Reference No: KLL-FO-ACAD-000 | Effectivity Date: August 3, 2020 | Revisions No.

: 00

MISSION
VISION

A center of human development committed to the pursuit of wisdom, truth, Establish and maintain an academic environment promoting the pursuit of
justice, pride, dignity, and local/global competitiveness via a quality but excellence and the total development of its students as human beings,
affordable education for all qualified clients. with fear of God and love of country and fellowmen.

GOALS
Kolehiyo ng Lungsod ng Lipa aims to:
1. foster the spiritual, intellectual, social, moral, and creative life of its client via affordable but quality tertiary education;
2. provide the clients with reach and substantial, relevant, wide range of academic disciplines, expose them to varied curricular and co-curricular
experiences which nurture and enhance their personal dedications and commitments to social, moral, cultural, and economic transformations.
3. work with the government and the community and the pursuit of achieving national developmental goals; and
4. develop deserving and qualified clients with different skills of life existence and prepare them for local and global competitiveness

LESSON 3

I. COURSE CODE /TITLE: GEE 103 PHILIPPINE POPULAR CULTURE

II. SUBJECT MATTER

Topic Time -Frame

3.Direction of Popular Culture in the Philippines 15.5 hours
3.1. Komiks

III. COURSE OUTCOMES

A. Discuss the direction of popular culture in the Philippines.
B. Explain the importance of Komiks in the development and spread of popular culture.
C. Elucidate the impact of Comics to the lives of the people.
IV. ENGAGEMENT

A. INTRODUCTION

Popular culture is an integral part of daily life throughout East and Southeast Asia. and reflects the
ethnic, linguistic, religious, and socioeconomic diversity of the region. Commercial popular culture has
developed fastest during peacetime, supported by media proliferation and the growth of market
economies. It can be distinguished from elite and folk cultures by its relatively frivolous, consumerist, and
ephemeral nature, the large size of its audiences, and its circulation through the mass media. Western
popular culture, although widespread, competes for attention with local pop industries, whose artists and
products cross national boundaries and contribute to a sense of regional identity.

Popular culture has been criticized in some countries for distracting citizens from concerns such as
education and religion, and governments have both censored and mobilized popular culture to further their
ideological goals. Popular culture produced in east and Southeast Asia often reaches a global audience,
and impacts the popular cultures of many parts of the world.

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 More recently, South Korean pop songs and television dramas, known as the Korean Wave, have
become hugely popular throughout Asia. Both South Korea and Japan are known for their productive
popular culture industries, which churn out commercial pop acts like Korean boy bands Super Junior and
Mandarin-speaking Super Junior M, and all-female Japanese Morning Musume.

East and Southeast Asian popular culture has a considerable impact on global popular culture.
Prominent examples include Japanese cartoons (Pokemon, Hello Kitty), computer games (Super Mario
Bros., Dance Dance Revolution), horror movies (Ringu, remade in the United States as !e Ring), and
Chinese martial arts films (Hero, Crouching Tiger, Hidden Dragon) and stars (Jet Li, Jackie Chan).

Politics and Everyday Life

Popular culture has taken on political implications at different times in history. Many governments
are sensitive to its effects upon the masses, and censor it for reasons from the length of an artist’s hair or
amount of sexual content to explicit calls for revolution. Popular music has often been politically inflected:
artists and audiences alike use it to express rebellion, including in 1970s Indonesia (Rhoma Irama) and
!ailand (Caravan), 1980s China (Cui Jian) and the Philippines (Freddie Aguilar), and 1990s Tibet (Dadon
Dawadolma). Some popular figures have become directly involved in politics.

For the most part, popular culture today is governed more by entertainment and fashion than
politics. Celebrity gossip fills the pages of lifestyle magazines, newspapers, and entertainment Web sites.
Singers, actors, film directors, writers, and sports personalities are idolized, and can find success in
multiple genres. Many stars (Hong Kong’s Andy Lau and Cecilia Cheung, Korea’s Rain, and Taiwan’s
S.H.E. and F4, for example) are active in the music, acting, and modeling worlds, and appear on multiple
television and billboard advertisements; Filipino boxing champion Manny Pacquiao has ventured into
music, acting, and even politics, having been elected to Congress in 2010.

Just as elsewhere in the world, consumers in east and Southeast Asia are drawn to popular culture
based on their collective and individual situations and identities, and on the lifestyles to which they aspire.
Popular culture can express shared sentiments, from national or local pride to grief.

New media have become essential to the production, circulation, and consumption of popular
culture. East and Southeast Asian countries are creators and voracious consumers of the latest
technologies. Cell phones, laptops, and portable media players are used to access the Internet, play
games, listen to music, share jokes, read literature, and watch movies and television. Popular culture is
increasingly participatory in nature, as fans select idols via short message system (SMS) voting, engage in

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 spoofing and memeformation, and join communities on Web forums and social networking sites.
American-produced Massively Multiplayer Online Role-Playing Games (World of Warcraft) and locally
produced titles (Japan’s Dynasty Warriors) are extremely popular, and people spend hours immersed in
front of screens in Internet cafés, offices, and at home.
For your enlightenment watch this video on Philippine Popular Culture : Dimensions and Directions
using this link :
https://www.google.com/search?q=direction+of+popular+culture&oq=direction+of+popular+culture&aqs
=chrome..69i57j33i160l2j33i22i29i30l3.15539j0j7&sourceid=chrome&ie=UTF-
8#fpstate=ive&vld=cid:c8116988,vid:W8ayRKa9LH8

B. ACTIVITY 1
DIRECTIONS: Answer the following questions about popular culture as fully and precisely as you can. Put your
answers in yellow paper.

1. Discuss briefly the direction of popular culture in the Philippines.

2. How did Philippine Comic art start in the country?

3. What comics were produced in the Golden Age?

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 4. Why is Kenkoy considered as a Filipino comic icon?

