Dreaming about people from the other side

For several weeks now, I have been dreaming about people I have known who have already passed on. I have dreamed about my dear mother and father, my wife, some classmates, even Consuelo “Ateng” Osorio and Vincent Benjamin Kua, Jr.

Since the last time I talked to Ateng Osorio and Vincent Kua was during the late 70s, I figured I should write something about them to remember them.

When I was a kid, I have always been critical about every movie I watched. I looked for the errors in them, I noticed bad acting when I see one, and even became quite aware when the film was awfully directed. At age 8 in 1968, during the summer vacation, I went home to our house (I was staying in my grandpa’s ranch in Bicol and going to school there). I thought I was ready to write a movie. Therefore, when I went home for the summer in the city, I asked our family driver to take me to the ABS-CBN studios on Bohol Avenue to find out how to apply as a writer. At the gate, the guard asked the driver who he was looking for. The driver said the TV director of the program being taped that time. The guard let the car in. Once inside the building, I asked the receptionist who was the TV writer present that day and she mentioned the name: Consuelo Osorio, also known as Ateng Osorio. She told me which studio she was working that time and I proceeded to find her. Unfortunately, upon entering the TV barn, a production assistant told me that she actually went to the cafeteria to have coffee. So I went to the cafeteria and tried to find her. I asked the person at the till to point out to me Miss Osorio, and she did. She was seated at a table, smoking, talking to another lady, and both of them, I noticed, were looking at me.

I approached them and introduced myself. She gave me a handshake and introduced the other lady: “She’s Mitos Villareal, our director.”

After shaking Miss Villareal’s hand, I didn’t hesitate to tell them that I was there because I want to become a writer for TV and the movies. They both smiled.

“You’re a bit too young to work as a writer,” Ateng told me. “Besides, you look more like an actor than a writer! We immediately noticed you the moment you entered this room. You are unusually fair. You are even fairer than Jeanne Young. Leave your phone number with me, I’ll find something and I’ll give you a call.”

That’s exactly what I did.


A scene from Malvarosa. Written by Clodualdo del Mundo, Screenplay by Consuelo Padilla Osorio. Asia's Best Picture, starring Charito Solis. (Photo from Kabayan Central).


After two days, Ateng called: “Something came up. Come to the TV station and I’ll discuss something with you. Is it possible to talk to your mother?”

My mom and dad were away that day and my older brother talked to her. Afterwards, he volunteered to drive me to the TV station.

Once we got to the station, Ateng handed me a piece of paper and told me to read it quietly, then aloud with feeling. I did. She said: “I’m impressed. You delivered the lines perfectly. You will be playing Helen Gamboa’s little brother in Bang-Shang-A-Lang”

“Bang-shang-a-lang? Is that the title of the movie? It sounds stupid!”

My brother laughed and so did Ateng.

“It is stupid because it is full of dancing and singing. It’s lots of fun.”

“I don’t like to be an actor,” I told her. “Besides, I don’t dance. I can sing, but I don’t want to sing. I want to be a writer.”

“Okay, then you have to wait a few more years for that. Maybe after high school, see me and by then maybe you can be a writer.”

So I went home that day disappointed. Six years quickly went by.

At age 14, I’ve met a komiks writer-editor named Robert Bornay. I was on my first year university, and I told Robert that I can write better stories than other komiks writers. He laughed. Maybe because he believed what I said, or maybe he thought that I was just a cocky teenager. Anyway, whatever it was, Bert handed me a script written by Mars Ravelo and told me to study the format and write something. But it was summer time again and there were too many activities here and there, and I procrastinated. I didn’t write anything. One night, Bert came to our house, a surprise visit. He took with him Tony Tenorio, Orlando Nadres and Deo Fajardo Jr. Bert asked me about my script. I was really embarrassed and promised the visitors that I will write a script. Orlando Nadres, on the other hand, asked me if I want to be on the cover of Sixteen Magazine, a komiks he was editing – an idea that Deo Fajardo seconded. I told them I am a very shy guy, so thanks but no thanks.


Blueboy was Bert Bornay's well-loved nobela by teenagers in the late 60s. It was published in Teenagers Songs & Shows komiks/magazine. Filmed by Joy Productions starring Fred Cortez Jr as Joey and Dorothy Joy as Loretta. First Directorial work of Elwood Perez.


The following week, I sat down and wrote my first komiks script. It was about the called and the chosen. A story of an aspirant nun whose fervent desire to become a full-fledged nun encountered some problems. Divine intervention? Perhaps not her true vocation?

Tony Tenorio approved the story and he introduced me to another newcomer writer/illustrator named Vincent Benjamin Kua. My first story, was Vincent’s first komiks drawing. I was also heavy into drawing and my favorite illustrator was Stan Drake. It turned out that it was also Vincent’s favorite.

It was then that Mr. Tenorio proposed to me and Vincent to work as editors in Atlas. I was in first year university and I was worried it might affect my studies, so I had to turnn down the offer. Vincent was more gung-ho to write and to draw his own komiks stories and he said no as well.

The very first komiks story I've written for Atlas in late 1974 and came out early 1975. This was Vincen'ts first published drawing.




