 |
Photo credits to Emile Josef Garcia |
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| Photo credits to Komikon Inc. |
After much preparation of our independent comic books we are
now ready to launch them at this event!
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| Photo credits to Komikon Inc. |
Here's how it looked inside, I took this almost at the end
of the event but if I'm not mistaken,
this Komikon event had more attendees than their last. It's always great to
have more people, art and comic enthusiasts to gather at an event like this.
People who are hardcore fans of comics and the like get together at these
events to celebrate their love for art and literature combined into independent
comic books!
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| Summer Komikon Komiks Karnabal April 1, 2017 |
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| Photo by Rheimaru from his FB fan page The Art of Rheimaru https://www.facebook.com/ArtofRheimaru/ |
With that in mind, I'm always amazed that we are always
graced by friends and new people alike curious about our craft and stories.
It's one thing that you're able to come up with a good story, and it's another
if people want to buy the stuff you produce.
Here are some of our friends, fellow exhibitors and new encounters who purchased our works!
Here are some of our friends, fellow exhibitors and new encounters who purchased our works!
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| Thank you for buying Planet of the Masochists Mikee! :D |
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| Thank you for your endless support Jiro! :) |
Jiro is a friend of ours and he really liked our newest title
Samurai Takeover, he bought the second issue of it and as well as Guadix's
Da-ib 1 & 2! Thank you Jiro! :D
Samurai Takeover synopsis: what happens when you come across a katana and if you wield it, the
spirit within the sword takes over your body that goes on a killing
spree?
Dive into mystery as Sam recently acquires his latest
possession for his collection finds out that he will be the one to be
possessed!Here's a preview of Samurai Takeover #2:
Here's our announcement of Samurai Takeover being available at the event. It's awesome that we're able to make our own posters in letting people know that we have a new issue of one of our own ongoing titles.
Here's our announcement of Samurai Takeover being available at the event. It's awesome that we're able to make our own posters in letting people know that we have a new issue of one of our own ongoing titles.
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| Samurai Takeover #2 |
Here are the other samurai lovers who bought issues 1 and 2, thank you everyone!!
You won't regret reading our books!
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| Alternate cover of Samurai Takeover #2 |
Here's a teaser splash page inside Samurai Takeover #2.
I won't spoil much, but consider them as important characters to the overall story.
I won't spoil much, but consider them as important characters to the overall story.
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| Samurai Takeover #2 Preview art |
We also still have our Clowder series available and the first four chapters combine as its first story arc.
Michael is the brother of my classmate in high school, and is happy to tell me that upon reading the books he finds it a good read and even loves the dark aspect of it!
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| Photo credits to Michael Tolin |
So much so that he plans to buy Satan High next! Thank you
again Michael!
Spidey
even dropped by our booth to strike a pose for us. Thanks Spider Dan! :D
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| Spider-Dan! |
Speaking of Spidey, how about that new Spider-man trailer?
So far so good eh? Don't fuck this one up Sony!! Thank God for Marvel having to
guide them in the film.
But any who, speaking of Marvel. During the convention, a talk was being held by former Funny Komiks artists! The panel was with Berlin Manalaysay (Combatron), Stephen Jorge Segovia (Tomas en Kulas, Amazing Spider-man, Dark Wolverine), Dexter Roxas (A.X) and Harvey M Tolibao (Tomas en Kulas, X-men, Uncanny X-Force).
But any who, speaking of Marvel. During the convention, a talk was being held by former Funny Komiks artists! The panel was with Berlin Manalaysay (Combatron), Stephen Jorge Segovia (Tomas en Kulas, Amazing Spider-man, Dark Wolverine), Dexter Roxas (A.X) and Harvey M Tolibao (Tomas en Kulas, X-men, Uncanny X-Force).
We weren't able to listen or go to the talk because we were
manning our booth, but thank goodness Charles Tan took a video
coverage of their entire talk and posted it on YouTube. It's really a blessing
and I hope he keeps this up, because it's not easy to leave your booth
unattended. And even though we're
already an exhibitor at the event with exceptional drawing skills of our own,
we still want to learn new things about other comic book artists' experiences
and tips on how they were able to make it in the field.
I especially loved what Harvey said about having your friends with you and keep them close because even though most people might say that your art is bad, it's your real friends who will tell you not to listen to those who are trying to bring you down. It's really a great listen if you're into comics or aspiring to be a comic book artist. The wisdom and experience they have and shared are invaluable to some of us who are just beginning our journey into the comic book making scene.
You can watch the video of it here:
Also in this video, Berlin Manalaysay explains how the ending of Combatron wasn't his idea but was someone else's that's why the fans really didn't like it. That's really something heartbreaking to hear and to experience reading the final chapter of Combatron if you're a fan, but worry not! He said that he's actually making the REAL ending of Combatron as we speak! And he's planning to release it mid this year! So stay tuned for that!
Also, for people who want to read Combatron back issues
online, you can go to this BlogSpot site to read the entire archive. I know
some friends of mine will jump with joy with these news, so help yourself with
some nostalgia and read some robot violence from the 90's over at:
http://projectcombatron.blogspot.com/ ENJOY!! :D
http://projectcombatron.blogspot.com/ ENJOY!! :D
Here are more comic book enthusiasts and co-exhibitors who
bought our works:
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| Thank you Tepai! :D |
And while we're on the subject of co-exhibitors, we also
bought other artists' indie comic books! Among the comics we bought from our
fellow exhibitors are these two gems:
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| Tofu Black's FU! and Jieson Toling's Demi |
Tofu Black's comic from Cosmic Cube Comics (I really love that back cover of his! It's so friggin' funny! hahaha!) and Jieson Toling's Demi of Studio Serverus and Red Manga Alliance.
Congrats to the both of you for your new releases! We
haven't read these books yet so we aren't able to review them as of now, but
when we do, expect us to message you guys for it! :D
Here's one of our neighbor exhibitors, Carlo and Elle. Hi
guys! We took a candid shot hehe
Beside us were the group Chain Mason and on our right (not
seen in this photo) is Red Manga Alliance. And that's our booth in the middle with
our comics and my wife Guadix selling our comics.
These are Guadix' independent comics E & D and Da-ib! It's about a world that is almost filled with water and the humans that are left are all living at the tops of mountains to survive. And that's just the tip of the iceberg of the story!
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| Da-ib #1 story and art by Guadix |
You should go check it out if you haven't, it already has
a second issue! :D
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| Da-ib #2 story & art by Guadix |
Here
are just some of the people who bought Guadix' works:
A few days before the convention, she managed to make a new artwork as a post card about her characters in Da-ib. It's pretty well done, and even though you can't see what they are looking at, you can tell it's something beautiful by how calm all of them are.