5. How were Filipino comics creators influenced by American comics?

6. Enumerate the ten (10) comics that deserve your attention. Describe each briefly.

C. APPLICATION
DIRECTIONS: Answer the following questions briefly.

1. With the current trends and popular culture today, how do you see a Filipino? Cite specific
examples.

2. What is the importance of comics in the development and spread of popular culture?

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 3. Discuss the impact/effect of Comic Books on media, society, fashion and merchandise.

4. Are comic books dying in this 21st century? Explain your answer.

5. What are the Filipino komiks in modern times and its genre?

6. Differentiate, manga, manhua and manhwa.

OUTPUT
DIRECTIONS: Write your insights on the video regarding the dimensions and directions of Philippine popular
culture. Submit your output by group after discussion

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LESSON 3 ATTACHMENT

Philippine Comics
Comics in the Philippines (Filipino: Komiks) are 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 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.
While the first indigenous cartoons may be traced to José Rizal's illustration of the fable "The
Tortoise and the Monkey" (1885), the origins of the mainstream komiks industry would not arise until after
the Spanish–American War. Rizal’s illustration did not incorporate the use of speech balloons; instead,
the characters' conversation were written under the panels.
In the 1920s, Liwayway magazine began running comic strips under the direction of Romualdo
Ramos and Tony Velasquez, such as the still-running Mga Kabalbalan ni Kenkoy (The
Misadventures of Kenkoy). Velasquez is considered the father of Filipino comics.

Golden Age
During the World War II, American GIs brought comic books with them for entertainment. After the
war, Filipino publishers began publishing material in the serialized comic book format. Francisco V.
Coching, the National Artist for Visual Arts and known as the “Dean of Filipino Illustrators,” ushered the
golden age of Filipino comics. He was able to produce 63 titles with 51 film adaptations throughout his
career, one of his most popular works is Pedro Penduko which revolves around Philippine mythology.
.Mars Ravelo created a number of Filipino superheroes, several of which had been adapted to multiple
films and television series. His characters like Darna and Captain Barbell became sources of escapism
and hope post-war. Ravelo also created Bondying and like Kenkoy, the word "bondying" has entered
the Filipino language
Pablo S. Gomez wrote for Pilipino Komiks and Tagalog Klasiks before founding PSG in 1963. Most of
his works were adapted into films and television series, some of which are Inday Bote, Machete and
Bunsong Kerubin.

Evolution
Originally inspired by American comic strips and comic books left behind by American GIs, the
mediumsteadily diverged, and by the 1950s, drew more inspiration from other forms of Filipino literature
such as komedya, as well as Philippine mythology. Many komiks were evidently inspired by specific
American comics, such as Kulafu and Og (Tarzan), Darna (Captain Marvel and Wonder Woman), and
D. I. Trece (Dick Tracy). The predominance of superheroes has continued into the modern day.
However, other characters suchas Dyesebel draw more from traditional folklore.

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Breaking into the American Comics scene
In the late 1960s, Filipino artist Tony De Zuniga broke into the American comics industry. In 1971,
DC Comics editor Joe Orlando and publisher Carmine Infantino traveled to the Philippines on a recruiting
trip. Alfredo Alcala, Mar Amongo, Ernie Chan, Alex Niño, Nestor Redondo, and Gerry Talaoc were some
ofthe Filipino komik artists who went on to work for DC, particularly in the 1970s and '80s.
A similar trip by Pendulum Press editor Vincent Fago led to a great number of Filipino artists
working on the Pendulum Now Age Classics series, black-and-white comic book adaptations of literary
classics which werepublished from 1973–1980. Visiting the Philippines in 1970, Fago teamed with Nestor
Redondo to recruit Filipino artists for Pendulum. In addition to the work of Redondo, who illustrated more
than 20 books in the series, the Pendulum Illustrated Classics featured the artwork of Alex Niño, Gerry
Talaoc Vicatan, Rudy Nebres, Jun Lofamia, Nestor Leonidez, and E. R. Cruz. (Redondo's brothers Virgilio
and Frank also illustrated books in the series.)
Beginning in 1978 and lasting until about 1983, the black-and-white comics magazine publisher
Warren Publishing also utilized the talents of a number of Filipino artists, including Niño, Nebres, and
Alcala. At Marvel, Steve Gan became highly regarded for his artwork on both Conan titles Conan the
Barbarian and Savage Sword of Conan from 1974-1979.
A number of Filipino artists worked for several American fantasy and horror titles. From the mid-
1980s on, fewer Filipino artist found work in the American comics industry, the exceptions being De
Zuniga, Chan, Alcala, and Talaoc.
In 1994, 55 Balete Drive in Quezon City housed the studio, Starfire Visuals, built by the co-founder
of Image Comics Whilce Portacio. The team included Portacio, Gerry Alanguilan, Leinil Yu, Jay Anacleto,
Roy Allan Martinez, Gilbert Monsanto and Edgar Tadeo. Besides comics, the team also did multimedia
projects for local musicians such as Ryan Cayabyab and other artists like director Chito S. Roño. The men
behind the studio opened the local network of comic book artists to the international market in the 90s.
The biggest project of the studio was Stone, a comic book about Filipino folkloric creatures. Stone was the
bestselling independent book in the 90s with 88,000 in units sold. Stone even had a soundtrack for its
promo and radio interviews, the titular song was performed by Filipina rapper Chill, and other songs were
by local bands Wolfgang and Razorback (Voodoo, Who Do?), and international rock bands like Our Lady
Peace, Korn and Incubus.

Popularity
At one point, between 33 and 40 percent of Filipinos read komiks, but this number has since
dwindled somewhat due to competition from other media forms. More recently, comic artists have begun
producing what is often called "Pinoy Manga," inspired largely by Japanese anime and manga, which
have been widely available in the Philippines since the 1970s.
PhilPost released a series of national stamps based on komiks on November 15, 2004. Among
those featured were Gilbert Monsanto's Mango Comics Darna , Nestor Redondo's Darna, Francisco
Reyes' Kulafu, Francisco V. Coching's Lapu-Lapu, and Federico Javinal and Coching's El Vibora.

