Showing posts with label comics. Show all posts
Showing posts with label comics. Show all posts
Thursday, November 30, 2017
Johnny Balbona: The SINTUNADATOR!
For the first time in color! Johnny Balbona: SINTUNADATOR first appeared in black and white in Mwahaha!, published by Mango Comics in 2005. In this adventure, Johnny makes a biting commentary on the current state of SINGING! Click on the image or HERE to read the story!
Friday, November 24, 2017
My Future Activities
I just posted this on Facebook and Twitter.
"I can see a time when I'll be limiting all my activities to San Pablo City, even comics conventions. That means a revival of the San Pablo Comics Festival. Considering this seriously."
I can delude myself by saying it's to help decongest the traffic in Manila, but it's just me just getting plainly sick of the big city, the pollution, the insane traffic. Mainly it's for self preservation because I want to be where I feel I'm healthiest, and because of mobility problems that make it difficult to travel long distance. A single trip to Manila for one day wipes me out. The last Komikon event was amazing, but I just got too tired by the end of the second day, which actually led to some health consequences that I'm still paying for today.
I will make my final stabs at Komiket and Komikon next year, 2018. But I'm afraid they'll perhaps be the last events in Manila I'll be attending. Perhaps my team can be there to sell my books in 2019 and beyond, but I myself won't be there anymore.
There are currently no comic book related events in San Pablo City, so that most likely means I'll go and have to revive the San Pablo Comics Festival. The first one was held in 2003. A new festival will be the fourth one. With Johnny gone, it will be much harder, but the owners of Tia Maria's Sining at Kultura have agreed to have festivals like this at Roño's Place. It's out of the way, but if the event is held there, it will be much easier for me to manage. This also means the Komikero Artists Group would also need to be revived for additional manpower and support. Well just have to promote it like crazy so people in San Pablo and surrounding areas would be aware that such an event is taking place.
Clearly I have gone beyond simply "considering it seriously".
"I can see a time when I'll be limiting all my activities to San Pablo City, even comics conventions. That means a revival of the San Pablo Comics Festival. Considering this seriously."
I can delude myself by saying it's to help decongest the traffic in Manila, but it's just me just getting plainly sick of the big city, the pollution, the insane traffic. Mainly it's for self preservation because I want to be where I feel I'm healthiest, and because of mobility problems that make it difficult to travel long distance. A single trip to Manila for one day wipes me out. The last Komikon event was amazing, but I just got too tired by the end of the second day, which actually led to some health consequences that I'm still paying for today.
I will make my final stabs at Komiket and Komikon next year, 2018. But I'm afraid they'll perhaps be the last events in Manila I'll be attending. Perhaps my team can be there to sell my books in 2019 and beyond, but I myself won't be there anymore.
There are currently no comic book related events in San Pablo City, so that most likely means I'll go and have to revive the San Pablo Comics Festival. The first one was held in 2003. A new festival will be the fourth one. With Johnny gone, it will be much harder, but the owners of Tia Maria's Sining at Kultura have agreed to have festivals like this at Roño's Place. It's out of the way, but if the event is held there, it will be much easier for me to manage. This also means the Komikero Artists Group would also need to be revived for additional manpower and support. Well just have to promote it like crazy so people in San Pablo and surrounding areas would be aware that such an event is taking place.
Clearly I have gone beyond simply "considering it seriously".
Tuesday, November 14, 2017
At Komikon 2017