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| Black and white Da-ib postcards! <3 |
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| hehe >:P |
But thankfully she did and here's it is now in its full
color glory!
I told you it was good. You can get it for free when you buy
Guadix' comics. :)
We also implore you to like her Da-ib Facebook page at: https://www.facebook.com/DaibKomiks/
Here's another shot of our booth and of the comics that we have.
We also implore you to like her Da-ib Facebook page at: https://www.facebook.com/DaibKomiks/
Here's another shot of our booth and of the comics that we have.
If you can see the three books that look alike at the lower
right corner.
It's my re-released works The Black Book Trilogy.
It's my re-released works The Black Book Trilogy.
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| These covers are scented, you can smell them and weep :) |
The Black Book Trilogy contains 3 separate stories about
love. Couples who are fighting, couples who don't have much time for each
other, and a young man's confession of love to a girl she likes who already has
a boyfriend.
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| Originally self published in 2001 |
Preview of Someone Else's Life:
So much so that back then, it was reviewed at Culture Crash Comics #8 by Evil Dex on their 8th issue! Thank you for this review CCCom and Evil Dex! :D
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| Indie comics review of Someone (Somebody) Else's Life at Culture Crash Comics issue #8 |
The Black Rose is emotionally similar, with a more personal look on the story telling of a girl and her experience through high school life with her boyfriend.
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| Originally self published in 2002 |
Here's a preview of The Black Rose:
I also made this one back in high school and it was also well received by fellow comic book artists specifically Joanah T. and Gerry Alanguilan! Thank you for these reviews guys! :D
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| Thank you Joanah and thank you sir Gerry! :) |
The last installment of the trilogy is about a guy who confesses his love for a girl who already has someone she loves in her life.
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| Originally published via the internet in 2005 |
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| Thank you Taga-ilog for this awesome artwork! :D |
Here are the people who bought The Black Book Trilogy!
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| Thank you Jeff! :) |
Finally here's a more complete shot of our booth, but I hope
you notice something I'm yet to address that's in the table. I don't know if
you've notice but something stands out there more than the others... I really
can't spell it out enough for you but instead of me giving out clues of something
obvious, allow me to go on a tangent and tell you a story of how I got started
in selling indie comics!
First off; the reason I'm bringing the roots of my independent comic book career is because there has been a bit of backlash about the rent-free-comics-booth-given- to-new-independent-comic -book-artists-offered-by-Komikon; The Indie Tiangge. The Indie Tiangge is a place where you can sell your own comics especially if you're just starting out in releasing your comics or a part college group org. that is currently creating comics and are self publishing it.
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| Photo credits to: GeekMatic Visit his blog @ http://geekmatic.blogspot.com/2012/10/komikon-2012-indie-tiangge-komiks-kalye.html |
It's a way for new comers into the scene (even if you aren't
a student anymore) to be able to participate at
this local comic book convention if you don't have the budget to avail
for the exhibitor's booth at the main hall. They do however, get a small cut or
percentage of the comics you sold in the Tiangge, and that's fair considering
you don't really pay for anything else other than the money you put out
producing copies of your own comics via photocopying it.
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| Photo credits to: GeekMatic Visit his blog @ http://geekmatic.blogspot.com/2012/10/komikon-2012-indie-tiangge-komiks-kalye.html |
The only downside of this is that the tables that are
offered are not in the main exhibition hall but rather in a room reserved only
for Indie Tiangge sellers, and that's where the complaints seem to come in.
I don't have all the details or have read anything of the sort regarding who or what people complained about. I only noticed the whole shenanigans when Komikon officially posted a ceasefire from receiving harmful comments and feedback after the convention. It seems that most people who were in the Indie Tiangge were complaining that they weren't able to sell that many copies of their works and that they should be placed at the center of the main hall because Komikon is trying to promote indies right?
Aren't they supposed to be they heroes in this story not the antagonists who placed the Tiangge far from the crowd and close to the comfort rooms? Isn't it unfair to these new creators to be left out like this until only horse flies flock their comics?
I say NO. It isn't unfair, Komikon is not the villain, but
in all terms and purposes are still the hero in this scenario and here's why:
Komikon is a business. It's a hard to hear fact but they
really are, and we can all wear tie die shirts and say peace to everyone we
meet and hug them to spread the love and we should all burn our money and art
should be free and the space should be free but when all of that is good and
quite tempting, in reality that doesn't exist. Sure you might find it in some
kind of utopia somewhere, in your dreams maybe, or we're just not there yet.
But for someone like me I've been in this independent comic book self publishing
business for at least 15 years.
That's more than 10 years, and I'm still at it. Why? It's because I still have a lot of stories to tell and I still have my own dreams to fulfil, but mainly because Komikon has actually made a space for us independent artists to sell their works. But not without a cost of course, because like I said, it's a business, the people behind Komikon have bills to pay too. They have to pay the rent at the Bayanihan Center for the space and also have other organizers and helping hands to care for. My point is, these ungrateful complainers are demanding a utopia where they should get the spotlight and don't have to pay for it, but I say, we already have a Utopia, it's Komikon.
That's more than 10 years, and I'm still at it. Why? It's because I still have a lot of stories to tell and I still have my own dreams to fulfil, but mainly because Komikon has actually made a space for us independent artists to sell their works. But not without a cost of course, because like I said, it's a business, the people behind Komikon have bills to pay too. They have to pay the rent at the Bayanihan Center for the space and also have other organizers and helping hands to care for. My point is, these ungrateful complainers are demanding a utopia where they should get the spotlight and don't have to pay for it, but I say, we already have a Utopia, it's Komikon.
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| Me,
Sherry (Carpool) and Joanah (Cresci Prophecies) sharing tables for indie comics at Toy Con 2004 Yes, this is the only table we have for indie comics at the whole Megatrade hall, and none of us were complaining. |
Where else could you release a book without rules about what type of genre or age group you want to sell to, only at Komikon. Do they do screenings of what kind of comics you should release? No, you can do whatever you want and they won't try to take over what you do. For those who can't pay for a booth, here's two year's worth of free space for you guys, and those who can pay there's the exhibition hall.
There's a cost for everything, if you want good seats, you pay for them, if you want good comics, you work hard making them. If you want people to buy your work, then maybe you should think about the last issue you sold to them if it's crap or is poorly made or produced, if people really got something out of it or for God's sake if there's really a story in it in the first place.