Modern Age
Characters and stories by Coching, Ravelo and Gomez are still being adapted into films and television
series.
The first indigenously produced comic strip in the Philippines would be Rizal’s “The Monkey and
the Tortoise”, a fable on how the wise tortoise outwitted the selfish and devious monkey. This particular

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comic strip was published in 1885 in Trubner’s Record, an English magazine edited by Dr. Reinhold Rost,
as a direct compliance to Rost’s request for Asian fables. Rizal’s “The Monkey and the Tortoise” did not
incorporate the use of speech balloons; instead, the conversation of the characters followed earlier
conventions and were written under the panels.

However, mainstream komiks would not appear again until the 1920’s, when Liwayway Magazine
first published Mga Kabalbalan ni Kenkoy, written by Romualdo Ramos and illustrated by Tony Velasquez,
pioneers of the modern Philippine comic industry. Mga Kabalbalan ni Kenkoy illustrates the misadventures
of the quirky yet amusing title character, and his love for Rosing, the ideal Filipina woman of the period.
Kenkoy’s success spawned the Philippine komiks industry; his influence would extend all the way from
language, spawning the prominent use of Carabao English (or Kenkoy’s English) in everyday colloquial
discourse, to music, with Nicanor Abelardo’s “Hay Naku Kenkoy!”

Indeed, Kenkoy catalyzed the spread of mainstream komiks in the Philippines, but its heyday
would come in the 1950s and 1960s. Tony Velasquez recruited writers and illustrators for Ace
publications, including future komiks giants Mars Ravelo (Darna, Lastikman, Captain Barbell), Francisco
Coching (Pedro Penduko, Hagibis), Larry Alcala (Siopawman, Kalabog en Bosyo) and Alfredo Alcala, who
would later draw for DC Comics in the United States.

National Artist Vicente Manansala even produced his own titles from 1947 to 1949, most notably
Prinsesa Urduja, which became part of Pilipino Komiks, the best-selling comic book in the Philippines, and
Alias Kapitan Simangot. Carlo J. Caparas, a notable director, once started in the local komiks industry
creating characters such as Flavio in Panday, Totoy Magtanggol in Totoy Bato, and Joaquin Apacible in
Joaquin Bordado.

Traditionally, it has been viewed as a very potent medium of getting ideas across to the Filipino
populace, with approximately 30% readership (potentially more) at the height of its popularity. During its
golden age in the late ‘40s to the early ‘70s, as many as 2.5 to 3 million copies of serialized komiks were
circulated per week.

Recognizing the potential reach and influence of komiks, Communication Foundation for Asia
hitched on the bandwagon and produced Gospel Komiks, translating the Gospel Readings into illustrated
stories aimed at teaching children the Bible’s message. Prior to this, another educational brand of komiks ,
Educational Klasik Komiks, was produced by Ace Publications; however, this publication did not gain
popularity, and was discontinued shortly after.

While komiks is regarded as a particularly low form of Philippine art, its influence on Philippine
culture is undeniable; it has even been regarded as the ‘pablum (or pabulum) of art appreciation’ by
various writers and artists. At its height, komiks provided Filipinos the distractions they needed from the
reality of society, with the medium appealing to both the poor and the middle class, most of which cannot
afford the more elitist forms of art such as theatre and film. Most of the subjects in Philippine komiks were
attached to the mystical and the supernatural; however, other titles are more grounded in reality, with
some themes revolving around comedy, romance and melodrama which are still popular subject matter in
contemporary mainstream media.

However, as the years pass by, less and less of Philippine komiks are consumed by the masses.
Both readership and production has declined with the advent of other forms of media and entertainment,

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such as television and video games. One wonders now if this Filipino ‘art form’ will survive in the
decades that would follow.
Whatever Happened to Pinoy Komiks?
For many years, the komiks enjoyed widespread popularity, until the 90s when the industry began
to decline. Foreign cultural influences slowly veered the interest of Filipinos in their own literature.
Moreover, the coming of various media novelties – like radio and TV – seemed to have further
sealed the komiks’ fate.
First, Western comics like DC and Marvel competed with Pinoy komiks. Then the Japanese
“manga” comics brought in more excitement. Finally, the animation technology completely made
the komiks too old-school already. The komiks industry was soon forced to close shop.
But it appears like the appeal of the komiks has not completely died out. A new generation of
creators is trying to revive and re-introduce the legacy of Philippine komiks. These young artists
turn out self-published works and conduct events that aim to fan popular interest in the art form.
The event called Philippine Komiks Convention, or Komikon, is an annual gathering of comic-
book artists, publishers, and enthusiasts in the country. The friendly competition is geared towards
spreading public awareness and appreciation in the art of komiks.
The present comic style may be a far cry from the Filipino original. But it retains its local character
by way of stories that depict the obtaining Filipino culture, often highlighting the native traits of
resilience and resourcefulness. The face of the Pinoy komiks may have changed – but the current
efforts of local graphic artists and animators are sure to pour oil into the dying fire. (FREEMAN)

COMIC STRIP ABOUT PHILIPPINE POP CULTURE

Pugad Baboy: A Comic Portrayal Of Filipino Foibles

Pugad Baboy, one of the longest running and most successful comic strips in the Philippines, is an
affectionate satire of the idiosyncrasies and eccentricities of Filipino society and culture. Its continued
popularity can be attributed to its ability to reflect the political and social issues of the day in an ironic, yet
humorous way. One of the Culture Trip‘s writers, Maria Soriano, analyses the comic’s enduring appeal.

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Cover of Katorse!, the 14th compilation of the comic strip series Pugad Baboy | © Nanami Kamimura/WikiCommons

Pugad Baboy, meaning ‘swine’s nest’ in Filipino, is the comic brainchild of Apolonio ‘Pol’ Medina
Jr., one of the leading cartoonists in the Philippines. Medina originally came up with the idea for his fictional
community of obese people while he was working for an Italian construction company in Iraq in 1986. After
his stint abroad, Medina pitched the strip to one of the country’s English broadsheets, The Philippine Daily
Inquirer, making its comic strip debut in the paper’s Entertainment section on May 18th, 1988.

