Rocket Kapre – Fantastic Filipino Speculative Fiction

In this breakthrough graphic novel from the award-winning author of Mercury, there’s a new superhero in town—and she’s got kick-butt cyberpowers.

Meet Lin, a formerly average teenage girl whose cell phone zaps her with magical powers. But just as superpowers can travel through the ether, so can evil. As Lin starts to get a handle on her new abilities (while still observing her curfew!), she realizes she has to go head-to-head with a nefarious villain who spreads his influence through binary code. And as if that weren’t enough, a teen blogger has dubbed her an “anonymous coward!” Can Lin detect the cyber-criminal’s vulnerability, save the day, and restore her reputation?

With ingenious scripting from graphic novel phenom Hope Larson and striking art from manga illustrator Tintin Pantoja, this action-packed story brims with magical realism and girl-power goodness.

The workshop is only on a dry run right now. I hope to offer it to students during the school year on a weekly weekend basis. I just went online looking for comic schools and didn’t find any, so I thought it might be a good niche to fill, if people were  interested in learning to make comics I don’t know if Elbert Or’s workshop is still ongoing? It might be nice to trade notes with him, if he is. Anyway, a couple of my Indonesian friends put up comic/manga schools in Jakarta and I thought it might be a fun thing to do here. If anyone’s interested in the comic workshop, it’s a two-hour eight/nine-session program in which we make a short comic from script to final coloring/ tones. Email me at tintinp@gmail.com! The first MWF summer sessions starts April 12!

I have no idea. the future’s kinda wide open at this point. I don’t really have plans or ongoing projects.

The interview came out weeks ago when I didn’t have time to post about it, but I’d be remiss if I didn’t point you all to an interview with Charles Tan over at the Read in a Single Sitting blog. In the interview, Charles talks about why he put together Lauriat, his anthology of Filipino-Chinese Speculative Fiction (which contains my story, “The Captain’s Nephew”.) Give the interview — and the anthology — a read, if you haven’t already.

Trese 5 will be available nationwide very soon, so as has become something of a tradition for each launch, I shot a few questions out to Trese scribe Budjette Tan. I wanted to make the interview accessible to those who haven’t yet read the book, but also wanted to ask him about specific things from Book 5, so I’ve divided the interview into spoiler-free and spoiler-filled sections. I warn everyone when we hit spoiler territory, so those who go beyond the red line, do so at your own risk!

Thanks once again to Budjette for making the time.

SPOILER-FREE PORTION

The Trese 5 release seems to have taken quite a few people by surprise — was it a conscious choice not to promote the launch heavily until you were sure you’d make the Komikon?

HAHAHA! Yeah, I guess I didn’t want to jinx it. We turned over the cover to Visprint sometime early October and we were emailing pages to be proofread every time we finished a batch of them. So, we turned over the final pages to Visprint five days before the Komikon! HAHAHA! I don’t know what kind of magic spell Nida, our publisher, had to weave to make everything ready by Komikon but we are extremely happy and thankful that Visprint pulled it off. Even though I’m used to getting stuff done just minutes before the deadline, it’s always scary. I’ve already drafted the “ideal schedule” for Book 6. Let’s see if we can keep to the sched. HAHAHA!

With Trese 4 launched almost in October 2011, and Trese 5 being launched at the October Komikon, are you aiming for a new volume every October?

Yup! That’s the plan! If me and Kajo keep to our scheds and don’t get distracted by other projects then it’s possible for us to release a book once a year.

While you ventured back into the realm of episodic stories with Trese 4, this volume seems more similar to Trese 3 in that it is basically one story — only instead of being about resolving plot threads (as in Trese 3), here you’ve laid the ground work for the future. Is this book is the start of another three volume arc?

Like I mentioned in the Afterword, this story was only supposed to be a 20-page single-shot issue. But if I followed that outline, I guess I might have just ended up copying the structure of [Redacted - sharp eyed readers may spot a clue to a revelation from Trese 5 if we told you the title of the case Budj mentions here - Ed. Note].

But when those ideas from Kajo and that idea from Yvette Tan’s story came into play, the story just ran away and became a full graphic novel.

Is this laying the ground work for another thee volume arc? I don’t know. I just make this up as I go along. HEHEHE

Has the popularity of the Kambal surprised you? They display their personalities more here than in previous volumes, and I was wondering if this was you giving the readers more of what they want.

Yup, considering how they didn’t have much speaking lines in the first two books, I’m surprised at much of a following they’ve generated. Also surprising how much Happy/Long-Haired/Basilio seems to have a bigger fanbase compared to Gloomy and even Trese herself.

I do keep in mind what readers say and post. If it’s an idea worth exploring then I try to toss it into the mix.

And this was one of those moments when the Kambal just took over and the lines just came out.