Vincent drew a few scripts of mine but never drew other writers’ work in Atlas. He concentrated on his own “Katha’t Guhit.” What really struck me about him was that, he tended to question everything about our existence in this planet. And I would usually tell him: “Just look up and look at the vastness of the evening sky. There are billions of blinking stars out there. Why are they there? Vincent, there are things in this world that we should rather not ask why they’re there. They’re just part of our own existence. Don’t go crazy knowing the reasons for everything.”

Then I would quote Blaise Pascal’s famous: “The heart has its reason, which reason cannot know!” that sometimes he would say it with me in unison and we’d end up blurting out laughing.

And then one day, I told him: “You must just believe in Descarte’s mountains without a valley. That’s something our mind cannot grasp, but which our hearts utterly understand. Then, you will have peace within you.”

But, he continued to question things that it became a standard joke greeting from me every time we would see each other in Atlas: “What’s our question for today, Vincent? Are we going to discuss the Alpha and the Omega of the universe?”

Once, Tony Tenorio overheard me joking to Vincent and he thought we were serious: “Huh! Are you guys planning to co-write a mind-boggling nobela? Just give me the synopsis as soon as you finish it.”

Vincent and I started laughing and Tony was so puzzled and figured out what was going on and he just said: “You guys turn crazy every time you’re both here in my office.”

“Tony, in Psychology this type of illness is called Folly, also known as SHARED INSANITY! Only one person has the problem, yet it can influence other people around him to mysteriously be afflicted with temporary insanity!” I joked.

“Then who’s the real mentally ill?”

Vincent and I both pointed at each other. Then the three of us all laughed.

I continued writing scripts for Atlas publications while I was studying in university.

One weekend, our Mass Comm Association had a tour of ABS-CBN. It was there in the TV barn that Mrs. Osorio and I have seen each other again after six years.

“Mrs. Osorio!” I said as soon as I saw her.

“You look very familiar,” she said.

“Oh, I was the 8-year old boy you said – who was fairer than Jeanne Young six years ago!”

Ateng Osorio laughed. “And you’re still fairer than Jeanne Young even now! Now you’re here to become a writer, aren’t you?”

“Actually, we’re just having a class tour of the station.”

“Well, perfect timing. I need someone your age. I am auditioning today and tomorrow for new talents for BBC Channel 2. Since I already know that you can do it, you’re in. I need you to come for taping on Saturday night. Come with me and I’ll give you the script.”

I wanted to say no, but for some reason, I couldn’t. Besides, this lady was super nice and I didn’t want to say no to her. So I went with her and we proceeded to the office and the producer of the show handed me a blue mimeographed script. It says:

PROGRAM: Dulambuhay ni Rosa Vilma
WRITER: O.B. Pangilinan
MAINSTAY: Vilma Santos

To make the long story short, I ended up appearing with Vilma Santos and Walter Navarro. I played Walter’s younger brother in that episode. Thank God all my scenes were take one. And after the show aired, all my friends teased me non-stop about it. Ateng Osorio was directing films that time as well and she wanted to cast me in them but I begged off. I finally told her that acting is not what I wanted to do. I want to write. She then said: “I’m committed for seven months to direct movies which I have already written myself. After they are all finished, we’ll discuss a movie I will be directing for Barangay Pictures. I have a storyline. You will write the screenplay.”

I was delighted.

But, after three months went by, in mid-1975, BBC Channel 2 phoned me. Marcial Sanson, the big boss of programming that time, told me that he read some of my komiks scrpts and he liked them a lot and now he offered me to write for Alma Moreno’s TV show, Alindog. I didn’t hesitate and this was how I began my TV writing adventure in the Philippines.



Scripts in the 1970s were typewritten by the writer. Then the network would copy it and print them en masse using the very low tech called MIMEOGRAPH. They were usually done in blue, like this sample here.

I didn’t have time anymore to write a screenplay for Ateng Osorio, but she understood that I was having a hectic schedule writing for several TV dramas. We remained friends (it was like having your grandma around while working in showbiz). And definitely, for me, she was one of the most memorable persons in RP showbiz.

And Vincent? His questioning about things never ended. He was still the same sensitive guy who was easily hurt especially when people act unkindly. He tended to brood about it for sometime. I guess he wanted this world to be a perfect place. I know it was an impossible dream. But, I can’t blame him. This planet would have been really a perfect place to live in if only human beings were perfect.

I’m sure Vincent is now in a perfect place where he has found all the answers to his questions. And Ateng must be mingling with so many RP showbiz souls now also enjoying eternal peace, perhaps, somewhere where the sky and earth meet.

THE GIFTED FANNY SERRANO

In 1978, my girlfirend was a fashion model for Girard Peter Models. I was writing dramas for television that time. I don't watch any of the shows of the Girard Peter models, but one day my girlfriend insisted that I should watch, and I did. It was a dinner show at a plush night club in Ermita. The first thing that surprised me was that one of my friends at the YMCA, Henry Cando, was also part of the Girard Peter Models. His job in the show was to lift the women models, including my girlfriend. Henry and I worked out together at the YMCA GYM on Arroceros Street, with Joey Sanchez (Gino Antonio). Henry never told me and Joey that he was doing some modelling jobs. Nevertheless, it was a bit of surpise for both of us, because he didn’t know either that one of his co-workers was my girlfriend.