Medina gradually developed a following amongst the paper’s regular readers for its satirical spoof of Filipinos
and their idiosyncrasies, catapulting him into fame as one of the country’s prime cartoonists. In 1998, Medina
released the first ever Pugad Baboy comic book, which was essentially a compilation of the strip’s long run in
the Philippine Inquirer. It became a huge success and garnered an audience beyond the usual readers
of The Inquirer, which has continued to feature Medina’s comics exclusively since his debut. After publishing
23 comic books and four stand-alone graphic novels, the long-running spoof of life in the Philippines and its
people as set out by Medina is still basking in its huge success.

Much of its appeal comes down to its well-known eccentric, obese characters, its resident anthropomorphic
dog and their zesty hijinks of community and home life. Medina states in an interview that characters in the
strips are based on relatives and neighbors who are ‘horizontally challenged’. The residents of Pugad
Baboy are identifiable by the families that they belong to: The Sungcals, The Lamouns, The Tangeres and
The Tangs. Each family and its members have unique characteristics, but the central characters are the
patriarchs of each family — the innovative Chef Dagul, the tough Sergeant Tomas, the communist rebel Ka
Noli, Bab the lazy, unemployed hipster and Mao, the money-tight Chinese businessman. This eclectic bunch
is often featured drinking and conversing together, their personal differences cast aside. Polgas, their dog,
acquired human abilities as a result of eating one too many experimental rice cakes from his master Dagul
and from overexposure to TV radiation. He has since become Dagul’s drinking buddy and moonlights as a
superhero dog for the OCB, or Organized Canine Bureau, by the name of Dobermaxx. Polgas has long been
the face of Pugad Baboy merchandising.

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 The concept of a community of obese residents and an anthropomorphic dog initially served as
Medina’s platform from which he could lampoon the quirks of typical Filipino attitudes and behavior but before
long, Medina broadened his skill as a comic writer by broaching social issues. Medina followed a long line of
much-loved Filipino cartoonists such as Larry Alcala, Mars Ravelo and Tony Velasquez in exploring the
Filipino psyche using this particular medium. With the subsequent follow-ups to the first compilation book
of Pugad Baboy, Medina novelized the comic strip into book form, adding story arcs, continuous narratives
and character sub-plots that stretched far beyond three to four panels of comic strip.
Politicians, celebrities and other public figures are often the butt of Medina’s gags, though his attacks on
pop-social culture and public personalities are rarely direct, instead drawing on general caricatures and ironic
commentary. Medina’s political and social affiliations are evident through the sarcastic wisecracks and loaded
remarks he includes in the strips, which are generally aimed at ‘no one and every one’.
What separates Medina as a cartoonist and his work on Pugad Baboy from the rest of contemporary
Filipino cartoonists is his ability to keep his writing consistent, relevant and fresh by chronicling day-to-day
working- and middle-class customs. This medium is generally considered low brow entertainment which
mainly evokes instantaneous laughter, as it does not demand sharp intelligence from the readers to convey
the meaning of the jokes. However, Medina credits his readers with intelligence and the cursory knowledge to
resonate with the relevant, topical issues in pop culture that he addresses. To date, no contemporary
cartoonists have been able to match Medina’s skill in developing a comic strip, like his famous Pugad Baboy,
into a vehicle for both satire and social commentary.

The Impact of Comics on Pop Culture

Comics have had a significant impact on pop culture, influencing various aspects of society such as art,
literature, film, television, and even politics. From the early 20th century to present day, comics have served
as a medium for storytelling and have played a role in shaping popular culture. They have introduced iconic
characters and storylines that have resonated with readers of all ages and have transcended their medium to
become cultural phenomena. In this essay, we will explore the ways in which comics have impacted pop
culture and how they continue to influence and be a part of mainstream media.
Effects of comic books on media
Effects of comic books on society
Effects of comic books on Fashion and Merchandise
Genres of Comics

Effects of comic books on media

One of the most obvious ways that comics have impacted pop culture is through their adaptation into
other media. Many iconic characters and stories from comics, such as Superman, Batman, Spider-Man, and
X-Men, have been adapted into movies and TV shows, often with great success. These adaptations have not
only brought new audiences to the original comics, but they have also helped to shape the public perception
of these characters and their stories.
It is for very practical reasons that comic book publishers opt to change their ongoing narratives to make
them resemble other media. They do this mostly because the markets for film and television are significantly
greater than those for comic books. When someone sees a comic book adaptation, it could inspire them to
look into the original series. Particularly when they realize to their surprise that the comic edition differs
greatly from the depiction in the movie, TV show, or game. Comic books make adaptations to different
mediums that could either assist or hinder them in order to avoid this.

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 Characters, traditions, artwork, and even terminology from comic books are now widely used in
entertainment, politics, and advertising. They have become an integral component of our cultural vocabulary.
A considerable body of scholarship is also being done on the topic. Comic books have evolved from their
modest origins as reprinted comic strips into literature, works of art, and cultural relevance in their own right.
Comics have also influenced the creation of video games. Many popular video games, such as Batman:
Arkham Knight and Spider-Man: Miles Morales, are based on comics and feature storylines and characters
from the original comics. These games have helped to introduce new audiences to the comics and have also
helped to further popularize these characters.

Effects of comic books on society

One positive effect of comic books is that they have helped to promote literacy and a love of reading.
Many people, especially children and young adults, have been introduced to reading through comic books
and have then gone on to read more complex literature. Comics have also helped to promote creativity and
imagination, as they often feature unique storylines and characters.
Comics have helped to promote social and cultural awareness. Many comics, such as those featuring
superheroes, have tackled social issues such as inequality, prejudice, and injustice. These comics have
helped to raise awareness of these issues and have encouraged readers to think critically about them.

