MASKARADO/DAKILA X-OVERS!

 MASKARADO/DAKILA: SILVER LIKE DUST and IN A DARK WOOD

Check this out!

https://www.instagram.com/renomansa/p/Dei0UFajx9z/?img_index=1

So, yes, IN A DARK WOOD (cover below) is now available to order, along with the new print run of SILVER LIKE DUST (cover above).

Check the deets at Reno's IG or the official Maskarado FB page!

Huzzah!

you can't drink just six,

Dave

OUT OF THE GUTTER (2) DAKILA: Siyudad Issue 2

OUT OF THE GUTTER (2)

DAKILA: Siyudad Issue 2
David Hontiveros / Pyotr Mutuc

In the process of character creation, one of the key steps is getting to the core of the character.

I tend to think of this step as something similar to the Inside-Out actor’s approach to building up their character (as opposed to the Outside-In approach, which essentially utilizes the external, the character’s physical appearance, wardrobe, etc., to establish the character).

Getting to the internal core of the character will tell you who that individual is, and will serve as the foundation for the active inner life that characters need in order to hopefully achieve a well-rounded believability.

But when you’re talking about entities like the Seven Deadly Sins, getting to the core of, say, Greed, can afford a host of interesting possibilities you wouldn’t normally have access to if the character you were creating was a normal human being.

 

For the purposes of The Septet, I imagined Greed to be this bottomless hollow, just a pit that you could keep on filling with stuff, but would never actually get filled.

Its personality would possess it to compulsively acquire and hoard, and yet never be satisfied with what it already had, instead wanting still more, and more, and more.

(Which actually sounds like some “normal” human beings out there, but, hey, that’s a whole other conversation entirely.)

 

This bottomless hollow imagery will get a closer inspection in issue 3, as well as in KADASIG: Walanghanggan issue 2.

Both of these new releases should be available to order online sometime early next year.

At that point, we’ll return to this train of thought.

 

In the meantime, you’ve hopefully already picked up Siyudad issue 2, so you know what the plotz I’m talking about.

And if you haven’t, then please click on down to the Indies section of the Avenida website.

 

That should be all for now, all you mighty fine folk out there…

 

Stay safe.

Stay sane.

 

you can’t drink just six,

 

Dave

 

The new ‘Verse releases DAKILA: Siyudad 2 (art by the mighty fine Pyotr Mutuc) and KADASIG: Walanghanggan 1 (art by the mighty fine Romnick Magbanua), as well as 5 other previously released issues, are all available to order online at the Indies section of the Avenida website.

Click on down there to support self-published local comics.

OUT OF THE GUTTER (1) KADASIG: Walanghanggan Issue 1

OUT OF THE GUTTER (1)

KADASIG: Walanghanggan Issue 1
David Hontiveros / Romnick Magbanua

For the record:

In the Far, Far Away Time of the Long Ago, when Ian replied to my question of who was the bad guy he wanted Kadasig to face with "the Seven Deadly Sins", I had to give that a bit of a think.

Because I'd already previously done a version of the Sins in AVATAR.

 

During that period of consideration and deep dive research, the idea of leaning into elements like color and animal associations with the Deadly Sins seemed the way to go (since the approach I took in AVATAR was to anthropomorphize them).

In the end, I said "Okay," and The Septet came into being.

 

So while Magalit (Anger) is the Red Bear, Masakim (Greed) is the Yellow Frog.

(The full rundown of the Septet’s animal and color associations--as well as the reason why their names all begin with “Ma”--can be found in one of the in-between-chapters text pieces in the TATSULOK: A Vision of Dust compilation, art by the mighty fine Xerx Javier.)

 

Meanwhile.

 

When the idea of a demonic, sentient horror movie first came into focus, I immediately knew it would be an opportunity to nod towards a few of the subgenres that I feel a deep horrorhead affection for.

Thus, in issue 1, you have spotlights shined on giallo and the slasher films subsequently influenced by giallo, as well as the “disembodied killer hand” subgenre, as typified by Oliver Stone’s The Hand (an adaptation of Marc Brandel’s The Lizard’s Tail), Alfredo Zacarias’ Macabra (AKA Demonoid), Rodman Flender’s Idle Hands, and of course, Sam Raimi’s Evil Dead II.

