well be the most prolific Filipino illustrator, and yet the quality of
his work never diminishes. He stunned even Marvel Comics editors with his remarkable
illustrating skills. Like Nino, Alcala had a unique style that no one has been able to
imitate.
7. Ruben Yandoc - One of the pioneer illustrators in Philippine komiks, Yandoc is also one
of the most mysterious. Despite his superior work and fantastic drawing abilities, nobody
seemed to know any significant information about him. Yet, despite this Yandoc is
definitely one of the greatest illustrators in Philippine komiks. His unique drawing style is
much admired even by many international comics fans.
8. Elpidio Torres - rightfully called the "Amorsolo of Philippine Komiks", Torres is
definitely one of the greatest komiks artists of the Philippines. Known throughout his
career for clean rendering and smooth lines, Torres drew some of the great classics in
Philippine komiks like Bondying, Jack and Jill, Mambo Dyambo, Dyesebel, and many
others.
9. Hal Santiago - Hal started his career illustrating for the Bulaklak publications where he
honed his skills imitating the style of the great comic illustrators Hal Foster and Nestor
Redondo. He soon evolved his own great style marked with clean brushwork and superior
composition. In the 1970s, Hal was already recognized as one of the two most sought-
after komiks illustrators, an honor shared by Mar Santana. However, only Hal can boast
as being the only one officially given the title "The Philippines' Greatest Illustrator"
10. Fred Carrillo - in tandem with writer Clodualdo del Mundo, he created some of the
greatest classics in Philippine komiks. An indefatigable illustrator, Carrillo's trademark
was his attention to detail and clean composition.
11. Rudy Nebres - Nebres' art is a breed of the Coching and Redondo school of classical
komiks illustration. Although he began his career as a lettering artist, Nebres had the
immense ability for the komik art. His rendering and his perfect portrayal of human
anatomy are much admired.
12. Fred Alcantara - Nobody has solid knowledge about Fred Alcantara. Yet you can see his
drawings reflect a passion for perfection. His photographic illustrations look so real
people tend to forget they were reading komiks and not watching movies.

Activity 1.3 (1 whole sheet of paper)

What is your favorite comic growing up? Do you think it influenced you in some
point or made an impact to you? Express your thoughts about it.

LET US WRAP UP

Comics in the Philippines (Filipino: Komiks) have been widespread and popular

throughout the country from the 1920s to the present. Komiks were partially inspired by
American mainstream comic strips and comic books during the early 20th century.
Particularly after World War II, the medium became widely popular, though its mainstream
appeal has subsided somewhat with the advent of other mass-media forms such

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Module 3: Filipino Komiks
as telenovelas. Webcomics produced by independent Filipino web-based artists have caught
the attention of local and foreign readers.
The word komiks is simply the English word "comics," adapted to fit the orthography
of native Filipino languages such as Tagalog.

LET US ASSESS

A. IDENTIFICATION (1 whole sheet of paper)

Directions: Identify what is being asked in the following.

________1. It was written and drawn by our National Hero, Dr. Jose Rizal.
________2. He was considered as a legend in the field of story-writing during the post-war
era.
________3. It is considered as the first komiks containing illustrated adult contents.
________4. The first fictional Filipino superhero on record.
________5. Acknowledged as the “Dean of Filipino Komiks Illustrators.”
________6. A person who is good at narrating humorous tales.
________7. A form of reading entertainment popular in the Philippines.
________8. A hilarious cartoon series about a husband (Kiko) and his nagger wife (Angge)
and their differing views on Philippine society and politics.
________9. Is the longest running story in the komiks industry and has since been the
epitome and symbol of what komiks is to ordinary Filipino people.
________10. A tragic-comical story about a girl with a face only a mother could love.
________11. A satirical cartoonist who used to work with the Tribune, Vanguard, Taliba (T-
V-T) publications, and the Philippine Free Press.
________12. A colloquial meaning of “nude” or “hot” (sexually), a little milder than the term
“porno.”
________13. The most beloved Filipino superhero of all time.
________14. It means “dawn” to symbolize a new beginning.
________15. The most prolific komik writer of all time.

B. MODIFIED TRUE OR FALSE

Directions: Write TRUE if the statement is correct and if not, underline the
word or statement that makes the sentence incorrect and write the correct answer.

1. Francisco Coching was the creator of the famous superheroine 'Darna', and the
highest paid comic artist of his time.
2. Antonio “Tony” Velasquez is the Father of Tagalog comics.
3. Pablo S. Gomez was rightfully called the "Amorsolo of Philippine Komiks."
4. Darna was the first costumed and first true Filipino comic book superhero.
5. Ang Panday was created by National Artist for Literature Francisco V. Coching.

BEED-II Philippine Popular Culture 20

Module 3: Filipino Komiks
6. Rudy Nebres was in tandem with writer Clodualdo del Mundo.
7. Valentina is the archenemy of Darna. 
8. Lastikman can stretch and transform into many imaginable forms and shapes he
desires.
9. Bodying’s characteristics are similar to American fictional superhero Superman.
10. Darna is widely considered as a Filipino cultural icon and the most celebrated
superhero character in the Philippines.

ANSWER KEY

Activity 1.2
TRUE OR FALSE
1. FALSE
2. TRUE
3. TRUE
4. FALSE
5. TRUE
6. TRUE
7. FALSE
8. TRUE
9. TRUE
10. FALSE

PERFORMANCE TASK #2

Task : Make a Comic Strip

BEED-II Philippine Popular Culture 21

Module 3: Filipino Komiks
Due on: November 8, 2021.

What is a comic strip?

A comic strip is a sequence of drawings, often cartoon, arranged in

interrelated panels to display brief humor or form a narrative,
often serialized, with text in balloons and captions. 

Details:

1. Make your own comic strip.

2. Draw it in a short bond paper.
3. The story and characters in the comic strip must be unique and original (it
should be drawn not downloaded from the internet).
4. The title should be catchy and the conversation must be readable.
5. Your comic strip should have a minimum of 4 pages.
6. Be creative!

Your performance task will be graded according to the rubric provided.

COMIC STRIP RUBRIC

Category 4 3 2 1
The final draft is The final draft The final draft The final draft is
readable, clean, of the story is of the story is not neat or
Neatness neat and readable, neat readable. It attractive. It
attractive. It is and attractive. looks like parts looks like the
free of erasures. of it might have student just
been done in a wanted to get it
hurry. done.

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Module 3: Filipino Komiks
Title is creative, Title is related to Title is present,
sparks interest the story and but does not
Title and is related to topic. appear to be No title.
the story and related to the
topic. story and topic.
The story The story The story There is little
contains many contains a few contains a few evidence of
Creativity creative details creative details creative details creativity and
and the author and the author and the author the author does
has really used has used his has tried to use not seem to have
his imagination. imagination. his imagination. used much
imagination.
Original Original Original Illustrations are
illustrations are illustrations are illustrations not present or
detailed, somewhat relate to the text they are not
Illustrations attractive, detailed, on the page. original.
creative and attractive, and
relate to the text relate to the text
on the page. on the page.
There are no There is one There are 2-3 The final draft
Spelling and spelling or spelling or spelling and has more than 3
Punctuation punctuation punctuation punctuation spelling and
errors in the error in the final errors in the punctuation
final draft. draft. final draft. errors.
The Comic Strip The Comic Strip The Comic Strip The Comic Strip
Humor is funny and is funny and is not so funny. is not funny at
made us laugh. made us smile. all.

REFERENCES

1. [Link]
2. [Link]

BEED-II Philippine Popular Culture 23