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 On the negative side, comics have sometimes been criticized for promoting negative stereotypes and
perpetuating harmful ideologies. Some comics have been accused of promoting violence, sexism, and
racism, and have faced criticism for their portrayal of women and minority groups.

Effects of comic books on Fashion and Merchandise

Comics have also had an impact on fashion and merchandise. Many popular characters, such as
Superman and Wonder Woman, have inspired clothing lines and merchandise, including t-shirts, hats, and
other items. These products have helped to further promote and popularize these characters, making them
even more well-known within popular culture.
Comic book-inspired fashion and merchandise have also helped to create a sense of community among
fans of these characters. Many people who wear or own comic book-inspired merchandise do so as a way to
show their love and appreciation for these characters and their stories.

Genres of Comics
There are many different writing styles and genres used in comics. Primarily to appeal to a wide variety
of people in order to satisfy every style of taste that exists around the world. The following are just a few of
the various genres that may be found in the world of comics today:

Superhero
You should undoubtedly be aware of among the most well-known comic book subgenres. The
superhero genre has also influenced pop culture as well as the internet. Superhero comics typically depict
characters like Batman, Superman, the X-Men, and Spider-Man, who frequently wear capes and masks and
utilize their amazing powers to save humanity. Superheroes have also captivated the public’s interest ever
since Superman made his debut in Action Comics in 1938. Action, adventure, and unforgettable, iconic
characters dominated this inaugural issue. Hero comics might be regarded as a type of contemporary myth.
While certain characters as well as series have been around since the 1940s, there are always new
characters being developed with unique skills, outfits, and planets.

Non-fiction
Comics have shown to be excellent teaching tools, and new ones are constantly being produced to
examine subjects as varied as biography, history, science, and politics. Graphic non-fiction, commonly
referred to as non-fiction comics, is a non-fiction component of the comic medium. Mostly covering a range of
forms, from trade paperbacks to comic strips.

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 Some other genres of comics are Sci-Fi or Fantasy, Humor, Manga, Slice-of-life, and Horror.

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

JOSE RIZAL AS THE FATHER OF PHILIPPINE KOMIKS

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.

During his stay in Germany (1886), Rizal made several comical drawing that he was
sometimes called “Father of Philippine Comics.” While exiled in Dapitan (now part of Zamboanga
Del Norte, Mindanao), Rizal was said to have drawn several illustrated scripts, such as
the Mangkukulam (1892), Ang Bolo ni Balat (1892), Si Fray Ungas at si Datu Utog (1893).

The Mangkukulam, an intriguing four-frame presentation about the effects of witchcraft, still
exist. According to a column article, “Rizal, Father of Philippine Comics,” written by Ambeth
Ocampo and re- published in his book Rizal Without the Overcoat, the drawing accompanied Rizal’s
monograph on

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the Mangkukulam. The latter two was allegedly destroyed during World War II. In fact, Si Fray Ungas at si
Datu Utog was said to be one of the Spanish Era illustrated erotica purportedly done by Rizal. The work,
composed of eight drawing frames with dialogues; depicted a priest and a datu comparing their sexual
process in deflowering native young girls. This was among the unfinished research subjects of the late
National Artist and former Secretary of Education Alejandro R. Roces (1924-2011).

While Rizal’s drawings may not be considered good enough for today’s komiks standard, one
collector reportedly paid 50,000 pesos for one of them. The popular grade school fable The Monkey and the
Turtle (c. 1880), first narrated by Rizal when he was in college, the illustration of which he drew while he was
in Paris (1886) on the notebook of Maria de la Paz Pardo de Tavera (1862-1892), then soon-to-be wife of
Juan Luna (1857-1899). It is considered as the first indigenous cartoon drawings in the Philippines. Many
more drawings had appeared with claims that they were done by Rizal but no definitive studies have been
made to authenticate or debunk them.

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 The Monkey and the Turtle”
written and drawn by National Hero, Dr. Jose Rizal

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CARABAO RENT OR SOCIO-POLITICAL HERB?

July 27 and December 28, 1907.

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 titlewhich 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, buthad some
semblance of comics dialogue in Spanish and Tagalog. The caricatures were drawn by Jorge Pineda (1879-
1946).

According to Alejandro R. Roces, there was a story behind the title of Upa[n]g-Kalabaw. Though the
editorial box reads “Lipang Kalabaw,” it was a result of a misunderstanding between the owner-editor Lope
K. Santos (1879-1963) and the illustrator with the one who made the layout of the editorial box, who was a
foreigner. If you look at the illustration of the title in the cover page, the “U” looks like “Li” and Upang was
written as Lipang. It was already printed when the mistake was noticed. Santos decided to retain the
published title Lipang Kalabaw after devising an explanation for it.

As it turned out, the word “lipa” is a name for a local plant. There are two kinds, the lipang maliit
(scientifically known as Laportea interrupta) and the lipang malaki (Dendrocnide meyeniana). The former is
also known as lipang aso. Santos concocted the idea of giving another name for lipang malaki as“lipang
kalabaw.” The kalabaw (carabao) caricature in the title was, however, made to remain even though lipang
kalabaw is a plant and has nothing to do with a carabao.

The publication folded in 1909. When it was revived in 1922, Santos added the subtitle “Gamot sa
Magagalitin at Nalulungkot” (Medicine for the readily angered and lonely), giving the herbal connotation a
sort of socio-political perspective.

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KOMIKS STRIPS BY FERNANDO AMORSOLO

Caricatures of Manuel L. Quezon,Emilio Aguinaldo and Sergio Osmeňa

on the cover of Telembang

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 Tagalog word for the loud sound of church bell.

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.

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LIWAYWAY, THE “DAWN” OF KOMIKS

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 means “dawn” to symbolize a
new beginning. It was 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.

