View source for Philippine comics

{{Short description|none}}
{{redirect|Komiks|the television series|Komiks (TV series)}}
{{Use mdy dates|date=April 2024}}
{{Use Philippine English|date=April 2024}}
{{Infobox comics nationality <!--Wikipedia:WikiProject Comics--> 
|bodyclass  = hlist
|name       = Philippine comics
|image      = <!-- filename format only -->
|imagesize  = <!-- default 250 -->
|caption    = 
|alt        = 
|date       = 1920s
|pub#       = <!-- upto 5 -->
|title1     = Kulafu
| title2 = Og
| title3 = [[Darna]]
| title4 = D. I. Trece 
|person1    = [[Tony Velasquez]]
| person2 = [[Tony DeZuniga]]
| person3 = [[Nestor Redondo]]
| person4 = [[Mars Ravelo]]
| person5 =  [[Alex Niño]]
|series#    = <!-- upto 5 -->
|character1 = [[Kenkoy]]
| character2 = [[Darna]]
| character3 = [[Dyesebel]]
|primary languages =
* [[Filipino language|Filipino]]
* [[Tagalog language|Tagalog]]
|related#   = <!-- upto 3 -->
}}
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{{Culture of the Philippines}}
'''Philippine Comics''' ({{langx|fil|Komiks|}}) have been popular throughout [[Philippines|the nation]] from the 1920s to the present. [[Comics studies|Comics scholar]] John A. Lent posited that the Philippine comics tradition has "the strongest audience appeal, best-known cartooning geniuses, and most varied comics content" in Asia after [[Manga|Japan]] and [[Hong Kong comics|Hong Kong]].{{sfn|Lent|2015|loc=No. 203/342}}

The origins of Philippine [[comic strip]]s trace back to the early 20th century, and [[Comic book]]s gained widespread readership after [[World War II]].<ref name="Flores20150820">{{Cite web |last=Flores |first=Emil |date=August 20, 2015|title=From Sidewalks to Cyberspace: A History of Komiks |url=http://panitikan.ph/2015/08/20/from-sidewalks-to-cyberspace-a-history-of-komiks/ |archiveurl=https://web.archive.org/web/20171216135001/http://panitikan.ph/2015/08/20/from-sidewalks-to-cyberspace-a-history-of-komiks/ |archivedate=December 16, 2017 |accessdate=November 6, 2022 |website=panitikan.ph|publisher=University of the Philippines Institute of Creative Writing }}</ref> These early comics were deeply rooted in Western styles and formats,{{sfn|Reyes|1993|pp=74–76}} yet they possessed a distinctive character as [[melodrama]]s enjoyed by both children and adults.<ref name=flores2008/> Marked by ornate, baroque illustrations drawn in thick lines,<ref name=flores2008/>{{sfn|Fondevilla|2007|p=444}} Philippine comics peaked in popularity as a national pastime during the 1980s. They also served as source material for movies, as well as for promoting government initiatives.{{sfn|Lent|1998|p=242}} However, by the end of the 20th century, public interest began to wane, with alternative forms of entertainment such as television and the Internet taking precedence, leading to the decline of nationally distributed comic books. Subsequently, [[self-publishing]] and [[Small press|independent publishers]] flourished, and comics communities formed through [[Comic book convention|convention]]s. The emergence of [[webcomic]]s provided a new avenue for publishing works.

== History ==
=== Origin: 19th Century–World War II ===
[[File:The_Monkey_and_The_Turtle_3.jpg|thumbnail|250px|One of the illustrations by [[José Rizal]] depicting the folk tale ''[[The Turtle and the Monkey ]]'' (''{{langx|tl|Ang Pagong at ang Matsing or Si Pagong at si Matsing}}'').]]
Some believe that the origin of indigenous Philippine [[cartoon]]s can be traced back to the independence activist [[José Rizal]]. Rizal privately created several [[picture book|picture stories]], with one notable example being his 1885 illustrated rendition of the Filipino folktale ''[[The Turtle and the Monkey]]'', which featured a combination of words and pictures akin to modern cartoons.{{sfn|Cheng Chue|Santos|2014|pp=160–161}}

As in many countries, commercial cartooning in the Philippines originated with single-panel [[political cartoon]]s in [[satire|satirical periodical]]s.{{sfn|Lent|2015|loc=No. 187/342}} Magazines and newspapers such as ''Te con Leche'' and ''El Tio Verdades'' during the [[History of the Philippines (1565–1898)|Spanish colonial period]], followed by ''Lipang Kalabaw'' and the ''[[Philippines Free Press]]'' under the [[History of the Philippines (1898–1946)|American rule]], extensively criticized both the colonial powers and the local government through cartoons.{{sfn|Lent|2015|loc=No. 187/342}}{{sfn|Lent|1998|p=236}} Early political cartoons [[National personification|personified]] the nation as "Filipinas", a naive maiden courted by [[Uncle Sam]], who later was replaced by [[Juan dela Cruz]], a slipper-wearing common man introduced by Jorge Pineda in ''The Independent''.{{sfn|Lent|1998|p=237}} Noteworthy painters of this era, such as [[Fernando Amorsolo]] and [[Botong Francisco]], were also known for their cartooning.{{sfn|Santos|Cheng Chua|2022|p=184}}

The weekly ''[[Liwayway]]'', the first [[literary magazine]] in the Philippines, introduced its first [[comic strip]] in 1929.{{sfn|Lent|2015|loc=No. 187/342}}{{sfn|Reyes|2009|p=394}}{{sfn|Cheng Chua|Santos|2014|p=161}} Titled ''Mga Kabalbalan ni Kenkoy'' (Misadventures of Kenkoy), the strip was centered around [[Kenkoy]], a Filipino trying to imitate Americans.{{sfn|Cheng Chua|Santos|2014|p=161}}<ref name=lsinq2011/><ref name=lsinq2019>{{cite news|title='Kenkoy' marks 90th year|url=https://lifestyle.inquirer.net/330932/kenkoy-marks-90th-year/|date=April 8, 2019|accessdate=November 6, 2022|last=Sembrano|first=Edgar Alan M.|newspaper=Philippine Daily Inquirer}}</ref> This notable character was created by writer Romualdo Ramos and by illustrator [[Tony Velasquez]], who was 18 years old at the time, by commission from publisher {{ill|Ramon Roces|tl|Ramon Roces}}.<ref name=lsinq2011/> The short comic swiftly expanded to occupy a full-color page,{{sfn|Lent|2015|loc=No. 187/342}} then advanced into the magazine's various language editions.{{sfn|Cheng Chua|Santos|2014|p=162}} The moniker "Kenkoy" was ingrained into the [[Filipino language|Filipino]] vernacular as a term meaning "someone who is boisterously hilarious, funny or amusing",<ref>{{cite web|url=https://lifestyle.inquirer.net/373300/kenkoy-and-proud-of-it-feting-the-father-of-pinoy-komiks/|date=October 25, 2020|accessdate=April 20, 2024|title='Kenkoy' and proud of it: Feting the Father of Pinoy 'Komiks'|last=De Vera|first=Ruel S.|website=Lifestyle Inquirer}}</ref> and the character persisted in comics and visual media well into the 21st century.<ref name=lsinq2011>{{cite news|title=The Kenkoy experience|url=https://lifestyle.inquirer.net/14433/the-kenkoy-experience/|date=September 17, 2011|accessdate=November 6, 2022|last=De Vera|first=Ruel S.|newspaper=Philippine Daily Inquirer}}</ref> Velasquez has come to be called "father of Filipino comics," partly due to his role as a publisher in later years, providing numerous creators with a platform to publish their works.{{sfn|Cheng Chua|Santos|2014|pp=161–162}}

During the 1930s, Filipino comics heavily mirrored American comic strips.{{sfn|Fernandez|1981|p=28}} [[José Zabala-Santos]] was renowned for his [[Popeye]]-inspired creations, ''Lukas Marakas'' and ''Popoy''.{{sfn|Lent|2015|loc=No. 188/342}}{{sfn|Reyes|1997|p=81}} The first adventure comic, [[Francisco Reyes (illustrator)|Francisco Reyes]]' ''[[Kulafu]]'', featured a [[Tarzan]]-esque hero in the jungles of [[Luzon]] during the [[History of the Philippines (900–1565)|pre-Spanish era]].{{sfn|Fernandez|1981|p=28}}{{sfn|Reyes|1997|p=83}}{{sfn|Reyes|2009|p=396}} Amidst the pressures of westernization, such pseudo-historical adventures continued to captivate audiences in the Philippines.{{sfn|Reyes|1997|pp=82–85}}

During the [[Pacific War]], [[Manila]] fell [[Japanese occupation of the Philippines|under Japanese military control]] in January 1942.{{sfn|Cheng Chue|2005|p=62}} Japanese military authorities enforced a ban on local newspapers, while utilizing Roces family-owned publications such as ''Liwayway'' and ''The Tribune'' for propaganda.{{sfn|Cheng Chue|2005|pp=62–63}} American comic strips including ''[[The Lone Ranger]]'' and ''[[Fritzi Ritz]]'', which had been serialized in ''The Tribune'', were replaced by ''The Boy 'Pilipino''' by Japanese cartoonist {{ill|Keizo Shimada|ja|島田啓三}} and ''The [[KALIBAPI]] Family'' by Tony Velasquez.{{sfn|Cheng Chue|2005|pp=67–68}} These works, subject to censorship by the Japanese Propaganda Corps, promoted assimilation programs such as Japanese language education and suggested ways to address shortages in supplies.{{sfn|Cheng Chue|2005|pp=69–74, 77–85}}

=== Golden Age: 1940s–1950s ===
[[Post-war|After World War II]], Filipino publishers began to adopt the format of American [[comic book]]s, influenced by the abundance of comics in American soldiers' garrisons.<ref name="Flores20150820"/>{{sfn|Lent|2015|loc=No. 188/342}}{{sfn|Cheng Chua|Santos|2014|p=160}} Unlike the single-story format common in the U.S., these Filipino periodicals were typically anthologies ranging from 36 to 45 pages.<ref name=flores2008>{{cite web| last = Flores| first = Emil M.  | title = Comics Crash: A Survey of Filipino Comics and its Quest for Cultural Legitimacy| date = May 16, 2008| url = http://www.panitikan.com.ph/criticism/comicscrash.htm | accessdate = 2022-11-11 |archiveurl=https://web.archive.org/web/20080611094110/http://www.panitikan.com.ph/criticism/comicscrash.htm| archivedate = June 11, 2008|publisher= Institute of Creative Writing, UP Diliman}}</ref> Leading this trend was ''[[Halakhak Komiks]]'', a short-lived weekly publication launched by Tony Velasquez in 1946.{{sfn|Cheng Chua|Santos|2014|p=162}} Subsequently, in 1947, Ramon Roces established Ace Publications, appointing Velasquez as editor-in-chief.{{sfn|Lent|2015|loc=No. 189/342}} Ace introduced ''Pilipino Komiks'', and several others including ''Tagalog Klasiks'', ''Hiwaga Komiks'', and ''Espcsyal Komiks''.{{sfn|Cheng Chua|Santos|2014|p=162}} As these bi-weekly magazines became popular, they evolved into weekly and then semiweekly publications. Initial circulation began at 10,000 copies, eventually exceeding 100,000.{{sfn|Lent|2015|loc=No. 190/342}} By 1950, other publishers entered the industry, and general magazines began devoting special issues to comics. Additionally, translated U.S. comics became increasingly common.{{sfn|Lent|2015|loc=No. 190/342}} While many of these publishers faced various challenges and industry fluctuations, Roces and his family would remain a dominant figure in the comic book industry for decades.{{sfn|Reyes|1997|p=85}}