It's always nice meeting up with my old buddy old pal Jonas Diego specially at Komikon. It was a special Komikon for us because our mutual and late buddy Johnny Danganan received a posthumous Comic Aid award for his numerous charitable efforts to help comics creators in need. I pirated a bit of Komikon's recorded live video footage of the awards, inserted a special video that I did of Johnny and Jonas receiving the award on behalf of Johnny's family.
As far as Komikero Publishing goes, I think it was a pretty successful one for us. We sold a whole bunch of Bakokak as well as Elmer and Rodski. It was fantastic seeing all my old friends and meeting new ones. I'm specially proud of Kevin. His work on Bakokak seemed to have gone over well with readers and I'm glad to have had a little hand in introducing him to a wider audience.
I really owe a debt of gratitude to the Komikon organizers who have so graciously and generously helped me out with some of my concerns. Because of them I stayed at the event far longer than I scheduled to, and had a great time in the process.
Thanks also to Danry Ocampo for helping me out by getting copies of some new indie komiks that I wanted to get. I wasn't sure if I was going to get the chance to go around much so it helped having an extra set of Danry's legs to help me get these comics.
Of the things I've read so far, Puso Negro by JP Palabon and Please Take Care of My Heart by Gioseppe "Loser Mangaka" Custodio were just so hardcore that I couldn't help spewing profanity as I read them. P*cha, E 'di KOMIKS by Toto Madayag is always funny. Ultimo by Ruvel Abril was very exciting and has excellent artwork. I have yet to read the rest. I must mention the reprint of Dante Perez's "The Cursed" (bottom row, third from left). I was so glad to see this in print. A rare work of a master Filipino artist who passed away too soon.
I'm also very grateful to my wife Ilyn and my ever present Komikon crew: Zara Macandili and Edjee Chozas, and Ilyn's niece Kyla Florese in her first Komikon ever. I would not survive Komikon without these guys.
In spite of the two annoying typos in BAKOKAK (which are entirely my fault, argh), I thought it turned out well. I'll be sure to correct that in the second printing.
Labels:
art,
artist,
comics,
convention,
johnny balbona,
Komikon,
manila,
philippines
Tuesday, November 7, 2017
Bakokak Launches at Komikon 2017
My first new graphic novel in three years, Bakokak, launches at Komikon 2017 this November 11 and 12 at the Bayanihan Center in Pasig! I've written it and artist Kevin Ray Valentino illustrated it. The Komikero Publishing table is located at A49 and A50 (see map below).
All Komikero Publishing material will be sold at those two tables including Bakokak, Elmer, Rodski Patoski: Ang Dalagang Baby, Crest Hut Butt Shop #4, original inked at from Marvel, and official Bakokak merchandise bundles (with Bakokak, pins and shirts) in partnership with Green Turismo. Bakokak artist Kevin Ray Valentino will be at this table to sign your books!
However, I will be located somewhere else (for various reasons that I really can't explain at the moment). I will be sitting, for both days, at table B72, near the screen. I will not be selling any Komikero books at this table. I will just be on hand to sign your books (and anything else you bring to me).
The Komikero Tables will be open for the entire two days. I will have a more limited schedule. At the B72 table I will be there:
Saturday, November 11
10am-1:00pm
4:00pm-6:00pm
Sunday, November 12
1pm-5:00pm
Thanks very much to Komikon for making this possible. I'm really looking forward to an awesome event! And I'm very much looking to share my newest book with you all!
Unfortunately, I still can't shake hands because of my vulnerable condition. I can get sick very easily, specially in crowded places. I really hope you guys understand and not take offense.
Johnny Balbona Online!
Johnny Balbona goes online! Johnny Balbona is someone I created early in the 2000s for Mango Comics humor publication "Mwahaha!".
Johnny is someone I based, at least visually, on my old late great pal, Johnny Danganan, who is nothing like Johnny in real life except for the er... inhuman amount of hair on his body.
Johnny Balbona ran for several issues on Mwahaha! until the magazine was discontinued. There's more life in Johnny so I decided to color them (Johnny's original adventures were in black and white), and upload them one strip at a time, on this website.
The first story I'm uploading is probably from Mwahaha's 5th or 6th issue, which featured Johnny as the superhero "The Repudiator" which is my take on the Punisher. Click on the "Web Comics" button at the top to get reading!
Sunday, November 5, 2017
Wasted Online
Because of the massive outage at the original Komikero.com, most options of reading Wasted on mobile have now been discontinued. However, you can still read Wasted for free through a website right on the original Wasted Online Site here.
Unfortunately, the mobi, pdf, cbr and torrent files are now gone. Once I find another hosting site, I will definitely consider uploading these files (including the Special Digital Edition) and other types of files that can be used by currently patronized gadgets.
Right now, this is the only option to read Wasted as it's now once again currently out of print. It will not stay that way for long though. As soon as I've gathered up enough money, I will come up with a 4th printing.
Friday, October 10, 2014
Finding the Right Publisher
This is a followup to my previous article, “Creating Your Own Characters is Creating Your Own Future“. It turns out there’s much more to say about the matter based on a few things I’ve read online.
It’s well and good to create your own characters, but great care must be given when looking for a publisher. There are still plenty of “old world” beliefs in the world of Philippine publishing including the belief that the publisher owns whatever you create.
For many decades creators simply were not aware that they were entitled to such ownership, considering what they do simply as a “job”. They write, they draw, the draw a paycheck and that’s it. A few creators probably don’t even think about it. They’re happy enough to have a paying job. And I think that’s perfectly all right. People didn’t know they were entitled to so much more for such a long time.
Now in 2014 though (and for many years now), creators can demand the right to own the stories and characters they create. And I think it’s really up to them to demand such things from their publishers. You can consider this a job if you want, but if you want a legacy, you have to demand it. I understand that you might not want to ruffle feathers, you just want things to go on as they are, but if you want something more for yourself, buckle up, ride the storm, and grab what’s rightfully yours.
For my entire career I’ve always avoided working for publishers who demand ownership of my creations, even if they say they simply own only 50%. I always refused. I own my work, 100%. In my view, the publisher only has the right to exclusively publish and distribute your work. All other rights belong to you. This includes movie and tv rights and other adaptations to other media.
There are publishers out there who are willing to accept such terms, but there are others who won’t. More often than not, I end up publishing my own work because that’s one of the ways I can ensure that I have complete control over what goes on with my creations.
And if you ever do find the right publisher for you, make sure you scrutinize your contract very well. It might help to consult a lawyer to help you understand completely what’s being offered.
Just make sure that the publisher only holds publishing and distribution rights. Other media adaptation rights belong to you. Make sure that you ask for a time limit to how long the publisher has your work. Three years, six years… whatever works best for you. Just make sure it’s in there.
Also pay attention to what’s written down with regards to their commitment to promote your work. Do they schedule signings, panels, and invite you to join conventions, festivals, etc? Promotion is one of the things that the publisher needs to commit to. You can help by doing promotions yourself. Every little bit counts.
And lastly, the contract works both ways. If they do their part, you also need to make sure you uphold your commitment to the terms of your contract. I think that’s only right and fair.
It’s well and good to create your own characters, but great care must be given when looking for a publisher. There are still plenty of “old world” beliefs in the world of Philippine publishing including the belief that the publisher owns whatever you create.
For many decades creators simply were not aware that they were entitled to such ownership, considering what they do simply as a “job”. They write, they draw, the draw a paycheck and that’s it. A few creators probably don’t even think about it. They’re happy enough to have a paying job. And I think that’s perfectly all right. People didn’t know they were entitled to so much more for such a long time.