Book 5 was generally written “Marvel style”. Since we were rushing this for the Komikon, I was sending Kajo scripts which just had general descriptions of the action. So, when I finally got the pages, I had to figure out what they were saying and the Kambal just filled in the lines themselves, looking at how Kajo drew their expression or their actions, it was just easy and fun to fill in their dialogue.

With each volume, Trese’s abilities increase — or at least she shows more of them. Do you ever worry about her becoming too powerful, too competent?

Nice observation. Will keep that in mind. Thanks, Paolo!

I remember someone else making that comment based on the first three books (maybe you were the one that made the comment) that Trese is always in control of the situation and never seems to falter. So, I tried to show that she’s not always perfect in Book 4; tried to make her sweat a bit before she gets to solve the mystery. (hehehe)

But she did learn a lot while she was in the Great Balete Tree. So, I guess she’s just showing us more of the stuff she already knows. Which only means, I’ll need to give her bigger, badder challenges.

You’ve always created characters which seem to have real life analogues — as with a certain famed boxer in the last volume — and this volume ratchets that up a notch. When do you decide to create a brand new character, and when do you pull more liberally from real life personas?

I’ve never really thought about that. I guess if the story calls for it, then I’ll make a new one or base them from some real life person.

If I’m paying tribute to a character or a creation, then I’ll toss in some Easter eggs from that characters history, as a way of paying tribute to him / her.

When I originally started TRESE, it was heavily influenced by Warren Ellis’ Planetary. So, I do plan / hope to explore more of Pinoy pop culture. The funny thing about Pinoy pop culture is that we tend to blur the lines between fiction and reality. I still remember the story (supposed a true story) of how an FPJ movie was shown in Mindanao. At the end of the movie, FPJ’s character died. The audience, all of them were big fans of FPJ, got so angry that FPJ’s character got killed, pulled out their guns and shot the movie screen, taking aim at the bad guy that killed FPJ.

So, if I were to make an FPJ analog, then his story might become a mix and mash up his history as an actor, movie director, Panday, and his attempt at a political career – all because that’s how we Pinoys see him.

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A month or two back, a pair of Ateneo students asked if they could interview me for Katipunan, the online magazine of the Guidon, for a feature on Rocket Kapre. It was a particularly busy time, but I always try to make time to spread the word about science fiction and fantasy in the Philippines. I meant what I said in the interview: “I don’t think there’s even been a better time to be involved [in the genre] as either a reader or a writer.”

The article was just published a few days ago, and you can see it here.

One thing though: A couple of the stories mentioned in the original introduction of the article aren’t really connected with Rocket Kapre. I think they reference both Skygypsies and the God Equation — neither I nor RK have any connection with the latter (aside from the fact that I enjoyed the story and admire its author) and while I had a hand in re-publishing Skygypsies as Kwentillion co-editor, strictly speaking that magazine was not a Rocket Kapre project. FYI

Last month, Lethe Press published “Lauriat: A Filipino-Chinese Speculative Fiction Anthology”, edited by Charles Tan (and with a story from yours truly). Charles took a moment from his busy schedule to say a few words about the anthology.

“Lauriat” is an anthology of Filipino-Chinese speculative fiction that is being published by a U.S.-based publisher. How’d the idea for the antho come about, and what let to it being published outside the Philippines?

I was brainstorming possible anthology ideas when I realized no one yet has done a speculative fiction anthology based on Filipino-Chinese culture, which has its own set of complexities, relationships, and drama. Lethe Press has always been supportive of my work, and the publisher was willing to publish the anthology and pay the contributors.

When you say “Filipino-Chinese”, what do you mean by that?

The problem when people ask “Are you Filipino?”, “Are you Chinese?”, or something else (Are you Singaporean, American, Japanese, Australian, Indian, etc.) is that it’s usually misses out on the question whether we’re talking about nationality, ethnicity, etc. And it’s a question that comes up year after year, especially in the Philippines where there’s controversy over our athletes, our politicians, etc.

One personal bias I’ve experienced is how many Filipinos don’t consider the Chinese community here as Filipinos, even if we’re part of their culture. Many recognized Filipino icons for example has roots in the Filipino-Chinese community: Jollibee, SM, Pancit Canton, Taho, etc.

But when the term Filipino-Chinese is usually encountered, it usually means, at the very least, someone whose nationality is Filipino, and has had Chinese roots somewhere. I leave the last part ambiguous, whether this means to be part Chinese in culture, heritage, ethnicity, legacy, etc.

What aspects of Filipino and Chinese heritage would you say complement, or are similar to, each other? What aspects cause friction?