So there we were, laughing at each other while the models changed costumes. The intermission was a group called PAPERDOLLS. When they started their act, I had to watch them because they were very good. One of the members of the group was quite a looker. She performed so gracefully, and she was indeed a stunning woman. So I asked Henry who she was. Henry laughed so hard and said: “Man, he’s not a woman. He’s an impersonator. His name is Fanny Serrano.”



I was stunned. I really thought he was a woman. I looked at him again, and watching him perform showed no scintilla of evidence that he was indeed a he. Graceful movement, soft features, and a beautiful face – but a face that exuded some sadness, some vulnerability that almost broke my heart.

“I’ve got to talk to him,” I told my friend.

“What for?”

“I’m in-love with his face!” I said, and Henry blurted out laughing.

After the show, my girlfriend, Henry and I went to see Fanny. I introduced myself to him and I realized that his face was even more feminine tête-à-tête. I asked him if he had any experience in acting. He said no, only impersonating.

“Would you like to act with Rosa Rosal?” I asked him.

“Are you kidding?” he said, smiling.

I told him that his performance inspired me to write an episode of ULILA, and by just watching his movements, I just knew that he can act. He agreed, and I told him that I will let the studio send a script when I’m done with it.

The episode of ULILA was called FARIDA. It was the story of Alfredo, Jr., a.k.a. Farida (Fanny Serrano) a womanish-looking young man who was working as an impersonator in a gay bar without his father’s knowledge. He thought that something was wrong with him because he was feeling dizzy all the time. In their neighborhood, the macho men imbibibng alcohol outside made Farida the butt of their jokes. Unfortunately, his gayness was affecting his younger brother (played by Caloi Pimentel) who got teased a lot by his peers just because his older borther was gay. He would come home bleeding from fisticuffs. This constant rigmarole irked his father Alfredo, Sr. (Rolly Papasin). Alfredo Sr. punished Farida by hitting him so hard and dragging him out of the house and disowning his Junior because the latter was bringing nothing but shame in the family. The pleadings of Farida’s mother Tinay (Rosa Rosal) fell on deaf ears.

Farida stayed with his friends in the gaybar. A male dancer named Erwin (Rafael Lucas) was the most caring in the joint. Erwin was a komiks illustrator who was being paid so low that he had to moonlight as a macho dancer in the bar to finish his university degree. Farida was glad that Erwin was trying to strive for a better life. Farida had the same dream. He was trying to save up some money so he could go to college and change his life, and be accepted by his father and hoping that someday, his father would finally be proud of him. But for now, impersonation was the only available job for him that would pay better to fulfill his dream. One of the other impersonator in the club was UBANGGA (Joey Galvez) a dark complexioned funny impersonator who was also kind to Farida.

One day, Farida collapsed. He had an inoperable brain tumor. Ubangga and Erwin went to see his father but he refused to allow his son back to his house. Farida died. Tinay went to the hospital and hugged her son’s cold body. Alfredo Sr remained firm, unrelenting, untouched by his son’s death. But after the burial which he did not attend, we see him late at night, boozing up alone at the dining table, then shoving the bottles of alcohol and weeping, his whole frame shaking. He lost his son, after all. The son he loved but refused to tell him so when he was still alive.

This father and son story was directed by Mario O’hara, and during the taping, Mario and I were both stunned when almost all of the crew were deeply affected by the scenes involving Rosa Rosal, Rolly Papasin and Fanny Serrano. Many became tearful. Danny Vibas, a movie reporter, approached me after the scene where Fanny was beaten by Rolando Papasin, and whispered to me: “Joemarie, it’s too violent. I’ve never expected it this way,” he said, removing his glasses, and wiping his tears.

My hunch was right, after all. Fanny Serrano was indeed a fantastic actor. He played his role as if he was a veteran performer. He was the only new actor who made the crew react this way. When the episode aired, BBC-Channel 2 was stormed by phone calls. Televiewers where asking who Fanny Serrano was. It was the first time they saw him perform and yet his performance struck their hearts and minds. When TV week magazine came out, there were requests from viewers to cast Fanny again in future episodes.

Meanwhile, I got all the flak from the gay community. Many were mad at me for writing an episode about a gay person, which they claimed, of which I had no idea what it's all about to be gay. They accused me of ostracizing the gays by making the father beat the gay son unabashedly. They even told me to do another episode, but make sure that the gay son will fight back and kill his father! There was even a TV producer who confronted me after the taping, accusing me of being so irresponsible for writing a lifestyle that I was totally ignorant of. He even threatened me to bring up the matter to the Benedictos and he will do his best to yank me out of all my TV shows. He went on saying that if it were him who was being abused by his father, there is no doubt he's going to retaliate. Quietly, I told him: "well, why don't you write a script about that?" The more he got mad and screamed. "From now on, I don't want to see your face ever again. Just be careful. All the gays in UP are fuming mad!" He left and had never spoken to me again. I was not yanked out from the network, and the young producer suddenly disppeared. After six months, I asked Marcial Sanson where the guy was. Marcial told me that the guy was diagnosed with cancer of the mandible and died a few weeks after being diagnosed. The gays from UP never confronted me.