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| Joanah, me,
Lico (50 Peso Ninja), Sherry and Jon (Digmaang Salinlahi) at TOY CON 2004. I forget how many of us shared one table but none of us really fought over anything much less argued amongst ourselves that the event organizers we mistreating us. |
Maybe you should stop complaining to others why people aren't buying your comics and start improving your works so that people would come back to your booth. Maybe don't cram making it in two weeks or maybe tell a good goddamn story for crying out loud.
People can see through that shit, they can see right through if you're fucking them, and even if they don't and they bought your work and read it and then they realized you just fucked them over with your crappy comics, then they will remember that and would hate you because you sold them shit. It's their hard earned money down the drain because of your egotistic needs that you're hot shit but really you're just shit entirely.
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| Mara
and Me, TOY CON 2004 We first met at the previous comics convention when she first bought my comics, and up to now we still remain friends. Now she's like a little sister to me. |
So stop taking a shit on our utopia, we're trying to make a
living out of producing good comics that is worth reading, even if you're at
the indie Tiangge or at the main hall gallery, be ashamed of yourself if you've
copied the ideas of others and pass them as yours because people can see it you
asshole. In the end, it's only you who you're lying to.
 |
This is what we do to complainers then... RDJ on the axe and
that's me with the mask.
Sherry and Joanah most surely weirded out but still, no one was complaining :) |
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| Komikon Indieket on August 5, 2017 |
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| We were lucky enough to get this big of a space at the first C3Con. This is where I first had my debut in selling independent comics. Photo credits to the original uploader. |
At the time I really didn't know what to do, yes I have my own comics, but I've never really produced it to be sold to anyone, let alone at a comics convention. I saw my works only to be a personal thing I can read and to be shared with close friends and classmate and other comic book artists, but with strangers? I really never thought of that before.
Alas, it didn't perturb me at all at producing my comics, I thought I would try it because I really wanted to get my comics out there, it's not how I imagined it would be nor how I imagined my works that I had then would be the ones I'd try to sell but that's what I had and that's what I produced.
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| Photocopying
my comics for C3Con, oh and yeah I'm wearing my coat as a makeshift skirt then. |
And so I went to Copytrade that week to prepare photocopying
my works, the booth and tables they offered at the event was totally free. Just
show up with your comics and pay for the entrance they said it's all set up for
us. We could even bring posters and fliers and multiple copies of our works.
You might be thinking why I'm slightly apprehensive about sharing my work with
others.
Well, it's because my comic book is entitled Satan High. I'm no Satanist, at least I don't think I am, but that's the comic book I created, it's about a school for Satanists where the 10 commandments of God was not at play, meaning anyone could kill anyone, the bullies killed weaklings students and the teachers could also kill the students and vice versa.
Well, it's because my comic book is entitled Satan High. I'm no Satanist, at least I don't think I am, but that's the comic book I created, it's about a school for Satanists where the 10 commandments of God was not at play, meaning anyone could kill anyone, the bullies killed weaklings students and the teachers could also kill the students and vice versa.
 |
| This
is what the first release of SH looked like. This one's cover is almost being torn off, but it's still hanging in there. Just like me >:) |
It's an idea of mine that I knew was brilliant (at least for me that is) because no one had ever done it, because no one was crazy as me, but the point is, I wanted to tell the story I saw in my mind and drew pages of it. And I did, but now I'm producing it for everyone to read, I might get killed by my own Catholic school I thought if I did so, but on the other hand, the internet might be friendlier.
In those days, I thought, what would actual people say, would someone even buy a comic book of mine with this title if I reproduced them? These were the thoughts plaguing my head, but to tell you the truth, I didn't flinch one bit. I kept at it, even borrowed money from my sister because I was still in high school then but still, I just made copies of Satan High.
 |
| Me at my first days trying my best at selling my independent comics |
Moment of truth comes; it's the first day of the convention, I meet for the first time people whom I've only spoken to online at the MIRC Culture Crash channel. I see their works, their art is so much polished than mine, I could cry.
Their word balloons and texts weren't hand written like mine because they used Photoshop and I didn't know how to use it at that time. And finally their book was so nicely stapled and neatly presented I could give them an award, it's how you normally see indies today, the short bond paper folded and stapled together neatly to form a booklet. My Satan High book was tighten down with a bull clip and was 8.5 x 11" big, mine was literally a horror show and theirs were works of art.
I remember whispering to myself, if I could just sell at least one comic book, I'd be happy. I thought, at least if someone could buy just one, I could say to myself that my time wasn't wasted and I could go home early because my work was so different and raw, that if I could just sell one Satan High, I can call it a day and go home because I just realized how unprepared my book was compared to everyone that was there.
 |
| (L-R)
Ringo Bautista (Prismatic Orb), Armand Roy Canlas (Armor Troopers), Me, Sherry Baet, Jon Zamar and Joanah T. This is where it all began for me. :) |
But I soldiered on because the thing about meeting fellow
artists is that, whatever you've made, they would appreciate it. Maybe in my
mind I was the worst artist there, but none of the artists there laughed at my
work and even find my book good. So I stay, and face the people of the
convention with what I have.
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| That's
me talking to Budjette Tan writer of Trese! I had no idea who he was at the time. |
Who knew people would be interested in something as weird as my book, and maybe it's because they too had the same question I had when I thought of the book, about religion and faith and about being allowed to kill the bullies who normally push us aside. Whatever the reason, I couldn't believe I had no more copies that night and had to go home early and come back to the mall near us the same night because I had to produce more copies given that it was a 3 day event!
 |
And what do you know, Budjette buys one of my comics! :D
Thanks Budjette!
|
I was shaking because I was happy, I was so happy that I realized that I could do this forever, to be able to sell comic books and make a living out of it my entire life doing just the thing I love the most and I could live off it and I could work around my life just making my own comics.
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| Tin
is a fellow Culture Crash fan and often hangs out at the CCCom MIRC channel. That's Someone Else's Life she bought, its first iteration. |
 |
Evil Dex the one who reviewed Someone Else's Life at
Culture Crash with a copy of Satan High ang SEL. :D |
The doubts about my art not being able to cut it getting
into big comic book giants such as Marvel and DC, being told that my comics and
drawings are no good, the old adage that there's no money in art, all these
thoughts and sayings, all melted away as I shook and trembled inside the
speeding light train passing the city.
 |
Michael David of Kubori Kikiam and God Machine X!
|
 | |
| Taga-ilog
(PASIG) buys my titles! This day was just mind blowing for me when I was in high school :) |
After attending more conventions and going through college however, I've gone through many battles in continuing creating comics. I went to fine arts painting for college because I wanted to improve my art, my human anatomy and coloring skills to use it in my comics creating but in the process of practicing painting I neglected to draw comics completely.
