Alternative Alamat Interview: David Hontiveros

Posted by Paolo Chikiamco On July - 17 - 2014

For the digital release of Alternative Alamat, I ran interviews with several of the contributing authors, asking them about writing in general and their stories in particular. I wasn’t able to interview everyone, however, so for the print launch this coming Saturday [EDIT: LAUNCH HAS BEEN POSTPONED TO JULY 25, FRIDAY, 4PM, SAME VENUE] I went back to the contributors I wasn’t able to interview last time.

DAVID HONTIVEROS

David Hontiveros, author of “Balat, Buwan, Ngalan”, was a 1997 National Book Award Finalist in the Best Comic Book category for “Dhampyr” (drawn by Oliver Pulumbarit), and a 2002 Palanca Award Winner (2nd Place in the Future Fiction- English Category) for his short story, “Kaming Mga Seroks.” He has three horror/dark fantasy novellas out under the Penumbra imprint, published by Visprint, as well as a digital novel, “Pelicula”, from Bronze Age Media. His on-going comic book series, “Bathala: Apokalypsis”, is also available digitally from Flipside. He has had his short fiction, film reviews, articles, and comics appear in several Philippine publications. He has adapted Bret Harte (no, not the wrestler) and Edgar Allan Poe (twice!) into comic book form for Graphic Classics. He may be observed online at fiveleggediguana.blogspot.com (where he blathers on about film) and davidhontiveros.com (where assorted bits of his work are housed). He would like to humbly dedicate the story to his four current grandspawn, in chronological order: Gray, Mischa, Chloe, and Sophia, who will keep the flames of his family history burning on, down through the years.

While the Philippines is home to distinct cultural groups, a certain amount of cultural cross-pollination did take place. The results are myths which are variations of the same themes, and characters which appear in more than one culture, or who bear the same name but with an altered form. But, as David says of his story in Alternative Alamat: there is power in words and there is truth in myth. If these characters did exist…which version would be true? Would it matter?

Without spoiling anything essential, could you tell me a bit about your story?

“Balat, Buwan, Ngalan” is about Bakunawa, the creature that’s blamed by legend for eclipses, this massive beast who repeatedly attempts to swallow the moon, but is never quite successful.

One of the things I tried to do in the story was to provide motivation for Bakunawa, to add an emotional dimension to the legend, to cast the myth in the light of an unrequited love, which is something I think we can all identify and sympathize with.

The story’s about other things as well: the importance of legacies and heritage, and of stories and narrative, particularly the oral tradition.

The structure you used for the story was very striking. What led you to the decision to construct the story in this way?

While I wanted to tell a version of the Bakunawa myth, I also wanted the reading experience to be one of discovery, in much the same way it’s a journey of revelation for the unnamed protagonist.

So the order of the three stories is decidedly non-linear, in the same manner in which we discover things in real life, not in a straight line but in a patchwork way.

We’re told little stories here and there, not necessarily in any particular linear order, and these stories, over time, can eventually be fit together to form a larger narrative.

As I mentioned earlier, among other things, “Balat, Buwan, Ngalan” is about stories and narrative. It’s about the importance of storytelling, and what we can glean from all the tales that we’re told. It’s about the interaction between the storyteller and the audience.

Which is also one of the reasons why I chose second person narrative, since it literally places the reader in the position of the protagonist, who is the audience to the karibang’s storyteller.

Thus, the identification becomes more solid: the reader is “listening” to the stories, just as the protagonist is.

And while first person narrative could also achieve similar results, I feel it would also make the protagonist’s journey a little more specific and particular, whereas second person makes reader identification a little easier.

And I wanted that universality, which is why, even within the story, I make no explicit mention of the protagonist’s gender. You, as the reader, could be male or female, and still slide smoothly into the protagonist’s skin, for the duration of the story.

I also wanted a wide berth between the narrative styles of the sections concerning the protagonist and the three stories.

While the three legends have a very distinct “voice” patterned on the oral storytelling tradition, the sections of the story featuring the nameless protagonist have a very modern, contemporary “voice,” steeped in pop culture and 21st century trappings.

To me, that helped underscore what I’ve learned from distinguished voices like Joseph Campbell and Rollo May: that ancient myths can help us navigate the “modern” problems we face on a daily basis.

That these aren’t just some musty old stories that have no bearing on today’s world of Twitter and Facebook and Instagram.

That these tales are just as relevant today as they were back then, when they were first being told around campfires, and by traveling minstrels and bards, and in smoky, raucous mead halls.