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 The Tagalog Liwayway was followed by the two sister magazines in the Visayan region, Bisaya
(August 15, 1930) and Hiligaynon (August 3, 1934). A Bikolandia counterpart Bikolnon and the
Liwayway Extra joined the circulation in 1936. A year after, the Bannawag came off the press and became
the favorite reading material of Ilocandia. There was even a time when the circulation of Bannawag rivaled
that of Liwayway.

10 Comics From The Philippines That Deserve Your Attention

Philippine comics have a rich history that stretches all the way back to the late-1800s, and some are long
overdue for a worldwide breakthrough. Comics have had a long history in the Philippines, with some of the
first possibly being developed as far back as the late 1800s. After World War II, comic books became
especially popular around the world and Filipino artists were heavily influenced by comic books and comic
strips left behind by American soldiers, as well as local mythology and literature.

Over the years, comics in the Philippines have developed all kinds of influences, like Japanese
anime and manga, which has led to the "Pinoy Manga" style. And, just like comic book characters around
the world, some characters have proved popular enough to get adapted into films and television shows.

10Darna

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 One of the most famous superheroes in Philippine comics, Darna is something of a mix
between Wonder Woman and Shazam: She's an extraterrestrial warrior that shares a body with a young
girl named Narda, with the two transforming into each other with the help of a magic stone. Similar to the
early Shazam comics, Darna and Narda are not the same person, although Narda's brother Ding serves
as Darna's regular sidekick. Her most prominent enemy is the gorgon-like Valentina, the Queen of the
Snakes.

There have been various films and television shows starring the character in her home country,
with her first film coming out in 1951. Often, in live-action, Darna's alter-ego is usually rewritten to be a
young woman close in age to her, which can allow them to share an actress. She's also sometimes
compared to Japanese magical girls, although she predates the genre by a few decades.

9Dyesebel

In a story reminiscent of The Little Mermaid with elements of Aquaman, Dyesebel is a mermaid
born to human parents. Eventually, she is taken in by genuine mermaids who help her breathe underwater
with the help of a sea witch. She soon falls in love with a mortal and endures conflict as the two fight to be
together, often with a jealous rival selling her to a carnival as a sideshow act.

As with Darna, Dyesebel's story has had quite a few adaptations over the years. Dysebel's origin is
sometimes changed; sometimes her mother is portrayed as an amnesiac mermaid, while some versions
make her father a merman prince, and there are versions where her parents adopted her after finding her
dying mermaid mother. While the original comics have Dyesebel become human, some adaptations have
her stay a mermaid at the end.

8Captain Barbell

Captain Barbell is said to be inspired by Captain America and something of a spoof of Shazam
with a bit of Cinderella thrown in for good measure. Originally a scrawny boy named Tenteng that is
bullied by his stepbrothers, a genie grants him the power to become a muscular hero with a magic barbell.

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To emphasize this, early versions of the character were shirtless and designed off of circus strongmen.
Movie versions, however, popularized giving Captain Barbell a yellow top.

While the original version of the character was comedic, other versions have painted him in a more
serious light. Over the years, Captain Barbell's alter-ego has been replaced with completely different
characters, with the explanation that Captain Barbell finds another host when his current one no longer
needs him. At one point, he was Darna's little brother, Ding. The character also became something of an
internet meme when it was noticed one of his live-action alter-egos looks a bit like Luffy from One Piece.

7Flash Bomba

Paul Lester Sison is a man that lost the use of his legs and fought a "Tikbalang" (a mythical horse-like
monster) that granted him superpowers. As a joke, however, the powers came with a cost: He can

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transform into the hero Flash Bomba, who has massive hands and feet. His large extremities don't make
him any less athletic and he can even use his hands to summon thunderclaps. Due to the supernatural
nature of his powers, he can also summon horses. He uses his new powers and animal companions to
fight crime.

6Lastikman

Based on Plastic Man with a bit of Mister Fantastic thrown in, Lastikman is an "elastic" superhero
who can bend and stretch his body in any way he chooses. While he usually retains his costume when
transforming, he's been shown to be able to transform himself into other people, even changing his
clothes.

Unlike his Western counterparts, he was originally portrayed as an alien who got stranded on
Earth, although some adaptations portray him as a human granted special powers, often from a rubber
tree. One of his most prominent enemies is his own female counterpart, Lastika, who shares his power to
stretch her body.

5Tiny Tony

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 Anthony Aniscol was a scientist who was developing a shrinking serum with his fiancée's dad.
After testing the serum on himself, criminals murdered Anthony's future father-in-law, inspiring Anthony to
use his new size to avenge him. Despite his new size, Tiny Tony obtains strength five times that of a fully
grown man .He's been compared to DC's The Atom, although one stark difference is that Tony doesn't
always have the power to change back. Some adaptations play up the idea of him finding a cure for his
predicament, allowing him to return to his original size. Of course, the original Atom didn't shrink at all or
even have superpowers, just getting his name for his short stature.

4Panday

This story revolves around a blacksmith (or "panday") named Flavio who forges a dagger from a
meteorite. Upon learning it can magically transform into a sword, he uses it to fight evil. As he is a normal
human, he makes his own costume to protect his identity.

While initially using it to fight human criminals and bandits, he ends up going to battle with witches,
ghosts, and demons, finally finding his archrival in Lizardo, the demon prince. Over the years, there have
been a few film and television adaptations of the story.

3Elmer

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 In the world of comics, there are all kinds of heroes— even chickens. In this story, chickens are
suddenly granted human intelligence, complete with the ability to talk. One such chicken, Jake Gallo, from
the second generation of the intelligent chickens, learns about the chickens' struggle for equal rights.
The story plays with the tropes associated with talking animals. For starters, the animals had to
learn to talk by imitating humans as babies do.

2 Trese

In this horror series, Alexandra Trese is a detective who fights the forces of the supernatural when
the police cannot handle it, from the undead to war gods. Readers know the unnatural is at hand because
the heroine's last name means "13." An animated adaptation of the series is set to be released by Netflix
in 2021.