I fell in love more and more with painting on a canvas, I loved both painting and comics and I just thought that I'd like to practice painting more for a time so I stopped making comics entirely unless I really wanted to continue a chapter or tell a new story.
 |
| I
got in as a finalist at the Maningning Miclat painting contest at my sophomore year in college. The title of my painting here is: Ang Pagsasalaysay sa mga Bulag ng Pagkapako ni Hesu Kristo sa Kalbaryo oil on wood 8 x 4' in 2004 |
I was at a point in my life where I seemed to be wandering aimlessly, like I was lost and I didn't know what was causing it. I felt, at the time, that continuing comics would just be something foolish, I didn't have time for it before how could I have time for it now?
I thought of drawing comics at this point as something for kids, that it wasn't for me anymore. I was planning in dropping out of comics entirely, to never continue this dream I had of being a comic book artist. Not that I'm doing any comic pages at this time, I barely touched the pages of Satan High and my other comics at this point, after high school I only produced less than five chapters in total. I was ready to quit comics, I just wanted to focus on my paintings instead.
 |
One of my "good" paintings that I made
during the time I wasn't making comics.
This was exhibited at the Ayala Museum in Makati. The title of the painting is: The Last Suffer - oil on canvas 4 x 9' in 2011 |
But then in 2012, Francis Martelino and his classmates contacted me and said they were forming a group about comics, and they're inviting me to join them. I said to myself, okay sure, I'll join this group, I've always wanted to be in a group of comic book artists after my last attempt at forming one back in high school up to college (This group was the Anonymous? Artists) didn't really pan out quite well because almost none of us continued making comics any longer.
I thought maybe it's not really my time to quit comics, I'll give this a shot like what I did the invite to participate at the C3Con indie booth.
Kong's (Francis) group accepted me even if I was way ahead as their senior, it seems as though they have heard about me and stories about my comics Satan High way back when, not to mention we all went to the same school for college. They said I should think of our group name and I ponder on it for it a bit and then I thought of the name; Komikult.
 |
| This was my first time being the cover artist for our 5th Komikult Anthology series! 2016 |
It's close to Komikon so it would have a ring to it and
would be easy to remember, plus I remember that Gerry Alanguilan's Wasted was
often called a "Cult Classic", and I really wanted our works to be as
phenomenal as Gerry's. You can call Satan High a cult classic if you want, be my
guest but the story is far from over just to remind you, but it's fine with me.
Anyway, that's what I thought of, Komikult. and they said yes to it, I couldn't
believe they agreed to it so we went with it with that and the rest was
history.
 |
| Visit our Facebook page @ Komikult |
Komikult saved my comics making career, if not for them maybe I
would have never have made another
comic book ever again. I may have at some point, but without them I maybe a
different person now, I maybe dead for all I know, but all I know is that their
invite gave me the spark to continue making comics and not give up on my dreams
even if it's almost impossible to have a comeback after years of not creating
comics. It gave me a spark to not give up on what I've started, to not give
up on myself.
 |
| Clowder #2 the new series I began at Komikut! :3 |
Now I'm with my wife at our tandem studio creating comics,
painting and animation named Kuro Saku. I'm still with Komikult, although as of
right now it seems that we are on a hiatus because most of our members have
either stopped their comic book series without any signs of coming back and
most have been caught up with their day jobs like I was then.
My wife Guadix and I wanted to create a separate group because we wanted to work together making comics without having to either wait for an entire group decision like we do in Komikult launching a book or participating at a convention. At the same time, I've been most prolific than ever before at creating my comics, I have 6 ongoing titles as of right now and other titles I'll still be launching, as well as one shot stories and the like.
My wife Guadix and I wanted to create a separate group because we wanted to work together making comics without having to either wait for an entire group decision like we do in Komikult launching a book or participating at a convention. At the same time, I've been most prolific than ever before at creating my comics, I have 6 ongoing titles as of right now and other titles I'll still be launching, as well as one shot stories and the like.
 |
| Most
of the books at our table are mine, some are reboot of old works, most are new ones, and that's not everything that I have because some titles were already sold out. |
After realizing this, I spoke with Francis and said that I would be more active with Kuro Saku to give room for new and other artists at Komikult. I transitioned my works from Komikult going to Kuro Saku after that giving new members and other artists who want and deserve to be noticed at Komikult.
 |
And independent comic book tables easily fill up during conventions, then and upto today.
This is our comic booths then at the second Culture Crash Comics Convention back in 2003. |
Don't get me wrong, I'm still am part of Komikult but like I
said earlier, right now, it seems that we are on a hiatus. It might be some of
our members are on the same rut I have felt back when I just graduated, stuck
at my day job, trying to figure out what to do, asking myself if I should still
pursue making comics even if I don't get the money I invest back most of the
time.
It's a really shitty place to think about making comics when you have rent to pay or you're trying to help your family out with the bills, or just trying not to starve to death. But for whatever reason, weather you really like making comics in the first place or you just want to tell your stories in the comics medium because know how to draw, you have got to make a decision, the decision whether to give it up or not. I realized there isn't really a middle ground, to my experience anyway. I'm here to say to you now that if you can't commit to a series or title, drawing at it with thousands of hours worth, or you aren't prepared to starve or to feel depressed or sad that no one bought your comic book, or that you can't even tell a decent worthwhile story that you have to copy the concept of your fellow comic book artist or steal ideas and pass them as yours, or even if you just complain just about anything that doesn't go your way, then comic book making isn't for you.
It's a really shitty place to think about making comics when you have rent to pay or you're trying to help your family out with the bills, or just trying not to starve to death. But for whatever reason, weather you really like making comics in the first place or you just want to tell your stories in the comics medium because know how to draw, you have got to make a decision, the decision whether to give it up or not. I realized there isn't really a middle ground, to my experience anyway. I'm here to say to you now that if you can't commit to a series or title, drawing at it with thousands of hours worth, or you aren't prepared to starve or to feel depressed or sad that no one bought your comic book, or that you can't even tell a decent worthwhile story that you have to copy the concept of your fellow comic book artist or steal ideas and pass them as yours, or even if you just complain just about anything that doesn't go your way, then comic book making isn't for you.
 |
Surrender to yourself and do what you love with everything
you've got.
|
Everyone can learn how to draw, the ones who
stick around are the ones who have committed themselves to climb the friggin'
mountain top and continue to do so even if they are overcome with fear. The
ones who have survived up until today are the ones that are battle hardened,
they're the ones who have gone through enough shit that they know it's part of
it and these things are nothing, that when you tumble down, you just really only have
to get back up, dust yourself and climb again.