Filipino comics experienced a golden age during the 1950s,{{sfn|Lent|2015|loc=No. 190/342}} as affordable comic books became widely available at street [[Newsagent's shop|newsstands]] and general stores ([[sari-sari store]]s), gradually supplanting literary magazines.<ref name="Flores20150820"/>{{sfn|Reyes|1993|p=41}} While American titles like ''[[Superman (franchise)|Superman]]'', ''[[Archie comics|Archie]]'', and ''[[MAD (magazine)|MAD]]'', sold in supermarkets and bookstores, were primarily consumed by the middle classes,{{sfn|Fernandez|1983}} homegrown comics were embraced by the common people.{{sfn|Fernandez|1981|pp=28–29}} Most creators did not hail from the intellectual elite either.<ref name=csm/> Due to the shared pool of writers, Filipino comics inherited the characteristic of didactic [[melodrama]] from popular literatures.{{sfn|Reyes|1993|pp=83–85}} Initially serving as a means of escapism from reality, comics evolved over time, with stories growing more sophisticated and diverse genres emerging through the 1980s.{{sfn|Cheng Chua|2014}}

From their inception, comics faced criticism from conservative and religious groups due to perceived lowbrow content.{{sfn|De Nobili|Taguba|Tayag|2021|p=24}}{{sfn|Sagun|Luyt|2020|p=103}} In 1954, following the establishment of the [[Comics Code Authority|Comics Code]] in the U.S. comics industry,{{sfn|Lent|1998|p=241}} the Association of Publishers and Editors of Philippine Comics-Magazines (APEPCOM) was formed, spearheaded by Ace. Collaborating with the Catholic Church, APEPCOM implemented a self-regulatory code aimed at excluding "filth harmful to morals," such as explicit sex, horror, and criminal activities, from their works.{{sfn|Lent|2015|loc=No. 191/342}} Consequently, Filipino comics would persist in avoiding offensive or vulgar humor until the 21st century, predominantly focusing on simple humor and political satire.{{sfn|Santos|2014}}
[[File:Larry Alcala 2022 stampsheet of the Philippines.jpg |thumbnail|230px|A stamp sheet highlighting ''Slice of Life'' by [[Larry Alcala]], issued in 2022.]]
During this era, many artists emerged who would shape the history of Philippine comics.{{sfn|Lent|2015|loc=No. 191/342}} [[Francisco Coching]], a World War II guerrilla fighter,{{sfn|Reyes|1997|p=83}} established the indigenous style of Philippine comics with his dynamic and intricate drawings.<ref name="Flores20150820"/> Nicknamed "the Dean of Philippine comics," Coching was posthumously honored with a [[National Artist of the Philippines|National Artist]] award.<ref>{{cite web|title=Order of National Artists: Francisco Coching|url=https://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-the-philippines/francisco-coching/|accessdate=November 6, 2022|publisher=National Commission for Culture and the Arts}}</ref> [[Larry Alcala]] left a lasting legacy with his 56-year career, notably through his ''Slice of Life'', a single-panel comic strip series portraying daily life in the Philippines without dialogue.{{sfn|Ono|1993|p=139}} Alcala was also bestowed with the title of National Artist.<ref>{{cite web|url=https://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-the-philippines/larry-alcala/|title=Lauro "Larry" Alcala|accessdate=November 26, 2022|publisher=National Commission for Culture and the Arts}}</ref> [[Mars Ravelo]] introduced the iconic Filipino superhero, [[Darna]].<ref name="Flores20150820"/>{{sfn|Yamamoto|2016|p=9}} Ravelo's other creations, such as [[Captain Barbell]], [[Lastikman]],{{Efn|These superheroes were inspired by American characters. Darna was conceived as a female Filipino version of [[Superman]],{{sfn|Yamamoto|2016|p=10}} Captain Barbell was based on [[Captain Marvel (DC Comics)|Captain Marvel]],<ref name=flores2008/> while Lastikman was inspired by [[Plastic Man]].}} the mermaid [[Dyesebel]], and the humorous character [[Bondying]],<ref name="Flores20150820"/> have seen remakes in the 21st century, captivating a new generation of readers.{{sfn|Lent|2015|loc=No. 201–202/342}} Other notable figures include [[Alfredo Alcala]], [[Clodualdo del Mundo Sr.|Clodualdo del Mundo]], [[Nestor Redondo]], [[Alex Niño]], [[Pablo S. Gomez]], and [[Jesse Santos]].{{sfn|Lent|2015|loc=No. 191/342}}

=== Regulation under the Dictatorship, Outflow of Talent to the U.S.: 1960s–1970s ===
When the Ace Publication went bankrupt in 1963 following a printers' strike, creators who had contributed the company ventured into their own business endeavors.{{sfn|Lent|2015|loc=No. 190/342}} Velasquez managed GASI (Graphic Arts Services Incorporated) with Roces' support.{{sfn|Cheng Chua|Santos|2014|p=163}} Pablo Gomez and Mars Ravelo established their respective publishing houses PSG (1964) and RAR (1970) releasing several weekly titles. However, many new entrants into the comic book industry often faced instability, partly due to the sluggish Philippine economy.{{sfn|Lent|2015|loc=No. 191–193/342}} Larry Alcala reflected on this period, noting that overproduction led to a decline in quality, marking the end of the golden age.{{sfn|Lent|2015|loc=No. 190/342}}

The "[[Bomba (genre)|bomba]]" and "developmental comics" are genres unique to the Philippines that emerged in the 1960s.{{sfn|Lent|2015|loc=No. 190/342}} Bomba comics, published by ephemeral publishers, featured [[Erotic comics|pornographic stories]], nude photos, and occasional political messages. Despite facing condemnation from religious and feminist groups, bomba magazines remained popular until they were forced underground following intensified enforcement measures during martial law from 1972 onwards.{{sfn|Santos|2014}}{{sfn|Lent|2015|loc=No. 190–191/342}} Developmental comics, published by public agencies, aimed to raise awareness about [[family planning]] and were reported for their impact on population control.{{sfn|Lent|2015|loc=No. 191/342}} Comics were also utilized as a tool for government public relations.<ref name=csm/> During the presidency of [[Corazon Aquino]] in the late 1980s, comics were used to disseminate messages urging [[New People's Army|communist guerrillas]] to surrender, camouflaged as romance stories, and distributed nationwide.<ref name=csm>{{cite web|url=https://www.csmonitor.com/1987/0812/ofun.html|accessdate=December 3, 2022|title=Filipino comics are more than laughing matter|website=The Christian Science Monitor|date=August 12, 1987}}</ref>

In the 1970s, Filipino artists began penetrating the U.S. market, pioneered by [[Tony DeZuniga]], a Filipino immigrant based in New York. Recruited by [[DC Comics]] editor [[Joe Orlando]] in 1970, DeZuniga would create the [[Western comics|western]] hero [[Jonah Hex]] and contribute to ''[[Conan the Barbarian]]'', as well as various [[Romance comics|romance]], [[Horror comics|horror]], and [[War comics|war]] titles.<ref name="tcj2012">{{cite web|website=The Comics Journal|date=May 18, 2012|last=Ringgenberg|first=Steven|title= Tony DeZuniga, First of the Filipino Comics Wave, November 8th, 1941—May 11, 2012|url= https://www.tcj.com/tony-dezuniga-first-of-the-filipino-comics-wave-november-8th-1941-may-11-2012/|accessdate=November 8, 2022}}</ref><ref name="Power">{{cite web|last1=Duncan|first1=Randy|last2=Smith|first2=Matthew J.|url=http://www.powerofcomics.com/filipino.html|title=Filipino Artists|archiveurl=https://web.archive.org/web/20140103143717/http://www.powerofcomics.com/filipino.html|archivedate=January 3, 2014|website=The Power of Comics|publisher= Continuum International Publishing Group|accessdate=November 6, 2022}}</ref><ref name="Valmero">{{Cite web |last=Valmero |first=Anna |title=''Jonah Hex'' creator is a hero for Filipino comic book artists |publisher=Filquest Media Concepts, Inc. |date=July 2, 2010|url=http://loqal.ph/arts-and-entertainment/2010/07/02/%E2%80%98jonah-hex%E2%80%99-creator-is-a-hero-for-filipino-comic-book-artists |archiveurl=https://web.archive.org/web/20100714113441/http://loqal.ph/arts-and-entertainment/2010/07/02/%E2%80%98jonah-hex%E2%80%99-creator-is-a-hero-for-filipino-comic-book-artists/ |archivedate=July 14, 2010|quote=As the first Filipino to ever do illustrations for comic book juggernauts Marvel and DC comics, De Zuniga is dubbed the 'Father of Filipino Invasion in US Comics.' |accessdate=November 6, 2022}}</ref> In 1971, DeZuniga recommended DC publisher [[Carmine Infantino]] to visit the Philippines to scout for new talent at moderate rates.<ref name="Power" /> This initiative resulted in a significant outflux of Filipino artists, including Alex Niño, Nestor Redondo and Alfredo Alcala.<ref name="tcj2012" /><ref name="Power" /> Renowned for their drawing proficiency, speed, and diverse artistic range, Filipino artists became a major presence in American comics. However, as reader preferences shifted in the 1980s, many Filipino artists transitioned to alternative career paths, such as animation.<ref name="Power" /> {{Gallery
|height=200
|file: Tony DeZuniga.jpg | Tony DeZuniga (pictured in 2011) has made a name for himself in the U.S. as a prolific comic artist.<ref name=tcj2012/>
|file: Alex Niño (51713750221).jpg |[[Alex Niño]] (pictured in 2021) was inducted into the [[Eisner Award]] Hall of Fame in 2022.<ref>{{cite web|url=https://www.gamesradar.com/meet-the-winners-of-the-2022-will-eisner-comic-industry-awards/|accessdate=March 16, 2023|title=Meet the winners of the 2022 Will Eisner Comic Industry Awards|website=GamesRadar+|date=July 24, 2022}}</ref>
|file: Nestor Redondo (1118250566).jpg |[[Nestor Redondo]] at 1982 [[San Diego Comic-Con]].}}
In 1972, [[Ferdinand Marcos]]' administration imposed [[martial law]], [[Journalism during the Marcos dictatorship|forcing all publishers]] to align with a pro-regime stance.{{sfn|Lent|2015|loc=No. 193/342}} The administration recognized the significant influence of comics on public opinion and published comics to promote its policies,{{sfn|Lent|2015|loc=No. 193/342}}{{sfn|Reyes|1993|p=97}} while establishing The Media Advisory Council to regulate the content of comics.{{sfn|David|1993|p=100}} The comics industry complied, leading to a disappearance of works depicting poverty or social unrest from their pages.{{sfn|Lent|2015|loc=No. 193/342}} Although the Philippines had previously enjoyed an exceptional level of freedom for political satire among Southeast Asian countries,{{sfn|Lent|1998|p=237}} political cartoonists critical of the government began to be ostracized.{{sfn|Lent|2015|loc=No. 194/342}} Newspaper and magazines under Marcos' influence carried humorous cartoons devoid of political commentary, fostering a flourishing of the genre.<ref name="csm" />{{sfn|Lent|1998|pp=245–246}} [[Nonoy Marcelo]], among those blacklisted, evaded censorship by joining the [[National Media Production Center|state-run media agency]], and infused subtle political satire into his cartoons featuring his rat character [[Ikabod Bubwit|Ikabod]].{{sfn|Lent|2015|loc=No. 194/342}} Eventually Marcos was [[People Power Revolution|overthrown]] in 1986, yet satirical cartoons did not regain their former prominence, as [[media conglomerate]]s increasingly excluded content deemed detrimental to business interests.{{sfn|Lent|1998|p=238}}

