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 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).

“The Monkey and the Turtle”

written and drawn by National Hero, Dr. Jose Rizal
 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.

CARABAO RENT OR SOCIO-POLITICAL HERB?

Two issues of Upa[n]g-Kalabaw,

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 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).
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.

KOMIKS STRIPS BY FERNANDO AMORSOLO

Caricatures of Manuel L. Quezon,

Emilio Aguinaldo and Sergio Osmeña
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.

An issue of “Si Kiko at Si Angge,”

the Philippines’ first komiks strip inside the pages of Telembang.
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

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.

An issue of Liwayway (January 29, 1944)

during the Japanese Occupation.
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.

Album n(an)g mga Kabalbalan ni Kenkoy

sold at 30 centavo on its first run.
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 Pandak became such popular hits that other komiks
characters were eventually created.

Aliwan #74 (January 20, 1974):

On the front cover is the illustration of
Ruperto S. Cristobal’s novel “Ang Kuwintas ng Reyna.”
On the back cover is “Ang Buhay nga Naman,”
where people can send-in comedy skits to be drawn by Lib Abrena.

Some early publications in the Philippines

containing komiks sections.
 Balaghari #1 (March 6, 1948),
the komiks founded by Gregorio C. Coching.

After the success of Liwayway, other publications also joined the circulation. Only
a few, however, left traces of evidence of their existence, such
as Kalampag (1929), Mabuhay (Ang Aliwan ng Bayan,
1933), Silahis (1934), Salinlahi (1937), Mabuhay Extra (1938), and Tik-A-
Tik (1938). World War II probably destroyed much of the collection of public reading
materials in the hands of people. After the war, new “entertainment” reading materials
emerged: Aliwan, Ang Pagbangon, Ilang-Ilang, and Sinagtala in 1945, Daigdig in 1946,
and Magasin ng Pagsilang in 1947. Many more publications may have circulated during
those post-war times but left no traces of their existence and as such may have lost
their place in publication history.
 Gregorio C. Coching’s “Hara-Siri”
on the cover of Tagalog Klasiks #30
(August 26, 1950)

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 – August 26, 1950). He founded, Balaghari (1948), what may
be considered as the third true komiks in Philippine publication history, after Halakhak
Komiks and Pilipino 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.
 By its phonetics and rhetorics, “komiks” (always with an “s”) is the offshoot of
the English word “comics” taken from the same type of reading materials popular in the
United States, brought here in the Philippines by American soldiers. It is the vernacular
adaptation made to fit the orthography of native dialects like Tagalog.

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, inkers, illustrators, and artists as a
whole, the correct term, according to the Surian ng Wikang 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 materials.

THE APPEARANCE OF KENKOY

A New Year (1937) issue of Tony Velasquez’s

“Album ng Kabalbalan ni 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.

Velasquez’s Kenkoy proved to be quite formidable that the character was the
only one not banned during the Japanese occupation of the Philippines. Velasquez was
even employed by the Japanese to use Kenkoy to disseminate information about the
health programs of the Japanese. Velasquez was also hired to create a comics strip
about the life of the Filipinos under Japanese rule. Later on, in the 1950s, Si Kenkoy at
Si Rosing was even used in commercial ads (in komiks series) like that of Fletcher’s
Castoria.

“Si Kenkoy at si Rosing” on a

Fletcher’s Castoria laxative print ad.
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, the character lives on long after its creators passed away. It had its own
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 first komiks in the Philippines,
Halakhak Komiks (November 15, 1946)
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 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 gathered his colleagues, Lib Abrena, Elmer Abustan, Larry Alcala
(1926-2002), Gene Cabrera, Fred Carillo (1926-2005), Francisco V. Coching (1919-
1998), Pedro Coniconde, Liborio Gatbonton, J. M. Perez, Francisco Reyes, brothers Tony
and Damy Velasquez, Hugo Yonzon, and Jose Zabala-Santos (1911-1985). Atty. Lucas,
for his part, gathered enough funds from his own money and bank loans to start the
ball rolling. They commissioned Carmelo and Bauermann Company to print the 10,000
copies of the first issue of Halakhak subtitled Kasaysayan, Katatawanan,
Hiwaga (History, Comedy, Mystery).