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| Me
sharing tables with Jac Lim (Jac Strips for You), Gerry Alanguilan (Wasted, Elmer), Carlo Vergara (Zsazsa Zaturnnah) and Joanah T. (Cresci Prophecies, Kanto Inc.) the battle hardened comic book artists of our time at Toy Con 2003. |
Because creating comics is not fucking easy, but it's not
impossible to succeed either. I realized that when I got invited to join
Komikult, if not for them, I wouldn't be here now creating comics. It saddens
me that most of our group members aren't making comics titles as they used to.
I hope with this essay, I spark the same thing inside of my fellow Kults as
they did for me when I was about to quit, that in return these words would spark
something in them to shed some light at our darkest hour.
I firmly believe that our Komikult members will have a comeback soon and I can't wait for that to happen! :D
I firmly believe that our Komikult members will have a comeback soon and I can't wait for that to happen! :D
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| Clowder # 6, this chapter is 70 pages long. :v |
Always remember: You will shed blood, sweat and tears for your dreams. If you aren't prepared for that, then the people that are willing to, will be the ones who make their dreams come true.
And I literally shed sweat, tears and yeah even blood when I
was making comics!
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| That blade of mine sure is handy. TOY CON 2008 |
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| Yup, very handy. TOY CON 2008 |
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| C3Con
2 2003 where more and more indie comics popped out because of success of the first one at the Megatrade Hall in Megamall. |
Since I was into cutting myself at the time (bat shit crazy
mind you) I decided to make use of it. I cut myself with my handy blade I always kept
with me, and put up a sign: "Comics with Real Blood" and that caught the
attention of passersby.
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My best friend Jonx and my friend Sofia helped me
promote my comics at the time TOY CON 2008. |
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Luci was my pen name back then, short for Lucifer.
Yeah I was really into dark stuff >:) |
I remember Ariel Atienza writer and artist of the comic book CLASS once said about my works with blood that, "Some creators would go as far as giving their own blood for their works." Those aren't his exact words but that's the gist of what he said... if I remember correctly I think. :)
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SATAN HIGH #6 Signed with real blood... happy days :) TOY CON 2008
|
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| Some
of the buyers who liked the idea of having real blood signed on their comics. I was happy to oblige. TOY CON 2008. |
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| Yet another satisfied customer! TOY CON 2008 |
I'm not suggesting now that you do the same to gather
attention for your work, the last thing
I would want is for some unenlightened dipshit who would cut himself just
because he or she read a blog entry of some weirdo artist named Marius Black
and cut themselves for comics.
No that's not my point here, and don't cut yourself, stupid. My point is, you have to come up with ways to make yourself noticed.
No that's not my point here, and don't cut yourself, stupid. My point is, you have to come up with ways to make yourself noticed.
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| Besides
having real blood, another gimmick that we had was offering on-the-spot-hand-made-sculptures made by my best friend Jonx. TOY CON 2008 |
Maybe think of a catchy group or comic book name or think of
something unique and not create generic characters that most artists are already doing, or simply just don't copy
from what sells best may it be comedy genres or dark genres. Just be yourself,
find out who you are, and from there you can grow your identity, because all of
us are different, that's what we all have in common, we're all different.
No two people have the same finger prints, no two snowflakes are alike, no two stories of our lives are exactly the same.
No two people have the same finger prints, no two snowflakes are alike, no two stories of our lives are exactly the same.
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| Joanah T.'s collection of indie comics under my name. Photo credits to 100 Araw ng Komiks FB page. https://www.facebook.com/100AnK/ |
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Not everyone preferred the blood so I still had to go back
to
the good 'ol pen to sign my comics. TOY CON 2008 |
Instead of copying what's "in" now a days, look within you and tell your story. Got mugged and the thief took both of your shoes as well? Well write a story about that! Had something radical happened to you on your way to your school that people wouldn't believe? Tell that story! Thought of something so out there that people would be shocked just by reading its title, do that! Make yourself and how you are different be the focus of your book and you will stand out. Had a painful break up and wanted to flay your ex? Make a comic book about it, that's how I came up with The Man from the Planet of the Masochists!
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This looks like a character on Attack on Titan Right?
Well I'm proud to tell you that The Man from the Planet of the Masochist came out first (2007) before the Attack on Titan (2009) manga came out. :) |
It's even easier now, we have Instagram, Facebook, BlogSpot,
YouTube, Deviant Art, (back then I shared my works at Geocities sites and Yahoo e-mail groups!) you can literary do an artwork or story based on the
things you think is cool based on your own niche tastes and go with that. You
don't really have to fit in nor please people, just be yourself and realize the
things that aren't really you and throw those away leaving all that is you to
share.
It's more authentic and people would love you for it, especially when everybody else is copying each other . We have a saying here at Kuro Saku, "When others imitate, we innovate." and that should tell a lot.
It's more authentic and people would love you for it, especially when everybody else is copying each other . We have a saying here at Kuro Saku, "When others imitate, we innovate." and that should tell a lot.
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| ...and now a word from our sponsors! |
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| From
the NHK Ozamu Tezuka Documentary, you should give it a watch if you're into creating manga and witness the God of manga at work. |
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| O_O |
And I also aim to be like Yoshihiro Togashi (Yu Yu Haksho, Hunter X Hunter) on his unpredictable story telling. Which also idolizes Akira Toriyana (Dragon Ball, Dragon Quest) for his works and (insert hiatus joke here) games.
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What Morel said summarizes how Togashi's art style and storytelling is for me.
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Idolizing can also be applied into formulas; if it works then it works. Like if you try to fry your chicken with only the heat of the sun because I said no one should copy what others are doing because someone else has already cooked it in fire, then we'd all die, no not like that. Innovations are a discovery and anybody can harness the power of an innovative discovery.
Take for example, like most indie comic book groups now create their own "Shonen Jump" or comic book compilations that are being used by our independent comic book industry. Francis Martelino said that he anthologized our works at Komikult to stand out when the Kult was at the Indie Tiangge to be able to get noticed more. That became our anthology series, and afterwards most comic book groups did the same. Francis can't directly claim that he invented the anthology type thing because Culture Crash Comics made it before, and before CCCom there where Shonen Jumps at Japan and many others that came before it and came after our Komikult Anthology.
| If we didn't imitate the compilation based formula, then we'd all be sinking right now. |
These things are okay to imitate or replicate because it's
being inspired directly to the source in a positive and creative way, manga and
anime style isn't our own but we still use it as a launching off point for our
comics. So as producing our independent works via zines and stapled comics, so
yeah even the Shonen Jump Antho style is quite okay to do and redo.