The 1970s presented multiple challenges for the Philippine comics industry. Alongside losing talent to the higher-paying American counterpart,{{Efn|Tony DeZuniga recollected that Filipino artists at the time had received 50 cents per page in the Philippines, whereas DC Comics had paid $12.<ref name=hyphen2008>{{cite web|website=Hyphen|date=May 1, 2008|last=Ramirez|first=I.G.|title=Super Komikero|url=https://hyphenmagazine.com/magazine/issue-14-spaces-spring-2008/super-komikero|accessdate=November 8, 2022}}</ref>}} the industry faced criticism from the administration and the Catholic Church regarding perceived 'harmful' content, not to mention economic recession.{{sfn|Lent|2015|loc=No. 193–194/342}} While several weaker publishers succumbed to these pressures, companies such as GASI and Atlas, owned by Ramon Roces, continued to thrive. GASI's circulation and revenues quadrupled between 1975 and 1978.{{sfn|Lent|2015|loc=No. 193/342}}

=== The Decline of the Industry: The 1980s–1990s ===
The popularity or Philippine comics reached its peak in the 1980s, marked by the publication of 47 weekly comic books and a total circulation of 2.5 to 3 million copies by the mid-1980s. The actual readership far exceeded these figures due to the conventionalized sharing of copies among friends and families, making comics the most widely consumed form of publishing, even surpassing newspapers.{{sfn|Lent|2015|loc=No. 196/342}} 
With a national distribution network under its ownership, Roces continued to hold a dominant position,{{sfn|Lent|2015|loc=No. 198/342}} owning 62 out of 71 titles in the market by 1992.{{sfn|Lent|2015|loc=No. 197/342}} The publishing model established by the Roces family, characterized by the short publication periods, a wide array of titles, and affordable prices, faced minimal challenges from smaller publishers.{{sfn|Lent|2015|loc=No. 197/342}} However, this oligopoly led to a conservative approach to content, often favoring recycled ideas over innovation.{{sfn|Lent|2015|loc=No. 198/342}} The relentless pursuit of production speed resulted in a decline in quality, exemplified by writer [[Carlo J. Caparas|Carlo Caparas]] who once produced 36 works (typically 4 pages each{{sfn|Lent|1998|p=244}}) on a weekly basis, while another artist completed 19 works per week with assistance for the pen work.{{sfn|Lent|2015|loc=No. 198/342}}

In the 1990s, economic instability, political turmoil, and natural disasters strained family finances, resulted in sharp decline in comic book sales.{{sfn|Lent|2015|loc=No. 198, 200/342}} Concurrently, new forms of entertainment including television, video games, the Internet, and foreign comics, further intensified competition.{{sfn|Lent|2015|loc=No. 198/342}} Furthermore, the departure of top artists for other industries or overseas opportunities, combined with outdated printing and binding techniques, contributed to the industry's struggles.{{sfn|Lent|2015|loc=No. 199/342}} To address the downturn in the market, comic book publishers employed various strategies, including the integration of Japanese [[anime]] and video game aesthetics into children's titles and the incorporation of adult humor. These measures offered only temporary respite.{{sfn|De Nobili|Taguba|Tayag|2021|p=30}} Some of the longest-running titles in the world, notably the initial four founded by Tony Velasquez around 1950, which collectively amassed 11,500 issues, ceased publication during this period.{{sfn|Lent|2015|loc=No. 199/342}}

The passing of industry titan Ramon Roces in 1993 signaled a pivotal moment. Following his death, Roces family-owned businesses either folded or discontinued comics publication entirely.{{sfn|De Nobili|Taguba|Tayag|2021|pp=31–32}} Many argue that Philippine comics died during this period.{{sfn|Cheng Chua|Santos|2014|p=164}} As one critic noted, "When the Roces comics monopoly fell in the late 1990s, it took everything with it."{{sfn|Lent|2015|loc=No. 199/342}} Although comics publishing persisted, the dissolution of the Roces distribution network significantly diminished the industry and compelled a shift in publishing style.{{sfn|Cheng Chua|Santos|2014|p=168}} Many artists opted for [[self-publishing]] avenues, such as [[Pol Medina Jr.]], who reprinted his newspaper serial ''[[Pugad Baboy]]'' as graphic novels.{{sfn|Cheng Chua|Santos|2014|pp=164–165}}

=== New Waves: 1990s–2000s ===
In the 1990s, a new trend emerged as artists began to self-publish photocopied [[minicomic]]s, predominantly within the American-style [[superhero]] genre, often selling them at campus festivals.{{sfn|Lent|2015|loc=No. 199/342}} Alamat Comics, founded in 1994 as a small convention for independent creators to connect,{{sfn|Lent|2015|loc=No. 199/342}} eventually expanded to formally publish works such as ''[[Wasted (comics)|Wasted]]'' by [[Gerry Alanguilan]].{{sfn|Cheng Chua|Santos|2014|p=165}} Mango Comics and other publishers also emerged, signifying a generational change in comic book publishing.<ref name="comicsreporter" />

Many young artists were inspired to break into American comics industry by [[Whilce Portacio]], a Filipino immigrant who had achieved success in America.<ref name="newsarama2006a">{{cite web|url=http://forum.newsarama.com/showthread.php?t=88232|archiveurl=https://web.archive.org/web/20110102233339/http://forum.newsarama.com/showthread.php?t=88232|archivedate=January 2, 2011|last=Kean|first=Benjamin Ong Pang Kean |title=Celebrating 120 Years of Komiks From the Philippines I: The History of Komiks|website=Newsarama|date=October 19, 2006|accessdate=November 16, 2022}}</ref> Portacio made regular visits to his home country in the early 1990s, engaging with and mentoring local artists, including the Alamat group. The studio Portacio founded in Manila has nurtured talents such as Alanguilan and [[Leinil Francis Yu]], both of whom have subsequently contributed to [[Marvel Comics]].<ref name="cnn2019">{{cite web|url=https://www.cnnphilippines.com/life/culture/2020/1/7/55-balete-studio.html?fbclid |title=55 Balete: The studio where Pinoy comic book legends were made|last=Holmes|first=Anton|website=CNN Philippines|date=January 7, 2020|accessdate=2022-11-11}}</ref><ref>{{cite web|url=https://www.marvel.com/articles/comics/remembering-gerry-alanguilan-1968-2019|accessdate=March 19, 2023|title=Remembering Gerry Alanguilan, 1968-2019|website=Marvel Comics|date=January 2, 2020}}</ref>
{{Gallery
|height=180
|file: Gerry Alanguilan.png | Born in 1968, [[Gerry Alanguilan]] became a pioneer in the Philippine comics revival.<ref name=lsinq2019b>{{cite news|url=https://lifestyle.inquirer.net/354523/how-gerry-alanguilan-changed-philippine-comics/|title=How Gerry Alanguilan changed Philippine comics|first=Ruel S. |last=De Vera|date=December 29, 2019|accessdate=November 12, 2022|newspaper=Philippine Daily Inquirer}}</ref>
|file: 10.10.10WhilcePortacioByLuigiNovi2.jpg |[[Whilce Portacio]] co-founded [[Image Comics]] in the U.S. in 1992.<ref>{{cite web|url=https://www.khaleejtimes.com/newsmakers/filipino-comic-book-legend-whilce-portacio-at-mefcc-in-dubai|publisher= Galadari Printing and Publishing LLC|date=April 14, 2016|last=Abante|first=Kristine|accessdate=March 23, 2023|title= Filipino comic book legend Whilce Portacio at MEFCC in Dubai }}</ref>
|file: 10.2.10LeinilYuByLuigiNovi.jpg |[[Leinil Francis Yu]] undertook the [[Penciler|pencil]] work for the popular U.S. title ''[[Wolverine (comic book)|Wolverine]]'' in 1998.<ref>{{cite web|url=https://www.gmanetwork.com/news/pinoyabroad/dispatch/307238/pinoy-comic-artist-invested-12-to-land-dream-job/story/|title=Pinoy comic artist invested $12 to land dream job|website=GMA News Online |accessdate=March 13, 2023 |date=May 7, 2013}}</ref>}}
During the 2000s, comic publishing styles diversified, with more artists taking on works from non-comic or international publishers, alongside the trend of self-publishing.{{sfn|Lent|2015|loc=No. 201/342}}{{sfn|Cheng Chua|Santos|2014|p=167}} The latter facilitated the creation of a broader range of works.<ref name="beat2022" /> In the late 2000s, Alanguilan self-published ''[[Elmer (comics)|Elmer]]'', a social drama featuring intelligent chickens,{{sfn|Lent|2015|loc=No. 201/342}}<ref name="manilabulletin2011">{{cite web|url= http://mb.com.ph/articles/327048/something-crow-about-elmer|title= Something to crow about|first=Ronald S.|last=Lim|date=July 16, 2011|website=Manil Bulletin|accessdate=December 20, 2022|archivedate=August 20, 2011|archiveurl= https://web.archive.org/web/20110820012516/http://mb.com.ph/articles/327048/something-crow-about-elmer}}</ref> earning a nomination for the prestigious [[Eisner Award]].<ref name="multiversity2019">{{Cite web|url=http://www.multiversitycomics.com/news/gerry-alanguilan/|title=Gerry Alanguilan, Writer, Artist and Inker, Dead at 51|date=December 20, 2019|website=Multiversity Comics|accessdate=November 19, 2022}}</ref>

[[Graphic novel]]s emerged as a viable alternative to the traditional weekly comic books.{{sfn|Lent|2015|loc=No. 200/342}} Notable works like ''[[Trese]]'' by Alamat member [[Budjette Tan]] and [[Kajo Baldisimo]], ''[[The Mythology Class]]'' and ''[[Trip to Tagaytay]]'' by [[Arnold Arre]], and ''One Night in Purgatory'' by [[Carlo Vergara]] have been released in book form by mainstream publishers.{{sfn|Lent|2015|loc=No. 200/342}}<ref name="newsarama2006b">{{cite web|url= http://forum.newsarama.com/showthread.php?t=88448|archiveurl=https://web.archive.org/web/20110408150141/http://forum.newsarama.com/showthread.php?t=88448|archivedate=April 8, 2011|title=Celebrating 120 Years of Komiks From the Philippines II: The Future of Komiks|last=Kean|first=Benjamin Ong Pang Kean|website=Newsarama|date=October 21, 2006|accessdate=November 23, 2022}}</ref> Vergara's queer superhero [[Zsazsa Zaturnnah]], created in 2002, gained widespread popularity, leading to its adaptation into a [[Zsazsa Zaturnnah Ze Moveeh|movie]] and a musical theater production.{{sfn|Fondevilla|2007|p=447}}{{sfn|Yamamoto|2016|p=14}}