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

Due to the shortage of paper, the first issue was printed smaller than the usual
komiks size, around 6-inch width and 9-inch depth. It was priced at 40-centavo. Today,
an existing intact copy of Halakhak issue #1 would fetch a price probably half-a-million
times that tag.

Initially, the first three issues were successful. Lack of business management
knowhow in running a nationwide publication, and problems in marketing and
distribution economics, however, caught up with Halakhak, and soon the laughter
fades. Uncollected debts and subsequent indebtedness forced Atty. Lucas to stop the
publication.

THE RISE OF THE PILIPINO

The second komiks in the Philippines,

Pilipino Komiks (June 14, 1947)
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

 The fourth komiks in the Philippines,
Bituin komiks (May 7, 1949)
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.

The maiden issue of Bituin Komiks featured mostly short comical strips like
“Kataka-taka (‘Yon an Sabi)” by Iskong Buriko, “Sianong Sano” and “Almanake ni
Pepesor” by J. Zabala Santos, “Kalawang Bakal” by Hugo C. Yonzon, “Ang Tao Nga
Naman” by Ted S. Tenorio, “Pitong Kutitong (Di Dyanitor)” by Altogo, “Apalatsikola” by
Menandro Martin, “Kandiro” by Caluag, “Isang Sakong Hangin” by Gat, “Boroy” by Slim
Torres, and “Presenting Ponso” by Eddie Cunanan. 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.
First issue of Mauro “Malang” Santos’ Awitawa.
On the other hand, the first novels it featured include “Makabagong Pilipinas,” a
novel by Susana C. de Guzman, scriptwritten by Pedro Enriquez Magpayo and illustrated
by Francisco Reyes, “Dalawang Kasal” by Pedro Enriquez Magpayo and F. Ruvivar,
“Kabayong Ginto” by Jesus S. Esguera and Ric L. Collado, and “Pitong Balakid” by
Eriberto Flores and Elmer Abustan.

Under Ilang-Ilang Publication which had its editorial office at 38-40 Sta. Mesa,
Manila, Bituin Komiks, together with Ilang-Ilang Komiks (a reading material which
started out as a magazine and later transform into an illustrated komiks) was managed
by Conrado M. Alvarez. Its editors include Jesus E. Torres, Gemiliano Pineda, and Mauro
“Malang” Santos. This lasted up to the 11th issue. On the the 12th issue (September
22, 1949), Bituin Komiks was published by F. J. Quiogue Publication, then located at
2150-2160 Azcarraga, Manila. The general manager was Felix J. Quiogue, and its
editorial team included Francisco Reyes as editor-in-chief and Virgilio S. Mariano, Mauro
“Malang” Santos and Menandro Martin as associate editors.

KOMIKS ONE AFTER ANOTHER

 The fifth komiks in the Philippines,
Tagalog Klasiks (July 16, 1949)

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.
 Aksiyon Komiks #20
(March 1, 1951)

Two more komiks, on the other hand, were released by 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.
 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

Gregorio C. Coching’s “Donya Geronima”

on the cover of Espesyal Komiks #9
(February 9, 1953)
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 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 love interest through Naida, the diwata (fairy) of Ilog Pasig (Pasig River),
and Donya Geronima, the leprous and spiteful sculptress who formed Hectopeles from
stone.

Francisco V. Coching’s “Lapu-Lapu”

on the cover of Pilipino Komiks #180
(April 24, 1954)
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 (c. 1500); his love, exploits and battle against the
Spanish fleet led by Fernando de Magallanes (c. 1480-1521).

Larry Alcala’s Kalabog en Bosyo featuring the zany antics and misadventures of
two ambitioning sleuths, since gracing the maiden issue of Pilipino Komiks, became one
of the most well-loved komiks characters of the generation. Alcala’s Tipin, a story of a
dungaree-clad teenager, and Kontrabida en Lagapak, Di Komikal Bandits, which is
about a bungling master thief and his equally bungling assistant, also came out in the
1950s.