Now in 2014 though (and for many years now), creators can demand the right to own the stories and characters they create. And I think it’s really up to them to demand such things from their publishers. You can consider this a job if you want, but if you want a legacy, you have to demand it. I understand that you might not want to ruffle feathers, you just want things to go on as they are, but if you want something more for yourself, buckle up, ride the storm, and grab what’s rightfully yours.
For my entire career I’ve always avoided working for publishers who demand ownership of my creations, even if they say they simply own only 50%. I always refused. I own my work, 100%. In my view, the publisher only has the right to exclusively publish and distribute your work. All other rights belong to you. This includes movie and tv rights and other adaptations to other media.
There are publishers out there who are willing to accept such terms, but there are others who won’t. More often than not, I end up publishing my own work because that’s one of the ways I can ensure that I have complete control over what goes on with my creations.
And if you ever do find the right publisher for you, make sure you scrutinize your contract very well. It might help to consult a lawyer to help you understand completely what’s being offered.
Just make sure that the publisher only holds publishing and distribution rights. Other media adaptation rights belong to you. Make sure that you ask for a time limit to how long the publisher has your work. Three years, six years… whatever works best for you. Just make sure it’s in there.
Also pay attention to what’s written down with regards to their commitment to promote your work. Do they schedule signings, panels, and invite you to join conventions, festivals, etc? Promotion is one of the things that the publisher needs to commit to. You can help by doing promotions yourself. Every little bit counts.
And lastly, the contract works both ways. If they do their part, you also need to make sure you uphold your commitment to the terms of your contract. I think that’s only right and fair.
Monday, October 6, 2014
Creating Your Own Characters is Creating Your Own Future
Whenever I attend a local comic book convention like KOMIKON, I feel so excited because I see so many young (and maybe not so young) people creating their own comics, using their own characters. The amazing variety of creativity is sometimes just breathtaking. Me and a bunch of guys back in the early 90s who began creating our own comics have no idea that this thing will be much much bigger today, 20 years later.
In this time, I’ve created lots of different characters like Eric from Wasted, Johnny Balbona, Humanis Rex, Timawa, the Elmer Gallo family, and Rodski Patotski. I plan on creating so much more.
Of course, there is the option to create new stories for classic characters, and I have done so previously with Lastikman and the little Darna story that Arnold Arre and I created. Working on Mars Ravelo’s characters was so much fun and also thrilling knowing that you are working on such iconic characters with so much history.
A lot of people hope that Arnold and I continue the work we did on Darna Lives! We actually have the option to do it if we wanted to. But I want to say right here that I was the one who decided that I didn’t want to. What Arnold and I did was simply to show the potential of what can be done with a Darna story. Hopefully, it would give future Darna writers ideas on how to do things differently, how to perceive and develop the character from a different and fresh perspective.
I wanted to create my own characters. I wanted to create my own Darna. When I work on characters by other people, I ensure the future of not only that character, but that character’s copyright owners. I get a one time paycheck and that’s it. Nothing more. I want to ensure MY future by creating characters that would act as my legacy, that would hopefully be something I can benefit from in the future. Characters I create become a personal creative investment. If a movie of ELMER or any of my works would be made in the future, it would be me who would benefit from it. If one day I can no longer work, they would be taking care of me. At least, that’s the plan.
I admit I do still continue to work on other people’s characters at Marvel and DC. That of course, is what I would consider my day job. I love doing it so it’s more than simply a day job, but with the money I earn from it, and the free time I have outside of it, I would create my own characters and comics.
Saturday, May 10, 2014
It's May 2014
Because PLDT has been screwy for the past couple of weeks, specially after that crazy April 28 thunderstorm, my Internet has been mostly down. I had wanted to update this blog earlier, but it was just not possible. We’ve been pretty insistent on calling repair early on and PLDT has visited us twice to check things, but this seems to be a problem that they have extreme difficulty solving.
Well, whatever. As long as this interruption of service reflects on our phone bill, I won’t freak out too much. I did freak out early on, but I just got tired of it.
It was Free Comic Book Day last May 3. I never got a chance to talk about it. It’s a special FCBD for me because I was this year’s editor of Comic Odyssey’s free comic book giveaway. I had proposed to have it magazine sized with interviews and comics.
Awesome cover by Elbert Or, right? :)
I was able to bring on board guys like Whilce Portacio, Jay Anacleto, Leinil Yu, and Mark Torres to contribute pinups. But a lot of the actual work was by my team of Andrew Villar and Jon Zamar, who did the nitty gritty of putting together the comics and layout the entire thing. I came up with the interview articles.
I do this because I’ve pretty much committed to FCBD with Comic Odyssey in perpetuity several years ago. It’s when I give back to the best comic book store and comic book shop owner I’ve had the pleasure to visit and meet. Sandy Sansolis of Comic Odyssey is so passionate about comics and sharing comics that I want him to be successful in his business. The more successful he is, the better it is for us comic book fans here in the Philippines.
Well, whatever. As long as this interruption of service reflects on our phone bill, I won’t freak out too much. I did freak out early on, but I just got tired of it.
It was Free Comic Book Day last May 3. I never got a chance to talk about it. It’s a special FCBD for me because I was this year’s editor of Comic Odyssey’s free comic book giveaway. I had proposed to have it magazine sized with interviews and comics.
Awesome cover by Elbert Or, right? :)
I was able to bring on board guys like Whilce Portacio, Jay Anacleto, Leinil Yu, and Mark Torres to contribute pinups. But a lot of the actual work was by my team of Andrew Villar and Jon Zamar, who did the nitty gritty of putting together the comics and layout the entire thing. I came up with the interview articles.
I do this because I’ve pretty much committed to FCBD with Comic Odyssey in perpetuity several years ago. It’s when I give back to the best comic book store and comic book shop owner I’ve had the pleasure to visit and meet. Sandy Sansolis of Comic Odyssey is so passionate about comics and sharing comics that I want him to be successful in his business. The more successful he is, the better it is for us comic book fans here in the Philippines.
Sunday, April 13, 2014
Summer Komikon 2014
Photo by Jonas Diego
Bad vibes out of the way, it was also one of the most spiritually rewarding Komikons I’ve been to because we launched “Rodski Patotski: Ang Dalagang Baby” and we sold a lot of copies. At a rough estimate, we sold around 300 copies, plus 100 copies of Wasted. The early feedback has been overwhelmingly positive. It feels just great knowing Rodski came alive in the minds of people. That’s what I really take away from this. That things I create find a life of its own outside of me.
Rick Olivares reviews Rodski for the Philippine Star. Thanks Rick!
Bad knee notwithstanding, I did try and manage to snaggle up a few things from other creators, a few of which was given to me (thanks very much!) The output this year has been very impressive. The quality of writing and art, and the quality of formats just keep increasing with each passing year. Here are the stuff I got, which is only a fraction of what was available at the event.
I post comments on titles I’ve already read (or are currently reading).
“K8″ by Jay and Jim Jimenez, published by Black Ink.
I’ve only read like 15 pages of this so far and I’m really liking it. Jim’s art is very impressively detailed and the story by Jay is very easy to follow. Unlike a lot of the Black Ink titles available, this one seems like it’s complete in one book, which makes it a nice, compact package that can stand on its own.
“Kuatro Kanto 2″ by John Nano
“Abangan” The Best Philippine Komiks 2014
Edited by Rob Cham, Adam David, Carljoe Javier and Elbert Or
Published by Visprint
“Best Philippine Komiks” is a pretty bold claim. Thankfully enough, with names like Manix Abrera, Budjette Tan, Kajo Baldisimo, Bong Redila, Emiliana Kampilan, Paolo Fabregas, Elbert Or etc contributing to this book, it more than lives up to it. This collection is definitely some of the truly best Komiks to come out of the Philippines in 2014. I haven’t read it through and through, but the variety in this book makes it a perfect cross section of the best the Philippines has to offer.