So it was a matter of presenting these old legends in the context of a very modern world and having those legends reveal something to the protagonist that he (or she) couldn’t have discovered otherwise.

What part of the story–or the writing process–was the most fun for you?

I think that would have to be a toss-up between,

A) the period when I’m formulating the story, doing the research and gathering together all the separate strands that make up the narrative, since, at that point, the story itself is still all potential, it’s as grand and as sweeping as my imagination allows; at that point, it’s still the best story I’m ever going to write; and

B) those points in the writing process proper when I’m firing on all cylinders, and the words and the language just all come together with surprising ease, and I’m laying down sentences and paragraphs just as I imagined them in my head, or, on those rarer occasions, when what comes out onto paper is even better than what I’d imagined.

(And this would be the same answer for any other writing I do, not just for this particular story.)

What part of the story–or the writing process–was the most difficult for you?

In relation to the previous question, I suppose the most difficult (or perhaps “frustrating” would be a better term) would be when, for whatever reason, I just can’t seem to make the writing as good as how I imagined it in my head, as if my abilities can’t seem to capture in reality the rhythms of the prose that sound so amazing and fantastic in my imagination.

How were you first exposed to Philippine mythology?

There isn’t a clear, momentous memory of my introduction to Philippine myth, though I imagine it must have been through folklore and the lower myths, stories of aswang and manananggal and kapre.

My siblings had stories of our family’s ancestral home (a place I have never been able to visit, as, by the time I was born, my family had ceased visiting the house for vacations), which included tales of a woman who might have been an aswang and a large man who might have been a kapre.

Hearing these as a young boy only served to enhance the feeling I had that the world was a very curious and strange place…

I’ve also always been a huge mythology geek, ever since grade school, and though I was first inducted into the Greek myths, and by extension, the Roman, as well as Egyptian, I eventually wended my way all around the globe and then began to unearth our own local myths and legends.

Is there any myth, epic or legend that you wish would be adapted into a novel, or comic, or movie?

Who is your favorite character from Philippine mythology, and why?

At this point, I’m going to have to cheat and reply to both these questions with one answer.

Now, I may be a self-confessed mythology geek, but that’s a very far cry from an expert; I imagine experts are the mega-hyper-geeks of their field of expertise. Like Joseph Campbell or Rollo May or Father Francisco Demetrio.

And, since I’m not an expert on local myths, I’m certain I don’t know even a quarter of all the Filipino myths out there, so it’s difficult to actually peg down a “favorite,” one that perhaps I’d like to see as an adaptation.

The closest I can come to having a “favorite,” I suppose, would be either of the two myths I’ve done more than just passing, casual research on, one being Bakunawa, and the other, Agyu, whose legend I’m currently approaching through the filter of the superhero genre in The ‘Verse comics I’m keeping myself busy with.

The crux of AGYU, the comic, is definitely “shaman as superhero,” and though earlier, ultimately aborted efforts to get AGYU on the comic page hewed closer to the legend (currently, the approach I’m taking is perhaps a bit more oblique than previous iterations), I’m having a lot of fun with the idea right now, along with my AGYU collaborator, Vinnie Pacleb.

As to the “Why?”

With Agyu, I think it’s probably the whole sprawling epic, proto-superhero feel to his legend: bravery, heroism, evil bad guy, struggle, death, rescue, resurrection… it’s all in there, just without the spandex.

With Bakunawa, I guess it’s that fascinating idea of how the human mind, without the rigidity of science, can make artistic associations and take creative leaps in order to explain massive phenomena like eclipses.

It isn’t the planets and satellites and stellar hoohah aligning and blocking each other in our view; it’s a gigantic serpent/dragon (or spider or lion or dog or jaguar or toad or wolf) that’s actually swallowing the moon (or sun).

And we, puny mortals, actually have the power to scare the hungry beast away by making noise…

The thought that we can have that kind of cosmic agency in our world is so awesome…

Alternative Alamat (Expanded Print Edition)

Posted by Paolo Chikiamco On July - 15 - 2014

FAQ: ALTERNATIVE ALAMAT, THE EXPANDED PRINT EDITION

Hello there! I’m Paolo Chikiamco, editor of Alternative Alamat, and thank you so much for showing interest in the new, expanded, print edition! I’m here to give you some basic information about the book in a more informal manner, since that’s how I roll (and apparently, you as well!) but if you found your way here by mistake and want the more formal press release, I’m working on that. But for now…

What is Alternative Alamat?

