Rocket Kapre – Fantastic Filipino Speculative Fiction

Flipreads, the ebook store of Flipside Digital, my co-publisher for the digital edition of Alternative Alamat, will be participating in Read an eBook Week (March 3-9) with a promotional sale of several books, including Alternative Alamat and the digital editions of the Philippine Speculative Fiction series. Full list below:

• The Viewless Dark by Eliza Victoria
• Woman in a Frame by Raissa Rivera-Falgui
• Voices in the Theater by A.S. Santos
• Home by Kat Santos
• Wandergirl by Tweet Sering
• White Wolf McLeod by David Wallis
• Writing 30 by Carljoe Javier
• Philippine Speculative Fiction Vol. 1 edited by Dean Francis Alfar
• Philippine Speculative Fiction Vol. 2 edited by Dean Francis Alfar
• Philippine Speculative Fiction Vol. 3 edited by Dean Francis Alfar & Nikki Alfar
• Philippine Speculative Fiction Vol. 4 edited by Dean Francis Alfar & Nikki Alfar
• Philippine Speculative Fiction Vol. 5 edited by Nikki Alfar & Vincent Michael Simbulan
• Philippine Speculative Fiction Vol. 6 edited by Nikki Alfar & Kate Aton Osias
• Philippine Speculative Fiction Vol. 7 edited by Alexander Osias & Kate Osias
• Alternative Alamat edited by Paolo Chikiamco
• Mabuhay! by Marcial P. Lichauco, Carlos L. Quirino
• The True and the Plain by Kerima Polotan
• The Rubáiyát of Omar Khayyám by Omar Khayyám
• The Essays: Or Counsels Civil and Moral by Francis Bacon
• The Collected Works of Edgar Allan Poe by Edgar Allan Poe
• Tales from Shakespeare by Charles and Mary Lamb
• The Devil’s Dictionary by Ambrose Bierce
• The Flowers of Evil by Charles Baudelaire
• The Sonnets by William Shakespeare

The Philippine Speculative Fiction series is the first and longest running Philippine published speculative fiction anthology, but while it has achieved critical success, the limited print runs have made the books, particularly the earlier volumes, difficult to find (volume 1 in particular has been sold out for-ever). This is especially true for anyone who doesn’t live in the Metro Manila area, and all the more for those who live outside the Philippines.

Fortunately, the publishers/editors of the series have reached an agreement with Flipside Digital Content to re-release the series in digital form. As of today, the first two volumes (both edited by Dean Francis Alfar) are available on Amazon.com and Flipreads, at very attractive prices:

• Philippine Speculative Fiction vol. 1 – US$0.99 on Amazon, PHP 80.00 on Flipreads (epub)
• Philippine Speculative Fiction vol. 2 - US$3.99 on Amazon, PHP 195.00 on Flipreads (epub)

If you’re missing these books from your PSF set, or if you’ve been waiting for the right time to try the series out, here’s the perfect opportunity. Complete table of contents for both volumes after the cut. If you want to read a sample story, I reprinted Yvette Tan’s “The Child Abandoned” from PSF2 in Usok #1. Read it here.

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Flipreads is running a promotion this week , in celebration of Read an eBook Week (which is this week, from March 4 to 10) and World Read Aloud Day(which is March 7, tomorrow). Flipreads has placed several digital titles on sale, and amongst these is our very own “Alternative Alamat” which is now being sold at the discounted price of PHP200 (down from the regular PHP235). A fine time to get your copy, if you haven’t purchased it already! Flipreads accepts payment via Globe Gcash, Smart Money, PesoPay, Paypal and Cashsense.

Flipside Digital Content, the Philippine company responsible for publishing books such as Carljoe Javier’s “Geek Tragedies” and–through their Flipside Komix imprint–komiks titles such as Kubori Kikiam, Tabi Po and The Long Weekend, will be holding a free Webinar on Ebook Publishing for those who want to learn more about the business (or, to be more specific, to learn more about how Flipside conducts its business, for those who may be interested in publishing with them) at 10:00 pm tomorrow, July 28. The speaker will be Anthony de Luna, Flipside CEO, and he’ll talk about the process of getting your manuscript ready for digital publishing, and an overview of Flipside’s operations. I’ve heard good things about Flipside from its authors, so prose writers and comics creators may want to hear what the company has to say. If so, be sure to register at the webinar site, or head there anyway to view the video overview of the webinar. Again, it’s free, and the lecture should only take thirty minutes, so it’s worth a shot.