It was also in this remarkable era that Mars Ravelo wrote Roberta, which
narrated the misfortunes of a young orphan, and Darna, the most beloved Filipino
superhero of all time. Ravelo, the most prolific komiks writer of all time, 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.

Mars Ravelo’s “Raul Roldan” (Hiwaga Komiks #22)

and Pablo S. Gomez’s “Torkwata” (Hiwaga Komiks #149).
Both komiks series were drawn by Nestor Redondo.
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

Cris Caguintuan’s “Lagim” on the cover of

Pilipino Komiks #60 (September 17, 1949)
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.

Had Liwayway, Salinlahi or Mabuhay didn’t turn down Ravelo’s Varga in 1939,
the Philippine’s first fictional superhero would have been a woman, and it would have
been published ahead of Wonder Woman.

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 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.

Ironically the 1960s and 1970s saw the international comics communities literally
“marvel” at the amazing talents that the local komiks industry had. The United States
uncovered the huge treasure trove of artists in the Philippines that is yet unknown to
the western world. Soon enough, the “Golden Age of Philippine Komiks” was ironically
followed by the exodus of Filipino komiks writers and illustrators to Marvel, DC and
other American comics publishers. There they drew the superheroes of the west.

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 price also steadily increased and by the 1980s komiks were sold from 1.25
to 3 pesos per issue. The price more than doubled in the 1990s. Its popularity,
however, remained very high, and was still considered the cheapest form of
entertainment and the most accessible reading fare to the Filipinos.

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 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

 Tiktik Vol. 14 No. 14 (September 2, 1961)
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 first issues of OA komiks Magasin
and Pogi (Magazine for Men)
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. It openly proliferated and sold
like hotcakes until the declaration of Martial Law when it was suppressed. Owing to the
establishment of the moral tenet of the New Society, hardcore pornographic materials
were kept in check.

Bomba komiks, all first issues (1969): (from left to right)

Barako (Magasing Lalaking-Lalaki), BF Comic Magazine (For Adults Only),
 Exclusive, Playboy Komiks, Topless Comic Magazine.
The “Bomba” komiks returned after Martial Law was lifted. After the EDSA
Revolt, publishers became bolder with the lack of censorship on non-political
publications. More komiks, magazines and tabloids containing pornographic materials,
called “smut” can now be bought even on sidewalks along EDSA. Magazines containing
hardcore erotica and illustrated komiks also proliferated during this period.

STILL THE FAVORITE PASTIME

In the 1980s, there were still at least 60 to 70 komiks in circulation throughout

the Philippines. A study made on February 1989 on the people’s choice of
entertainment (media behavior) pastime, showed that komiks was “the most popular”
pastime of Filipinos. Among the highest readership was observed in Region V (65%),
Region XI (64%), Region VI (62%), and Region II (62%). The National Capital Region
(NCR), where most of the komiks publications were based, registered a 59 percent
readership. The regions where komiks is least popular were Region I and Region VII,
both having 41 percent followings as against other forms of visual entertainment. Up to
this point komiks remained the favorite pastime of Filipinos.

On this decade, the most popular komiks were Graphic Arts’ Aliwan
Komiks, Lovelife Komiks and Pinoy Klasiks, Ace Publication’s Happy Komiks and Love
Story Komiks, Atlas Publication’s Pilipino Komiks, Tagalog Klasiks, Darna
Komiks, Hiwaga Komiks and Espesyal Komiks, all reputed to have a circulation of over
150,000 prints per issue.