Short version: It’s an anthology of short stories that re-imagine Philippine myths and legends, written in English by Filipino authors.

Long version: Philippine mythology is full of images that ignite the imagination: gods of calamity and baldness, of cosmic time and lost things; the many-layered Skyworld, and weapons that fight their own battles; a ship that is pulled to paradise by a chain, and a giant crab that controls the tides… yet too few of these tales are known and read today.

Alternative Alamat gathers thirteen stories by contemporary authors of Philippine fantasy, which make innovative use of elements of Philippine mythology. None of these stories are straight re-tellings of the old tales: they build on those stories, or question underlying assumptions; use ancient names as catalysts, or play within the spaces where the myths are silent. What you will find common in these thirteen stories is a love for the myths, epics, and legends which reflect us, contain us, call to us–and it is our hope that, in reading our stories, you may catch a glimpse, and develop a hunger, for those venerable tales.

“Alternative Alamat” also features interior illustrations by Mervin Malonzo (“Tabi Po”), a short list of notable Philippine deities, and in-depth interviews with Professors Herminia Meñez Coben and Fernando N. Zialcita.

What is the Expanded Print Edition?

Alternative Alamat was originally a digital-only anthology with eleven stories. This is the first print edition of Alternative Alamat, and we’ve taken advantage of this opportunity to add some new content that keeps with the theme of re-imagined mythology.

What is the additional material?

This print edition adds two more stories,  a short comic from Andrew Drilon, and a new story from Eliza Victoria, set in the same universe as “Ana’s Little Pawnshop on Makiling St.” I’ve also done a minor update to the Appendix on researching Philippine mythology.

Where is it available?

It’ll be available at the launch on July 19,   Saturday [EDIT: LAUNCH HAS BEEN POSTPONED TO JULY 25, FRIDAY, 4PM, SAME VENUE] , as part of a four-title launch that takes place  at Powerbooks, Greenbelt. It will be available at bookstores nationwide soon after, but we don’t have exact dates yet.

How much does it cost?

250 pesos.

What are the non-fiction sections?

I have five appendixes at the end of the book, meant to provide greater context for the stories, and aid those who want to study Philippine mythology.

Appendix A: A Few Notable Philippine Deities

Appendix B: Interview with Professor Herminia Meñez Coben

Appendix C: Interview with Professor Fernando N. Zialcita

Appendix D: On Researching Philippine Mythology

Appendix E: Glossary of Selected Terms

Is it illustrated?

Yes, each of the original eleven stories is preceded by an illustration of a Philippine deity by Mervin Malonzo (“Tabi Po”). Aside from Andrew Drilon’s comic, there is no new artwork in the print edition, although a greyscale version of Mervin Malonzo’s cover for the digital edition is included.

Is the anthology suitable for young children?

In general, no, as there are several stories which tackle difficult/mature material.

Any there specific trigger warnings?

Sexual abuse; violence against women and children.

I’d like to review this book!

Great! Look forward to hearing from you.

Um, could I get a copy to review?

Drop me a line at rocketkapre[at]gmail with a link to your site/blog or name of your publication and I’ll try to set you up with a digital copy (of the print edition).

Should I buy the book?

I certainly think so! But then, I may be biased, so take a look below at what some people had to say about the original edition:

 

Flipside Interviews David Hontiveros

Posted by Paolo Chikiamco On March - 27 - 2012

Flipside Digital has an interview with David Hontiveros, one of our fine contributors for “Alternative Alamat“, highlighting his komiks work, particularly on “Bathala: Apokalypsis”. Here’s an excerpt:

For those unfamiliar with your work, could you tell us more about Bathala: Apokalypsis?

The comic stems from a pitch Gerry Alanguilan threw at me during a phone conversation about a decade and a half ago: “What if Superman had to deal with the Apocalypse?”

Gerry asked if I was willing to write the story behind that idea and I was only too glad, so I wrote the 7-issue story, but ultimately, it went into lengthy stasis when Gerry proved unable to handle the art chores. But the comic was revived when Ace Enriquez said he’d be willing to take on the 200+ page project, and here we are.

Bathala: Apokalypsis is basically that pitch told over 7 issues, with Bathala, a Filipino superhero in the mold of the Superman archetype, being the only superpowered individual in the world, having to face the catastrophic effects of an unfolding End of Days.

You can read the rest of the interview here.

Release Day: Alternative Alamat Now Available

Posted by Paolo Chikiamco On December - 14 - 2011

Cover for "Alternative Alamat" by Mervin Malonzo

The day has come!