I think again, there is a misconception here. The “Chinese” in the Philippines aren’t the Chinese in China. The two have entirely different values, although it’s probably a misconception (even among the Filipino-Chinese community) that they do. There is a difference in the mindset between the Filipino-Chinese and non-Chinese Filipinos, but I don’t think isolating this and that element as “Chinese” and “Filipino” would be too easy.

For example, I think both Filipino-Chinese and non-Chinese Filipinos are fiercely loyal to people they consider their kin. They will fight to the death for them and take their side in a lot of arguments. On the other hand, this is also the source of conflict: for some Filipino-Chinese, those not “Chinese” aren’t as respectable (hence the taboo against marrying someone not Chinese), while many Filipinos consider those not ethnically Filipino to be against them (hence some enmity against the Filipino-Chinese community whom they consider separate from them).

There’s a lot to talk about with regards to the subject and unfortunately discussing each point would be too long for the interview.

Are there any unique challenges or opportunities that present themselves to Filipino-Chinese authors writing in English?

In terms of market, well, there is always the problem of finding a market in the Philippines that’s not limited to your cultural heritage (just look at the output of our fiction books vs. that in which we import and clearly the latter sells better than the former). As for the craft, there is the hurdle of writing for what is a multilingual culture and condensing it into a single language (English), when that isn’t always how we speak (we speak in Tag-lish, Chi-Tag-lish, and Chinese-Tagalog). Which isn’t that unique (it’s the same plight a lot of Filipino writers face), but remains there nonetheless.

Can you tell me a bit about a few of the stories you selected for the anthology, and go into why you selected them, or what struck you most about them?

I think each story in the anthology has something going for them, either on the craft level, cultural level, personal level, or some combination. What makes me enjoy the first story in the book isn’t what makes me appreciate the last. But I did want every story to factor in that this is a Filipino-Chinese anthology, so I wanted the culture to be a factor: some factor into the plot significantly (some stories for example dealt with the taboo of non-Chinese romance) while others are in the background.

Personally I leave it for readers to decide what they think is best. And this is an anthology, so I don’t expect every story to strike a chord in them, but hopefully a few do. I tried to encompass a lot of subjects and genres. There’s horror. There’s urban fantasy. There’s historical fantasy.

What does “Lauriat” have to offer to Filipino-Chinese readers? What about to those unfamiliar with the culture, or even with Philippine or Chinese culture separately?

First, I think Lauriat features a lot of terrific stories–which is subject to my bias of course. Second, it’s written by talented authors that the rest of the world hasn’t heard of. Third, while there’s some speculative fiction being written about Filipinos, not a lot of them deal with the Filipino-Chinese experience, and I hope the anthology rectifies that. Fourth, regardless of your knowledge about either culture, I think the stories stand well on their own.

What has the early feedback on the book been like?

For me the biggest challenge is getting the word out. I’d like to thank Publishers Weekly for reviewing it in their publication (http://christinevlao.blogspot.com/2012/06/publishers-weekly-reviews-lauriat.html) as well as Locus for mentioning it under their New Books (http://www.locusmag.com/Monitor/2012/08/new-books-14-august/). As far as feedback is concerned, a lot of the reviews are on Goodreads (http://www.locusmag.com/Monitor/2012/08/new-books-14-august/).

Where can the book be purchased?

Here’s a direct link to the Amazon page (http://www.amazon.com/Lauriat-Filipino-Chinese-Speculative-Fiction-Anthology/dp/1590212541) but it should can be ordered through bookstores and the eBook is available in a lot of online retailers such as Smashwords, Weightless Books, Wizard’s Tower Books, etc.

Speculative Fiction writer, and Usok contributor, Yvette Tan was interviewed by Charlene F. Sawit on her blog “Field Trips to the Real World” as part of an ongoing series called “Postcards on Writing.” The interview came out on the 4th of June, but I haven’t had the time to link to it until now. Go check it out if you haven’t already: Yvette talks about good stories, what creeps her out, and being labelled as a horror writer.

Eliza Victoria’s fiction and poetry have received prizes in the Carlos Palanca Memorial Awards for Literature and the Philippines Free Press Literary Awards. She’s contributed to many of our projects here at Rocket Kapre, including Usok, Ruin and Resolve, and Alternative Alamat. She took the time to answer a few questions about her first solo book “Lower Myths”, which was just released digitally last week.

Why did you choose “Lower Myths” as the title of this novella collection?

I’m not sure if I first read this in a book or online, but some historiographers make a distinction between what they perceive as two kinds of myths. B?rendran?tha Datta discusses it here: “classical”/literary myths are considered “higher myths” while oral/folk myths are considered “lower myths”.

The myths that I’ve always loved are oral myths, and their creatures and characters appear in this volume.

Did you intentionally set out to write novella-length fiction, or were these simply the length you felt that the stories needed to be?