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

THE EXODUS AND THE DECLINE

Tony De Zuñiga at the

Calgary Comics and Entertainment Expo
(June 19, 2011)
Tony De Zuñiga (1932-2012) went to the United States in 1962 to study graphic
design. Two years later, he returned to New York and was hired as an inker of the
pencil drawing of the cuban-American comics artist Ric Estrada (1928-2009) for Girl’s
Love Strories #153 (DC Comics). He became a regular at DC Comics and co-created,
with American writer John Albano (1922-2005), the long-running western character
Jonah Hex (first appeared on All-Star Western #10, February-March 1972), and with
Sheldon Mayer (1917-1991), the superheroine Black Orchid (first appeared
on Adventure Comics #428, July 1973).

In 1971, DC Comics publisher Carmine Infantino (1925-2013) and editor Joe

Orlando (1927-1998) went to the Philippines to scout for more talents among Filipino
komiks artists. Soon the Philippines’ best komiks artists started working
for DC, Marvel, Warren, and other American comics publishings.
 The mass exodus of talented komiks writers and artists to the United States
created problems in the local industry. By the 1990s, although there was quite a fall in
the popularity of komiks, the industry was still financially viable. There was, however, a
mark decline, especially in the artworks.

Nestor Redondo with former Marvel staff Ed Noonchester.

Notice Redondo’s works surrounding them.

Ernie Chan with a pretty Supergirl model.

Higher pay in American (as well as European) comics and the
Japanese manga lured the local talents to work abroad. While the American publications
were paying 35 dollars per illustrated komiks page, their local counterpart were paying
the same amount in pesos. This “brain drain” was blamed on the local publishers’
reluctance to inject new financial capital to compete with foreign comics publishers and
venture in the international market.

It was good in one point of view, since the Filipino talents were
showcased throughout the world in the pages of Marvel and D.C. Names like Nestor
Redondo, Jim Fernandez, Alfredo Alcala, Mar Amongo (1936-2005), Alex Niño, Ernie
Chan (1940-2012), Rico Rival, Abel Laxamana, Gerry Talaoc bannered American
comics. Waves after waves of Filipino komiks artists went to the West in seek of better
opportunities, fame and greener pasture.

Randy Valiente with

a sexy Black Canary model.

The pool of komiks artists in the Philippines continued to drain. The next
generations Gilbert Monsanto, Whilce Portacio, Gerry Alanguilan, Lan Medina, Randy
Valiente, Harvey Tolibao, etc. had there talents showcased in foreign comic books.
Filipino talents are now everywhere creating names for themselves. They are
considered among the best in the world.

The outflux was, however, a terrible blow to the local komiks industry. While the
imported comics were making a heyday in the international market and branching out
into animation and movies, the quality of works done locally became less and less
interesting.
 With the advent of better communication and broadcast facilities, radio and
television became the competitors of komiks as the Filipino masa’s choice of leisure and
entertainment.

Foreign telenovelas and anime series also contributed to the decline in popularity
of the komiks. Housewives would rather patronized Marimar and kids and adults alike
would rather watch Voltes V and Ghostfighter than read a low-quality komiks.

Local television networks making locally produced teleseryes, rather than uplift
the komiks industry, contributed much to its decline. Although some of the stories were
based on komiks series, they kept on making remakes after remakes without investing
in original stories that would otherwise resurrect the value of komiks. It was also much
easier to Tagalized foreign telenovelas or otherwise incorporate plagiarized scenes to
local stories than write an original one. Thus local komiks writers were relegated to
fishmeal works.

In the United States, recovery from the decline of comics started in 1980s. By
1993, they were back in business. The target of the emerging comics industry is no
longer the sale and subscription of comic magazines but the advertising tie-ups and
commercial endorsements. It has also successfully branch out into animation and films.
In this regard, comics publishers like Marvel and D.C. need to maintain their captured
readership to ensure continuous patronage of their storylines, especially in the
superheroes genre. With the rising cost of paper and publication services, it has been
theorized that the publications are subsidizing the price of comics to maintain the selling
prices of comics per issue acceptable and within reach of its readers and patrons.

The casing point is that in the U.S., Japan, and even in Europe, comic books
have stood its ground against inflationary factors, and even registered growth at some
point, again, especially in the superheroes genre. It’s a different story with regards to
Philippine komiks. Local publications in the Philippines like Ace, Affiliated, Atlas and
Graphic Arts seem to have abandoned this popular art form.