The 1990s also witnessed a surge in influence from Japanese manga and anime.{{sfn|Or|Tan|2019|p=25}} This trend can be traced back to the 1970s when anime titles such as ''[[Voltes V]]'' and ''[[Science Ninja Team Gatchaman|G-Force]]'' had gained popularity among expanding television audience of the middle class. However, the momentum of the anime boom was hindered when the Marcos administration banned these series, though the reasons for these restrictions remain debated.<ref name="navimanila">{{cite web|url=https://navimanilaph.com/japanese-subculture-philippines-academic/|date=June 20, 2022|title=【ジャパニーズ・サブカルチャー × フィリピン】なぜ「ボルテスＶ」は 国民的アニメになったのか|accessdate=December 1, 2022|first=Karl Ian Uy|last=Cheng Chua|language=Japanese|website=ナビマニラ}}</ref>{{sfn|Fondevilla|2007|pp=444-445}}{{Efn|
According to comics scholar Cheng Chua, there are multiple perspectives regarding Marcos' ban of Anime: some suggest that the storyline of ''Voltes V'', which portrayed revolt against oppression, was deemed dangerous; others argue it was part of a clampdown on non-state broadcasting stations; while some attribute it to pressure from Catholic women's groups advocating against the depiction of violence.<ref name=navimanila/>}} In the late 1980s, following a regime change, anime experienced a resurgence with the airing of ''[[Dragon Ball Z]]'' and ''[[Sailor Moon (TV series)|Sailor Moon]]''.{{sfn|Fondevilla|2007|p=445}} However, it wasn't until the late 1990s that anime truly permeated the general public. The popular comedy show ''[[Bubble Gang]]'' played a significant role in this by featuring ''Voltes V'', evoking memories of the military regime and contributing to anime's broader appeal.<ref name="navimanila" />{{sfn|Fondevilla|2007|p=445}}
[[File: Combatron's final armor based on the comics.jpg|thumbnail|200px|Amid the market contraction, ''[[Combatron]]'' capitalized on the popularity of video game series ''[[Mega Man]]'', becoming a hit.{{sfn|De Nobili|Taguba|Tayag|2021|p=30}}]]
Japanese subculture captivated a younger generation distinct from traditional comics readers.<ref name="flores2008" /> In 2000, ''[[Culture Crash Comics]]'' debuted, showcasing high-quality manga-inspired works.{{sfn|Lent|2015|loc=No. 199/342}}<ref name="manilatimes2007">{{cite news|url=http://www.manilatimes.net/national/2007/sept/09/yehey/weekend/20070909week2.html |title=The enlightenment of Elmer Damaso |date=September 9, 2007 |newspaper=The Manila Times |accessdate=November 11, 2022|archiveurl=https://web.archive.org/web/20080624003856/http://www.manilatimes.net/national/2007/sept/09/yehey/weekend/20070909week2.html |archivedate=June 24, 2008 }}</ref> Although the magazine did not last long due to financial difficulties,<ref name="manilatimes2007" /> its popularity spurred the emergence of followers such as ''Mangaholix'' by the same publisher,{{sfn|Lent|2015|loc=No. 199/342}} alongside ''Questor'' and ''Nautilus Comics''.{{sfn|Fondevilla|2007|pp=446–447}} Superhero comic publisher Mango Comics launched the ''[[Shōjo manga|shōjo]]'' title ''Mango Jam''.{{sfn|Lent|2015|loc=No. 199/342}}{{sfn|Cheng Chua|Santos|2014|p=167}} Even longstanding children's magazines such as ''[[Pilipino FUNNY Komiks|Funny Komiks]]'' adopted manga-style illustrations.<ref name="flores2008" />{{sfn|Fondevilla|2007|p=446}} These creations by Filipino artists, dubbed "Pinoy manga," marked an era of "comics, komiks, and manga" (works in the American, Filipino, and Japanese styles).{{sfn|Lent|2015|loc=No. 202/342}}{{sfn|Fondevilla|2007|p=441}} Notable Pinoy manga works include ''Love is in the Bag'' by Ace Vitangcol.{{sfn|Cheng Chua|Santos|2014|p=167}}

The Japanese government actively promoted manga as a cultural export in the Philippines as in other Asian nations.{{sfn|Lent|2015|loc=No. 200/342}} The reception of Japanese manga has sparked controversial, mirroring debates in other nations.{{sfn|Lent|2015|loc=No. 200/342}} Alanguilan has criticized Filipino professional manga artists for adopting styles closely associated with Japanese cultural identity, labeling them as "Filipino".{{sfn|Fondevilla|2007|p=447}}<ref>{{Cite web |url=http://alanguilan.com/sanpablo/2006/08/filipino-comics-artist-and-manga.html |title=The Filipino Comics Artist and Manga |archive-url=https://web.archive.org/web/20120119201424/http://alanguilan.com/sanpablo/2006/08/filipino-comics-artist-and-manga.html |archivedate=January 19, 2012|accessdate=January 10, 2012|date=August 11, 2006|last=Alanguilan|first=Gerry}}</ref>

As new developments unfolded, efforts to revive traditional Filipino comics were also underway. Mango Comics rebooted old superheroes like Darna, Lastikman, and Captain Barbell around 2003.{{sfn|Lent|2015|loc=No. 201–202/342}} Targeting a higher-income demographic, Mango opted to distribute through comic book specialty stores rather than newsstands.{{sfn|Lent|2015|loc=No. 201/342}} In 2007, the company embarked on an unsuccessful venture into mass-market weekly comic books, setting filmmaker and writer Carlo Caparas as a spokesperson.{{sfn|Lent|2015|loc=No. 200–201/342}} Caparas himself promoted Philippine comics through initiatives such as establishing awards for new creators and organizing the Artist Training Caravan to bolster the local comics scene. He also initiated the National Komiks Congress and the Komiks Caravan with support from the [[National Commission for Culture and the Arts]] to elevate awareness of comics within the country.{{sfn|Lent|2015|loc=No. 201/342}}{{sfn|Reyes|2009|p=392}}

=== 2010s–present ===
[[File: Komikon 2009 May - local comics on display.JPG|thumbnail|210px| Works by Filipino artists are sold at conventions.]]
In the 2010s, comics further diversified in content and publication formats.{{sfn|Cheng Chua|Santos|2014|p=171}}{{sfn|マンガ研究|2014|p=117}} Since the establishment of [[Komikon]] in 2005,{{sfn|Or|Tan|2019|p=27}} [[Comic convention|convention]]s for fans of subcultures such as comics, anime, and video games have become regular events throughout the Philippines. These conventions serve as vital platforms for indie artists to distribute their works.<ref name="beat2022" />{{sfn|Lent|2015|loc=No. 202/342}}{{sfn|Cheng Chua|Santos|2014|p=166}} Online fan activities have thrived,{{sfn|Lent|2015|loc=No. 202/342}} enabling greater exposure to international influences and creating new avenues for publication.{{sfn|Santos|2019|p=1}} Several platforms originating in the Philippines, such as Penlab, Webkom Alliance, and Kudlis, allow amateurs to publish webcomics.<ref name="beat2022" /><ref>{{cite web|url=https://www.tatlerasia.com/culture/arts/how-penlab-philippines-is-resurrecting-comics-in-the-country|accessdate=December 2, 2022|title=Penlab Philippines: An Online Platform for Comics and Creatives|website=Tatler Asia|date=September 22, 2022}}</ref> Some artists have found recognition on Korean [[webtoon]]s.<ref name="beat2022" /> Veteran artists including Pol Medina Jr. have ventured into online publishing and monetization.{{sfn|Cheng Chua|Santos|2014|p=168}}{{sfn|Or|Tan|2019|p=28}} The [[Trese (TV series)|anime adaptation]] of Budjette Tan's ''[[Trese]]'', released on [[Netflix]] in 2021, attracted international attention.<ref name="beat2022">{{Cite web|url=https://www.comicsbeat.com/essay-the-plate-tectonics-of-philippine-comics/|title=ESSAY: The Plate Tectonics of Philippine Comics|date=April 7, 2022|website=The Beat|publisher=Mile High Comics/Comicon.com|accessdate=November 15, 2022}}</ref>[[File: Lan medina.JPG|thumbnail|170px|[[Lan Medina]] was awarded an Eisner Award in 2003 for his contribution to the U.S. comic series ''[[Fables (comic)|Fables]]''.{{sfn|Valenciano|2019|pp=20–21}}。]]The evolution of comics culture has facilitated a surge in female creators.{{sfn|マンガ研究|2014|p=117}} In the past, comic artists operated within an apprenticeship-like dynamic, often excluding women.{{sfn|マンガ研究|2014|pp=115–116}} However, with the rise of a new generation influenced by Western comics and manga such as ''[[Sailor Moon]]'' and [[CLAMP (manga artists)|CLAMP]], independent comics by female artists have become more common.{{sfn|マンガ研究|2014|p=117}} Despite the persistent male dominance in the comics landscape of the 2020s, events like Komiket actively empower and support women's creative pursuits.<ref name="PDI" />

Comics are increasingly acknowledged as an art form, with frequent retrospectives honoring early artists like Ravelo and Coching.{{sfn|Cheng Chua|Santos|2014|p=171}} In 2010, a bill was introduced for a graphic novel archiving project.{{sfn|Lent|2015|loc=No. 202/342}} Comic creation is now being integrated into university curricula,{{sfn|Or|Tan|2019|p=27}} and student groups are actively fostering emerging comic book artists.{{sfn|Santos|2019|p=2}} While circulation numbers may not reach previous highs, the comics culture is experiencing a resurgence in the 21st century.{{sfn|Cheng Chua|Santos|2014|p=166}} Comics with [[Yaoi|boy's love]] genre focusing on the lived experiences of the Filipino queer community have become popular in the country in recent years, while queer comic festivals have become mainstream every Pride Month.<ref>{{cite web | url=https://mb.com.ph/2021/06/23/pride-2021-queering-philippine-comics/ | title=Queering Philippine comics | website=[[Manila Bulletin]] }}</ref><ref>{{cite web | url=https://blushcon.org/layag-pinoy-bl-comics-get-to-know-some-of-our-bl-comic-creators-in-the-philippines/ | title=LAYAG! PINOY BL COMICS: Get to Know Some of our BL Comic Creators in the Philippines! | date=May 8, 2024 }}</ref><ref>{{cite web | url=https://mb.com.ph/2021/6/28/beki-lingo-refresher-this-filipino-comic-book-creator-can-help-you-with-that | title=Beki lingo refresher? This Filipino comic book creator can help you with that | website=[[Manila Bulletin]] }}</ref>