What's not
okay is when you copy someone else's stories and concepts or jokes or even style in
creating a work of art, or how a character looks like, or how one dresses in a
way. Another aspect of this topic is that; it's okay to trace stuff as well as using
references. Many unschooled people (and even artists) think we shouldn't use such techniques.
If Leonardo da Vinci had a projector or even a printer or digital camera in his time, he would've used them like a mad man because these are tools that can make our art reach a higher level, to the degree or level we want our art to get to.
An aspect of us artists would only grow if we use the right tools the right way to create. It's not a sin to trace images or pictures or use references, what's a sin is when we don't use these tools to make our art better, we don't have to use them all of the time, especially if you don't have the right tools, but when we have them and not use them, I think that's the sin.
If Leonardo da Vinci had a projector or even a printer or digital camera in his time, he would've used them like a mad man because these are tools that can make our art reach a higher level, to the degree or level we want our art to get to.
An aspect of us artists would only grow if we use the right tools the right way to create. It's not a sin to trace images or pictures or use references, what's a sin is when we don't use these tools to make our art better, we don't have to use them all of the time, especially if you don't have the right tools, but when we have them and not use them, I think that's the sin.
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It was recently discovered that even renaissance masters used primitive projectors to
trace their paintings,
that's why their paintings are that realistic! This photo is from David Hockney's Secret Knowledge, look it up! |
The only wrong thing to do in our artistic society regarding
references is; tracing someone else's
photo without permission, or blatantly claiming or plagiarizing a work of art that
isn't yours. If you have your own photos then that's okay to use and trace, or use images or music that are
recognized as public domain. There are always loopholes to these rules, so
better go study more if you really want to know about what making art really means.
There are a lot of layers to this, but suffice it to say that it's the idea or story or concept that isn't okay to mimic or imitate. Mainly, it's still trying to be original and being who really are, not just being a copycat all the time because we saw friend of ours on Facebook is doing something great and original and you do the same too just because you can't think hard enough for an original concept or idea. Don't do that, people can see through that shit from a mile away.
There are a lot of layers to this, but suffice it to say that it's the idea or story or concept that isn't okay to mimic or imitate. Mainly, it's still trying to be original and being who really are, not just being a copycat all the time because we saw friend of ours on Facebook is doing something great and original and you do the same too just because you can't think hard enough for an original concept or idea. Don't do that, people can see through that shit from a mile away.
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| Oh so that's why! Thanks Robin! ;) |
Going back to our time at our first comics convention (C3Con 2002) where we sold indie comics, we only had two tables then, we shared it and for the groups that didn't fit the table, they placed their comic books on the floor. But nobody was complaining, because we were happy enough just to share our works.
The people complaining now about the Indie Tiangge about not being at the right spot or if no one was going in to the designated room, should be ashamed of themselves. Because even if you are inside the main hall, every chance they get, the announcers always mention the an Indie Tiangge.
They have already provided you with free space, publicity and announcements. After that, you should do your own part by promoting your stuff online, inviting your friends and also coming up with ways that will grab people's attention.
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Do something like this what our friend Mharz did.
Photo credits to Mharz. https://www.facebook.com/balbas.maryann |
Don't complain, that's what losers and whiners do, the only
thing you have proven is that you're those two. That you're just a whiny bitch.
That you aren't an innovative human being or a person who can make things
happen, it's the actions we take within the adversity in life that defines who
we are.
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| There
weren't just 6 of us here, there were more or less 10 people who shared these two tables, and we all came from differnt groups. |
Lastly about the subject, Jon and Sherry (two of the
organizers of Komikon among many others) has been where you have been, in a small table trying to
sell their books. That's why they maintain the tradition of having free tables,
because they know that there should still be room for creators who don't have
the budget to rent the space.
The Komikon organizers are trying their best to
cater to every single one of us artists, even the ungrateful fuckers who
complain a lot. Komikon is far from perfect yes, but who is? What matters is
that they're keeping all of us afloat. That their doing their best, getting
sponsors and coming up with new ideas, going to meetings and preparing all this
for us creators and enthusiasts and some people just want to ruin it because
they didn't sell well at the convention. Fuck you. My advice for the complainers is one I
learned from experience:
If our works didn't
sell we never blamed the event,
we took it amongst ourselves to improve our works so
we'd fair off better on the next comics convention.
That's how we've managed to survive up to now!
we took it amongst ourselves to improve our works so
we'd fair off better on the next comics convention.
That's how we've managed to survive up to now!
Try a different
perspective and improve yourself by all
means, along with your comic book and
your promotion strategy as well.
When we go to conventions, we want to get something not only
worth our money but also worth our time as well. This applies to the attendees,
enthusiasts and the creators too, for we too are also customers. We plan our buy list the day before, but every time we go to
the convention the next thing we know is that we're out of budget because there
are a lot of great books out there made by Pilipinos you can easily talk to and
have a chat and even be a friend. Then you read their work and find out some of them are crap.
We all want everyone to improve, no matter
how harsh our words are, no matter how profane a blog post is, when all is said
and done, I write this entry / essay because we all want to improve our own
works and ourselves as well. If we don't learn the lesson, then it's just
another mistake, but when we do learn from our mistakes, it's another step
towards our goals.
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| Our indie comics table with my group then the Anonymous? Artists C3Con 2 2003 |
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14 years later. this is our table now at Kuro Saku last
February 2017 Komiket.
Now there's an improvement! :D |
We are always grateful for the people who buy and invest on
our works, and we as creators should be proud of our works and not blame others
for the faults that is our own. Sometimes it's just our ego who's talking that
drives us to bitch about stuff that
doesn't go according to the plan we envisioned in our heads.
Having been caught by this same trap in my early days as a comic book artist, I can only say that this will only lead to further self demise in the long run because the bigger the ego we have the more we believe its lies, and the more you think that you're a heaven sent prodigy that can do no wrong, the more lax you get, and when you do that you're setting yourself up for failure because you neglect to prepare for a war (or a comic convention, whichever is applicable).
We ourselves are our greatest enemies, if we want something to change, we should first change ourselves. If we want things to improve, then we should look no further but within us of what we did wrong and not blame it on others. If you can do this, look within and change a belief that might have been a false belief all this time, if we can learn from it, we begin to change our actions, and better results follow.
Having been caught by this same trap in my early days as a comic book artist, I can only say that this will only lead to further self demise in the long run because the bigger the ego we have the more we believe its lies, and the more you think that you're a heaven sent prodigy that can do no wrong, the more lax you get, and when you do that you're setting yourself up for failure because you neglect to prepare for a war (or a comic convention, whichever is applicable).