(And though it’s a short fiction piece, it would be an insulting oversight if I neglected to mention Clive Barker’s “The Body Politic,” from Books of Blood. I haven’t had the chance to watch Mick Garris’ Quicksilver Highway, in which “The Body Politic” is adapted, so I have no idea if it does justice to the short story.)

 

But let’s step back and take a closer look at giallo, shall we?

When they hear the term, horrorheads will immediately think Argento, Bava, Fulci… but the term giallo originated from the world of literature.

And the meaning of the word giallo?

Yellow.

The term was used as a label for these pulpy mysteries and thrillers because the backgrounds of the book covers were uniformly yellow.

 

So, yes, I loved the serendipity of Walanghanggan also being about Greed (as per the long-standing Art Vs Commerce argument that has shadowed cinema since its inception), so that the story arc that featured giallo prominently within its narrative, would also happen to have yellow covers, like an old school giallo paperback…

 

Serendipity.

Mwah!

 

The next OotG post should be about DAKILA: Siyudad issue 2, and will probably go live at some point in the indeterminate future…

For now though, I should take this opportunity to note that one of the characters introduced in Siyudad 2 speaks with a font designed by none other than the mighty fine Edgar Tadeo, who drew the sh!t out of KADILIMAN: In Their Silent Shadow Carnival. (Hey, Ed! Howzit?)

 

Guess that’s all for now.

 

Stay safe.

Stay sane.

 

you can’t drink just six,

 

Dave

 

The new ‘Verse releases KADASIG: Walanghanggan 1 (art by the mighty fine Romnick Magbanua) and DAKILA: Siyudad 2 (art by the mighty fine Pyotr Mutuc), as well as 5 other previously released issues, are all available to order online at the Indies section of the Avenida website.

A QUICK 'VERSE OVERVIEW

If you've always wanted a quick snapshot of the 'Verse titles, or ever wondered what the differences are between them, then this just went up.

Thanx to Ica, for helping get the word out.

you can’t drink just six,

Dave

THE LOST JOURNAL OF ALEJANDRO PARDO
(At 2016 Summer Komikon!)

The clock continues to tick down to April 16, Saturday, for this year's Summer Komikon, and as I mentioned before, there will indeed be a LOST JOURNAL presence there.

So, yeah, books for sale, some of the creative team present for putting their grubby paws and deathless scrawl on your personal copies...
The usual Summer Kon madness...

As I mentioned before, The 'Verse will be at Summer Kon with some new releases (full details here), so if you're at Bayanihan early, then track down the Alamat table...

... where I shall be stationed.
Pick up some 'Verse, or have your copies of THE LOST JOURNAL signed early. (Or, better yet, both!)

To the best of my knowledge, Mervin should also be lurking at the Visprint tables (to the right of the Alamat table, where copies of the SEROKS collections should also be available), so you can get him to sign your copy too!

Once again, thanx to all you mighty fine folk for the enthusiasm and the support.
Hope to see you at Summer Kon!

THE LOST JOURNAL OF ALEJANDRO PARDO: Creatures & Beasts of Philippine Folklore is now out (P295).

For those outside of the Philippines, it's available as a PDF from the Buqo Bookstore.

Please feel free to spread the word and the love…

you can’t drink just six,

Dave

PIMP MY STUFF
VERY LAST MINUTE NOVKON 2013 UPDATE

For all you mighty fine folk who plan to be at the Bayanihan Center tomorrow, November 16, for this year’s NovKon, I’d also like to announce that a ‘Verse preview book will be available (in rather limited supply, so if you want to get your hands on one, please be sure to materialize at the venue early). 

This was all done very ninja-like by the mighty fine Ian Sta. Maria (thus, the limited supply being made available tomorrow), and features previews of some upcoming ‘Verse stuff, including two new DAKILA story arcs, the 3-issue Buwan (by the mighty fine Jason Confesor) and the 3-issue Metronom (by the mighty fine Nonie Cruzado).