== Formats ==
The traditional format of Philippine comic book was firmly established by the 1990s.{{sfn|Lent|2015|loc=No. 197, 203/342}} These books typically spanned 32 to 48 pages in color and were priced at 17 to 20 U.S. cents. Each weekly issue consisted of several short stories (''wakasan'') and serials (''nobela''), each running four pages in length.{{sfn|Lent|1998|p=244}}{{sfn|Lent|2015|loc=No. 197, 203/342}} During the 1970s, each magazine featured signature long serials, with ''[[Zuma (comics)|Anak ni Zuma]]'' in ''Aliwan Komiks'' standing out as a prominent example that remained popular for over a decade.{{sfn|Lent|2015|loc=No. 194–195/342}} Additionally, these comics books featured crossword puzzles, short gags, letter sections, advertisements, and prose sections covering topics such as celebrity gossip, biographies, and life hacks.{{sfn|Lent|1998|p=244}}{{sfn|Lent|2015|loc=No. 197, 203/342}} The title of comics was often straightforward, employing everyday objects, the main character's name (in accordance with the Filipino convention of "characteristic + first name"), or wordplay based on the name of a celebrity.{{sfn|Lent|2015|loc=No. 197/342}}

Comic books were sold through newsstands. It is estimated that each copy was read by six to ten individuals due to the accessibility of street lending shops and the practice of sharing within families and among neighbors.{{sfn|Fernandez|1983}}<ref name="csm" /> A significant proportion of the readership was adult, particularly low-income women, which distinguished it from the U.S. counterpart.<ref name="csm" />

Most comic books were published in [[Tagalog language|Tagalog]]<ref name="csm" /> and served to promote [[Filipino language|Filipino]], the official language based on Tagalog, throughout the country.{{sfn|Lent|2015|loc=No. 190/342}} Around 1980, during the peak of [[Sex tourism|prostitution tour]]s from Japan to the Philippines, some works featuring Japanese protagonists were illustrated by Filipino artists and published in [[Japanese language|Japanese]].<ref>{{cite web|website=The Comics Journal|url= https://www.tcj.com/filipino-komiks-and-japanese-sex-tourism-joe-gatchalians-clone-woman/|title=Filipino Komiks and Japanese Sex Tourism: Joe Gatchalian's Clone Woman|date=March 15, 2013|last=Holmberg|first=Ryan|accessdate=November 23, 2022}}</ref>

Traditional comic books experienced a decline in the 1990s and have since evolved into modernized forms with updated content and binding, targeting university students and affluent urban residents.{{sfn|Fondevilla|2007|p=448}} The readership now predominantly consists of males.<ref name="PDI">{{cite news|title= In 'komiks,' 'being a woman is an edge, a superpower'|url=https://lifestyle.inquirer.net/399807/in-komiks-being-a-woman-is-an-edge-a-superpower/|date=March 29, 2022|newspaper=Philippine Daily Inquirer | first=Ruel S. |last=De Vera |accessdate=March 22, 2023}}</ref> Following the dissolution of the Roces family's monopoly, numerous independent publishing houses have emerged.{{sfn|Sagun|Luyt|2020|p=104}} Their owners often derive their primary income from mass media or academia and frequently are creators themselves. These publishers maintain close connections with their fan base, nurturing a niche community.{{sfn|Sagun|Luyt|2020|pp=105–106}} General bookstores in the Philippines primarily focus on foreign publications, placing domestic comic books at a disadvantage in terms of sales and distribution. Consequently, independent publishers view comic conventions as vital channels for sales.{{sfn|Sagun|Luyt|2020|pp=109–111}}

[[Graphic novel]]s, primarily comprising Western works and English-language Japanese ones, are widely accessible in general bookstores.{{sfn|Cheng Chua|Santos|2014|pp=168–169}} This relatively new publishing format encompasses a diverse range of content, including anthologies, reprints of serialized works, and newly created comics.{{sfn|Lent|2015|loc=No. 200/342}}

Most Pinoy manga, Filipino comics influenced by Japanese manga, are printed in color and cover a wide range of themes, gaining particularly popularity among women aged 8 to 25.<ref name="flores2008" />{{sfn|Lent|2015|loc=No. 200/342}} Manga publishers focus on middle and high-school students, as publications tailored to this age group were limited in the past.{{sfn|Fondevilla|2007|p=447}}

== Characteristics ==
=== Art styles ===
Traditional Filipino comics draw inspiration not only from U.S. comic book arts but also from pen-drawn magazine illustrations, such as those by [[Charles Dana Gibson]].<ref name="beat2006">{{Cite web|url=https://www.comicsbeat.com/filipino-comics-in-the-news/|title=Filipino comics in the news|date=October 26, 2006|first=Heidi|last=MacDonald|website=The Beat|publisher=Mile High Comics/Comicon.com|accessdate=November 23, 2022}}</ref> The iconic character Darna, created by Mars Ravelo, was influenced by the works of Peruvian illustrator [[Alberto Vargas]].{{sfn|Yamamoto|2016|p=10}} According to [[Gerry Alanguilan]], a comic artist known for his efforts in reprinting and popularizing vintage comics, Filipino comic artists were significantly influenced by American illustrators renowned for their exquisite artwork,<ref name="beat2006" /> such as [[Franklin Booth]], [[J. C. Leyendecker]], [[Norman Rockwell]], and [[Frank Frazetta]].<ref name="comicsreporter" /> Alanguilan characterizes the Philippine art style as "classical and romantic, delineated by luscious and graceful brushwork."<ref name="comicsreporter">{{cite interview|url=https://www.comicsreporter.com/index.php/resources/interviews/6314|last=Alanguilan|first=Alan|interviewer=Spurgeon, Tom|website=Comivs Reporter|publisher=Tom Spurgeon|date=October 14, 2006|accessdate=October 20, 2022|title=A Short Interview With Gerry Alanguilan}}</ref>

[[Francisco V. Coching|Franscisco Coching]] was an influential artist who left a lasting impact on his contemporaries starting from the 1950s, earning the nickname "Dean of Filipino Komiks Illustration." Alanguilan praised his "bold and frenetic" brushwork, noting that his figures "seemed to move even when they were standing still."{{sfn|Alanguilan|2011}}

=== Genres ===
Filipino comics originated in the 1930s with humorous works such as ''[[Kenkoy]]'', followed by the popularity of historical heroic tales such as ''[[Kulafu]]''. The subsequent rise of [[melodrama]] in the 1940s and 1950s, drawing from the tradition of Philippine popular fiction,{{sfn|Reyes|1997|p=86}} set the prevailing tone of Philippine comics.{{Sfn|Reyes|1993|p=79}} Mars Ravelo, one of the genre's most renowned writers, created ''Roberta'', in which a young girl is bullied by her stepmother.{{sfn|Reyes|1997|p=86}} By the 1980s, melodramatic narratives infused with themes of sex, violence, and class inequality gained prominence.{{sfn|Lent|2015|loc=No. 196/342}} Despite the male dominance in the industry, this genre was contributed to by many female writers including [[Elena Patron]], who produced over 350 short comics and 120 serials in 20 years, alongside Nerissa Cabral and [[Gilda Olvidado]].{{sfn|Lent|2015|loc=No. 196/342}}{{sfn|Reyes|1997|pp=86–87}}

Action and fantasy also have long been popular in Philippine comics.{{sfn|Reyes|1997|p=87}} In 1950s, Ravelo introduced [[Dyesebel]], the mermaid who falls in love with a human, and the girl superhero Darna.{{sfn|Lent|1998|p=244}} A common storyline featured the protagonist acquiring a magical item (such as a typewriter, ballpoint pen, or winnowing basket) to overcome adversity.{{sfn|Lent|1998|pp=244–245}} The genre also featured a variety of unusual characters, including half-beast children, talking dolphins,{{sfn|Lent|2015|loc=No. 197/342}} women with a snake or a mouse as twin siblings, three-headed girls, and "The Hands," severed and animated hands with eyes and magical powers.{{sfn|Lent|1998|p=245}} These characters were often drawn inspiration from an eclectic blend of [[Philippine mythology|Philippine]], [[Roman mythology|Roman]], and [[Greek mythology|Greek]] myths.{{sfn|Lent|2015|loc=No. 195/342}} The genre reached its peak in the 1970s with the works of Pablo Gomez and Carlo Caparas, and by 1980, fantasy narratives were present in around 70% of all comic magazines.{{sfn|Lent|2015|loc=No. 195/342}}

Romance comics had become a dominant genre by the 1990s, comprising more than half of the stories published in popular magazines as indicated by a 1992 survey.{{sfn|Lent|2015|loc=No. 197/342}}{{sfn|Lent|1998|p=244}} Comics editor Emmanuel Martinez suggests that Filipinos are particularly drawn to love stories due to their romantic, emotional, and family-oriented nature.{{sfn|Lent|2015|loc=No. 198/342}} Martinez notes that readers prefer light-hearted tales with optimistic endings.{{sfn|Lent|1998|p=244}} These stories frequently portrayed characters such as a compassionate prostitute, a daughter sacrificing herself for her family, or a woman deceived by her lover, with the protagonist ultimately prevailing and finding happiness.{{sfn|Lent|1998|p=244}}{{sfn|Lent|2015|loc=No. 195/342}} Queer genres, such as [[Yaoi|boy's love]], have recently enjoyed a rise in popularity especially after the rise of queer motion-picture series in the 2020's.<ref>{{cite web | url=https://mb.com.ph/2021/06/23/pride-2021-queering-philippine-comics/ | title=Queering Philippine comics | website=[[Manila Bulletin]] }}</ref><ref>{{cite web | url=https://blushcon.org/layag-pinoy-bl-comics-get-to-know-some-of-our-bl-comic-creators-in-the-philippines/ | title=LAYAG! PINOY BL COMICS: Get to Know Some of our BL Comic Creators in the Philippines! | date=May 8, 2024 }}</ref><ref>{{cite web | url=https://mb.com.ph/2021/6/28/beki-lingo-refresher-this-filipino-comic-book-creator-can-help-you-with-that | title=Beki lingo refresher? This Filipino comic book creator can help you with that | website=[[Manila Bulletin]] }}</ref><ref>{{Cite web |last=Olela |first=Jerry |date=June 1, 2023 |title=Pinoy BL series: a genre that boomed during the pandemic |url=https://www.pep.ph/news/local/173589/pinoy-bl-series-overview-a4113-20230601-lfrm2?s=5b44vqbi8cv8fdrlct415pfd9a |access-date=2024-10-16 |website=PEP.ph |language=en}}</ref>

Besides these mainstream genres, Philippine comics explored a wide range of themes, including news, politics, agriculture, biography, history,<ref name="comicsreporter" /> and sports. Some stories depicted dramas revolving around ordinary people based on reader-submitted narratives. [[Science fiction]] elements, such as space adventures, organ transplants, cloning, and test-tube babies, were often featured.{{sfn|Lent|2015|loc=No. 196/342}} Additionally, works imitating hit movies like ''[[Jaws (film)|Jaws]]'', ''[[The Towering Inferno]]'', and ''[[James Bond]]'', were not uncommon.{{sfn|Reyes|1993|p=80}}

