Komiks is the Tagalog term for comics created or produced in thePhilippines. It is simply the English word "comics", adapted to fitthe orthography of native Filipino languages such as Tagalog.Inspired by American comic strips and "Funnies" during the early20th century, komiks eventually became widespread and popularthroughout the country, making the Philippines one of the biggestpublishers of komiks in the world. In recent decades, though, theirpopularity has subsided due to various factors, including theadvent of other mass-media forms of entertainment such astelevision and the Internet. History[edit] Rise of theindustryWhile the first indigenous cartoons may be traced to JosRizal's 1887 fable "The Monkey and the Turtle," the origins of themainstream komiks industry would not arise until after theSpanish-American War. The period of 1896-98, when the Philippineswas in the throes of revolution, certain magazines appeared inManila that carried cartoons. Two of these were Miao and Teh ConLeche. Presumably these were influenced by the American magazinesPuck and Judge, possibly brought to the islands by Americanvolunteer soldiers. After the defeat of the PhilippineRevolutionary forces, the anti-colonialist struggle shifted to thefree press. Unbeknownst to American colonial administrators,Filipino nationalists had shifted their revolutionary struggle tothe satirical press, in which they denounced American slights andinjustices. Many of these magazines or newspapers published only inTagalog or Spanish, two languages that the English-speakingcolonialists could not understand. In 1907, Lipang Kalabaw, amagazine owned and edited by Lope K. Santos, was published. Thismagazine was in Tagalog, and it carried satirical cartoons directedat American officials. However it did not have any paneled cartoonstrips, only editorial ones. The magazine died in 1909. The veryfirst Filipino komiks serials appeared in the early 1920s as pagefillers in Tagalog magazines. Two of these magazines, Telembang anda resurrected Lipang Kalabaw, carried anti-American oranti-Federalist satirical cartoons. These two magazines could beconsidered as the precursor of today's komiks. There were twoprominent comic strips in these magazines that were very popularwith the Filipinos during those years: Kiko at Angge in Telembang,and Ganito Pala sa Maynila in Bagong Lipang Kalabaw. Art historiansAlfredo Roces and Alfred McCoy attribute the art of both thesecomic strips to Fernando Amorsolo. Indeed, Roces featured one ofthe issues of Ganito Pala sa Maynila in his seminal work onAmorsolo. In 1923, the Tagalog magazine Liwayway was born. Althoughthe magazine did not contain any comic serials in its early years,this was to change in 1929, with the publication of Album ng MgaKabalbalan ni Kenkoy as a filler in the entertainment section ofthe magazine. Kenkoy was the star of the series, a funny everydayFilipino teenager representative of the colonial-minded youth ofthe early 1930s. n 1946, the first regularly publishedall-comic-magazine was born, the short-lived Halakhak Komiks.Halakhak lasted only ten issues, perhaps due to the lack ofefficient distribution. It certainly looked like "komiks" had dieda few months after it was born. But it did not, because in 1947,Pilipino Komiks, under the management of Tony Velasquez, waspublished, opening the floodgates for other komiks magazines tofollow. Afterwards came such popular tiles as Tagalog Klasiks in1949, Hiwaga Komiks in 1950, and Espesyal Komiks in 1952. This wasthe start of one of the largest comics industries in the world,such that by the mid-1950s, komiks was already considered theunofficial "national book" of the Filipinos. Originally inspired byAmerican comic strips and comic books left behind by American GIs ,the komiks' early aim was to entertain Filipinos with cheap readingmaterial. Hence, many of the strips in those early years werecartoons, a local version of the popular "Funnies" comic booksbeing published in the United States. But the medium steadilydiversified, and by the 1950s, drew more inspiration from otherforms of Filipino literature such as komedya, alamat, folklore, aswell as Philippine mythology. The early Tagalog komiks magazineswere therefore rich in tales of the aswang, kapre, nuno sa punso,tikbalang, and many other characters indigenous in Philippinefolklore.Many komiks were also evidently inspired by specificAmerican comics, such as Kulafu and Og (Tarzan), Darna (WonderWoman or Superman), and D. I. Trece (Dick Tracy). The predominanceof superheroes has continued into the modern day. During theMartial Law years, President Ferdinand Marcos censored many of thecontent of komiks magazines. He also ordered the use of cheap paperto produce komiks, such that the visual and the physical qualitiesof komiks magazines were affected, resulting in the eventualdecline of readership in the 1980s. As a result, many of the topFilipino komiks artists went on to work in the American comicindustry instead, including Alfredo Alcala, Mar Amongo, Alex Nio,Tony de Zuniga, Rudy Nebres, and Nestor Redondo. After the liftingof Martial Law, the komiks industry began to generate newreadership. The heavy drama of komiks novels was the trend, withsuch writers as Pablo S. Gomez, Elena Patron, Nerissa Cabraldominating the field. [edit] Fall of the industryThe resurgence inkomiks' interest was only to last up to the early 1990s whenFilipinos began to notice other forms of entertainment such asvideo games, karaoke, cheap pocket book novels, cellphones, andmuch later the internet and text messaging -- especially thehumorous text messages that are very popular with Filipinos. Theshift in the interest of Filipinos from being readers to viewersreflect the constant advancement of technology in modern times,which has adversely affected the komiks industry. Many komikspublishers cut their budget, reduced their artist's and writer'sfees, used the cheapest paper for production, and resorted to moremovie gossip pages than komiks pages. Suffering from low pay andlow prestige, komiks artists and writers eventually lost vigor andenthusiasm, until their works become a burden, with the writersforced to rehash old stories again and again, and the illustratorsproducing mediocre drawings that did not reflect the great komikstradition of the past. These factors eventually led to decreasedconsumption of komiks from even the most loyal fans. A steadydecline followed, until most publishers finally gave up andcancelled their titles once and for all. By the year 2005, therewere no longer any major publishers of komiks in the Philippines.What remained were the smaller ones, who instead publishedindependent comics titles.
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