Alternative Alamat“, our digital anthology of stories inspired by Philippine mythology, is now available for US$4.99 at the following fine establishments:

  • Amazon.com – US$4.99 (note there’s an extra US$2.00 charge for certain non-US territories/accounts, including, unfortunately, the Philippines)
  • Flipreads.com (epub file) – PHP235.00
  • [iTunes and Barnes & Noble/Nook editions to follow]

I hope that by now you’re all excited to get your hands on the book (or, rather, the hardware holding the file), and if so, thank you and what are you waiting for? If you’re still on the fence even after the preview of our contributor and story introductions, and our author interviews (Raissa, Mo, Eliza), then read on (or download the press release here)!

As a celebration of today’s launch, I’d like to give you a glimpse of some of the non-fiction segments of the book, as well as the wonderful artwork of Mervin Malonzo, creator of “Tabi Po“. You’ve already seen the beautiful cover Mervin made for us, but you may not have realized he’s also doing internal artwork as well. Each book is graced with eleven original illustrations by Mervin, where he gives his spin on eleven of the most interesting gods and goddesses of Philippine mythology. I don’t want to give too much away, so here’s a montage-teaser using elements from all eleven pieces:

After the cut: one full sample of Mervin’s interior artwork, the full text of the book’s introduction, and excerpts from my interviews with Professor Herminia Meñez Coben and Fernando N. Zialcita.

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Alternative Alamat: Cover, Release Date, Story Introductions

Posted by Paolo Chikiamco On December - 1 - 2011

Cover for "Alternative Alamat" by Mervin Malonzo

 

EDIT: Alternative Alamat is out now on Amazon and Flipreads!

On December 14, 2011, “Alternative Alamat“–our anthology of stories inspired by Philippine mythology–will be released on Amazon.com, Flipreads.com, and the iTunes store. This anthology has been more than a year in the making, and it is near and dear to my heart, so any help spreading the word would be greatly appreciated. I’m excited, not the least of which because of the excellent cover art provided by Mervin Malonzo (creator of “Tabi Po“, who also provides the interior illustrations), and because I believe we’re attempting something that hasn’t been done before, in the context of Philippine mythology.

Philippine mythology is full of images that ignite the imagination: gods of calamity and baldness, of cosmic time and lost things; the many-layered Skyworld, and weapons that fight their own battles; a ship that is pulled to paradise by a chain, and a giant crab that controls the tides… yet too few of these tales are known and read today. “Alternative Alamat” gathers stories, by contemporary authors of Philippine fantasy, which make innovative use of elements of Philippine mythology. None of these stories are straight re-tellings of the old tales: they build on those stories, or question underlying assumptions; use ancient names as catalysts, or play within the spaces where the myths are silent. What you will find in common in these eleven stories is a love for the myths, epics, and legends which reflect us, contain us, call to us–and it is our hope that, in reading our stories, you may catch a glimpse, and develop a hunger, for those venerable tales.

“Alternative Alamat” also features a cover and interior illustrations by Mervin Malonzo, a short list of notable Philippine deities, and in-depth interviews with Professors Herminia Meñez Coben and Fernando N. Zialcita.

If you are a book blogger or book reviewer and would like to review/feature Alternative Alamat, please do contact me at rocketkapre[at]g mail. To give you a sneak peek of what to expect from the anthology, after the cut I’ve included the introductions for each of the eleven stories, which also serve as the bios for each of the contributors.

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Alternative Alamat

Posted by Paolo Chikiamco On December - 1 - 2011

Philippine mythology is full of images that ignite the imagination: gods of calamity and baldness, of cosmic time and lost things; the many-layered Skyworld, and weapons that fight their own battles; a ship that is pulled to paradise by a chain, and a giant crab that controls the tides… yet too few of these tales are known and read today. “Alternative Alamat” gathers stories, by contemporary authors of Philippine fantasy, which make innovative use of elements of Philippine mythology. None of these stories are straight re-tellings of the old tales: they build on those stories, or question underlying assumptions; use ancient names as catalysts, or play within the spaces where the myths are silent. What you will find in common in these eleven stories is a love for the myths, epics, and legends which reflect us, contain us, call to us–and it is our hope that, in reading our stories, you may catch a glimpse, and develop a hunger, for those venerable tales.

“Alternative Alamat” also features a cover and interior illustrations by Mervin Malonzo, a short list of notable Philippine deities, and in-depth interviews with Professors Herminia Meñez Coben and Fernando N. Zialcita.