But going back to Fanny Serrano, his impersonation scenes as Carole King was fabulous. After being thrown out by his father, the next scene became so heart-rending when he performed “You’ve got a friend”, where Erwin and Ubangga were watching him. His costume was amazing, and he was the one who made it. I wrote several more episodes with Fanny Serrano in them and all of them had accented his wonderful gift in acting. What’s really funny was that Fanny killed Rolly Papasin in an episode called WALANG HANGGAN ANG DILIM NG GABI. In this episode, singer Romy Mallari played Fanny’s younger brother, and I was in disbelief when Romy performed the role so well. I never knew the guy was an amazing actor as well.

There you go, folks. Fanny Serrano is not just a very talented beauty specialist that many of you know him to be. He is also a very talented impersonator, actor and costume designer. A multi-talented individual that the Philippines can be really proud of.

Thank you, Fanny Serrano. You’re not only a wonderful actor and beauty specialist par excellence, but you are also an amazing person. Mabuhay ka.

Down Memory Lane: Tikoy's Rizal Is Heavy Handed With Josephine

Tikoy Aguiluz’ RIZAL SA DAPITAN is a somber and ominous film. It utilizes many unknown actors; uses some hand-held shots quite reminiscent of Cinema Verité; a lot of tripod shots borrowed from neo-realism; dubbing of dialogues that do not match with the actors’ lips, something that reminds me of Felinni and Pasolini's films.

Most of the films about Rizal’s life that had been made before had always shown his execution by musketry.I am not blaming those filmmakers (including my favorite filmmaker, Gerry de Leon) because indeed that part had been the most dramatic scene in Rizal’s life. His execution by the Spaniards was truly a temptation for any filmmaker. It’s like the Devil in the garden on the Mount of Olives east of Jerusalem, who tried repeatedly to temp Jesus. Unfortunately, Filipino film directors are only human and it’s not surprising that many had succumbed to this temptation. They emphasized this part (usually as the final scene) and in fact, many of them were done in the much abused device known in the annals of filmmaking: the slow motion.




Therefore, what a relief when Aguiluz’ version opens with Rizal’s execution already carried out and his remains are being dragged by two of his executioners, los dos guardia civiles. This scene is extremely clever and powerful. Unfortunately, from this masterful beginning, the film utilizes another device that seems to haunt many scriptwriters and directors: the flashback.

We are told how Rizal, banished by the Spaniards to Dapitan, lived his life as a farmer, teacher, surgeon, entrepreneur, lover, son, brother, and even as a father to a still-born child. All these ploded on and on, that I began to wonder whether Tikoy Aguiluz is a member of of a club where Kevin Bacon and Keifer Suherland are both members: the Flatliners. Sure, there are obstacles and triumphs along the way as Rizal’s daily existence is expounded, but the whole movie is so flat, even the humor used is so dry, it would have been better if they had deleted them altogether.




In the movies (both Hollywood and Tagalog, but more in Tagalog), there is a recurring scene that seems not to go away: a leading man shoving her leading lady.

Charito Solis was shoved by Nestor de Villa in BULUNG-BULUNGAN; Marlene Dauden suffered the same fate from Eddie Rodriguez in MILAROSA; Charito Solis, once again, by Ric Rodrigo in DAHIL SA ISANG BULAKLAK; and even Faye Dunaway by Jack Nicholson in CHINATOWN.

When Albert Martinez (as Rizal) confronts Amanda Page (as Josephine Bracken) about her fidelity and veracity, I told myself, “Oh, boy! DON’T do it, Tikoy! Don’t! Please!”

But, Tikoy had succumbed to the second temptation! His Rizal shoves Josephine!

Now, I will have to add Amanda Page’s name on the list of belted leading ladies.

But the film’s trouble isn’t over yet. Even if the filmmakers added a disclaimer at the end that they had to invent many things to dramatize Rizal’s life in Dapitan, how can they explain the fact that many of the dialogues and motivations were totally UN-RIZAL?

Let’s examine some of Rizal’s wisdom here. “Sa mabahong tae ay sumisibol ang isang mabangong bulaklak” (From a stinky manure, a flower blooms).

I don’t think that Rizal would have insulted our intelligence by telling us that shit smells bad. Any farmer out there who had smelled a sweet-smelling manure, please send us some so that in return, we could send it to Tikoy Aguiluz. I know Jose "Pete" Lacaba's writing style, and he would never write such dialogue (either it was added by Tikoy, or was suggested by a leg man to add into the film). And unfortunately, the credit of the writing went to Lacaba (and this is one of sticky points in screenplay writing, everyone on the set has something to say, and the poor writers are blamed when the dialogues come out horrendous). Which reminds me of what I have experienced with Gosiengfiao in Bedspacers. I wrote the dialogue: "That's the bitch! The one we saw on Recto Avenue yesterday." During the shoot, the American actress who was playing the part said: "That's the bitch! The one we saw on Azcarraga yesterday."

I protested: "For crying out loud, Joey! No young people would even know what Azcarraga is! That name was known during my mother's time!"

"But Joey, it sounds classy!" he replied.

And, yes... the movie said Azcarraga, not Recto.

But wait, we're discussing Rizal Sa Dapitan.

How about Jose Rizal’s characterization? When one of Rizal’s sisters accused Josephine of infidelity and lying, Rizal confronted Josephine right there and then, hence the shoving scene.