“Sumpa” Chapter 1 by Paolo Herras and Brent Sabas
“BuhayHabangBuhay” and “Noodleboy” by Paolo Herras and Tepai Pascual
“Adventures Inside the Glory Hole” by Carlo Valenzuela
“Enter the Dragonfly” by Noel Carlos N. Caragay
“Alamat ni Manila Man” by Mike Ignacio and RH Quilantang
“Frequency One” by Andrea Catrina Tolentino, John delacruz, Tyrell Tan, Nate Piekos
“Lagimbal: Saving the Messiah” by Rawwrr Enrique
“Caution: Drugs/Sex/Rock ‘N Roll” by Rawwrr Enrique
“Komiks!! Atbp. Ultimate Edition” Edited by Jon Zamar, Artists: Various
“#CheesyFit”, by Mel Casipit and various artists.
Not strictly a comic book but a joke book with artwork that accompanies each joke. It sports a really nice Bong Redila artwork on the cover (Bong is fast becoming one of the most excellent Filipino cartoonists around), plus other art by guys like Macoy, Freely Abrigo, Randy Valiente and Mel Casipit himself on most of it. It’s actually very funny.
“Puso Negro II Part 1″ by JP Palabon
JP continues to offer some seriously uncomfortably funny stories, plus a character that will probably sear into your memory and haunt you in your dreams. I’m still going “OMG” whenever I see a visual image of it.
“Minkowski Space Opera, Chapter One” by Aaron Felizmenio
This is a very surprising comic book because it’s so different from anything else other local creators are currently doing, and it’s a huge departure from Aaron’s previous work, Gwapoman. This universe seems well thought out and very complex. Presented in full color, this is a very ambitious piece of work that’s a pleasant surprise to witness in local comics. I knew early on Aaron had the potential to be one of the big talents in the future of Philippine comics, and with this comic book he starts to fulfill that potential.
It’s also worth noting that the last two titles presented above have been printed and in full color. Local comics is definitely leveling up.
Public Facebook Summer Komikon 2014 Photo Gallery by Jonas Diego.
Thanks and congrats again to the organizers of KOMIKON. In spite of the bad traffic, in spite of many Manila residents have already left for the provinces for Holy Week, I think this year’s Summer Komikon still pulled off a decent sized crowd. The event itself seemed to have proceeded without any visible problems. Security has been vastly improved. Great job all around!
Sunday, March 16, 2014
Komikero Publishing, Print Comics and Surviving the Digital Age
Photo by Comic Odyssey
Last Saturday’s signing at Comic Odyssey went pretty well. All the copies of “Where Bold Stars Go To Die” that the store ordered were all sold out even before I arrived. Admittedly, I arrived a bit late, which is frustrating because I’m never late. Thing was, the van we rented ran into problems and it took a couple of hours to fix.
But anyhow, I’m glad people stayed around to get their books signed, and pick up the first 10 Wasted Box Sets that were finished.
Signing Photo Gallery 1 (Danry Ocampo)
Signing Photo Gallery 2 (Comic Odyssey)
It is the Wasted Box Sets I wish to talk about here. That box set is the ultimate expression of Komikero Publishing’s reason for being, and that is to not only share stories and art, but to give readers an EXPERIENCE. That experience of actually holding a comic book in your hands. An experience that is slowly but surely being eroded by our transition into the digital age. More and more comics are now being downloaded and read on screens. That is now a fact of life. And I for one won’t stand on a pulpit frothing at the mouth railing against it. Everyone else can go digitize their comics and that’s perfectly cool.
My stories, however, will remain in print and some of my work will ONLY be available in print. I feel that touching comic books with your hands, physically flipping the pages and reading is an experience too valuable for us humans to do away with. And that is an experience everyone can still count on with Komikero Publishing for as long as I’m alive.
The other day I saw a comment on Twitter by a fellow pro. I won’t mention him anymore because that isn’t really the point. He said that two page spreads in comics should be abolished because it does’t work with digital. Deep inside my heart I just had to laugh. I didn’t want to argue so I didn’t, but I thought I’d talk about that here.
So because it doesn’t work with digital, it HAS to be abolished? From my point of view, for print to survive, there should be MORE 2 page spreads, because as it turns out, there are strengths in print that digital comics cannot possibly replicate. And one of those are 2 page spreads. And that is true. The magnificence of opening a comic book with a 2 page spread is quite an experience, and it’s one of the things that make comics such a pleasurable reading experience. I remember Alfredo Alcala’s Voltar 2 page spreads… oh man… or how about those glorious Jack Kirby two page spreads in his comic books for Marvel and DC? How about Frank Miller’s 300 where every single damned page is a 2 page spread? Even better… how about those multiple page spreads in Jim Lee’s Wildcats? In Alan Moore’s Promethea? In Frank Miller’s Ronin? Or how about those multiple page drawings by Alex Niño that, put together, form one gigantic panel? Digital can never hope to replicate the experience those kinds of things print comics can do. It’s something print comics can do best, and it’s something that will help keep it alive.
At Komikero Publishing, aside from keeping my comics in print, we also produce specially made box sets in cooperation with my wife’s paper crafting business.
In 2009 we made box sets of my comic book ELMER:
Each box set contains a hand bound hardcover of the comic book, original artwork, photographs and facsimiles, a certificate of authenticity, a CD with videos, all packaged within a special hand made box.
Check out my original post about it:
https://komikerodotcom.blogspot.com/2009/03/elmer-gift-set-batch-1.html
A close up of the hand made hardcover from my wife’s blog:
http://paper-basket.blogspot.com/2009/03/hardbound-elmer.html
It’s our version of an Absolute book or Omnibus, but much more special and lots more extras.
This year, we’re releasing a box set of my comic book WASTED:
This box set contains a hand bound hardcover of the comic book in a slipcase, original artwork, photographs, certificate of authenticity and a handwritten letter. The letter is a real life reproduction of a letter that figures prominently in the story. Each box has one of these.
Check out my wife’s post about the Wasted box sets:
http://paper-basket.blogspot.com/2014/03/wasted-box-sets.html
We do these boxes because as we previously mentioned, we want to share an EXPERIENCE when people read my comic books. It’s something that’s important not only to me, but to my wife as well who has devoted a significant portion of her life creating art from paper.
How in the world can you digitize this? The answer is YOU CAN’T.
However, I’m not completely closed off to the idea of digital comics. My comic book Wasted can be read completely for free online from this website. It can be read in various forms: html, cbr, mobi, pdf… it even has a special digital edition complete with videos from me.
So yeah, it’s best of both worlds.
Last Saturday’s signing at Comic Odyssey went pretty well. All the copies of “Where Bold Stars Go To Die” that the store ordered were all sold out even before I arrived. Admittedly, I arrived a bit late, which is frustrating because I’m never late. Thing was, the van we rented ran into problems and it took a couple of hours to fix.
But anyhow, I’m glad people stayed around to get their books signed, and pick up the first 10 Wasted Box Sets that were finished.
Signing Photo Gallery 1 (Danry Ocampo)
Signing Photo Gallery 2 (Comic Odyssey)
It is the Wasted Box Sets I wish to talk about here. That box set is the ultimate expression of Komikero Publishing’s reason for being, and that is to not only share stories and art, but to give readers an EXPERIENCE. That experience of actually holding a comic book in your hands. An experience that is slowly but surely being eroded by our transition into the digital age. More and more comics are now being downloaded and read on screens. That is now a fact of life. And I for one won’t stand on a pulpit frothing at the mouth railing against it. Everyone else can go digitize their comics and that’s perfectly cool.
My stories, however, will remain in print and some of my work will ONLY be available in print. I feel that touching comic books with your hands, physically flipping the pages and reading is an experience too valuable for us humans to do away with. And that is an experience everyone can still count on with Komikero Publishing for as long as I’m alive.
The other day I saw a comment on Twitter by a fellow pro. I won’t mention him anymore because that isn’t really the point. He said that two page spreads in comics should be abolished because it does’t work with digital. Deep inside my heart I just had to laugh. I didn’t want to argue so I didn’t, but I thought I’d talk about that here.
