138. The Golden Age of Philippine Comics: A Look Back at Pinoy KOMIKS - MAGASINS

KOMIKS  In the name of the Masses  
by Danny Mariano

Early 1950s Philippine comics - Tsampion, Marte, Kidlat, Bituin,
Romansa, Manila Klasiks, Extra

Komiks-magasins have the enviable distinction of being a truly mass medium. Every week, about two million komiks-magasins, bearing 44 different titles, are sold. If we assume that six people eventually get to read each copy (which some claim is still a conservative estimate), then komiks-magasins should easily have a readership of no less than 12 million.

For the 12 komiks-magasin publishing houses this means weekly sales of about P1.7 million, or P88.4 million annually.

Among the leading komiks-magasins is Pilipino Komiks, published by Atlas Publications. In 1976, Pilipino Komiks reported an average weekly circulation of 151,481; a figure that so-called legitimate, English-language magazines can only drool over. Current circulation estimates surpass the 175,000 mark, it is claimed.

Early TAGALOG KLASIKS Issues

Some in the komiks-magasin business insist that street sales could be much higher if newsstand owners did not prefer to rent out Komiks-magasin copies, at 10 to 15 centavos per sitting, (Each copy sells for 85 centavos.) But komiks-magasin publishers have little else to worry about since through three decades, their merchandise has maintained a secure hold on the grass roots.

Early titles from the 1950s

The Illustrated Press, the trade paper of the Kapisanan ng mga Publisista at mga Patnugot ng mga Komiks-magasin sa Pilipino, cited a readership survey which found that the great bulk of komiks-magasin readers belong to C and D households, 38 percent and 41 percent respectively. Only four percent of komiks-magasin readers belong to A and B households, while 17 percent are in E homes.

The same study described the average komiks-magasin reader as a married adult who has high school or some college education. Only four out of every 10 readers are 19-years old and below. This probably explains why the content of komiks-magasins can hardly be classified as kid stuff, a point we shall dwell on later.

Komiks-magasins have come a long way from 1947 when the idea of an indigenous comic book was conceived and introduced into the market. The first honest-to-goodness komiks-magasin, Halakhak, was edited by Isaac Tolentino, and not by Kenkoy-creator Tony Velasquez as had been claimed in other reports. Its publisher was Jaime Lucas, and not Alejandro Roces. Halakhak reached a maximum circulation level of 20,000, and not 10,000 and managed to come out with at least 10 issues, and not three.

Favorite Pinoy komiks in the 1950s up to the 19660s - Pilipino, Espesyal, Hiwaga and Aliwan Komiks

Halakhak's contributors were many of the illustrators and "nobelistas" who would later help make the business that komiks-magasins are today. Among them were Mars Ravelo, Francisco Coching, Francisco Reyes, Larry Alcala, Hugo Yonzon, Jessie Santos, Ross Chanco and Tony Velasquez.

Aside from its illustrated serials, Halakhak came out with editorials and editorial cartoons that commented on the issues of the day such as agrarian reform and the presence of American military forces in the country. It sought to achieve a balance between popular entertainment and public information.

Screen, Song and Movie, Popular Klasics,Vista, Superyor, Ligaya, Universal,
Linguhang United, and Diamante Komiks

To be sure, Filipino cartoon characters were already common even before the War. Kenkoy, who epitomized the Jazz Age Pinoy or the American colonial brown brother, was first stripped on Liwayway in 1928. Kulafu, Tarzan's native counterpart, and many others, followed later.  

But the concept of a publication that devotes itself almost exclusively to illustrated and serialized "nobelas" was a genuine innovation. Of course, the komiks-magasin could have been born in the minds of Filipino cartoonists who' saw in the loads of comic books brought in by American servicemen a refreshingly new medium. But like other cultural imports, the concept was transformed by those pioneering Filipino artists (for that is what they really are) into an indigenized channel of mass communication.

Halakhak eventually folded up due to "extremely high overhead" (it was printed in offset by Carmelo & Bauermann) and because "the Komiks-magasin market had 'not yet been stabilized."

In any case, it had to take Pilipino Komiks, edited by Tony Velasquez and published by Alejandro Roces, to prove the format's viability. Three other titles, Tagalog Klasiks, Hiwaga and Espesyal, under the same corporate banner (Ace Publications), followed soon after and the new medium was on its way. The decades that followed saw komiks-magasins mushroom and show an increasingly durable hold on the masses.

CRAFT Klasix comics is a collaboration of
C -Caravana.
R -Redondo.
A -Alcala.
F -Fernandez.