=== Sexual and Gender Representations ===
In the Philippines, where the majority of the population is Catholic, [[pornography]] is prohibited by law, and [[homosexuality]] tends to be viewed indecent as well. Positive portrayals of homosexuality are rare in mainstream media.{{sfn|Fermin|2015|pp=189–190}} According to comics scholar [[Soledad Reyes]], many traditional romance comics depicted protagonists undergoing an overnight transformation from "overaged babies, thumb sucking men and women, [...], and effeminate man" into proud and confident individuals "deeply conscious of their sexuality" through the power of love.{{sfn|Lent|2015|loc=No. 195–196/342}} Carlo Vergara's ''[[Zsazsa Zaturnnah]]'' (2003), a gay man who transforms into a female superhero, marked a significant breakthrough in [[LGBT|LGBTQIA+]] representation in comics.<ref name="manilabulletin2021">{{cite web|url=https://mb.com.ph/2021/06/23/pride-2021-queering-philippine-comics/|accessdate=November 28, 2022|title=Queering Philippine comics|website=Manila Bulletin|date=June 23, 2021}}</ref> The work garnered attention from both the general public and academia and paved the way for [[autobiographical comics]] by LGBTQIA+ artists.<ref name="manilabulletin2021" /><ref name="manilabulletin2020">{{cite web|url=https://www.thefreelibrary.com/Zhe%27s+Back+And+Ready+For+Ztreaming!-a0627020028|accessdate=November 28, 2022|title=Zhe's Back And Ready For Ztreaming!|website=Manila Bulletin|date=June 19, 2020}}</ref> Furthermore, a [[fandom]] of Japanese-style ''[[yaoi]]'' exists, which had a small fanbase before 2015,{{sfn|マンガ研究|2014|pp=134–135}}{{sfn|Fermin|2015}} but has drastically grown since the 2020's and transformed into its own sub-genre of Pinoy BL. New generations of queer comic authors, most of which are queer themselves, have focused on creating books to introduce people to the LGBTQIA+ world, covering both differences and similarities to the heterosexual mainstream. Notable works include ''Ang Jowa Kong Crosswise'', ''Champion of the Rose'', ''Nang Mainlove Ako sa Isang Sakristan'', and ''Sari Sari Story'',<ref>{{cite web | url=https://mb.com.ph/2021/06/23/pride-2021-queering-philippine-comics/ | title=Queering Philippine comics | website=[[Manila Bulletin]] }}</ref><ref>{{cite web | url=https://blushcon.org/layag-pinoy-bl-comics-get-to-know-some-of-our-bl-comic-creators-in-the-philippines/ | title=LAYAG! PINOY BL COMICS: Get to Know Some of our BL Comic Creators in the Philippines! | date=May 8, 2024 }}</ref><ref>{{cite web | url=https://mb.com.ph/2021/6/28/beki-lingo-refresher-this-filipino-comic-book-creator-can-help-you-with-that | title=Beki lingo refresher? This Filipino comic book creator can help you with that | website=[[Manila Bulletin]] }}</ref><ref>{{cite web | url=https://www.lionheartv.net/2023/08/black-ink-brings-you-6-best-selling-bl-manga-novels/#google_vignette | title=Black Ink Brings You 6 Best-Selling BL Manga Novels - LionhearTV | date=August 5, 2023 }}</ref> while various queer comic anthologies have also been published in last few years.<ref>{{cite web | url=https://nolisoli.ph/67506/mibf-2019-local-queer-books-zacosta-asualcillo-20190912/ | title=MIBF 2019: A guide to the local queer books you can find | date=September 12, 2019 }}</ref><ref>{{cite web | url=https://www.wheninmanila.com/queer-filipino-komiks-you-should-read-asap/ | title=Queer Filipino Komiks You Should Read ASAP - when in Manila | date=September 25, 2023 }}</ref>[[File:BOSO A Peep Into Pinoy Bomba Komiks.jpg|thumb|zine bomba komiks anthology]]
In 2017, Saturnino Basilia released a zine anthology titled ''BOSO: A Peep In Pinoy Bomba Komiks''.<ref>{{Cite web |last=Online Archive of California |title=Finding Aid for the Philippine Zines Collection LSC.2281 |url=https://oac.cdlib.org/findaid/ark:/13030/c8zs33rc/entire_text/}}</ref> The zine opens with a provocative question: ''Why read pornography?'' Basilia's aim is to reclaim pornography as a space where people’s most repressed emotions and experiences — and their reflections on those experiences — can be explored. Rather than viewing these comics solely as explicit content, he positions them as acts of resistance against censorship. This was later followed by another bomba komiks anthology, ''SABIK: A Short Time in Pinoy Bomba Komiks''.

=== Local themes ===
Filipino language, geography, and culture often merged with American and Japanese influences in various works.<ref name=flores2008/> While U.S. superheroes typically operate in settings where superhuman abilities arise from innate qualities or are obtained through scientific means and training, the powers of traditional Filipino heroes often stem from faith. Characters like Darna, [[Panday (character)|Panday]], and others acquire magical items as symbols of the purity of their hearts.<ref name=flores2008/> Arnold Arre's 1999 work ''[[The Mythology Class]]'' extensively explored Filipino mythology, revitalizing the fantasy genre that had been heavily influenced by American superhero comics.{{sfn|Gutierrez|2014|pp=348–349}} By around 2020, commercial works increasingly incorporate [[Noir fiction|noir]]s and [[Mystery fiction|mysteries]] infused with [[List of Philippine mythological creatures|folklore creatures]].<ref name=beat2022/>{{sfn|Ballesteros|2019|pp=56–57}}

== Adaptations ==
Traditional Philippine comics had maintained a close association with the film industry. Tailored to the preference and aspirations of the "[[Bakya|clog]]-wearing" Filipino public, comic books proved to be suitable source material for films, with approximately 30–40% of major studio releases in 1986 being comic book adaptations.{{sfn|Lent|2015|loc=No. 196/342}} These adaptations covered a variety of genres, including melodramas, [[romantic comedies]], and adventures. Filmmaker [[Lino Brocka]] acknowledged his practice of alternating between artistically oriented projects and those based on comics that appeal to existing audiences.{{sfn|Lent|2015|loc=No. 196/342}} Beside direct adaptations, some Filmmakers provided original story for comic magazines, later releasing film adaptations coinciding with the climax of the comic serialization, featuring actors resembling the characters from the comics.{{sfn|Lent|2015|loc=No. 196/342}}
[[File: Jane de Leon as Darna 2022 (1).jpg|left|thumbnail|250px| An illustration of [[Darna (2022 TV series)|the 2022 TV series]] version of [[Darna]], portrayed by [[Jane De Leon]].]]
The 21st century continues to witness film adaptations of both older classics and more recent comics. Among classics adapted into television series in the 2000s are Mars Ravelo's ''[[Darna (2005 TV series)|Darna]]'' (2005), Carlo Caparas' ''[[Bakekang]]'' (2006), Francisco Coching's ''[[Pedro Penduko]]'' (2006), Pablo Gomez's ''[[Kampanerang Kuba]]'' (2005).{{sfn|Lent|2015|loc=No. 202/342}} As of 2016, Darna has been featured 13 films, three TV dramas, an animated TV series,{{sfn|Yamamoto|2016|p=9}} and even ballet performances.{{sfn|Lent|2015|loc=No. 202/342}} Film adaptations of recent comics include ''[[Mulawin]]'' (2004), ''[[Encantadia]]'' (2005), and ''[[Atlantika]]'' (2006).{{sfn|Lent|2015|loc=No. 202/342}}

In 2004, the [[Philippine Postal Corporation]] commemorated Philippine comics by issuing a series of [[Postage stamp|stamp]]s. The featured artworks included ''Darna'' by Gilbert Monsanto, ''Darna'' by Nestor Redondo, ''Kulafu'' by Francisco Reyes, and ''Lapu-Lapu'' by Francisco Coching.<ref>{{Cite web |last=Alanguilan |first=Gerry |title=Philippine Komiks On Stamps! |url=http://www.alanguilan.com/sanpablo/2005_02_01_archives.html |website=alanguilan.com |accessdate=November 11, 2022|archiveurl=https://web.archive.org/web/20160414232928/http://www.alanguilan.com/sanpablo/2005_02_01_archives.html |archivedate=April 14, 2016|date=February 7, 2005}}</ref>

== National Book Awards ==
The [[Philippine National Book Awards|National Book Awards]], managed by the Manila Critics Circle (MCC) and the [[National Book Development Board (Philippines)|National Book Development Board]], have included a category for graphic literature since 1999.<ref>{{cite web|url= https://www.publishersweekly.com/9780804855426|title=The Mythology Class|accessdate=March 15, 2023}}</ref><ref>{{cite web|url=https://books.gov.ph/2021-national-book-awards-nomination-selection-criteria/|accessdate=March 16, 2023|title=39th National Book Awards Nomination/Selection Criteria|publisher=National Book Development Board}}</ref> Below is a list of awarded artists and works up to 2024, excluding awards given to anthologies.
{| class="wikitable sortable"
|'''Awards Year'''
|'''Category'''
|'''Title'''
|'''Author and Illustrator'''
|'''Description'''
|-
|1999
|Comic  Book
|''[[The Mythology Class]]''
|Arre,  Arnold
|This four-issue series is a landmark in itself: a comic book  that combines Filipino myths and legends with modern humor, action, and  sensibility. The result is a quirky, enjoyable comic book that is thoroughly modern  and Filipino in its approach. Through his distinctive art and story, Arre  imbues his young warriors with spunk, spark, and whimsy that resonate with  any reader. In The Mythology Class, Arre gives us a glimpse of all that a  truly Filipino comic book, drawing on all our multifarious influences, can  become, all with a confident and unique style of his own.
|-
|2000
|Comic  Book
|''[[Trip to Tagaytay]]''
|Arre,  Arnold
|In this futuristic story, popular actor Aga Muhlach is the aging  President, the Eraserheads are on a Reunion Tour that spans the stars, and  Philippine Space Lines is offering a 50 percent discount on Moon Travel. A  young man journeys through the city, heading for the Grand Liwayway Station  where he plans to take the cheapest train out, since they just opened the  Tagaytay Ocean Tunnel connecting to Cebu. All the while, he is composing a  message addressed to his love who is far away in Orbital Space Station.
|-
|2001
|Comic  Book
|Isaw,  Atbp.
|Michael Vincent Simbulan, Marco Dimaano Marco, Arre Arnold, Carl Vergara
|Isaw, Atbp. contains three stories that stand alone, but are  also intertwined somehow. The stories are sandwiched by edgy poetry from Dean  Francis Alfar, Nikki Alfar, Emrys Capati, Vincent Michael Simbulan, and Tobie  Abad.
|-
|2002
|Comic  Book
|Ang  Kagila-Gilalas na Pakikipagsapalaran ni ''[[Zsazsa Zaturnnah]]''
|Vergara,  Carlo
|A mysterious stone falls from the heavens, granting Ada the  ability to transform into Zaturnnah, a superhuman warrior endowed with  uncanny strength and remarkable beauty. As Zaturnnah, Ada fearlessly defends  a small town from rampaging zombies and power-tripping extraterrestrial  amazons. Adding color to this simple but riotous tale is the fact that Ada is  homosexual and the proprietor of his own quaint beauty salon. With his  frilly-mouthed assistant Didi and his objet d’amour Dodong, Ada reinforces  his belief in acknowledging the decisions of Destiny, and begins to explore  the potential fulness of life.
|-
|2003
|Comic  Book
|Mars  Ravelo’s Darna
|Zach Yonzon, Lan Medina, Gilbert V. Monsanto
|Darna was originally created in Tagalog for a weekly magazine in  1951 by prolific comics writer Marcial “Mars” Ravelo, and first drawn by  Nestor Redondo. The Filipino superheroine returns to readers in this set of  three volumes, in English. The first volume came out in March 2003, the  second volume in April 2003, and the third volume in December 2003
|-
|2003
|Comic  Book
|Siglo:  Freedom
|Alfar,  Dean Francis

Simbulan, Vincent.
|“The 10 stories of Siglo strive to capture the zeitgeist of  various points of 20th-century Philippine life, beginning in the 1900s and  creating snapshots of the decades that lead all beyond the year 2000. We find  recurring themes, for freedom transcends time and space, and no matter how  things change, human nature remains the same. It is, after all, human nature  to long to be free.
|-
|2005
|Comic  Book
|Siglo:  Passion
|Alfar,  Dean Francis Simbulan, Vincent
|Twelve stories (in comics) presenting different types of  passions—from a fey spirit that falls hopelessly in love with a mortal man,  to a loving mother’s passion for cooking for her family; from a man whose  anger and desperation keep his soul trapped on earth; and into the future  where we discover that passion can touch even the existence of an automaton  searching for the meaning of her life.
|-
|2010
|Graphic  Literature
|''[[Trese]]'':  Mass Murders
|Tan, Budjette

Baldisimo,  Kajo
|Try to remain calm if you suddenly spot a tikbalang speeding  down EDSA or a manananggal swooping across the Makati skyline. While partying  at the Fort, never ever let the enkanto at the bar buy you a drink. 