We ourselves are our greatest enemies, if we want something to change, we should first change ourselves. If we want things to improve, then we should look no further but within us of what we did wrong and not blame it on others. If you can do this, look within and change a belief that might have been a false belief all this time, if we can learn from it, we begin to change our actions, and better results follow.
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Here's what we've cooked up lately...
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Having said that, Komikult, specifically Francis, told me to reboot Satan High chapter one, as he did with his hit series The Hotdog Prince, and we launched it together with other titles in our group at our Komikult Anthology Zero.
Sadly though after all is said and done, issue #2 of Satan High never made it to the pages of another Komikult Anthology. But this is because I already have another ongoing series in there which was Clowder. So what should I do? Should I quit making Satan High because there was no more room for me at our anthology?
No, I make comics because I want to finish my story, and if I wait for another anthology where Francis and the others at Komikult to say, "Hey let's put Satan High in the antho again!" then it will never be finished. Because I wanted to tell my story, even though there wasn't any assurance that it'd be included at our anthology, I still made them, not for Komikult, but for myself and those who have waited for Satan High's story to continue, I owe it to them and to myself.
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This is where SATAN HIGH first came out after it's issue 1
reboot,
at Komikult Anthology ZERO! Cover art by Joey Lim 2014 |
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| SATAN HIGH
Chapter 5 and 6. It was after this in 2008 when I went on a hiatus from the series because of the poor quality I produced on the 6th issue. I thought then that I could never improve and I never realize it will take me 8 years to start and create Chapter 7! |
I didn't wait for my group to push me further, they have
already done their part to be honest. It's now up to me, even if no one might
be awaiting for Satan High's continuation, I decided I have to continue without
waiting for anyone. Because frankly some of my group members at Komikult
weren't finishing their series, hence we couldn't produce more anthologies, so therefore
even more members are now uninspired to finish or continue their stories and
titles they've started.
I know and believe that my group mates can do this, but maybe most of our members are just in a rut like I was back then? Who knows? What matters is that I set that issue aside, confront my own issues and continue my comics so maybe I can also inspire them that even if they take a rest at creating their works, that they'll see that one can make a comeback anytime.
I know and believe that my group mates can do this, but maybe most of our members are just in a rut like I was back then? Who knows? What matters is that I set that issue aside, confront my own issues and continue my comics so maybe I can also inspire them that even if they take a rest at creating their works, that they'll see that one can make a comeback anytime.
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| SATAN HIGH Chapter 7 after 8 years of hiatus on the series, it's finally done! |
And within less than 3 months, I produced 3 new chapters of Satan High!
I also quit using drugs at the time, I realized that it was one of the things
that hindered me to work (smoking weed) and realizing, I was addicted to pleasure
while my real pleasure, which was my dream being fulfilled, was dying.
When I told some of the members of the Kults that I had finished 3 chapters of Satan High in less than 3 months, they couldn't believe it! For me I had done my part, to show them it's possible. Now, I have the rest of the first arc ready to be penciled, the first story arc is done in sketches, all I need to do is pencil and ink them.
When I told some of the members of the Kults that I had finished 3 chapters of Satan High in less than 3 months, they couldn't believe it! For me I had done my part, to show them it's possible. Now, I have the rest of the first arc ready to be penciled, the first story arc is done in sketches, all I need to do is pencil and ink them.
But for now...
SATAN HIGH VOL.1 IS
BORN! >:D
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Here are some of the comic book enthusiasts and people who have bought SATAN HIGH VOL.1 this Summer Komikon Komiks Karnabal!
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| Thank you Bem!! I hope your son like the book! :D |
Chapters 8 and 9 are also available now but you'd have to
wait for me to finish up chapter 14 to release the second volume.
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SATAN HIGHChapters 8 and 9 are still very much essential
reading from the first 7 chapters.
You won't even believe what happens on these chapters even if I told you. >:) |
Persistence is key in making comics, we can take a rest but we need to remember that we need to get back up and start working again, we need to realize that our stay in this world has a limited time. And that if we make the wrong decisions, we must admit where we went wrong and to correct the errors of our ways as well as identify what's holding us back. What's holding you back?
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| I MADE THAT!! <3 |
For me it was because I wasn't focusing enough to just draw
the fucking pages and as well as waiting for my group to move. It's not their
fault, it's actually my own fault, because I thought I should wait for them when I
should've just made my own goddamn comics in the first place.
That's how you can identify with your faults, it's easy to blame others or make stupid excuses but if you really want to solve the problems in your life, if you really want to make your dreams come true, then you only have to look within and be honest with yourself; see what's stopping you, identify what blockade that's in front of you not letting you pass, and then figure out a way to work around it or destroy it and then don't look back. Start a new group if you have to, that's what me and my wife did, and that's how we are able to create more works than ever before, not by hiding or cowering at our own hindrances and flaws, we have to recognize them and identify them, and solve them and then improve upon them.
That's how you can identify with your faults, it's easy to blame others or make stupid excuses but if you really want to solve the problems in your life, if you really want to make your dreams come true, then you only have to look within and be honest with yourself; see what's stopping you, identify what blockade that's in front of you not letting you pass, and then figure out a way to work around it or destroy it and then don't look back. Start a new group if you have to, that's what me and my wife did, and that's how we are able to create more works than ever before, not by hiding or cowering at our own hindrances and flaws, we have to recognize them and identify them, and solve them and then improve upon them.
When
I got into painting, I slowly forgot why I was doing it in the first
place, that I wanted to improve my art to make comics. But Instead I
fell in love with painting so much and the lifestyle and fame that came
with exhibiting at a gallery that I lost my way, I lost myself. Having
gone through that, I realized the experiences and other occurrences in
our lives takes us to places we've never been to, because we're
searching for our life's purpose.
Sometimes
we find our life's purpose by going on an adventure or taking a new
job, but there are also times that we lose track of why we started our
journey, we get lost and forget why we're where we are in the first
place. Some of us don't realize that we already know our purpose from
day one, that we have been doing it all along, but we let other people
control us and dictate our lives. We follow a false path that was said
by a "friend" or an advice we saw on TV and we abandon our own purpose,
we silence our inner voice because it's easier to listen to vices and to pass our time watching noon time shows or gravitate to a high paying job. We're lucky if we wake up from
this trance, and we only realize it when we notice that something is
missing in our life, it's only then do we find out that there's an emptiness within us, a void eating us whole.