The ingenious synthesis of the written word and illustrations proved to be an attractive and "easy"

alterative for the masses who never gained a foothold in traditional written literature. Philippine poetic and dramatic forms were rooted in oral traditions. Previous to komiks-magasins, literature was elitist, and even its progressive.
               

wing lured only the intelligentsia. As one komiks-magasin suki put it; "Hindi nakakasakit ng ulong basahin." To a significant segment of the population komiks-magasins are the only means of education and information available, especially for those in the hinterlands where newspapers and magazines are a rarity. Of course, it is quite obvious that komiks-magasin publishers have chosen to fulfill this crucial role only perfunctorily, as the komiks-magasins' function, they avow, is to "merely entertain." 

A typical scene of komiks for rent on the sidewalk of Manila. Circa 1970s

But the komiks-magasins' undeniable contribution is the propagation of a genuinely national language. Komiks-magasins are as immensely popular in Laoag, Dagupan, Angeles, Legaspi, Tacloban, Bislig, Zamboanga, and Jolo as they are in Tondo or Sampaloc. Despite alleged language disparities, komiks-magasins which use the Manila lingua franca, have succeeded in transmitting  emotions and philosophies to millions of non-Tagalog Filipinos in the language that even to this day some our lawmakers profess not to comprehend.

Komiks-magasins are among the few forms of print medium where Pilipino is continually being revitalized and enriched. They have done away with the stilted form and complex syntax of traditional Tagalog, and in its stead turned to Pilipino as it is spoken by the man on the street. As such, it is a relevant and vibrant language.

The plots, settings and characters of Komiks-megasins nobelas strive to depict what are easily identifiable in the Philippine milieu. Some critics, however, point out that the theme of many of these nobelas recall those of metrical romances, which in the Spanish colonial era formed the basis

of traditional literature.

Lola Basiang, Sinderella, Hamin, Bakbakan, Wakasan Akda, Youngster,
Ditektib and Aruy Tapusan Komiks

Nowadays, the escapades of such crime busters as Tom Cat, Palos, Alakdang Gubat and secret agents DI- Trece have been substituted for the gallant adventures of medieval princelings and knight-errants (Prinsipe Amante, Carlomagno, Prinsesang Kalapati, Dose Pares de FranCia and Siete lnfantes de Lara). They also point out the absurd discrepancy of Pinoy Koboys, bandidos and other soldiers-of-fortune (Mercenario).

Other komiks magasin characters are obviously borrowed from Graeco- Roman mythology such as Darko, the dark-skinned centaur, Petrang Kabayo, the blonde female centaur. the mermaids Dyesebel and Kleng-Kleng, the Medusa-like monsters Valentina and Zuma and Harimanok, half-man, half-cock. Others have been plucked from the cosmos of American pop phantasia and given ample doses of Filipino idiosyncrasies: Captain Barbell, Captain Universe, Kapteyn Batuten and Bad Man and Rodin (whose names and exploits ring of Captain America and the Dynamic Duo), Andres Corsiz, the sci-fi man with the mechanical heart (shades of Steve Austin) and the Hands, a pair of amputated arms which can think, see, move about and even attack wrongdoers.

Humor on the other hand is supplied by freaks and all-time losers who are christened with equally freakish monikers: Miss Tilapia, Torkwata, Fefita Fofonggay (the hometown sward), Boogie (the half-wit muscleman), Barok (the monosyllabic caveman ala Fred Flintstone) and others. But melodrama, above all, is the grist of the komiks-magasin mill.

No. 1 or first issues are highly sought by collectors

Komiks-nobelas of this type almost inevitably deal on poverty and portray characters, who despite the muck that surrounds them attain noble proportions. The lovable street urchin who remains wholesome amid a cruel world of unloving adults. The martyr-parent (usually a mother) who does not hesitate to go down on her hands and knees in menial tasks to support a child's (usually an ungrateful prodigal son) education. The dalagang ina who allows herself to suffer a fate worse than death in order to support a fatherless child. The battered wife who silently agonizes through the maltreatment

of a villainous husband (usually an alcoholic gambler). Variations on the Romeo-and-Juliet theme (a probinsyana whose love affair with a rich Manila boy is doomed from the start or the chauffeur whose devotion to his senyora is unrequited, etc., etc.).

There are a few komiks-magasin nobelas that make it their concern to rectify historical is interpretations. One nobela, for 'example, corrected the mistaken view that Macario Sakay was a plain bandit; that in fact Sakay was a fearless freedom fighter and a relentless opponent of American imperialism.