Buwan focuses on our young superhero’s not-so-simple lovelife, while Metronom chronicles events inextricably tied to KADASIG.

And, speaking of…

There’re also early glimpses of the continuation of KADASIG: The Skeleton at the Feast (by the mighty fine Djinn Tallada) and a preview of a KADASIG Interlude story by the ersatz ninja, Mr. Sta. Maria.

Plus, as announced earlier here, tomorrow will also see the launch of Δ: A Vision of Dust 3 and URIEL: Hekhalot 2A.

So there we go.

Hope to see all you mighty fine folk at the Bayanihan Center this Saturday.

you can’t drink just six,

Dave

PIMP MY STUFF
NOVEMBER 16 2013 KOMIKON

For all you mighty fine folk who plan to be at the Bayanihan Center this Saturday, November 16, for this year’s NovKon, these are the new ‘Verse titles that are launching:

URIEL: Hekhalot

Issue 2A (of 4)

By David Hontiveros and Michael Urbano

Uriel is a mighty arel, held in reverence and awe by his fellow arelim, feared and despised by the shedim hordes.

And right now, his fate and existence lies in the hands of his seven-year-old mortal charge, Maleck de los Santos.

Uriel has been betrayed by the corrupted (and quite possibly insane) kerub, Malael.

He will eventually find his way to Maleck, in whose body he needs to heal his grievous injuries.

But first, he must escape his demonic captors…

Δ: A Vision of Dust

Issue 3 (of 4)

By David Hontiveros and Xerx Javier

In the many rooms of the House that is the World, there are arelim and shedim. Most men know them as angels and demons.

Unlike the arelim (who cannot breed within their species), the three different classes of shedim have interbred incessantly since their inception, producing all manner of demonic get.

Lora is one such offspring.

She is the third point of our triangle.

The nephil half-brothers Miguel and Lucio have now allied themselves with the runaway succubus, Lora.

But Lucio’s father, the Morningson, has expressed an interest in Lora and the strange condition she finds herself in…

So there we go.

Hope to see all you mighty fine folk at the Bayanihan Center this Saturday.

you can’t drink just six,

Dave

PIMP MY STUFF
PORTAL TO THE 'VERSE OPENS AT FILBAR'S!
DAKILA AND URIEL TAKE FLIGHT!!

The August 10 Indieket is less than three weeks away, but before then, I’d like all you fine folk to know that there is now a portal to The ‘Verse at the Filbar’s Megamall branch.

Yes, all 5 current ‘Verse titles are now available at Filbar’s Megamall.

Yes, 5.

Filbar’s officially debuts the first issues of DAKILA: Kapalaran and URIEL: Hekhalot.

DAKILA: Kapalaran (1 of 3)

By David Hontiveros and Bibo Reyes

Your name is Brandon Ramirez and you’ve been a lifelong geek: comics, movies, RPGs, cosplay.

And now, at 17, you’re officially the world’s first superhero, as evidenced by the cape, the mask, the totally ripped physique, and those crazy-awesome powers.

Higher agencies seem to have conspired to steer you right into that skintight outfit.

We have only one question:

How’s that working out for you?

For those of you out there who’ve read Parman and liked what you saw in there, you might want to check DAKILA: Kapalaran out…

Just saying…

URIEL: Hekhalot (1 of 4)

By David Hontiveros and Michael Urbano

Angels were not always warriors.

In the beginning, the arelim were messengers, their role, to bring Word and News from the lips of the glorious Hari ta mga Magbabaya, to the ears of all who would hear them.

But when Men were Created, it soon became clear that the vile Mangilala was deeply interested in their misery.

Thus, Magbabaya decreed that all Men must have a nathra, a watchman, a guardian, to defend them against Mangilala’s dark and cruel whims.

Uriel is one such nathra, and 7-year-old Maleck de los Santos, his mortal charge.

So, there you go.

DAKILA: Kapalaran and URIEL: Hekhalot are now available, alongside AGYU: Surfacing, KADASIG: The Skeleton at the Feast, and TATSULOK: A Vision of Dust.