I don’t think that Rizal, whose IQ was that of a genius and who was against violence and tyranny, would have listened to hearsay without investigating first, let alone resort to such violent action. I don't know if Pete wrote the script this way, but it's unlikely. The shoving must have been added during the shoot. Sure, Tikoy wants drama here, but if the character’s motivation is totally inconsistent from the personality of that character, such dramatic build up is rendered useless. Rizal, who was a very good doctor and a champion of women’s rights – would shove a woman who is also his wife and who is pregnant with a child?

Balderdash!

Pete Lacaba had written the most sensible scripts in local movies and unless the devil made him do it, it's unthinkable for him to write this way.

Albert Martinez’s interpretation of Rizal’s characterization shows the intensity of Rizal’s demeanor. It may or may not be accurate in real life, but I rather liked the edgy touch he added into it.

Amanda Page is not Irish-looking enough for Josephine, but she’s quite charming and endearing. I just hope she refuses her director next time he asks her to be shoved by her leading man. Charito Solis, a world-class actress, had agreed to be pushed twice in her career, plus the other people who pushed her in real life as well. But that was during her time. That was then, this is now. If another director is going to use this scene in a film, he should be thrown in the slammer for being so banal.




Despite the many problems of Tikoy’s Rizal, there are some nice touches to this film. The shot of a gecko trying to crawl laboriously up the banyan tree is something akin to Rizal’s life who is facing an arduous future as an exile. The sunsets and the starless nights are like paintings done by a master. The overall dark look of this production reminds me of the Tikoy Aguiluz brand that is always present in his films, including the Boatman. If he were careful in his choice of materials, wean himself from the influence of the neo-realist movement of the fifties and used more established good-looking actors (and quit using every Tom, Dick, and Harry off the streets who can't act), stayed away from overused tableau vivants that are more recognizable than the soldiers raising a flag in Iwo Jima; and if he borrowed more from the French New Wave – he might end up yet as one of RP's better filmmakers.

Rizal Sa Dapitan is far from being a masterpiece, but its components (Lacaba's vision) have the makings of one.

Happy 148th birthday, JR.

SCRIPTWRITING 101: DIALOGUE

Recently, a commentary from two “high brow” observers of komiks and comics, annoyed a lot of komiks talents when these two bozos (who badly need to take Philosophy 101 - Logic) argued and argued nonstop with reasoning only ignorant people like them would understand. One of these guys accused me of using HIGH FALUTING (sic) dialogues in a short komiks story which he claimed was forgettable, yet he remembered who wrote it, and remembered the story, and remembered the dialogues. Yet, he said it was a forgettable story. Forgettable, but he remembered everything about it, including the so-called “High Falutin” dialogues.

My understanding of his “high faluting” description, is its current use here in north America. I thought he meant my dialogues were “Showing off, ostentatious, pretending to be above one's station in life, putting on airs.” This is the context now of this word here in north America. But, it turned out that the guy using this word, must have meant : “bombastic speech,” a context which was the status quo in the 1950s. Today, in north America, if you tell someone “high falutin”, it will always be interpreted as “Showing off”. Example, if there is an exclusive, pricey restaurant where only the people who have extra money would go, chances are people in the south or Midwest would say: “Them rich guys will all go to that high falutin restaurant called TURO-TURO.” Nowadays, if your dialogue or speech is bombastic, it will be labelled: STILTED, not “high falutin.” If you call a dialogue high falutin, it will be the same as saying GAY because you’re HAPPY. But of course, that was in the 1950s. If you say the word GAY these days, it would only mean one thing: HOMOSEXUAL.

Well, since we’re discussing this topic, this is the best time to discuss DIALOGUES in scriptwriting. In the old komiks industry, even in our old tagalog movies, TV and radio dramas, dialogues were never utilized to ADVANCE THE ACTION OF THE STORY, or to suggest an incident in the past to make the scenes interesting. This does not encompass all the writers, but many were guilty of this shortcoming.

What exactly is the main purpose of dialogues?

• Dialogues must sound convincing and natural, but should also be entertaining
• Dialogues should be in keeping with a character, even emphasizing his/her traits and disposition
• Dialogues must build & advance the action of the story. It should give foreshadowing, state facts and other information that can’t be shown in the action
• Dialogues must intensify, reveal – the emotions of the characters
• Dialogues should be fragmentary just like in real life, simple, but witty. If you can keep them short and crisp, the better

and the most important of all, avoid:

• Tired, worn-out phrases! If you have heard it too many times before on tv, movie, or even in real life – don’t use it as is! Re-invent it. You don’t want to write clichés:

“The devil made me do it”
“I’ve got a bone to pick”
“Don’t bite the hand that feeds you.”

Think about the image a phrase can convey, and reword it:

“Jeffrey Dahmer’s soul made me do it!”
“I’ve got a fish to scale”
“Don’t twist the hand that holds your paycheck!”

When I was writing for TV in RP, I have always opened my dialogues “after the scene has already begun”. This way, I could inform the audience of what has happened before, the characters would discuss it, ponder it over here and there, maybe worry about the past action, and wonder what might happen because of it.

So, instead of:

“Magandang umaga, Kiko.”
“Magandang umaga naman, Kikay. Kumusta?”

This sort of exchange of words is lifeless. Empty. Static.

“Magandang umaga, Kiko. Akala mo di na titigil yung ulan, ano?”
“Oo nga, e. Mabuti nga’t nakauwi ng walang problema si Lagring”.