So because it doesn’t work with digital, it HAS to be abolished? From my point of view, for print to survive, there should be MORE 2 page spreads, because as it turns out, there are strengths in print that digital comics cannot possibly replicate. And one of those are 2 page spreads. And that is true. The magnificence of opening a comic book with a 2 page spread is quite an experience, and it’s one of the things that make comics such a pleasurable reading experience. I remember Alfredo Alcala’s Voltar 2 page spreads… oh man… or how about those glorious Jack Kirby two page spreads in his comic books for Marvel and DC? How about Frank Miller’s 300 where every single damned page is a 2 page spread? Even better… how about those multiple page spreads in Jim Lee’s Wildcats? In Alan Moore’s Promethea? In Frank Miller’s Ronin? Or how about those multiple page drawings by Alex Niño that, put together, form one gigantic panel? Digital can never hope to replicate the experience those kinds of things print comics can do. It’s something print comics can do best, and it’s something that will help keep it alive.
At Komikero Publishing, aside from keeping my comics in print, we also produce specially made box sets in cooperation with my wife’s paper crafting business.
In 2009 we made box sets of my comic book ELMER:
Each box set contains a hand bound hardcover of the comic book, original artwork, photographs and facsimiles, a certificate of authenticity, a CD with videos, all packaged within a special hand made box.
Check out my original post about it:
https://komikerodotcom.blogspot.com/2009/03/elmer-gift-set-batch-1.html
A close up of the hand made hardcover from my wife’s blog:
http://paper-basket.blogspot.com/2009/03/hardbound-elmer.html
It’s our version of an Absolute book or Omnibus, but much more special and lots more extras.
This year, we’re releasing a box set of my comic book WASTED:
Check out my wife’s post about the Wasted box sets:
http://paper-basket.blogspot.com/2014/03/wasted-box-sets.html
We do these boxes because as we previously mentioned, we want to share an EXPERIENCE when people read my comic books. It’s something that’s important not only to me, but to my wife as well who has devoted a significant portion of her life creating art from paper.
How in the world can you digitize this? The answer is YOU CAN’T.
However, I’m not completely closed off to the idea of digital comics. My comic book Wasted can be read completely for free online from this website. It can be read in various forms: html, cbr, mobi, pdf… it even has a special digital edition complete with videos from me.
So yeah, it’s best of both worlds.
Friday, March 7, 2014
Limited Collector’s Edition Wasted Box Set
To further raise funds for the printing of “Rodski Patotski: Ang Dalagang Baby”, Komikero Publishing and Paper Basket will be releasing a limited collector’s edition Wasted Box Set!
Each box set will contain a hand crafted Wasted hardcover and slipcase, original Wasted artwork, a hand lettered letter from Eric to Jenny (from issue #8), a booklet of all extra material from the original photocopied Wasted, photographs, and a certificate of authenticity.
Only 20 of these box sets will be made. Each will retail at P2500. If you wish to get a box, please send an email to gerryalanguilan@yahoo.com. First come first served! Because I would need to see who reserved first, I would be able to only receive reservations only through email at that address. I would prefer I hand it to you personally so if you can make it to the Bold Stars signing at Comic Odyssey, Robinson’s Galleria on March 15, the better. I’d rather not ship it because of the delicate nature of the material, but if there’s no choice, I can ship it via courier at an additional P250 for proper packaging and shipping.
Because of the limited nature of the box set, only one box per customer will be accepted.
I have to say that probably only 10 will be finished by March 15. I can go up to Manila again at the end of March for the rest.
Thursday, March 6, 2014
Digital Comics and Komikero Publishing
I’ve talked about this before, but it’s worth reiterating. I can definitely see the future of comics as being predominantly digital. It’s inevitable, I think. I’ve had so many offers from local and international companies to digitize my comics stories for distribution on mobile gadgets. I have made my concessions with digital by offering a lot of my work online, mostly for free. Wasted remains free to read online, along with a lot of my other work.
I’m no longer interested in debating the issue. I’ve had my fair share of “discussion” about this in the past. I’ve heard all the arguments and you know what? I throw up my hands and say all the arguments for digital comics are completely valid. You wont find me ranting and railing against it, because that would just be counterproductive. And futile.
But as far as Komikero Publishing is concerned, I will continue to do comics in print, and I will continue to resist translating most of my work into digital.
I know that the goal of any storyteller is to share his stories with as much people as possible, and digital is certainly a big way of doing it. I reach a far greater audience online than I do with print.
But you know, to me it’s more than just sharing stories and art. It’s about sharing an “experience”. That experience of holding a comic book in your hands. I think that it’s an experience that’s valuable and important, and that as human beings, it’s something that we should never lose.
As the world speeds hastily into the digital age, that experience will become even more rare and valuable. I want to be that publisher that gives people that kind of experience. I don’t care if I end up on the losing end of the financial stick. It was never about the money for me.
I don’t need to further explain myself. Those who don’t understand this never will. But those who understand it will understand perfectly. I’m not here to sway anyone to my way of thinking. I’m just laying out my publishing company’s reason for being.
I’m no longer interested in debating the issue. I’ve had my fair share of “discussion” about this in the past. I’ve heard all the arguments and you know what? I throw up my hands and say all the arguments for digital comics are completely valid. You wont find me ranting and railing against it, because that would just be counterproductive. And futile.
But as far as Komikero Publishing is concerned, I will continue to do comics in print, and I will continue to resist translating most of my work into digital.
I know that the goal of any storyteller is to share his stories with as much people as possible, and digital is certainly a big way of doing it. I reach a far greater audience online than I do with print.
But you know, to me it’s more than just sharing stories and art. It’s about sharing an “experience”. That experience of holding a comic book in your hands. I think that it’s an experience that’s valuable and important, and that as human beings, it’s something that we should never lose.
As the world speeds hastily into the digital age, that experience will become even more rare and valuable. I want to be that publisher that gives people that kind of experience. I don’t care if I end up on the losing end of the financial stick. It was never about the money for me.
I don’t need to further explain myself. Those who don’t understand this never will. But those who understand it will understand perfectly. I’m not here to sway anyone to my way of thinking. I’m just laying out my publishing company’s reason for being.
Saturday, March 1, 2014
To help fund the printing of “Rodski Patotski: Ang Dalagang Baby“, we’re now accepting pre-orders!
Rodski is being released in FULL COLOR on matte paper, 100 pages, 8″x 8″ dimensions and perfect bound. It will retail for P450. If you wish to reserve your copy now for pick up at Summer Komikon on April 12, you can send your payment to my BPI account. Send me an email at gerryalanguilan at yahoo.com so I can send you the information. If you are not attending Summer Komikon and you would prefer that we ship it to you via courier, you can just add P150 for shipping and handling. We will ship the book in between illustration boards via LBC or Air 21. Send me an email at gerryalanguilan at yahoo.com for further information. Unfortunately, I can only accept orders from the Philippines at the moment. But I will make it available for international orders once the book is out.
Don’t worry that you won’t get your copy. We plan on printing a lot… as in a lot of copies!
To everyone who will help out with the funding of the book by pre-buying it, you have my (and Arnold’s) utmost thanks and appreciation!
The cover above is illustrated and colored by Arnold Arre. Title design is by Cynthia Bauzon-Arre.
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Rodski
Saturday, February 22, 2014
Bold Star, Elmer
“Where Bold Stars Go To Die“, a comic book I wrote that my late friend Arlan Esmeña illustrated was finally published in the US via SLG Publishing. If you’re in the US or anywhere outside the Philippines, you can just order it directly from the SLG website here. If you’re in the Philippines, this edition is being sold by Comic Odyssey. It will be available February 26. After February 26, you can just buy it from their stores in Robinson’s Galleria, Fully Booked at the Fort, Greenhills and Robinson’s Malate.