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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The kindle edition of one of the best books available for writers of science fiction–or anyone at all interested in science–is on sale right now on Amazon.com: Michio Kaku’s “Physics of the Impossible: A Scientific Exploration into the World of Phasers, Force Fields, Teleportation, and Time Travel” for the criminally low price of USD1.99 (region dependent  assume). Even if you’re not one of the lucky folks to get a Kindle this Christmas, it’s worth downloading the Kindle for Desktop so you can read this. Mindblowing stuff from a scientist who is a true genre fan, and who is adept at making complex ideas comprehensible. I don’t know how long the book will be on sale, so best grab the opportunity now.

Via Bibliophile Stalker (specifically here), I’ve learned that Locus, the Magazine of Science Fiction and Fantasy, will now be available in digital editions beginning this year (and here’s more info). This is a great relief for those of us outside the United States–when I was trying to get a copy of the Locus issue with the reviews of Philippine Speculative Fiction IV and A Time for Dragons, a hard copy was the only option (and a difficult option). Locus is a quality magazine–the site gives you a good indication of what it offers–so if you’re interested in the SFF field, you might want to give those digital subscription options a good long look.

The first Future of the Book conference was held last week at the UP-Ayala Technohub in Quezon City (here’s a great overview of the conference at Coffeespoons), which brought together publishers, writers, teachers, readers – and yes, even lawyers – to discuss the changing aspects of publishing throughout the world, and in the Philippines in particular. I was there on the second day, to talk about how independent publishers can thrive in the digital age, and I managed to take videos of a few of the other speakers as well.

A few caveats though: First, the latter half of the footage of Charles Tan’s talk has atrocious video quality – my Vado is quirky that way apparently – but the audio is still good, so I uploaded it because it was a great talk, and you can at least still listen to it (or indulge in Max Headroom nostalgia by watching it).

The second caveat is that because of time constraints, a few of the speeches had to be rushed or cut short. After the videos, I’ll have the full text of my speech and links to a few others.

I’d like to congratulate the conference organizers for a successful conference, and I hope we can all work together to maximize the benefits of this new world of publishing for all interested parties. But I swear to God, the next time I hear someone say Filipinos don’t have a reading culture, I’m shoving a textbook up his ass…

And now, the videos!

First up is Charles Tan, (Bibliophile Stalker) prolific blogger and Philippine Spec Fic advocate, on the topic of the consumer experience in the age of ebooks.

More after the cut

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Every November, over a hundred thousand writers across the world participate in NaNoWriMo (National Novel Writing Month–although it’s very much an international affair now) and attempt to finish a novel in the span of one month. Many Filipino writers participate in NaNoWriMo as well, calling themselves PinoyWriMos, and this year, several participants have decided to self publish their novels in ebook form at this year’s Summer’s Komikon on April 17, 2010 at the UP Bahay ng Alumni, with the help of Talecraft. I spoke to four of the five young authors via email about their stories, and their decision to publish these stories on their own.

Tell me a little bit about yourselves, so our readers will know the context from which you approach your writing.

EK: Call me EK, ee-kay.  My real name can be easily found–I have published and may still publish with it–but since I am using a professional license now, I prefer to use the online handle for fiction-related matters.  My writing background is hard-knocks, coming from school newspapers, stage presentations, fan websites, fanfiction, and some original fiction.

Kuyerjudd: I started writing when I was eight years old, because the worlds I made (or the worlds that made me) were the very things that kept me going. In that sense you could say I’m a hippy writer. I keep my head in the clouds, and not a lot of people who write Western fiction get published in the Philippines, so I constantly end up querying agents from Australia and the US—with no luck as of yet. That being said, I keep my heart where it is … where it belongs: in the Philippines. Other than that, I’m sixteen, live with my parents, and I dream big. More? I write comedy, I don’t use the QWERTY, and I’ll soon rule the world. With brownies. Lots and lots of brownies.

Raven:  Actually, what led me to write Crimson Skies were the questions that I used to ask older people as a child (even a priest and a nun): ”Why do we have to die? When is the end of the world? Where is God? How sure are you it‘s not the devil talking to you?” The characters (in the story) ask these same questions themselves.

Pauline: I’m a Psychology major with too much imagination, not to mention an inborn fascination with the occult and the paranormal, yet one lacking the perseverance to slave through blocks of texts that end with a question mark. Much of what I write are products of my imagination, since I like creating facts from theories and theories from facts.