By putting an incident in the dialogues, the audience will pick-up the past action.

For smoothness, use connective words whenever possible.

“Tumakbo yung aso patungo roon sa tambakan ng basura!”
“Ano’ng klaseng aso?”
“German Shepphered.”

“Sigurado ka ba?”
“Oo, sigurado ako.”

• In TV and movie scriptwriting, SHOW, rather then TELL as much as possible. Use dialogues only to explain and to build interest and suspense – use only when necessary. Make the dialogues speed up the plot. Stress the visual. Use pictorial story-telling all the time.
• Avoid too much dialect. Suggest his nationality by using one or two foreign words, but don’t overdo it, unless subtitles will be used in the actual film. If the format is TAGLISH, finish all the english and don't insert the Tagalog in between. It will be too confusing to the readers or to the audience. So, if taglish is what the characters speak, spare us the agony. Please finish the sentence in full tagalog, then begin another sentence in English and finish the whole sentence in English. It will be wishy-washy to mix the tagalog and english together in one sentence. Avoid this as much as possible.

What leads to a better dialogue?

• Well-developed characters and contrasting characters will reveal their uniqueness. As a writer, you don’t even have to force the words. They will come out naturally.
• Listen how people talk in real life. Use the idea, but make sure that their conversation is arranged with splendor of order. Real life dialogues are meandering at times. This characteristic must not be included in your dialogue. Make the dialogues sound like in real life, but arranged artistically, and must move the plot forward, not hinder.

If you watch tagalog movies and/or tv shows, you will notice one very big problem. Almost always, if, say, there are two characters having a conversation, they would talk about something that they already both know from the past, and yet they are now talking about it because the writer’s intention is to inform the audience (expound) about this past. This strategy is a no-no. It’s purely schlock writing.

“Grabe ang tiniis natin sa buhay noon, di ba, Mystica?
Lasenggo si itay, labandera si inay. Tuwing uuwing
lasing si itay, laging sinasaktan
si inay.”

“At lagi tayong umiiyak, ate Auring, kadalasan ay
nakakatulog tayong walang laman ang sikmura at
may mga luha sa mga mata.”



This kind of dialogue is always used by many RP writers. Both the characters talking to each other knew all the facts from way back when, yet they are saying these facts to each other! What for? To inform the audience of the past. Isn’t this awful?

“Sino ang mag-aakalang makaka-ahon rin tayo
sa dati nating buhay? Hanggang ngayon ay hindi ko
pa rin maintindihan kung bakit naging lasenggo si itay.
At ewan kung paano hinayaan ni inay na saktan siya
ni itay nang paulit-ulit?”

“Kung hindi naging lasenggo si itay, hindi sana tayo
nagdanas ng katakut-takot na hirap sa buhay.
Naalala mo pa ba, kung paano tayo natutulog nang
walang laman ang ating mga sikmura?

This second alternative is more logical. The characters are reminiscing the past without the OBVIOUS unabashed spoon-feeding dialogues of the first example. Also, you'll notice how the two characters never addressed each other with their names. There is no need for that. When we talk to someone, WE DON’T SAY HIS/HER NAME each time we begin to say something like in the first example. As a writer, take note of this.

BTW, Madam Auring and Madam Mystica are both pop icons in RP. He-he-he. May ASIM pa silang dalawa. Damang-dama ko ang kanilang mga alindog. Sana, kayo rin.

HIMALA & RESURRECTION: TWIN MOVIES?

HIMALA (1982)


RESURRECTION (1980)

RESURRECTION (1980) and HIMALA (1982)
are two movies that resemble each other in unbelieveably many ways.

In Resurrection: Lewis John Carlino's story goes:
Once upon a time, there was a woman named Edna (Ellen Burstyn) who was very much in love with her husband. Then she gave him a sports car for his birthday, and he died in an accident. Edna nearly died in the accident herself, and had a “near death experience,” having “seen” the other side where loved ones who had passed on now reside. She lived, and found herself partly paralyzed, and became depressed, until a long driving trip with her father triggered something: she met a very strange man in the desert. The man had a two-headed snake. It was a casual meeting, a brief one in fact, but this event obviously changed her. She found herself having the power to heal the sick.

In HIMALA: Ricky Lee’s story goes:
Once upon a time in a small Philippine town called Cupang, a young woman named Elsa (Nora Aunor) announced that she had seen the Virgin Mary. Soon enough, she demonstrated a new-found ability to
heal the sick.

In RESURRECTION:
Edna was now curing patient after patient by the laying on of hands and she even healed her own paralysis. Soon, she became sexually involved with a handsome, but extremely volatile young man who questioned the source of her powers. He insisted that she should recognize the ability as a grace from the Divine Power, but Edna believed profoundly that her healing power was just a manifestation of love (love can move mountains). While on a platform healing the sick, her lover shot Edna dead.

In HIMALA:
Elsa’s “healing power” made her whole village the center of national attention as people come from every nook and cranny of the Philippines – to buy statues of the saints and bottles of the village's holy water. One of the visitors is a skeptical film director hoping to visually document Elsa's healing powers, and without his knowing it, some frames captured a secret Elsa had kept from everyone for a long time, a secret which led to her sister's suicide. Elsa was a victim of rape, and soon became pregnant. The townspeople believed that Elsa’s condition was nothing but a “virgin pregnancy” exactly like Mary, the mother of Jesus. While standing on a platform facing her followers, Elsa was shot dead by someone from the crowd.