Swing by Filbar’s Megamall for those.

Plus, I believe they’ll also be made available at the opening of the “first all-new, all-different” Filbar’s at the Festival Mall this coming Saturday, July 27.
(Thanx goes out to Paolo Chikiamco, for help in the portal construction.)

In the meantime, prep is being done on another new issue, set to debut at the Indieket.

More news on that soon…

you can't drink just six,

Dave

PIMP MY STUFF
WELCOME TO THE 'VERSE

I love world-building.

I love the feeling that not only are character arcs and subplots and the main narrative progressing as each chapter is told, but that also, brick by brick, the reader is being exposed to the world in which the narrative is unfolding.

I had this discussion with Carl Vergara after this year’s Summer Komikon; that my fascination with world-building is undoubtedly rooted in the decades of role-playing I managed to notch up with my brothers and friends (Carl among them), particularly those campaigns that I ran.

As a player in an RPG campaign, all you have to do is step into a single role, Method act that role to the hilt, and hope that the Polyhedral Dice Gods look down on you favorably.

As a Dungeon Master/Judge/Referee/Storyteller though, not only do you need to keep the campaign’s narrative--present and past--straight in your head, you need to also inhabit several roles (playing all the NPCs--non-player characters--that interact with your players’ characters), creatively deal with whatever curveballs players sometimes have the tendency to lob your way and which will directly impact on the narrative’s future, as well as know, somewhere at the back of your head, what’s taking place in other parts of the setting that the players may be very far away from.

It’s a lot to keep track of, but it all becomes worth it when you’re told by appreciative and grateful players that they had a blast during the campaign.

I told Carl that I had belatedly realized that everything I learned from RPGs, I had somehow managed to apply to my writing, that that RPG ethos stuck, and has subsequently served me well.

Which is where The ‘Verse comes in.

I’ve already talked elsewhere about the 5 comic titles I’m working on--alphabetically, AGYU, DAKILA, KADASIG, TATSULOK (aka Δ), and URIEL--all being set in the same universe, the world I first introduced in my novella, PARMAN.

Upon Budjette’s suggestion, an umbrella imprint was conceptualized, something that could immediately indicate that, Yes, these comics are all set in the same universe. These 5 titles may be telling their own stories, but those stories are all taking place in the same world.

Thus, we give you The ‘Verse, the third name I suggested, and which I came to in a rather casual and accidental manner. But it was a name Ian, Budjette and I liked the sound of, so here we are.

With a great logo by the mighty fine Mr. Sta. Maria.

So.

Welcome to The ‘Verse, a world that will be built across several comic titles, not just by me, but also with the indispensable help of the mighty fine artists I have the privilege of collaborating with.

You’ve seen Ian and Xerx’s stuff; hopefully, you’ll be seeing my other collaborators’ work soon as well.

From all of us, to all of you, we hope you make The ‘Verse a regular reading destination.

you can’t drink just six,

Dave

XS: To all the mighty fine folk who stopped by the Alamat table at the October Kon, and everyone who’s spreading all the love about our work across the wild world of the Internetz, thanx so much for all your enthusiasm and support.

IRON MAN
(Review)

Jon Favreau’s Iron Man has the distinction of achieving a number of firsts.
It was the first major hit of the 2008 summer (at the time of this review’s posting, the film is the third highest grosser of the year thus far, in the wake of The Dark Knight and Indiana Jones and the Kingdom of the Crystal Skull); it was the first film to be produced by Marvel Studios; it was the first in what looks to be another successful Hollywood franchise; it was the first Marvel comic film since Bryan Singer’s X2 that left me nearly completely satisfied, an agreeable taste of popcorn cinema that had just enough substance informing its four-colour antics to make it soar right over the heads of recent muddled and murky Marvel entries.
And, just like Disney’s Pirates of the Caribbean: The Curse of the Black Pearl, it found a franchise star in the unlikeliest of Hollywood actors.


