Komik (play)

Comics in the Philippines ( fil, Komiks}) have been widespread and popular throughout the country from the 1920s to the present. Komiks were partially inspired by American mainstream comic strips and comic books during the early 20th century. The medium first became widely popular after World War II. Its mainstream appeal subsided somewhat during the latter part of the 20th century with the advent of other mass-media forms such as telenovelas, but experienced a renaissance in the mid-2010s with the increasing popularity of artists such as Gerry Alanguilan, Arnold Arre, Budjette Tan, Kajo Baldisimo, and the rise of fan communities through comic book conventions such as komikon. 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.

History

Origins

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.

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 medium steadily 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 such as Dyesebel draw more from traditional folklore.

Breaking into the American comics scene

Filipino artists broke into the American comics industry in the 1970s, drawing for such companies as DC Comics, Marvel Comics, Pendulum Press, and Warren Publishing. The Filipino artists worked mostly on fantasy, horror, and Western titles, most actively in the period 1970– 1985.

Tony DeZuniga was the first Filipino comic book artist whose work was accepted by American publishers, paving the way for many others. Beginning in 1970, DeZuniga became a regular contributor to DC Comics' horror and Western titles. In 1971, DC editor Joe Orlando (who had first hired DeZuniga) and DC publisher Carmine Infantino traveled to the Philippines on a recruiting trip.Duncan, Randy and Smith, Matthew J
"Filipino Artists,"
''The Power of Comics: History, Form & Culture'' (Continuum, 2009). Alfredo Alcala, Mar Amongo, Ernie Chan, Alex Niño, Nestor Redondo