Yet, there are deadlier things than walk the streets of this city.

One of them now demands blood and sacrifice.

When crime takes a turn for a weird, the police call Trese.
|-
|2012
|Graphic  Literature in English
|''[[Trese]] 4:  Last Seen After Midnight''
|Tan, Budjette

Baldisimo,  Kajo
|Foul play. Magic spells. Supernatural criminals. When crime  takes a turn for the weird, the police call Alexandra Trese.

This graphic novel contains the following cases:

CADENA DE AMOR

In a neglected area of Luneta Park, where the grass grows untended, a man is  found strangled by vines; which have started to grow outwards, killing anyone  that gets in its path.

A PRIVATE COLLECTION

A manananggal has been found, tortured and murdered. The Manananggal Clan  declares war on the Aswang Clan. Trese must find the real murderer before  more blood is shed, before Manila gets in the crossfire of a supernatural  gang war.

WANTED: BEDSPACER

A strange illness has affected the students living along Katipunan Avenue.  The doctors are clueless on what's driving these people mad with despair. Can  Trese trace the source of this growing paranormal epidemic?

FIGHT OF THE YEAR

Once a year, in General Santos City, the demons and creatures of the  underworld converge to watch a most awaited event, where the country's  greatest boxer fights for his very soul.
|-
|2013
|Graphic  Novel in Filipino
|''[[Zsazsa Zaturnnah]]'' ''sa Kalakhang Maynila #1''
|Vergara, Carlo
|After defeating a giant frog, a horde of zombies, and the  extraterrestrial Amazonista, small-town beautician Ada begins a new chapter  by moving the big city with hunky Dodong, and taking up residence in the old  house of his friend Gwyneth. Not only does earning his keep prove more  difficult, Ada also finds himself dealing with a haunting past, the return of  the Zaturnnah stone, new enemies and allies, startling revelations, true  confessions, and the prospect of a new--and complicated--romance. Can Ada  survive a place that seeks to wear out his mind, his body... and his heart?

Zsazsa Zaturnsah sa Kalakhang Maynila is the sequel to the award-winning  graphic novel. This is the first of the three parts.
|-
|2013
|Graphic  Novel in English
|''[[Trese]] 5:  Midnight Tribunal''
|Tan, Budjette

Baldisimo,  Kajo
|In a city where the aswang control everything that is illegal and where ancient gods seek to control everything else, enforcing the law can be a very difficult task.

When crime takes a turn for the weird, the police normally call Alexandra  Trese. Lately, it seems like others have been taking that call.

Trese must confront these supernatural crime-fighters and bring order back to  the city, before the underworld attempts to seek balance in its own way.
|-
|2014
|Graphic  Literature in Filipino
|''PilandoKomiks  Isyu 2: Mga Pagsubok ng Karagatan''
|Sinaban,  Borg
| Nagsimula ang Pilandokomiks sa kagustuhang palawakin ang mundo ni Pilandok, maipakita ang mga hiwaga at kababalaghan sa ating kapaligiran, at makapamahagi ng magandang istorya sa kabataan. Ang komiks na ito’y para sa mga nakabasa ng mga aklat pambata na isinulat ni Virgilio Almario at iginuhit ni Kora Dandan-Albano, at puwedeng-puwede rin sa mga hindi pa nakakabasa ng mga aklat ni Pilandok.
|-
|2014
|Graphic  Literature in English
|''The Dark  Colony Book I: Mikey Recto & The Secret of the Demon Dungeon''
|Budjette Tan, Bow Guerrero, J.B. Tapia
|Mikey had other plans on his Holy Week holiday. Driving for his  grandfather was not part of it. Nor did it involve running into a very unholy  secret.
|-
|2015
|Graphic  Literature in Filipino
|''Tabi Po  (Volume 1)''
|Malonzo,  Mervin
|Isang lalake ang bigla na lamang nagising sa loob ng isang puno  sa gitna ng kagubatan na walang alaala kung sino siya at saan siya nagmula.  Ang tanging alaala lang niya ay isang imahe ng babae na nakikita niya sa  kanyang panaginip, at ang tanging nararamdaman niya ay isang matinding gutom  na mabilis na namumuo sa kanyang walang pusod na sikmura. Isang gutom na  mapapawi lamang ng laman...at dugo.
|-
|2015
|Graphic  Literature in English
|''Rodski  Patotski: Ang Dalagang Baby''
|Alanguilan,  Gerry

Arre,  Arnold
|Rodski Patotski, Ang Dalagang Baby, written by Gerry Alanguilan  and illustrated by Arnold Arre, is a fun Pinoy Komiks tribute that blends  adventure, fantasy, sci-fi and family drama rolled into one. Rodski, a born  genius, grows up to be the most intelligent girl in the whole country, but  her heart and mind remains that of a 5 year old.
|-
|2015
|Wordless  Graphic Literature
|''14'''
|Abrera,  Manix
|4 Silent Comics is Manuel “Manix” Abrera’s one-person exhibition  that presents his silent comics (comics without dialogue). Characters from  Philippine mythology like the manananggal, white lady, duwende and kapre will  be portrayed in a different light through stories that cast them as  protagonists. They are either funny or philosophical, caught up in  circumstances where they meet different creatures, mortal and otherwise.
|-
|2016
|Graphic  Literature in English
|''Kare  Kare Komiks''
|Drilon,  Andrew
|Satisfy your hunger! Zipping along the borders of every genre, a  metafictional hunter faces an apocalyptic entity threatening the very fabric  of stories! In order to defeat it, he must dive into this collection of more  than twenty delicious comics stories and enlist the aid of its colorful  characters!
|-
|2016
|Wordless  Graphic Literature
|''Light''
|Cham,  Rob
|This wordless comic book follows the exploits of a  backpack-toting adventurer in a quest to find a mysterious treasure. Framed  in black, the illustrations offer delightful bursts of color and are sure to  entertain readers of any age.
|-
|2016
|Graphic  Literature in Filipino
|''News  Hardcore! Hukbong Sandatahan ng Kahaggardan''
|Abrera,  Manix
|Ipinapakita ng News Hardcore ang "behind-the-scenes"  na mundo ng media ~ may naghahari, may inaapi, may peke at may marangal, may  malungkot, at higit sa lahat, may nakakatawa.
|-
|2018
|Graphic  Literature
|''Dead  Balagtas, Tomo 1: Mga Sayaw ng Dagat at Lupa''
|Kampilan,  Emiliana
|Dead Balagtas is the first and most creative comics about the  long and colorful history of the Philippines.

In this first volume, a wise babaylan tells the story of the birth of the  universe from the passionate love between Tungkung Langit and Laon  Sina. Witness the rise of the continents, the clash of oceans, and the  romance of sea and earth—forces that shaped and continues to mold our home  and nation, the Philippines.
|-
|2019
|Graphic  Literature
|''Kikomachine  Komix Blg. 14: Alaala ng Kinabukasan <ref>{{cite web |title=38th National Book Awards Winners |url=https://books.gov.ph/38th-national-book-awards-winners/ |accessdate=March 16, 2023 |publisher=National Book Development Board}}</ref><ref>{{cite web |date=November 18, 2016 |title=REVIEW: Kikomachine Komix Blg. 12: Mandirigima ng Tadhana |url=https://www.flipgeeks.com/comic-reviews/review-kikomachine-komix-blg-12-mandirigima-ng-tadhana |url-status=usurped |archive-url=https://web.archive.org/web/20170405032043/http://www.flipgeeks.com/comic-reviews/review-kikomachine-komix-blg-12-mandirigima-ng-tadhana |archive-date=April 5, 2017 |accessdate=March 16, 2023 |website=FlipGeeks}}</ref>''
|Abrera,  Manix
|In ''Alaala ng Kinabukasan'', Manix Abrera's latest  collection of Kikomachine strips, deeper existential issues are tackeld with  irreverent wit and wry humor. It is an admirable work that demonstrates as a  comic artist (in the truest sense of the word) coming into his own. –Emil Francis  M. Flores
|-
|2022
|Graphic  Literature
|''Tarantadong  Kalbo 1 <ref>{{cite web |date=2022 |title=THE 39TH NATIONAL BOOK AWARDS WINNERS |url=https://books.gov.ph/the-39th-national-book-awards-winners/ |accessdate=April 10, 2024 |publisher=National Book Development Board}}</ref>''
|Raymundo,  Kevin Eric
|In a year of excellent comics work, ''Tarantadong Kalbo'' came away  with the National Book Award because of its tremendous impact. The book’s  craft is undeniable, with its cartooning and visual language, as well as its  insightful observations and sharp sense of humor. But what makes this  collection’s win undeniable is the social impact that these works have had,  and will continue to have. If one were to try and understand the last two  apocalyptic years and the lives we have lived through it, this collection  would serve as a chronicle and companion, something in dialogue with the  times as well as a book that we will continue to resonate in the future. -  Carl Joe Javier
|-
|2023
|Graphic  Novel in English
|''Alandal <ref name="40th">{{cite web |date=April 29, 2023 |title=FULL LIST: Winners, 40th National Book Awards |url=https://www.rappler.com/life-and-style/literature/list-winners-40th-national-book-awards/ |accessdate=April 10, 2024 |website=Rappler.com}}</ref>''
|Ignacio,  Jay