See what I mean? These two films are almost TWINS! And how strange that even the first names of the characters both begin in letter E: Edna, Elsa.

Personally, I like RESURRECTION than HIMALA.
Resurrection, directed by Canadian Daniel Petrie is a joy to watch. It is subdued, the crowd management is done beautifully – like music coming from an orchestra. In fact, it is quite reminiscent in the crowd scenes done by Cesar Gallardo in Premiere Productions’ I BELIEVE, a graphic novel written by Mars Ravelo in the 1950s.

HIMALA, on the other hand, must be Filipino film director Ishmael Bernal’s most hysterical film. Screaming, burlesque acting, and rowdy crowd scenes are allover the place, there are moments when you hear nothing but screeching voices and gave me a migraine after watching it.









I am not insinuating anything here, just because RESURRECTION was done in 1980 and HIMALA was done in 1982. This fact is immaterial. I am just showing you the COINCIDENTAL SIMILARITIES in these movies.
It’s up to you to decide.

Basic Scriptwriting: Teleplay, Comics & Screenplay

I was scheduled to end my vacation in May, but due to the SWINE FLU outbreak in Mexico, I've decided to go home early. Better safe than sorry.

First, let me thank GOSSIP GIRL... er... Heather... (LOL), for answering my emails. Thank you, Miss Dublin, Ireland. Funny how Ireland and The Philippines' music, sentiment, and temperament resemble in many ways.

There were many nasty emails coming from different people and I'd rather let sleeping dogs lie, except for one who advised me to come clean on something, as if I had done an illegal thing, or maybe he thought I run as Vice Mayor of Manila? Well, let me tell you, my friend, I am not Iskho Moreno, but I admired what he did after the mudslinging he endured during the elections. In my case, I am not running for public office, so whatever I do is not important to anybody but to myself.


FOR NOW... HERE ARE THE DRAWINGS OF:
• RODRIGO BENITEZ
• RIC M HERNANDEZ
• JOEL MAGPAYO


RIC M. HERNANDEZ







RODRIGO BENITEZ







JOEL MAGPAYO








Another letter that needs attention:

JM,

You promised in your blog several months ago that you will tackle the basic principles of scriptwriting. I've waited and waited, but nothing came out. Now I will remind you to please fulfill that promise.

Good luck, good health and God bless you.

Thanks,

David Garcia
Garden Grove, CA


Well David, thank you for reminding me. The basic things sometimes, are the most important in anything.

So, here it goes. I know that not all the people out there are interested in this, but I'll make it quick and dirty. If you guys get something from it, good. If you think you already know everything on this subject, then let's just say that it is a review of what you already know.

• What is the most important thing in a story?
For me, it is the character. Why? Character creates action. Action moves the story forward.

• What are the things involved within a character?
Purpose, or goal. Like any person, a character in a story has a purpose. Good purpose, bad purpose. And when there is purpose, what does it make him do? Work on it. Strive, struggle, pursue.

• When the character pursues something, what does he experience?
Failures, obstacles, successes, triumphs.

• After all these trials, what is the ultimate thing a character must do?
Decide, hoping that the decision he made is the right one. Some character succeed, others fail. Some pursue their goal and would not stop until they win. Others give up and abandon their goals, their dreams.

These are the basic purposes of a character. From the Bible, to great literature and down to comic books, we encounter all these things in a character.

Therefore, when you're creating a character, that character must have a goal, or some kind of philosophy that he believes in. A story without conflict is like a penis that would not get hard. The Aussies would certainly not like that and they'd call you "dry blow".

So make sure that when you create your leading character in your story, give him a goal. Let him struggle to reach that goal. While trying to work to succeed in fulfilling that goal, give him triumphs and obstacles. Build it up by making the trials harder as he goes deeper into the story. Near the end, he will do the so-called "greatest performance of his life" by finally deciding on what he must do to "once-and-for-all" achieve his goal. That decision may make him win... or lose the game.

Many beginning writers are groping in the dark when it involves the technical aspects of scriptwriting. Take note that for any story to make sense and to work as comics, tv or movie (and even stage play), it has to have some sort of paradigm where your story will play wonderfully and beautifully.

Since ancient times, the Greek tragedy was already using this paradigm. Now, we are already in computer age, but the paradigm still works and the reason why we like a movie, a TV series, comics, or stage plays. Look at the image below to illustrate the division of the acts.



Why are the current telenovelas so boring and atrociously nonsensical?
Because the writers seem not to realize that scriptwriting also means time. Every second counts. If they think this way, there's no way in hell they're going to dilly-dally with their scenes and waste the time of the viewers.

Let me give you an example of a one-hour TV script.
We know that one hour is 60 minutes. But if you're a writer, you know that a one-hour TV drama is only 44 minutes script running time. The remaining 16 minutes are used up by COMMERCIALS.
Therefore, your teleplay should be divided this way:




For Comics: If you have 40 pages, divide them as follows:

10 pages - beginning
20 pages - middle
10 pages - ending

For Screenplays: a one hour movie is 120 pages of letter size paper
(8.5 inches x 11 inches)

30 pages - beginning
60 pages - middle
30 pages - end

If you have more questions, just ask me in the comment area and I would gladly answer them.