[Page still under construction - some details/links to be added later.]

Call for Artists: David Hontiveros Project

Posted by Paolo Chikiamco On November - 7 - 2011

David Hontiveros has won a Palanca award and been nominated for a National Book Award His work spans both prose (his Penumbra novellas) and comics (Bathala: Apokalypsis), and he’s looking for an artist to collaborate with on a new project. If you’re interested, or know someone who might be, check here for further information.

Alternative Alamat: Table of Contents

Posted by Paolo Chikiamco On October - 13 - 2011

It gives me great pleasure to finally be able to announce the table of contents of our first commercial anthology “Alternative Alamat: Stories Inspired by Philippine Mythology”. It’s been a long road, but I’ve enjoyed every step of the way. The book will be digital-only for now, and will be published in cooperation with Flipside Digital before the end of the year. I’ll be releasing more information about the anthology in the coming weeks.

“Ana’s Little Pawnshop on Makiling St.” by Eliza Victoria

“Harinuo’s Love Song” by Rochita Loenen-Ruiz

“The Last Full Show” by Budjette Tan

“The Alipin’s Tale” by Raymond G. Falgui

“Keeper of My Sky” by Timothy James Dimacali

“Conquering Makiling” by Mo Francisco

“The Sorceress Queen” by Raissa Rivera Falgui

“Beneath The Acacia” by Celestine Trinidad

“Offerings to Aman Sinaya” by Andrei Tupaz

“Balat, Buwan, Ngalan” by David Hontiveros

“A Door Opens:  The Beginning of the Fall of the Ispancialo-in-Hinirang” by Dean Alfar

Appendix A: A Few Notable Philippine Deities

Appendix B: Interview with Professor Herminia Meñez Coben

Appendix C: Interview with Professor Fernando N. Zialcita

Appendix D: On Researching Philippine Mythology

Cover and interior artwork by Mervin Malonzo

Big Dreams and Awesome Costumes: An Interview with David Hontiveros

Posted by Paolo Chikiamco On May - 18 - 2011

David Hontiveros is one of the most prolific writers of speculative fiction in the country today. He’s won a Palanca award and been nominated for a National Book Award, and his work spans both prose (his Penumbra novellas) and comics (Bathala: Apokalypsis). Hontiveros recently re-released his online novel Pelicula as an ebook for the Amazon Kindle and Smashwords.  I thought it might be a good time to talk to Dave about the novel, superheroes, fantaseryes, and the state of publishing in the country. Here’s what he had to say:

[Art by Kajo Baldisimo]

Tell us a little bit about Pelicula. Do you think it will appeal to fans of science fiction and fantasy, particularly the superhero subgenre?

Pelicula’s about a young up-and-coming actor, Luis Conrado, as he navigates the tricky and turbulent waters of the Philippine showbiz industry, something that’s already difficult under normal real life circumstances.

In the novel, I’ve populated the industry with supernatural creatures from local folklore, who are the movers and shakers of the scene, multiplying the difficulties exponentially as a result.

Luis also happens to be the star of the highly-rated and uberpopular fantaserye, Habagat, on which he plays the title role, the super-bayani of the Philippines, Habagat.

Given that’s there a lot of superhero stuff in the novel– with some of my thoughts regarding superheroes, and what they mean to us as individuals and as a society, and the potentials of their physicality in the real world, informing the narrative– I sincerely hope that Pelicula appeals to that section of the audience into SF/fantasy and superheroes, of which I’m a proud member of, if that isn’t too obvious yet.

Of course, one always hopes for a broader section of readership, so hopefully other sections are pulled in by the romance angle, as Luis falls in love with a mannikin, an actress created by occult means to be the ultimate movie star. (So, aside from my thoughts about superheroes, some of the thoughts and impressions of a lifelong film geek about the film industry also serve to inform Pelicula.)

[Art by Ian Sta. Maria]

You mentioned in your author’s note a love for “live-action superheroics”. Most people would have just said “superheroes.” What is it about the live-action adaptations that interest you?

That goes way back to my grade school days, when, while reading superhero comics, I’d be constantly fascinated by the idea of these heroes stepping out of the panels and into the real, physical world. Things like how would they carry themselves, what would their body language be, what would their costumes look like, how would they sound, kept me preoccupied long past the reading of the comic itself.