Since this is published by SLG Publishing, I don’t control the stocks of it so I myself don’t have copies to sell. You won’t be able to buy them directly from me. It will be a bit more expensive than the Komikero Publishing edition, which has since been sold out. Content wise, there’s very little difference. The new edition has a new pinup by Harvey Tolibao and an Arlan Esmeña tribute, but that’s it. Format wise, I actually have no idea yet how different it is with regards to printing and paper. I will know only when my complimentary copies arrive.
I will be having a Bold Star book signing at Comic Odyssey, Robinson’s Galleria on March 15. I will also bringing a lot of original artwork with me, plus a surprise release (more details soon). This is to raise funds for the printing of Rodski for Summer Komikon on April 12.
I will most likely reprint Bold Stars through Komikero Publishing later in the year. I’ve written a lot about the book on this blog.
Serge Ewenczyk, my French publisher of ELMER sent me this image:
Tuesday, February 18, 2014
On Inking, Bold Stars and Rodski
I’ve been inking comics professionally now for like well, since 1995. You would think I’d get tired of it, bit I’m honestly not. Admittedly, there was a time that I quit. This was back in 2005. That was not because I didn’t like to ink anymore, but because I wanted to expand my creativity to other things. In that break I did things like Humanis Rex, Timawa, and most specially ELMER. I’m really proud of Elmer. I still can’t believe I actually did that, and I still can’t believe all the doors that thing opened.
I’m back to inking but now I’ve made an extra effort to continue doing my own stuff. That’s why there’s “Where Bold Stars Go To Die” and there’s “Rodski Patotski: Ang Dalagang Baby”. It’s been very difficult juggling inking and the other things, but I can’t help it now. I just have to do it.
Speaking of “Bold Stars”, it was picked up by SLG Publishing, the same publishing company that published ELMER internationally. It can now be ordered here. If your local comics store ordered this when it was previewed in the Diamond Catalog last October, then your store will most likely have copies.
Arnold Arre continues to send in finished pages of “Rodski”, and he’s blowing my mind with each page. Maaaaaan. I’m really pleased how the art’s turning out. Arnold made a Rodski poster specially for Summer Komikon so be on the look out for that when Komikon starts to promote the event. That will be on April 12 by the way. So save the date! We will be launching the book right there and yes, Arnold will be on hand to sign books.
Both Arnold and Leinil Yu will be special guests at Summer Komikon, and they intend on positioning me right between them at the venue. I think it describes my position in the industry quite well. One foot in independent Filipino comics and another foot in American comics. I think it’s a great place to be in.
Speaking of inking, I rediscovered this piece online:
It’s unsigned, but it’s pencilled by Whilce Portacio and inked by me, sometime in 1998. This was a cover for Darkness, I think, for TOP COW. I still remember exactly the circumstances in which this was inked. The studio in Manila was located somewhere in Horseshoe Drive, QC. At the time I was no longer staying full time at the studio. After training with Whilce since 1995, he had let me go to stay and work from home. I dropped by that day for a visit. Whilce was working on this cover and he asked me to ink it. But I had to work on it at the studio because the deadline was tight. I thought that would be OK. At the time I think Edgar Tadeo was still staying at the studio, as well as Gilbert Monsanto. I didn’t have my tools with me so I went to nearby Cubao to buy a Rotring Technical 0.1. That’s the tool I used to ink most of this cover, plus maybe a quill or brush I must have borrowed from Edgar. I ended up staying overnight.
Sunday, February 2, 2014
Rodski Patotski: Ang Dalagang Baby
After almost a year, I finally finished the script to my next book, “Rodski Patotski: Ang Dalagang Baby”! Like a lot of my projects I felt good about, the writing of the story took a long time to do. After a lot of stops and starts, I’ve finally come to the point that I’m very happy with what I’ve written, and I feel good about handing it to the artist, which by extreme luck is none other than superstar artist Arnold Arre.
Arnold is drawing the book as well as coloring it. I’ve written it, and I’ll take care of lettering and laying out the book. Reading it through and looking at the art that Arnold has done so far, not only do I feel good about it, I feel very good about it. Arnold is such an extraordinarily amazing artist. He was able to elevate my story into something very special.
What is “Rodski Patotski??”
It really began when I discovered an old komiks story called “Linda Maligna” illustrated by my father in law, Rudy Florese. Linda is, amusingly enough, the name of his wife, my wife’s mother and my mother in law. I thought it cute that my father in law worked on a story named after his wife. I thought I’d continue the tradition and name my next story after my own wife.
“Rodsky” is a name my wife is known for in school by her classmates and friends, which is short for “Roddielyn”. So I named my character Roddelyn, or “Rodski” for short.
And now what idea or concept do I wrap around that name? I thought I’d make it a tribute to all the classic Pinoy komiks characters. I decided to call it “Rodski Patotski: Ang Dalagang Baby”. As to why she’s called that, I guess I won’t spoil it for you. You would just have to pick up the book when it comes out.
The book is written in a combination of English and Tagalog. It was an experiment I wanted to try out. I wanted to see if I could write it that way, but still make it understandable to a non-Tagalog reader. Hopefully I pulled it off. HOPEFULLY!
A lot of people may be asking…. “What happened to DARNA LIVES?”
That’s a good question. Arnold and I enjoyed creating that short Darna story, but I’m afraid that’s only as far as it would go. I just wanted to show a different direction that such a long standing character can taken and still make it work. A lot of these classic characters come with stories that seem to be afraid to push the boundaries of the character and of the genre. Arnold and I demonstrated that it can be done and still be well received. Hopefully, future Darna writers would pick up on that.
When writing my own stories, I now prefer to just create my own characters and create my own legacy, instead of perpetuating the legacy of other people.
So is “Rodski” any good? I really don’t know. But I feel good about it. Hopefully, people do get to enjoy reading it. It’s written with “all ages” in mind so it can be read by young children and grandparents alike. It’s pretty much a first for me, having written so many “For Mature Readers Only” material.
I can’t wait for this book to be finished and printed and in your hands! We’re targeting Summer Komikon for it, so fingers crossed! The book will have 100 pages and square proportions. It will be square bound, and in full color. Yep! FULL COLOR! Lord knows where I’ll get the money to pay for printing this, but I’ll find a way!
Monday, October 28, 2013
One Week in Paris
Immediately after leaving Algiers, Ilyn and I went to Paris for a week at the invitation of Serge Ewenczyk of Editions Çà et Là, the French publisher of Elmer. We were of course, very excited to go to Paris. More than anything else in the world, this is where I really wanted to visit for much of my entire life. Paris has lived in my imagination as a beautiful place of art, architecture and history, an almost mythical, legendary place that could not possibly exist except in books, movies, comics, and TV. It was very much like Valinor, impossibly far away, tantalizingly unattainable.
And yet there we were on a plane, supposedly going to a place called “Paris” but even then it was so difficult to believe.
The intense cold that greeted us upon alighting the plane was the first indication that we were actually there. I asked Ilyn, “Did you feel that? DID YOU FEEL THAT??” It was just too much excitement to contain.
We were greeted by Serge and brought us to our hotel, still buzzed, still kind of disbelieving, but sort of tired. Nevertheless, we ventured out into the cold Paris streets immediately. It was around 9 in the evening and it was biting cold. We quickly realized our flimsy jackets simply weren’t enough. But we went walking the streets anyway, full of stars and wonder in our eyes.
Our hotel was wonderfully located within old Paris, along Rue de Rivoli. It was walking distance to the Notre Dame, Bastille and the Louvre Museum. The Arc de Triomphe and the Eiffel Tower were within easy access of the Metro, Paris’s subway system. After an hour or so of walking, we decided to retire back to our hotel, and planned what we would do for the week. First order of business was to get a couple of scarves for ourselves.
The following day Serge brought us to one of the branches of France’s biggest book store chains and showed me the huge and I mean HUGE comic book section.

