>Pinoy comics linkblogging

>Carlo Vergara's ZsaZsa ZaturnnahBudjette posted a link to a review of Carlo Vergara’s “Ang Kagila-gilalas na Pakikipag-sapalaran ni Zsazsa Zaturnnah” # 1 by Ruel S. De Vera. The actual article is missing but I’m presuming that Budjette’s post is actually the article itself(?) or at least a very thorough commentary about the comic by him. Zsazsa Zaturnnah is a spoof of Mars Ravelo’s superheroine, Darna.

As Dean Francis Alfar explains:

”Zsazsa Zaturnnah” tells about Ada, a gay man, who receives a mysterious stone that grants him the power to transform into a woman. As Zaturnnah, Ada defends his hometown from extraterrestrial amazons. Joining him in this light comedy adventure are his sidekick Didi and his secret crush Dodong. Written in Filipino, “Zsazsa Zaturnnah” is for mature readers due to suggestive content and strong language.

An interesting little blurb from Carlo Vergara’s bio at Prism Comics

It’s about a gay beautician who becomes a superhero. That graphic novel won a National Book Award from the Manila Critics Circle. If things go as planned, it will be a feature film and a musical.

Yay! We need more comic book operas and musicals!

More info and preview pages of the collected edition of the comic may be found here.

Aklas Isip‘s “Comics Illiteracy: Is there such a thing?
link via Budjette Tan’s Komix101

Would you go into publishing if your readers were illiterate? Put another way, would you still go into comics publishing if most of your readers have no understanding of the unique language of comics much less comprehend any attempt at literary meaning behind such works? From a business and practical point of view, the answer would most certainly be in the negative if one’s objective is to publish literate pieces of comics works.

continued at link:
Comics Illiteracy: Is there such a thing?

Aklas also talks about the Japanese manga industry by focusing on an old issue of the “Bulletin Today” newspaper (from May 9, 1979) titled “Japanese read a billion comic books in one year” (by Ikuo Anai). Aklas says:

It provides insight on what kind of social and cultural conditions must exist in order to support a market for printed comics. Though admittedly an old article, one must note that the Japanese comics market is still here, as huge and as vibrant as it was when this article came out in 1979.

continued at link:
Why are printed comics successful in Japan?

Buddy Paraiso‘s “manifesto”

I recalled my childhood days, I as one of those generations whose main loophole as being glued to the T.V. Set. The usual menus of my living room adventures were watching western cartoons like Might Thor, Moby Dick, Gulliver, and The Herculoids. These are all under the banner of “Hanna-Barberra”. There were occasional oriental cartoons like Gigantor and Marine Boy but they seemed so Americanized, like titans in chains.

Then suddenly, the Philippines was invaded by Japanese cartoons. The invasion was lead by Voltes V. and unlike Gigantor and Marine Boy, Voltes V was untouched by U.S. handsand that’s more like it!

The Japanese animations were free from Western influences,
alterations and maintained its oriental exoticness.

continued at link:
Sublime Seduction

This is actually a textbook example of some Orientalist sentiments.

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