It was fascinating to see the ‘50’s TV Superman, and the ‘60’s TV Batman and Green Hornet, and even back then, somewhere at the back of my young head, I was beginning to understand that tone was something that affected the entire package, and that you could have wildly different interpretations of the same character and that was fine (certainly, Adam West was not the 1970’s comic Batman, and George Reeves seemed more interested in tackling gangsters and hoods than interstellar menaces like Brainiac). Perhaps more tellingly, I was also being taught, quite subconsciously during those early years, that budget also dictated how a superhero’s live-action adventures were approached and executed.

Then Richard Donner’s Superman detonated across my young geek psyche, and that was it. If I wasn’t a lifelong fan of the stuff yet, I certainly was when I stepped out of the theater. It was the greatest superhero ever to grace a comic book panel, in real life. Yes, a man could indeed fly!

From that point on, it’s been a constant search for all sorts and manner of live-action superheroics, from the low budget ‘80’s Marvel productions like Captain America (with J.D. Salinger’s son as Cap!) to the glorious cheese of the ‘70’s Superman rip-off, Supersonic Man (still a personal favorite) to the fantastic wire fu/men in rubber monster suits extravaganza of Guyver: Dark Hero, with David Hayter, voice of Solid Snake and Captain America, and screenwriter of X-Men and Watchmen playing Guyver when he’s out of the bio-armor (the mind boggles at the audacious level of that geek cred).

The Betamax era brought treasures like the Kirk Alyn Superman serials my way, while today’s internet offers all the episodes of the zany Japanese Spider-Man TV show on marvel.com (who can resist Amazoness with her pink hooker wig?).

There’s the fantastic world of the superhero fan film out there, and the amazing costume work being done on the cosplay scene.

Then there’s the maddening variety of live-action superheroics in non-English tongues: everything from Indonesia’s Panji Manusia Milenium and Superboy on TV, all the way to the big screen, where we find curious gems like Thailand’s Mercury Man and India’s Krrish, the latter complete with Bollywood-style song-and-dance numbers!

Not to mention the martial arts badassery courtesy of first, Jet Li, then Andy On in Tsui Hark’s Black Mask movies, or the killer moves brought to us by Marko Zaror in Chile’s Mirageman.

Plus the insane tokusatsu sugar rush of Ultraman or Kamen Rider. (And yes, at this juncture we can safely toss our own Captain Barbell and Darna and Zsa-Zsa Zaturnnah into the mix.)

Now, despite what it may sound like, it’s not just about the kickass action, or the amusement and laughs one can find in some of these titles (and there are those, believe me), but it’s about that universal feeling of hope inherent in the idea of a hero who can make things right by doing what he does best: getting into the spandex and kicking some baddie ass.

There’s something reassuring about that thought, that no matter where we are on the globe, no matter the geographic distance and the cultural differences, there is always that shared belief in the power of the hero to make things right. That’s what I try to find in any title I happen to come across, and it’s there, even if it’s in some tiny moment or throw-away line or some badly-written, awkwardly-acted, and terribly-shot scene, it’s there, and it’s honestly a really nice thing to see.

These days, when part of the definition of “Hollywood summer blockbuster” seems to be the word “superhero,” I’m like a deliriously happy pig at an overflowing trough. Now, it’s become about finding the off-kilter, the atypical, the ones that say more and delve deeper into (or even subvert) the material; the Hancock as opposed to the Iron Man 2, the Defendor as opposed to the Daredevil. (And looking back at that, I realize that I’ve singled out two titles that are actually original pieces, as opposed to comic book adaptations.)

But still, typical narrative or otherwise, original or adapted, it’s about that idea of how a superhero can impact on the real, physical world, and taking that thought all the way to its possible real world end point, how can I emulate the best about a superhero even if I’m not actually one at all?

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Philippine Horror Panel: Coronel, Hontiveros, Tan

Posted by Paolo Chikiamco On August - 19 - 2010

Here’s the Horror Panel (featuring Budjette Tan (Trese), David Hontiveros (Penumbra novellas, Pelicula), Bart (G. M.) Coronel (Tragic Theater)) from the “Literature From Shakespeare to Bob Ong: Bridging the Divide Between the Popular And the Canonical” conference, held at the UST on August 18, 2010. (The Q and A will be uploaded in another post)

The first question, which I didn’t capture on video, is “What are you most afraid of?”

Part 2 and 3 under the cut.

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Rocket Kapre is an imprint of Eight Ray Sun Publishing Inc. (a new Philippine-based publisher), dedicated to bringing the very best of Philippine Speculative Fiction in English to a worldwide audience by means of digital distribution. More info can be found at our About section at the top of the page.

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