1Mythspace

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 In this science fiction anthology series, characters encounter various mythological
creatures from Filipino mythology who it's revealed were based on alien civilizations. The first
volume offers a lot in variety, from manga-inspired plots to police procedural stories. With a
striking art style that recalls StevenUniverse or Netflix's She-Ra series, Mythspace is a great
candidate for an eventual animated adaptation.

IMPORTANCE OF PHILIPPINE COMICS

Filipino comics are beneficial in many aspects. Reading develops the reader to further
improve his/her skills and knowledge. It also helps boost the native culture and values the reader
must possess. Reading the country's own comics serves as an avenue in enriching the Filipino
literature.
Comics have helped to promote social and cultural awareness. Many comics, such as those
featuring superheroes, have tackled social issues such as inequality, prejudice, and injustice.
These comics have helped to raise awareness of these issues and have encouraged readers to
think critically about them.
As with its predecessors the political cartoon and newspaper comic strip, the comic book
can provide an intriguing, entertaining, and sometimes critical mirror of society. Through the
decades of the last century and into our own, comic books have influenced culture as well as
reflected it.
Comic books can increase inference in young children by encouraging them to “read
between the lines” and infer meaning from the images. Children who read comics often need to
infer what is not written by the narrator, which is a complex reading strategy.
Filipino Komiks in the Modern Times
byRY PHAUL O PR IN J ANU ARY 9 , 2 0 2 1

Do you remember the last time you’ve read a true Filipino Komiks? The classic Kenkoy, the works of
Mars Ravelo, or the comic strip in newspapers. Nowadays, you can find them on the net through the websites
created by ambitious groups of Filipinos who want to offer komiks to modern readers.

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 WebKom Alliance

Courtesy: WebKom Alliance FB Page

WebKom is a community of Filipino writers, artists, and creators where they can share their works and
give support. You can read komiks in different genres: action, fantasy, adventure, romance among many
others.

Penlab

Courtesy: Kalabaw Kolektib FB Page

A collaboration of fellow creators to bring quality Filipino komiks under one place. A digital home for
amateur and professional writers alike. Penlab’s collection is divided by genre so you can easily browse which
komiks you want to read.

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KomikSpot

Coutesy: KomikSpot FB Page

The third and the latest to enter the online comic scene for Filipinos. Originally an online store for
digital and print-on-demand komiks, now they’ve added a free, online self-publishing platform so creators can
cover all areas.
Though they just started, you can already read of a handful of komiks to satisfy your cravings and we
can expect more soon!
It is great that more Filipinos now are starting to appreciate an art form to which many would say
before is “dying”, but alas, not anymore! Thanks to WebKom, Penlab, and KomikSpot for revitalizing the local
comics scene.

It might take a while but we are hopeful that Filipino Komiks will achieve the same level of readership,
respect, and adaptation given to Japanese Manga, Korean Manwha or Webtoons, and American Comics
(Marvel/DC/Dark Horse, etc.)

What’s The Difference Between Manga, Manhua & Manhwa?

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 We all know about manga, but if you’re not familiar with other East Asian comics, the terms manhwa
and manhua might be new to you. Although they’re all comics, manga, manhwa, and manhua, they all
come from different parts of Asia, and they’re pretty unique from one another once you look under the
surface.

Manga, Manhua & Manhwa: Etymology

Manga comes from Japan, manhwa is Korean, and manhua hails from China, Taiwan, or Hong
Kong.The Japanese word “manga” and the Korean word “manhwa” are both derived from the Chinese
“manhua,” which translates roughly as “impromptu sketches.” Before these art forms gained global
popularity, the terms were often used interchangeably to describe all types of comics and graphic novels,
no matter where they came from. But these days, due to a rapidly growing international readership, the
definitions have become more fixed in order to designate the comic’s country of origin.

Before these art forms gained global popularity, the terms were often used interchangeably to describe
all types of comics and graphic novels, no matter where they came from. But these days, due to a rapidly
growing international readership, the definitions have become more fixed in order to designate the comic’s
country of origin.
#1. Manga

Source: https://wallpaperaccess.com/

Manga is Japan’s biggest export. NO matter where you’re from the world, you’re probably familiar with
those iconic illustrations featuring cartoonish characters with oversized eyes. The art form first gained
traction in the nineteenth century, but its famous imagery is inspired by much earlier Japanese art.

Manga: What Makes it Unique?

The most noticeable feature that sets manga apart from manhwa and manhua is its
monochrome format. While you sometimes find full-color front covers, manga is almost universally
published in black and white. The layout is designed to be read from right to left, and as you’d expect, all
original manga is written in Japanese. But these days, thanks to a huge international fan base, many
famous series are now translated into multiple languages for a global audience.

When a manga is released, it’s traditionally published in weekly magazines, such as Shonen Jump,
Shueisha, and Kodansha, but monthly manga publications have also become popular in recent years.

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Source: https://dubeat.com/

There are hundreds of genres in the manga world, meaning there is something to suit every reader,
regardless of their age or interests.

So, as there are too many to cover in this post, here are a few popular ones.

Shônen

Shônen manga is traditionally aimed at adolescent boys, but thanks to a recent shift in attitudes around
traditional gender roles, many young girls are also reading shônen these days. That being said, the main
character is still almost always male. Shônen is all about high-action scenes and epic adventures, and it
often incorporates elements of light horror and violence.

Shôjo
The majority of readers of this manga genre are teenage girls, which makes sense since Shôjo takes its
name from a Japanese word meaning “young girl.” Shôjo is less about action and adventure and more
about emotional issues and relationships between friends and couples.

Seinen

The word “seinen” means “youth,” but this is a much more adult-focused genre than Shônen and Shôjo.
Readers tend to be males aged between 18 and 30, and some seinen publications also attract a fanbase
of businessmen in their 40s and beyond. All kinds of themes can be found within the seinen genre, from
science fiction to pornography. The storylines usually feature grittier subject matters, and they put much
more focus on character and plot development than the more simplistic high-action shonen manga.