I distinctly remember making notes on these stories and thinking that the plots couldn’t be contained within 5,000 words (the length of an average short story). So yes, I guess the intention is to write longer stories. I didn’t think “novella”, I just thought they’d be “long”.

Did you notice any difference in the writing of novella-length fiction, as opposed to shorter stories? Were there any peculiar difficulties/benefits to the novella?

Working with a longer word count could give you a fake sense of freedom. You’ll write scenes the story doesn’t really need, go overboard with descriptions, etc. What I’m saying is, there’s no difference really. It just so happened that the novella was the length the stories needed.

BUT I have to say one difficulty to the novella is IT’S HARDER TO SELL. I once spoke with a print publication, and they told me that they love Lower Myths, but it’s not marketable. Most publications want short stories, or full novels. Good thing Flipside picked this up or this won’t see the light of day.

Was there any particular reason you chose to package these two novellas together? Do you feel that they somehow interact with each other, thematically? (An early review mentioned that the stories “visit both sides of the fence…”)

The stories mention the same creatures and at moments occur in the same setting.

“Trust Fund Babies” involves a war between families of witches and fairies. What kind of research did you have to do for this story?

I am a fan of mindless, mob movies. Just gleeful, plot-driven action. And I am fond of detective fiction. Whatever research this story needed, I’ve already done in the past I suppose.

Why did you choose fairies and witches in particular, as opposed to other available creature/sorcerer groups?

The story begins in the Cagayan Valley, and the stories my mother and grandmother (who are both from Cagayan) tell me “from back home” almost always involved witches.

As for fairies, I’m just fond of diwata.

Was “The Very Last Case of Messrs. Aristotel and Arkimedes Magtanggol” (where an aristocrat and his daughter consult sibling lawyers about a mysterious crime) inspired by any real life events?

If I told you what real-life event inspired this story, I’ll give the plot away! A clue then: turn to the news.

The book also features some fine illustrations. Can you tell us a bit about the artist, and why you chose to include artwork?

The inclusion of artwork (by Lester Banzuelo) was the decision of the publishing house. But [the illustrations] lovely, aren’t they? I really love the cover too [illustrated by Lester Banzuelo and designed by Adam David].

“Lower Myths” is an ebook, but you also have a print collection of short stories coming out later this year. Can you talk a bit about the differences and/or similarities in the publishing process for a digital book and a print book? How did you choose which collection to pitch for print/digital?

I pitched this collection for digital because it might be easier to sell a short book as an ebook than its dead-tree equivalent. And, as I’ve mentioned, I don’t think print publishing houses are keen on accepting novella collections.

As for the differences, print books take longer to produce, and are more expensive. During revisions, a digital book will be returned to you as a Word file with Track Changes on. Meanwhile, my short story collection was returned to me as a print-out, a hefty package with the comments penciled in. As someone who is used to working on a computer, the process seemed archaic to me (I had to sit on the floor so I could flip through the MS without ruining the pages, and take notes on a separate piece of paper). But it was beautiful! It was very romantic. It’s been a while since I last saw an editor’s handwriting.

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“Lower Myths” can currently be purchased at Amazon or Flipreads.

Photo credit: Karen Lucero of the National Book Development Board

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.

Mina Esguerra is one of the Filipino authors most beloved by the blogging community, partly because she writes excellent “chick lit” stories in a Philippine context, and partly because she maintains a regular online presence. Her next romance novella is a YA book with speculative elements, so I jumped at the chance to have her on the blog for a short interview.

Tell us a bit about your new book, “Interim Goddess of Love”:

Interim Goddess of Love is my first YA romance novella, and it’s about Hannah, a sophomore scholarship student at a college just outside of Metro Manila. Her world changes pretty much overnight when her friend (and not-so-secret crush), reveals to her that he’s actually the god of the sun, and that he needs her to temporarily be the goddess of love. Because the original goddess is missing. It’s the first volume of what I’ve planned as a series. (Operative word is “planned” of course.)

In an interview last year, you mentioned how your first novel pitch was for a YA story that was not picked up. What made you decide to return to that genre now? How do you approach writing a YA novel as opposed to one that is not aimed at that market?

Before getting published that first time (My Imaginary Ex, a chick lit novella), I had only ever really written YA — stuff that was more Sweet Dreams- and Sweet Valley-ish. Writing chick lit now, I actually still take my YA concept and just age the characters by five to seven years. My books are not very “adult” or raunchy. (My mother will disagree, but anyway.) I’ve also used a lot of flashbacks to college, so I feel like I never really left that comfort zone.

I pay attention to readers mentioning my books in social media though, and I noticed that they’re young. Teenagers. Younger than I’d expected since the stories are about twenty-somethings.  So I thought maybe I could work on a story and keep the characters teenagers too, instead of aging them. That’s how Interim Goddess of Love started.

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