It was quite impressive. We do have large sections of comics in our local bookstores like National Book Store and Fully Booked, but they’re predominantly Marvel, DC and Manga. Here, there’s very little American comic books. If there were, those from independent publishers outnumber those from Marvel and DC, and the rest are purely comic books from mostly Europe. A lot of these books were beautifully designed large hard bound books with amazing artwork.
We decided to pay an early visit to one of the comic book stores I’ll be doing a signing in, Librairie Super Héros along Rue Saint-Martin. On the way there there was this huge colossal modern art building that’s at odds with much of the surrounding ancient architecture, the Centre Georges Pompidou.
Librairie Super Héros
175, rue Saint-Martin, 75003 Paris
On the way back to the hotel, we saw this random gothic church just hanging out nearby, next to some street art. One thing that’s so nice about Paris is how creative their street art is.
One of the first things we really wanted to see was the Notre Dame Cathedral. It holds special significance to us, being both Architects. We studied this cathedral studiously back in college. We drew it inside and out and have come to know it quite well even without really seeing it.
During my college days, it was even the site of one of the biggest battles of the X-men, which occurred in X-men 200, “The Trial of Magneto”, written by Chris Claremont and drawn by John Romita Jr. One memorable scene was Colossus being thrown through, and destroying, Notre Dame’s main rose window.
I simply could not wait to see it.
The River Seine on the way to Notre Dame
Ilyn and I were both speechless upon seeing it rise in front of us. We just sat there for a while not really saying anything, just looking. Later, we both approached it and hugged it. Well, I just had to. It was quite simply an overwhelming experience. I felt touching it was important. Like I wanted to make a physical connection not just with the thing I had in my memories, but also with history. We couldn’t forget how old it was, and how many millions of people had stood where I stood.
That night we found a Chinese food place we just had to try. Ilyn had missed rice terribly. It was rather expensive though, but we tried not to think about it and convert currencies in our heads. We’ll end up not eating anything or buying anything. For sure things would be more expensive here so we just had to get used to it and just not think too much about it. We just decided to enjoy it while we were there. I mean, we were in Paris. Perhaps it hadn’t completely sunk in.
Rue de Rivoli at Night
Next stop was the Louvre Museum. Although it was walking distance from our hotel, we nevertheless decided to take the Metro because we wanted to reserve our walking strength for walking this museum, which was just gigantic. And full of stairs. As we approached the building from the side, we slowly approached the plaza knowing full well that just around the corner was the world famous glass pyramid that has become the distinctive look of the museum in modern times. We are aware of the controversy that surrounded it when it was first built, but as time went on, it became an indelible part of this ancient institution. At the corner we held our breath, and then… there it was.
It was kind of gloomy that day, with a cloudy sky that threatened to rain. In fact, rain was forecast for that day, and for much of the week we were there. We nevertheless remained optimistic. Although we saw this incredible line of people who wanted to get in, it didn’t discourage us. While still in line I felt bits of rain drops here and there. And us without an umbrella. We decided to stick it out. I mean, one chance in a lifetime. Rain isn’t going to keep us away.
Thankfully, rain didn’t come, at least for the time being.
Inside the Pyramid
The first thing we really wanted to see was the Mona Lisa, and then after that, we can just wander around. We immediately went to the 13th-15th century Italian paintings section of the museum where the Mona Lisa was located. When I imagined it to be a huge place, I never imagined it would be that huge. With so many stairs. My knee hadn’t been doing really well in recent months so it was really difficult for me. But what kept me going was the fact that I was in the same building as the Mona Lisa and sooner or later I will be in sight of it. It was a huge deal for me. A huge deal. It was what kept me going and kept me putting one foot in front of the other. Very soon, we were there.
The crowd surrounding the Mona Lisa was immense.
The closest I could get.
To be honest, the Mona Lisa isn’t that spectacular a painting. What made it special was its special place in history and world culture. She’s more famous than any living person. To see her is to see history in one glance. Seeing her is humbling and overwhelming. We took a moment, and then we went exploring.
Now I love these kind of classical well rendered paintings. Seeing one was enough to last me a long time. The sheer beauty of the figurework, the delicacy of the brush work and the beauty of the colors… photos simply weren’t enough to depict all this. But seeing one spectacularly painted painting after another… seeing a hundred… two hundred…. it all started to blur. I started to stop appreciating each one and just glossed over one painting quickly before looking at another. It’s hard to explain. Perhaps all this wasn’t meant to be seen in a day. It had to be appreciated a little at a time, over a period of weeks, perhaps months.
By the end of a couple of hours, I was so ready to see some impressionistic paintings. I wanted to see Van Gogh, Monet, Renoir… all those funky guys with the wild imaginations. I wanted to go to the Musée d’Orsay, which was just next door. Of course, “next door” was probably a kilometer away, but that was just OK.
I never had a chance to go though, as I had an appointment for a media interview for Elmer. I did look forward to the interview… it was one of the reasons we’re in Paris in the first place. I can’t believe I was thinking it, but I was kind of museum-ed out for the day, and was looking for a change of pace. Meeting with Serge and a journalist and talking through the afternoon at an outdoor cafe seemed the best thing for me at the time.
At the interview, Laurent Mélikian arrived with writer Dana Walrath and American comic book artist Dan Panosian (pictured above). It was such a pleasure to meet Dan because career wise, this is one of those artists who I truly admire. He started out as inker and then transitioned to drawing his own comic books and now he’s being published in Europe. He too was having a signing tour of Paris and other France cities and will be there until the end of the month.
Ilyn stayed on at the Louvre to see the other sections of the museum.