Josei

Josei manga is a kind of grown-up version of shôjo. While it still features themes of friendship and
romance and focuses on emotion rather than action, the artwork is less idealized, the characters are more
complex, and the plot contains more mature and challenging themes
.
Shoujo-ai and Shounen-ai

Also known as yuri and yaoi, these two genres focus on LGBTQ+ relationships. Subject matters and
themes within these genres are broad, and so while some stories are strictly romantic, many are packed full
of action and adventure, horror and violence, and everything in between.

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#2. Manhwa

Source: https://animesenpai.net/

Korean manhwa might not be as well- known and celebrated as manga, but there are still plenty of popular
titles that have made it outside of Korean shores. And its popularity with international audiences is growing
by the day, especially among manga fans who are looking to branch out into something new.

Manhwa is its own entity, but its origins are firmly rooted in manga and date back when Korea
was still under Japanese occupation in the early part of the 20 th century.

Yet manhwa’s success didn’t happen overnight, and it took until the 1950s and 60s until it really took
off around Korea. This is partly because, during the Japanese occupation, some political manhwa was
considered highly controversial, and the government even attempted to outlaw the art form completely.
Censorship remained in force for years, which helps to explain manhwa’s slow rise to popularity both within
Korea and on the international stage.

Manhwa enjoyed its first major boom in the 2010s, with the rise of online comic sharing sites such
as Lezhin and LINE Webtoon. Suddenly, Koreans had access to a huge array of previously hard-to-find
publications, giving rise to a whole new generation of fans.

This digital-only trend has continued to this day, so much so that most manhwa is found exclusively online
rather than in print.

Manhwa: What Makes It Unique?

Manhwa artists are known as “manhwaga,” and the illustration style they These comics and
graphic novels share many of the same characteristics as Japanese manga, but there are some key
differences too.

One of the most notable is that manhwa is read from left to right, just like English language
comics and graphic novels. This makes it easier for Western audiences who are more accustomed to this
format, but it’s something to consider if you’re already used to reading manga.

All original manhwa is published in Korean, but many of the most popular series are translated into
various other languages too. That being said, manhwa is still up and coming outside of Asia. And as the
international fan base is growing by the day, there’s nowhere near the number of English language
publications on offer as there is in the manga world.

Manhwa artists are known as “manhwaga,” and the illustration style they use is quite different from
the polished finish found in most manga. Characters are still depicted with large, cartoonish eyes, but they
generally appear more realistic and less stylized.

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 Another key difference; unlike manga, manhwa is often produced in full color, especially when it’s
published online as a webtoon (which is more often than not).

What Are Webtoons?

Some people use the terms “webtoons” and “manhwa” interchangeably, but strictly speaking; they’re
not the same thing.

A webtoon is a full-color manhwa exclusively available in digital format. These days, webtoons are the
most popular form of manhwa, and most traditional in-print manhwa is reserved for serious collectors.

#3. Manhua

Source: https://static.wikia.nocookie.net/

The final entry in this list of East Asian exports is manhua, which are comics created exclusively in
China, Taiwan, or Hong Kong.

The first published manhua was the 1904 “Current Affairs Comics’, which offered a commentary on
war and politics of the time. Over the next two decades, this new art form began to lay down its roots, and
in 1928, the first-ever dedicated manhua magazine, Shanghai Sketch, was born.

The magazine sparked a small yet thriving manhua scene in both mainland China and Hong Kong,
and by the mid-1950s, a second popular publication, Cartoons World, entered the market. This introduced a
whole new generation of fans to manhua and solidified it as an important part of national culture.

But just like Korea’s manhwa, manhua has fallen victim to governmental suppression and control over
the years, and since the birth of the internet, many satirical or controversial comics have been censored
and removed.

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Manhua: What Makes it Unique?

Source: https://static3.cbrimages.com/

Manhua comics and graphic novels can be read from either left to right or right to left, depending on
where they come from. Generally speaking, manhua produced in mainland China is read from left to right,
and those hailing from Hong Kong or Taiwan are read from right to left.

A person who creates manhua is called a “manhuajia,” and just like Korean manhwagas, a
manhuajia depicts their characters in a more realistic and less stylized fashion than their Japanese
counterparts.

Manhua comics tend to be produced in full color rather than black and white, especially in their more
popular digitized formats. And in recent years, manhua has taken on a brand new animated form through
series such as Yi Ren Zhi Xia and Soul Buster.

Manhua is becoming more and more popular by the day, and there’s a growing demand for
these comics and graphic novels around the world.

But unlike the diverse themes of manga and manhwa, manhua generally falls into one of just four
categories; politics, comedy, action, and kids, so whether it will ever rival the success of manga remains to
be seen.

.Conclusion

There’s no doubt that manga has taken the world by storm, but these days, manhwa and manhua are
also making waves in the global comic book scene. These three East Asian exports share plenty of
similarities, but as we’ve discovered, there are some pretty important differences between them too.

Are you a fan of manga, manhwa, and manhua? If so, which is your favorite and why?

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References:
Chua Beng Huat and Kōichi Iwabuchi, eds.2008. East Asian Pop Culture: Analyzing the Korean
Wave. Hong Kong: Hong Kong University Press.

Craig, Timothy J. 2000.Japan Pop! Inside the World of Japanese Popular Culture. New York: M.E. Sharpe

Erni, John Nguyet and Siew Keng Chua, eds. 2005.Asian Media Studies: Politics of Subjectivities.
Oxford, UK: Blackwell.

Iwabuchi, Koichi, Stephen Muecke, and Mandy !omas, eds. 2004.Rogue Flows: Trans-Asian
Cultural Traffic. Hong Kong: Hong Kong University Press.

Latham, Kevin. 2007.Pop Culture China! Media, Arts and Lifestyle. Santa Barbara, CA: ABC-CLIO.

Lockard, Craig A. 1998. Dance of Life: Popular Music and Politics in Southeast Asia. Honolulu:
University of Haiwaii Press.

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