Niño,  Alex
|Ang ''Alandal'' ay isang maaksiyong epiko ng digmaan, pag-ibig, at  pagtataksil na madetalyeng isinulat ni Jay Ignacio at mas madetalye pang  isinalarawan naman ni Alex Niño na isang batikang dibuhista. Malalim ang  pananaliksik ni Jay sa kuwentong ito na bunga ng kaniyang pagkahumaling sa  Filipino martial arts. Ang mga larawan naman ni Mang Alex ay may kakaibang  enerhiya na nag-iimbita sa mga mata ng mambabasa na suriin at kilatisin ang  bawat detalye. Lahat ng pigura ay gumagalaw na parang nakuhanan ng larawan sa  gitna ng pagsasayaw. Isang pagdiriwang ang pagbabalik ni Mang Alex sa Pinoy komiks  at salamat kay Jay sa pagbibigay-daan dito. - Mervin Malonzo
|-
|2023
|Graphic  Novel in Filipino
|''Ang Mga  Alitaptap ng Pulang Buhangin <ref name="40th" />''
|Quilantang,  RH
|Isang mundong nababalot ng kadiliman ang makikita natin sa ''Ang  mga Alitaptap ng Pulang Buhangi'' ni RH Quilantang. Ngunit sa kabila ng kalunos-lunos na kalagayang  ito, may iilang mga matatapang na taong nagsisilbing liwanag at gabay para sa  mga natitirang mga tao. Sila ang mga tanod na nagpapanatili ng kaayusan at  tagapagligtas ng mga tao laban sa mga halimaw ng dilim. Mahusay na napaghalo  ni RH ang mitolohiya at teknolohiya sa kuwentong ito. Pagsasama ng luma at  bago. Pinapatunayan ng kuwentong ito na kayang labanan ng maliliit naliwanag  ng mga alitaptap ang kadiliman kung magsasama-sama at magkakaisa ang mga ito.  - Mervin Malonzo
|-
|2024
|Graphic  Novel and Comics in English
|''Death be  Damned <ref name="41st">{{cite web |title=OFFICIAL LIST: The Winners of the 41st National Book Awards |url=https://books.gov.ph/official-list-the-winners-of-the-41st-national-book-awards-2/ |accessdate=April 10, 2024 |publisher=National Book Development Board}}</ref>''
|Alcazaren,  Mike; Pascual, Noel; and Bernardo, AJ; Bernardo, AJ; and Nicolas, Joel
|''Death be Damned'' by Mike Alcazaren, Noel Pascual, and AJ  Bernardo is the English edition of ''Patay Kung Patay'', originally an  eight-part comic in Filipino, chronicling one bloody night of vengeance when  a horde of undead is sent into the estate of one of the most powerful, and  corrupt, families in the Philippines. What ensues is a pageant of blood and  the absurd as a cast of all-too-real characters struggle to achieve their  goals amidst the carnage. Lives are lost and secrets laid bare, but no matter  how many times humans seek to bury the truth, the land always remembers.
|-
|2024
|Graphic  Novel and Comics in Filipino
|''Josefina <ref name="41st" />''
|Molina,  Russell L.

Enriquez,  Ace C.
|''Josefina'' by Russel L. Molina and Ace C. Enriquez is a black  and white, one-shot, horror comic featuring the Philippine folklore creature  known as a manananggal—but don’t be deceived, as the source of the horror  lies in the human characters rather than the supernatural. Set during the  Japanese occupation of the Philippines during World War II, it involves the  entanglement of Josefina, the titular manananggal, with Philippine guerrillas  attempting to fight back against the Japanese invaders. Molina and Enriquez  make full use of art, words, and contrast to tell a story of treachery,  monstrosity, and humanity that displays the strengths of comics as a medium.
|-
|2024
|Graphic  Novel and Comics in English
|''Sa Wala''
|Renren  Galeno
|Zombie-chicken horror sounds like a perfect pitch for a comic  book. Beyond that though, Nothing to Lose is such a layered story, speaking  of family, aspirations, struggles, oppression, hope, desperation. All of this  told with an expert-level of comics craft.
|-
|2024
|Graphic  Novel and Comics in Filipino
|''Sining  Killing''
|Randy  Valiente
|When ''Sining Killing'' opens we think we are going to read a  coming-of-age story. It expands from that point to become an exploration of  and confrontation with our history. The pyrotechnics come from the creator’s  ambitious willingness to delve into the complex, nuanced, and painful parts  of our the characters’ histories, which are inextricable from martial law and  its aftermath. Valiente’s work could easily be considered a masterpiece.
|}

== See also ==
{{Portal|Comics|Philippines}}
* [[List of Filipino komik artists]]
* [[List of Filipino comics creators]]
* [[List of Philippine comics|List of Filipino komiks]]
* [[List of Filipino superheroes]]

== References ==
=== Notes ===
{{Notelist}}

=== Citations ===
{{Reflist|20em}}

=== Works cited ===
*{{cite book|title=1001 Comics You Must Read Before You Die |publisher=Cassell Illustrated|year=2011|editor-first=Paul|editor-last=Gravett |isbn=9781844036981|chapter=The Indian|first=Gerry|last=Alanguilan|page=166|ref={{SfnRef|Alanguilan|2011}}}}
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* {{cite journal|title=Comic Art in the Philippine|journal=Philippine Studies|year=1998|volume=46|issue=2|pages=236–248|last=Lent|first=John A.|doi=  |ref={{sfnref|Lent|1998}}}}
* {{cite book|title=Asian Comics|edition=English, Kindle|last=Lent|first=John A.|asin=B00QTYUIWG|publisher=University Press of Mississippi|year=2015|chapter=10. The Philippines|ref={{sfnref|Lent|2015}}}}
* {{cite book|title=アジアのマンガ|last=Ono|first= Kōsei |year=1993|publisher=大修館書店|isbn=4-469-23091-X|language=Japanese|authorlink= Kōsei Ono (comics researcher) |ref={{sfnref|Ono|1993}}}}
* {{Cite journal|url=http://booksphilippines.gov.ph/wp-content/uploads/2019/01/NBDB-graphiclit-Nov30-withbleed-compresssed.pdf|journal=Bookwatch|volume=21|issue=4|year=2019 |publisher=National Book Development Board| archiveurl= https://web.archive.org/web/20200116044153/http://booksphilippines.gov.ph/wp-content/uploads/2019/01/NBDB-graphiclit-Nov30-withbleed-compresssed.pdf |archivedate=January 16, 2020|title=Brief Highlights of Philippine Comics Post-Martial Law (1980s to Present Day) |last1=Or|first1=Elbert|first2=Charles|last2=Tan|ref={{sfnref|Or|Tan|2019}}|pages=24–31}}
* {{cite book|title=フィリピンの大衆文化|year=1993|publisher=めこん|editor=寺見元恵|language=Japanese|authorlink=Soledad Reyes |isbn=978-4-8396-0069-3|chapter=庶民の心を映す鏡|pages=74–99|first=Soledad S.|last=Reyes |ref={{sfnref|Reyes|1993}}}}
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* {{Cite journal|url=http://booksphilippines.gov.ph/wp-content/uploads/2019/01/NBDB-graphiclit-Nov30-withbleed-compresssed.pdf|journal=Bookwatch|volume=21|issue=4|year=2019 |publisher=National Book Development Board| archiveurl= https://web.archive.org/web/20200116044153/http://booksphilippines.gov.ph/wp-content/uploads/2019/01/NBDB-graphiclit-Nov30-withbleed-compresssed.pdf |archivedate=January 16, 2020|title=Mapping the Landscape of Philippine Graphic Literature |last=Santos|first=Maria Criselda|ref={{sfnref|Santos|2019}}|pages=1–10}}
*{{cite book|title=Activism and Authoritarian Governance in Asia|chapter=Flirting with gender purrspectives: Contemporary women’s activist comics in the Philippines|first1=Kristine Michelle L.|last1=Santos|first2=Karl Ian|last2=Cheng Chua|publisher=Routledge|year=2022|pages=182–197|ref={{sfnref|Santos|Cheng Chua|2022}}}}
* {{Cite journal|url=http://booksphilippines.gov.ph/wp-content/uploads/2019/01/NBDB-graphiclit-Nov30-withbleed-compresssed.pdf|journal=Bookwatch|volume=21|issue=4|year=2019 |publisher=National Book Development Board| archiveurl= https://web.archive.org/web/20200116044153/http://booksphilippines.gov.ph/wp-content/uploads/2019/01/NBDB-graphiclit-Nov30-withbleed-compresssed.pdf |archivedate=January 16, 2020|title= Filipino Creators the World Knows: The Will Eisner Comic Book Industry Winners and Nominees|last=Valenciano|first=Jonette|ref={{sfnref|Valenciano|2019}}|pages=12–21}}
* {{Cite journal|last=Yamamoto|first=Hiroyuki |year=2016 |title=脱アメリカ的正義の模索:フィリピンのスーパーヒロイン「ダルナ」 |journal=CIAS discussion paper No.60: たたかうヒロイン:混成アジア映画研究2015 |volume=60 |publisher=Center for Integrated Area Studies, Kyoto University|pages=8–16 |hdl=2433/228680 |language=Japanese|url=https://hdl.handle.net/2433/228680 |accessdate=March 10, 2023|ref={{sfnref|Yamamoto|2016}}}}
*{{cite journal|title=シンポジウム「マンガとアジア」第1部 MANGAが女性化する⁉ ― フィリピンを中心として|publisher= [[:ja:日本マンガ学会|Japan Society for Studies in Cartoons and Comics]] |journal=マンガ研究|volume=20|year=2014|language=Japanese |ref={{sfnref|マンガ研究|2014}}|pages=112–151}}

== Further reading ==
* {{cite book|title=Global Manga: 'Japanese' Comics without Japan?|chapter=Pinoy Manga in Philippine Komiks|first1=Karl Ian |last1= Cheng Chua|first2=Kristine Michelle L.|last2=Santos |editor-last=Brienza|editor-first=Casey|publisher=Routledge|year=2015|isbn= 9781472435439}}
* {{cite journal|title=Cracking the Filipino sequence: two factors that shaped contemporary Philippine komiks|journal=Journal of Graphic Novels and Comics |year=2019|volume=10|issue=1|pages=106–121|last1=De Vera|first1=Denise Angela|last2=Arong|first2=Marie Rose|doi=10.1080/21504857.2017.1419981}}
* {{cite book|title=Cultural Excavation and Formal Expression in the Graphic Novel|chapter=Up in the Sky, Feet on the Ground: Cultural Identity in Filipino Superhero Komiks|first= Emil Francis M. |last= Flores |pages=73–86|publisher=Brill|year=2013|isbn=9781848881990}}
* {{cite book|last=Lent|first=John A.|year=2009|title=The First One Hundred Years of Philippine Komiks and Cartoons|publisher= Boboy Yonzon|isbn=978-9719455806}}
* {{cite book|title=A History of Komiks of the Philippines and Other Countries|first1=Cynthia|last1=Roxas|first2=Joaquin|last2=Arevalo|publisher=Islas Filipinas Publishing Company|year=1985}}
* {{cite journal|title=Localising Japanese Popular Culture in the Philippines: Transformative Translations of Japan's Cultural Industry|journal=Border Crossings: The Journal of Japanese-Language Literature Studies |year=2019|volume=13|issue=1|pages=93–102|last=Santos|first=Kristine Michelle L.|doi=10.22628/bcjjl.2021.13.1.93|ref={{sfnref|Santos|2019b}}|doi-access=free}}

== External links ==
* {{Commons category-inline|Comics of the Philippines}}
* [http://kapitbisig.com/node/1117 Original comic fable "The Monkey and the Tortoise" illustrated by Dr. José Rizal]
* [https://web.archive.org/web/20100406192739/http://www.wittyworld.com/articles/kenkoyArdivilla.html "Kenkoy kick-started komiks" article]
* [https://web.archive.org/web/20161220035717/http://www.philippinecomics.net/ "Philippine Comics" The most comprehensive library of Filipino comics on the internet.]

{{Comics}}

[[Category:Philippine comics| ]]