Maybe
I deviated from making comics and manga because I had to know if I
really wanted to make comics for the rest of my life, and what made me
realize that it was, was because it was the one thing I kept coming back
to, the one thing that I really could never leave behind. Amidst the
chaos and distractions of our time, we have to look deep within us to
know what we really want to do, and once we know what that is, we
surrender ourselves to it and make it work.
We'll all eventually die, and the way to go for me is; rather than die stuck in a day job you hate, or be forever afraid to try to start the project you want most in fear of failure, it's better we die doing what we love the most.
That's how KuroSaku came to be, and me and my wife want to see it to the end.
We'll all eventually die, and the way to go for me is; rather than die stuck in a day job you hate, or be forever afraid to try to start the project you want most in fear of failure, it's better we die doing what we love the most.
That's how KuroSaku came to be, and me and my wife want to see it to the end.
I
would like to thank everyone who have supported us and bought our works at the
Summer Komikon 2017 Komiks Karnabal! We are truly grateful for considering our
works and we can only repay you guys by doing more awesome works than the last
one we've made. We'll keep improving and innovating and we hope that you keep supporting
us because it's you guys who keep us a float!
We guarantee you that you won't regret any comic book you got from us, we make our latest works of art are the best of what we have offer in every chapter we create.
We also would like to thank Komikon for this event, we hope that whatever negative feedback and backlash you guys are currently going through that; you guys survive it and plow through it like it was yesterday's news. We wish you all the best and keep up the good work you guys! In my eyes, every one's doing a good job! You have artists talks and you have more and more comic book enthusiasts coming at every event! We all owe you a great big favor by organizing these events, we salute you!
Thank you as well to our fellow exhibitors, and artists and group members, friends and family for your endless support!
Special thanks to: Jonx Ingeniero, Azrael Coladilla, Sofia Edano, Ariel Atienza, Gerry Alanguilan, Jon Zamar and Sherry Baet Zamar, Joanah Tinio Calingo, Melvin Calingo, Michael David, Lyndon Gregorio, Lei Muncal, Bon Carlo Bacani, Jaylord Sison, Michael Flores, Jerome Jacinto, Christine Simpao, Bryan Carlo Evangelio Acerden, Ringo Bautista, Rheimaru Boado, Mharz, James Laurence Ocampo, Mark Lagman, Robert Bertumen, Raymond Azurin, Mara Herrera, Jieson Toling, Tofu Black, Red Manga Alliance, Komikult, Anonymous? Artists, Artist's Den, Dexter Lira, Culture Crash Comics, Indie Komiks Manila, 100 Araw ng Komiks, Bastardos, Emile Josef Garcia, Michael Tolin, Tepai Pascual, Harvey Tolibao, Charles Tan, Studio Serverus, Carlorozy Clemente, Elle Ominoreg, Brahms Layaon, Pelep Gozum, Joey Lim, Arnold Abad, Rexcy Jones, Andy Nilo, Aze Calara, Jaemee Diaz, Buzz Panda, Eric Mendoza, Raymond Magno, and to all the fans who have bought our comics in the past and everyone who I'm forgetting to mention, and to all who helped and inspired me and my wife in creating our comics! THANK YOU! THANK YOU!
Everyone of you guys really help us out when you acknowledge and keep supporting our works! We can really only repay you with thank yous, great artworks and stories, sometimes pizzas, but mostly, lifting you guys up along with us! This is for all of us! THANK YOU!!! :)
We guarantee you that you won't regret any comic book you got from us, we make our latest works of art are the best of what we have offer in every chapter we create.
We also would like to thank Komikon for this event, we hope that whatever negative feedback and backlash you guys are currently going through that; you guys survive it and plow through it like it was yesterday's news. We wish you all the best and keep up the good work you guys! In my eyes, every one's doing a good job! You have artists talks and you have more and more comic book enthusiasts coming at every event! We all owe you a great big favor by organizing these events, we salute you!
Thank you as well to our fellow exhibitors, and artists and group members, friends and family for your endless support!
Special thanks to: Jonx Ingeniero, Azrael Coladilla, Sofia Edano, Ariel Atienza, Gerry Alanguilan, Jon Zamar and Sherry Baet Zamar, Joanah Tinio Calingo, Melvin Calingo, Michael David, Lyndon Gregorio, Lei Muncal, Bon Carlo Bacani, Jaylord Sison, Michael Flores, Jerome Jacinto, Christine Simpao, Bryan Carlo Evangelio Acerden, Ringo Bautista, Rheimaru Boado, Mharz, James Laurence Ocampo, Mark Lagman, Robert Bertumen, Raymond Azurin, Mara Herrera, Jieson Toling, Tofu Black, Red Manga Alliance, Komikult, Anonymous? Artists, Artist's Den, Dexter Lira, Culture Crash Comics, Indie Komiks Manila, 100 Araw ng Komiks, Bastardos, Emile Josef Garcia, Michael Tolin, Tepai Pascual, Harvey Tolibao, Charles Tan, Studio Serverus, Carlorozy Clemente, Elle Ominoreg, Brahms Layaon, Pelep Gozum, Joey Lim, Arnold Abad, Rexcy Jones, Andy Nilo, Aze Calara, Jaemee Diaz, Buzz Panda, Eric Mendoza, Raymond Magno, and to all the fans who have bought our comics in the past and everyone who I'm forgetting to mention, and to all who helped and inspired me and my wife in creating our comics! THANK YOU! THANK YOU!
Everyone of you guys really help us out when you acknowledge and keep supporting our works! We can really only repay you with thank yous, great artworks and stories, sometimes pizzas, but mostly, lifting you guys up along with us! This is for all of us! THANK YOU!!! :)
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| And thank you for your time reading this entry / essay! I hope you got something useful out of it! :) |
And I personally would like to thank my wife Guadix, because she's been the one who has always put up with me and my craziness and also selfishness. Even with my attitude, she never leaves me hanging, she tries her best to listen to me to understand my weirdness. She has always believed in me, and I value that so much.
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| <3 |
Marius Black
Manila
4/8/2017
Manila
4/8/2017
SEE YOU AT THE NEXT COMICS CONVENTION!
We'll also be participating and have our independent comic books and artworks available at Art Island's Art Market this April 22-23 (Saturday and Sunday) from 10am - 7pm. This area is beside Cubao Expo, so we hope to see you there! :D
We'll also be participating and have our independent comic books and artworks available at Art Island's Art Market this April 22-23 (Saturday and Sunday) from 10am - 7pm. This area is beside Cubao Expo, so we hope to see you there! :D
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| https://www.facebook.com/events/1306655116021816/ |
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