THE STRUGGLE TO SURVIVE

 First Lady Imelda R.Marcos
as illustrated on the cover of
Pilipino Komiks #473 (October 27, 1966)

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.

It can be recalled that it was Madam Marcos, being a fervent admirer of arts,
who initiated the establishment of the National Artist Award in 1972. Fernando
Amorsolo, painter and historically considered as the first illustrator of regular komiks
strips in the Philippines, was the first recipient. For writers and artists, this is one legacy
of President Ferdinand E. Marcos that will be forever etched in the history of Philippine
arts. Magazine-newspaper columnist and TV host Joe Qurino and komiks writer and
editor Pablo S. Gomez called Madam Marcos the “First Lady of Philippine Komiks” and
“Patroness of Philippine Arts.

Madam Marcos’ initiatives gave a sort of dextrose to the Philippine komiks

industry and its workers. For a while, komiks remained the Filipinos’ favorite means of
reading entertainment with 60 to 70 titles still in circulation from five major publishers.

THE LAST HURRAH

 The underground-published Mitsa Komiks Magasin (1991-1992).
The message of the illustration is very clear!
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 published. There was even a time when priests and nuns were used to discourage
the public from reading komiks.

Writers, illustrators and editors were frustrated as works were either turned
down or need to be totally remade. “Bawal ang ganito, bawal ang ganoon! Ano pa ang
ilalabas ko?!” (This is not allowed, that is not allowed! What am I going to publish?!)
Antonio S. Tenorio, then chief of komiks department of Atlas Publishing, the Philippines’
largest komiks publisher, was frequently quoted as saying.
 Two komiks catering to one-issue short stories:
Puro Wakas and Happy Illustrated Stories (Wakasan).

Without subsidy from the government, publishers tried to subsist by using very
low quality paper. Marketing was limited to a minimal or disregarded altogether to
further cut cost.

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.
Atlas’ Super Action #16 (December 1999)
featuring Darna on the cover.

Starting in 2001, the komiks of Atlas 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.
 Three of Atlas Publishing’s last prints:
Pilipino Illustrated Stories #3240, Tagalog Illustrated Stories #2762,
and Espesyal Illustrated Stories #2602.

The first three issue of Charm, c. 2003.

Atlas Publishing also ventured into producing an English colored comics, 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 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.

GETTING COMPLICATED AND GOING TWO WAYS

In the Philippines, while there may still be substantial patronage for komiks, the
problem lies in how to rekindle and maintain it. How? What kind of story will sell?

In another research study, which includes the outlines of American comics and
Japanese manga, the word “complicated” keeps popping up. There is a need for
complicated stories. Ordinary stories and simple twists will not do. If I may reiterate a
comment I keep posting on Facebook: “Sawa na ang tao sa mga replays, reruns and
repackagings. Kailangan merong bago at kung gagamit ka man ng lumang istorya,
kailangan mas maging kumplikado ang tema, mas malaman.” (People are tired of
replays, reruns and repackagings. There’s a need for new materials and if old materials
are to be used, there’s a need for complicated theme, more substance.) Indeed, in
order to attract today’s Internet Age audience, stories need to be “complicated” to gain
interest. Yung tipong hindi mabo-bore ang readers. Yung tipong susubaybayan nila ang
bawat issue, just like the “days of old.” (The type that will not bore readers. The type
that they will continue to follow each issue, just like the days of old)
It would take a two-way approach to put komiks back on the Filipino people’s
agenda – that is, publishing komiks both in printed form and online at the same time. It
would need the help of media itself for it to prosper. Of course, the writers and artists
must also, initially, contribute to this komiks “resurrection” by not asking high
compensation for the works that they will be doing. And the most difficult part is how to
convince a would-be publishers to invest money on this "new" komiks adventure.

Source: http://erneelawagan.blogspot.com/2017/08/the-history-of-philippine-komiks.html