But the truth is, a large part of why Iron Man works is due to Robert Downey, Jr., whose Tony Stark is the lovable billionaire industrialist cad, who is made to suddenly face the brutal reality of his company’s weapons manufacturing.
Downey nails not just the all-consuming obsessive quality of the driven genius, but also the heartfelt sense of atonement Stark adopts after a weapons field test in Afghanistan turns into a three-month long imprisonment.
Understanding that the fruits of his company have been subverted and used against both innocents and the young American soldiers whose lives he’s been trying to safeguard on the battlefield, Stark takes it upon himself to once again wrestle with the conundrum of building a weapon of war to uphold the peace.


But this time, the weapon is solely under his control, in the hands of this flawed individual, whose call to heroism is fueled by the need to right the wrongs committed with the products of his industry, with the leavings of his genius (a theme ironically magnified in the film through the subplot which sees the development of the Iron Monger, the titular hero’s mechanical nemesis, his automated Other).
Downey manages to put this all up on the screen, while still keeping the rakish Stark a jaunty presence; unlike another troubled billionaire playboy, Stark isn’t the brooding type.
And yet, the sense of a burdened soul intent on making things right is still clearly evident.


This humour and humanity amidst the combination of Iron Man’s high-tech comic book world and the nearly pinpoint marriage of physical effects and CGI on-screen goes a long way in making this a summer Hollywood tentpole that’s about more than just the explosions and the adrenaline.
And in that particular corner, Downey is helped along by Gwyneth Paltrow (who plays Stark’s ever loyal girl Friday, Pepper Potts) and Jeff Bridges (as Obadiah Stane, Tony’s erstwhile right hand at Stark Industries). The performances from the trio suggest casual, comfortable relationships, grounding the movie’s fantastic goings-on in a realistic milieu.
I might have added Terrence Howard as well, but his James Rhodes doesn’t get much screen time, and seems to be in the film primarily for the purposes of introducing the character to this potential new franchise; in the comic books, Rhodes eventually dons a variation of the Iron Man armour as War Machine.


A more interesting introduction made in the film though, is that of the Strategic Homeland Intervention, Enforcement, and Logistics Division, which comic geeks will know as S.H.I.E.L.D.
This particular introduction of course, bleeds into that post-credits bit with Sam Jackson, which then bleeds into the Tony Stark cameo in Louis Leterrier’s The Incredible Hulk.
And that’s probably another Iron Man first: it’s potentially the first in a long line of interconnected Marvel Studios films.

Immediately (and to my mind at least, rather prematurely) following the box office success of Iron Man, Marvel Studios announced a whole slate of subsequent films, which included adaptations of Thor and Captain America, all leading up to a proposed Avengers movie.
They had the 2010 and 2011 release dates down pat, and they had logos for the film’s titles too. Of course, they had no scripts, no casts, no directors.
But that didn’t stop them from locking themselves into very specific release dates.

It’s this annoying tendency of Marvel to shoot themselves in the foot just when they’re getting it right that always bugs me.
As I mentioned in my review of The Incredible Hulk (see Archive), Marvel needs to cultivate a little more circumspection.
Just because their bad—or otherwise terribly flawed—adaptations (see any Marvel comic book film between X2 and Iron Man) make money, doesn’t mean they’re worth the celluloid they’re shot on.


There needs to be integrity, substance, and humanity in a comic book film to serve as solid testaments to a fact that we comic geeks have known for a very long time: that the comic book is a valid medium of artistic expression, that it’s about more than just fistfights and spandex, and that it certainly isn’t just for kids.
I’m happy to say that Iron Man is one from Marvel that makes that grade.
Here’s hoping they keep their eye on that more valuable, lasting prize.

Parting shot: For the record (and to paradoxically showcase that other, more readily apparent prize), as of August 10, 2008, Iron Man has a worldwide gross of $568,178,682, while The Dark Knight clocks in at a whopping $645,241,000 in only 24 days of release. (As a point of comparison, Iron Man has been in theatres for 101 days.)
Meanwhile, Indiana Jones and the Kingdom of the Crystal Skull has raked in $744,839,965 in 81 days of release.

(Iron Man OS courtesy of impawards.com [design by BLT & Associates]; images courtesy of guardian.co.uk, cinematical.com, ew.com, latimes.com, and wired.com.)