Venus de Milo

She then went to the Musée d’Orsay but unfortunately could not take any pictures because it wasn’t allowed. Musée d’Orsay has special significance to the both of us because we’re both big Doctor Who fans. And one of our favorite episodes was “Vincent and the Doctor” where the Doctor meets Vincent Van Gogh and this museum was prominently featured. Ilyn couldn’t wait to see a Van Gogh with her own eyes. She reports being disappointed at not seeing “Starry Night” or any of the sunflower paintings, but some of the self portraits were there and they were just magnificent.


A sightseeng ferry as seen from the Musée d’Orsay. Across the Seine in the background is the Louvre Museum.
Ilyn and I met up at the cafe of the interview just as it was wrapping up and both went back to the hotel, but first we had to find a nice place for lunch. As we were wandering around, we hadn’t realized that Laurent and Dana were walking behind us and Laurent asked us if we wanted to go to a nice place for a vegetarian lunch. Of course we said yes! Walking through the small side streets of Paris we soon found ourselves in a small Jewish quarter and entered a restaurant that was offering falafels. I had often wondered about falafels and what they tasted like, and now I was about to find out. It was very similar to the Mezze Platter that we would have at Middle Eats here in San Pablo, but it had a lot more in it. It was delicious!
Resting for an hour or so back at the hotel, it was soon time the first of my comic book signings, this one at the previously visited Librairie Super Héros.


With Serge


I’m visited by Finnish cartoonist Ville Ranta, who I met in Algiers.




It was my first signing in Paris and it was really nice. I could understand none of what most of those who had their books signed were saying, but I could feel the appreciation they had for the book.
What I noticed from those who came was that there were no teenagers, unlike the case here in the Philippines. Here were mostly older people around my age, men and women alike, which is an interesting look into the kind of readership my book has compared to back home.

After the signing we went to a drawing demo by Ville Ranta at the Institut Finlandais. Serge had gone to the demo a couple of hours before, so a couple of Serge’s interns Ines and Helene helped us get there. Ville’s books are also published by Serge and Ville also had signings in Paris the same time I was. Knowing him and speaking to him both in Algiers and in Paris I got to know Ville quite a bit. And I like him a lot. He’s very funny, very talented, and has a quiet way about him that makes one feel comfortable rather than put off.
After Ville’s demo, we all went out for a really nice dinner some streets away. Then it’s off walking back home to the hotel.
The following morning we went down to our now favorite breakfast place just below our hotel, the Snack Rivoli. Breakfast was very simple, very much like it was in Algiers. The orange juice here was kind of special because it’s always freshly squeezed. We loved it!


Morning was curious at this time in Paris. In the Philippines we were used to the sun coming up at 6am. But here, the sun was just barely coming up at 8am. So after having breakfast at 8, we went right away to see the Arc de Triomphe.
We were lucky because today the sun decided to show itself and it was just beautiful.


Early morning at Champs-Élysées.

My favorite spot, the benches in a small plaza just outside our hotel.
Very soon it was time again for another signing, this time at Comics Records.

Comics Records
76 rue Charlot, 75003 Paris
76 rue Charlot, 75003 Paris
The following day we set off early again, this time for the Eiffel tower. We had to be quick because by 11 I had another media interview. Unfortunately, this day wasn’t as beautiful as the previous one and we were greeted with lots of fog. Which made seeing the entire tower not really possible. But nevertheless, it was quite a thrill to be there and actually touch it.




With Serge and Lise Benkemoun at the interview.
Serge went back with me to the hotel to say our goodbyes. I haven’t talked about Serge yet, so I will take the opportunity now. Before meeting him in person, I always had the impression that he was kind of stern and serious based on his emails. I had expressed my concerns to Ville back in Algiers and Ville seemed resolute in his impression that Serge was “funny”. I thought it was surprising because I hadn’t got that impression at all.
As soon as I met him at the airport that first day though, my impression quickly changed. Not only was he funny, he had a really strange and quirky sense of humor. And the more I got to know him, I realized that very much like Laurent, he was an incredibly nice guy. I was comfortable with him right away. I really liked it when he was around because the air seemed much lighter when he’s there.
I wish to thank Serge for all the help he offered us and the kindness by which he treated us. We talked about future projects and I knew then that one of my goals were to give him another book that hopefully would not disappoint him, and hopefully be profitable for him and the company. With that, we said our goodbyes.
I rested a bit and went around Paris one last time on my own (Ilyn was off on her own adventures elsewhere).

More amazing architecture: The Paris City Hall.

And of course, I couldn’t leave Paris without having Escargot! This one was called Escargots de Bourgogne, which was snails cooked in butter and parsley. It was actually very nice, specially with Guinness…another new experience.

That night, we went to Laurent’s home for a farewell dinner. There we met Laurent’s wife Sylvie and their son Victor. Laurent prepared an awesome baked cod with steamed vegetables and cream. We had a bit of champagne, cheese and figs afterwards. Figs! I only heard about those things in the bible. This was the first time I was actually tasting one. It was very nice.
We all had nice conversations that lasted well into the night. It really has come full circle for us. Laurent was there at the beginning of our two week trip, and now there he was just at the end of it. It was nice. Laurent is one of the nicest people I’ve ever met, extremely helpful and kind. I am extraordinarily lucky to have met both Laurent and Serge, specially at this point in my life.
Laurent escorted us back to the nearest Metro and then we said our goodbyes. The following day we left before the sun was up. It was bittersweet. We had a terrific time in Paris. Personally, I loved it there. I wish I could have stayed longer. I dreamed of doing just graphic novels, living in some Paris apartment, having coffee and croissants in the morning and creating, as well as appreciating art all day long. But well, it was time to home, and time to go back to work.
It was an incredible two weeks, a short time in my life that seems like years in my memory.
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