Most of these stories started as your respective NaNoWriMo projects. How many NaNos have you participated in? Do you think the challenge is helpful to new writers (in whole or in part)?

EK: This is my second year as a Nanowrimo participant, and this is my first complete story using this method.  My opinion is that Nanowrimo is helpful to new writers, giving them a solid goal and solid objectives.  The website makes a community of similar-minded individuals come together, which makes you feel less lonely as a writer.

Kuyerjudd: This was my first time doing NaNo, but not my first to write a novel. I guess I could say, yes, NaNo is helpful when you’re a budding writer. It helps you develop your voice, discover who you are as a writer, and, most importantly, teaches you how to deal with a deadline. And that way, the writing becomes less cold, as you go by your gut and an “anything goes” attitude. You become in tune with the eight-year old aspiring novelist that you were…

Raven: This was my first time to join the Nanowrimo and this is the first novel unleashed from my head. One of the challenges faced by a newbie is realizing that writing a novel isn’t something you can just play around with. It’s a rollercoaster ride because there are so many things you can do, but you have such a short span of time to do them, thus adding pressure. Since this was my first novel, figuring out of how to do things and put them together, while at the same time trying not to copy another author’s style even by accident, was crucial. There are many things to learn still, and just because you‘re able to finish a novel doesn’t mean it’s done.

Pauline: I’ve participated in NaNo since 2007–though my first year barely counts since I joined on the second to the last day. The challenge of NaNo was quite helpful, especially when I was just a greenhorn, since it introduced me to the real concept of the Deadline. Perseverance and stubbornness are also traits that I picked up through the experience, and I always get to hone my knack of writing-without-an-outline each year thanks to NaNo.

What made you decide to take your stories straight to the market, without the intermediary of a third party publisher?

EK: Speaking at least for myself, there is no local market that I could see yet for my kind of writing, which is in between children’s books and the adult fiction. This is not to say there are no readers; the local success of international YA titles show that there is a readership. Rather, there are no publishers yet seriously considering the kind of writing that some of us make.

Kuyerjudd: Hey, any opportunity to showcase your work is an opportunity worth taking. I find publishing in the traditional sense difficult–and yet I still query agents and publishers… Sometimes you have to show the world you want it before it gives in to your wishes. Plus, this is a great opportunity for a fledgling writer like myself to show the world what I’m made of.

Raven: I consider this a “suicide mission.” Sure anyone can write a story; but not everyone has the guts to put it up for people to read. Some writers do, but staying on the front lines is a gut wrencher, especially without a third-party publisher to guide you. Going straight to the market is the ultimate test of how far one can personally go for this.

Pauline: I prefer seeing things to the end. I see all of my creations as my babies, so taking them straight to the market is like watching them march down the aisle during graduation. I mean, what kind of parent would rather ask someone else watch his kid graduate?

Have you encountered any of the stigma that allegedly colors perception of self-published books?

EK: This experience of preparing for Komikon taught me that paid editors and the traditional system [of publishing] are around for very good reasons. They provide objective eyes for a story, and harness the business knowledge to market it.  But if Komikon is anything to go by, a lot of independent works deserve a chance to be noticed, a chance they will not get via the traditional system.

Kuyerjudd: I’ve often thought about self-publishing and what its pros and cons were, but right now”it sort of branches out as to what form you distribute your work in—you could do e-books or PoD. PoD is okay, but I’d rather go with e-books, as it’s less costly for three parties—the author, the reader, and nature.

Raven: When people hear the term “self published book”, some will be amazed that we have the guts to do it, while others will think that no self righteous publisher would take the stories so we’re doing it ourselves. Having a self published book is a challenge for us: we call the shots, true, but how long can we hold on to that?

Pauline: From a writer’s perspective, I do. Thoughts like: ‘Will people even pick this book?’ and ‘Am I even making any sense?’ plague me–I don’t know if those count as real stigmas, but I definitely feel anxious.

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The latest online spec fic anthology from Estranghero Press has now gone live. Go check it out! From the site:

These are the Filipino horrors: the garden-variety demons from hell with plastic forks and spongy tails, the ones in your head that come out to play at midnight, the spirits that make up most of your lives like a Frankenstein monster. We’re letting out all of these things that haunt our days in 2010.

“Demons of the New Year: Horror from the Philippines, edited by Joseph Nacino & Karl de Mesa” is published electronically to make this collection of stories available to a wider international audience. Through this anthology we will be able to show the world that the Filipino writer can create horrors that can scare with the best of them.