Other comics from the 60s - Horror, Lagim, Maharlika, Paraluman, Fiesta, Diamante, Alcala Komix,
Samapaguita, Craf Klasix, Oriental Classics, Binggo, Waling Waling Komiks 

Occasionally, some nobelas touch on real problems in our society, such as agrarian unrest and urban poverty. But again, more often than not, an unrealistic compromise is made to resolve these contradictions; Fairy tale endings for pressing social concern.

Pinoy superheroes on cover of Lingguhan Komiks Magazine Darna
SUPER G (Nora Aunor as Super Guy), SUPERMAN (Ariel Ureta) and DARNA (Vilma Santos )

Of course, komiks-magasin publishers cannot be blamed for such obscurantism, since an honest discussion of these issues can quite abruptly drive them out of a lucrative enterprise.

Instead, the komiks-magasins focus on societal ailments such as infidelity, the improvidence of Filipino husbands, drug abuse, gambling, alcoholism, prostitution, the impiety of the young; and the pernicious effects of the community grapevine (tsismisan, intrigahan).

Sexy Komiks in the 60s and 70s
Tru Confession, Bikini, Hot, Charm Pin-up and Desire

It is significant though that the philosophical standpoints that many komiks-magasin nobelistas assume align with conservatism. Even their depiction of the alleged "liberated woman" is portrayed through the distinctly jaundiced eye of male chauvinism. The liberated woman is actually a libertine, the direct antithesis of the Spanish- Catholic virgin cult-type. Also, any expression of youthful protest is categorically frowned upon as impious.

This puritanism stands in stark contrast to the blatant pornography which marked many komiks-

magasin nobelas in the years immediately preceding martial law. In the late 60s and early 70s,bomba komiks- magasins ruled the day. Interspersed with vividly illustrated sex stories were photo reproductions of stills from smut films.

It was also about this time that the public stirred in its consciousness of the potential of komiks-magasins as an influential opinion-maker. During the election campaigns of the period, komiks-magasins became arenas of political debate as well as vehicles for partisan propaganda.

Movie komiks-magazine were very popular in the 60s and 70s
Bold,Sixteen, Zoom, See-Sex, Teens Weekly, Youngstars, TSS, Tapusan, Topstar Pip,
Darna, Pioneer, Movie King, Movie Queen, Hapi Hapi, Hiwaga, and Selected Wakasan

To this day, public administrators remain conscious of the komiks-magasins' awesome ability to disseminate information on such objects as land reform, the labor code, social security, family planning, the infrastructure-building program and national security. In the rural areas, komiks-magasins are a source of innovative farming methods and agricultural technology.

But komiks-magasins have been most thoroughly exploited by the drumbeaters of the local movie industry. It was not too long ago when most komiks-magasins were bitterly divided into highly partisan camps (for example Noranians vs. Vilmanians rooting for their favorite young stars. A komiks- magasin served as a venue for image-building (or image-breaking). Movie scribes, who maintained gossip columns in komiks-magasins (some of them still do), got embroiled in usually petty controversies, sometimes intentionally, over their particular clients.

And the movie going, komiks-magasin reading public lapped it up like bees take to honey. That this trend has somewhat abated may signal a growing maturity among komiks- magasin readers.

1960s KENKOY Komiks.  Comic strip background from Komikero Museum

Horror, Pantasya, Shocker, Short Stories, Bwesheart, Darna, Sampaguita,
Horroscope, Alab, King, Funny, Aguila, Children's Estudyante,
and Bata Batuta Komiks

But tne komiks-magasins' kinship  to filmdom is more deeply rooted, arid more permanent than the movie reporters' bickering. Many komiks- magasin nobelistas chum out serials, it would seem, that are predestined for movie screenplays. It began with the filming of "Kenkoy" in 1950, with the late comedian Lupito in the title role and Virginia Montes as Rosing. (In 1972, Chiquito and Eva Reyes dida Kenkoy revival of sorts.) The movie's success in the box-office lured produce to do their own versions of such nobelas as Clodualdo del Mundo's "Prinsipe Amante" (with matinee idols Rogelio de la Rosa and Delia Razon as stars), Mars Ravelo's "Darna" (starring Virginia Montes in the first version), "Dyesebel," "Basahang Ginto" and a whole lot of others.

A specially successful storyteller of this variety is Pablo S. Gomez whose fertile imagination has spawned hundreds of komiks-magasin nobelas that have been translated into the silver screen. A number of these - notably "Alupihang Dagat," "Pagbalik ng Lawin" and "Tatak ng Alipin" went on to become box-office hits.

That komiks-magasins have managed to sustain and even heighten public interest during all these years attests to their creators' prolific artistry and craftsmanship. But above all, these writers and illustrators have demonstrated their sensitive hold on the pulse and taste of the masses.   

            

Source:  TV TIMES, SEPTEMBER, 1978