Toons, Comics, Games Invade Vancouver Art Gallery

Since I am not very knowledgeable on Filipino comics, let me post something comics related. I hope you will find these two articles interesting.

– Heather Rankin



The Vancouver Art Gallery is bringing various forms of popular art together in one exhibition titled KRAZY! The Delirious World of Anime + Comics + Video Games + Art. On view from May 17 to Sept. 7, the exhibit aims to reveal the uniqueness of each medium, while uncovering their histories, interrelations and future trajectories. The installation is co-curated by such influential artists and producers as Maus author Art Spiegelman, The Sims creator Will Wright, comic artist Seth and animated feature film director Tim Johnson (Antz, Sinbad: Legend of the Seven Seas, Over the Hedge).

“Despite the pervasive presence of these media, little has been done to assess the ties that bind them,” notes Kathleen Bartels, director of the Vancouver Art Gallery. “By offering an interdisciplinary account in a major survey exhibition for the first time, we will illuminate their importance as a sustained cultural force.”

One of the largest exhibitions ever organized by the gallery, KRAZY! will occupy two entire floors of gallery space and is designed in collaboration with Tokyo-based architectural firm Atelier Bow-Wow. Divided into seven sections by medium, the exhibition will include a mini-theatre for viewing animation, immersive video spaces and environments for reading manga, graphic novels and comics. In all, the installation will offer more than 600 works of art, including original sketches, concept drawings, sketchbooks, storyboards, production drawings, films, video games, animation cels, 3D models, sculptures, books and more.

Specific pieces include George Herriman’s last three drawings for Krazy Kat; Lotte Reiniger’s 1927 The Adventures of Prince Achmed, the first feature-length animated film; sneak preview of Will Wright’s new video game, Spore; and a selection of drawings from Yuichi Yokoyama’s latest manga, New Engineering. Also included are works by Moyoco Anno, Lynda Barry, Marcel Broodthaers, Chester Brown, Cao Fei, Milt Gross, Pierre Huyghe, Ichiro Itano, Yoko Kanno, Satoshi Kon, Harvey Kurtzman, John Lasseter, Roy Lichtenstein, Christian Marclay, Winsor McCay, Sid Meier, Shigeru Miyamoto, Junko Mizuno, Mamoru Nagano, Claes Oldenburg, Mamoru Oshii, Katsuhiro Otomo, Nick Park, Raymond Pettibon, Iwatani Toru, Chris Ware and Masaaki Yuasa. Conceived and developed by Vancouver Art Gallery senior curator Bruce Grenville, the KRAZY! will travel to a New York City arts institution in March of 2009.

• • • • • •

Will Eisner Comic Book Award Nominees Announced



Diversity is the rule for the 2009 Will Eisner Comic Comic Book Industry Awards, which announced its nomination in 26 categories today.

The leading projects, garning four nominations apiece, are the graphic novels Skim, Alan’s War, Umbrella Academy, Fables and Madame Xanadu.

Among comic book creators, Emmanuel Guibert and Chris Ware each lead the pack with four nominations for their work. Dark Horse Comics lead the pack among publishers with 13 individual and five shared nominations, followed by DC Comics with 10 individual and two shared noms and Marvel Comics with nine individual and two shared nominations.

The winners will be announced July 24 at Comic-Con International in San Diego.

Best Short Story
* Actual Size, by Chris Ware, in Kramers Ergot 7 (Buenaventura Press)
* Chechen War, Chechen Women, by Joe Sacco, in I Live Here (Pantheon)
* Freaks, by Laura Park, in Superior Showcase #3 (AdHouse)
* Glenn Ganges in Pulverize, by Kevin Huizenga, in Ganges #2 (Fantagraphics)
* Murder He Wrote, by Ian Boothby, Nina Matsumoto, and Andrew Pepoy, in The Simpsons' Treehouse of Horror #14 (Bongo)

Best Continuing Series
* All Star Superman, by Grant Morrison and Frank Quitely (DC)
* Fables, by Bill Willingham, Mark Buckingham, Steve Leialoha, Niko Henrichon, Andrew Pepoy, and Peter Gross (Vertigo/DC)
* Naoki Urasawa's Monster, by Naoki Urasawa (Viz)
* Thor, by J. Michael Straczynski, Olivier Coipel, Mark Morales, and various (Marvel)
* Usagi Yojimbo, by Stan Sakai (Dark Horse)

Best Limited Series
* Groo: Hell on Earth, by Sergio Aragones and Mark Evanier (Dark Horse)
* Hellboy: The Crooked Man, by Mike Mignola and Richard Corben (Dark Horse)
* Lock & Key, by Joe Hill and Gabriel Rodriguez (IDW)
* Omega the Unknown, by Jonathan Lethem, Karl Rusnak, and Farel Dalrymple (Marvel)
* The Twelve, by J. Michael Straczynski and Chris Weston (Marvel)

Best New Series
* Air, by G. Willow Wilson and M. K. Perker (Vertigo/DC)
* Echo, by Terry Moore (Abstract Studio)
* Invincible Iron Man, by Matt Fraction and Salvador Larocca (Marvel)
* Madame Xanadu, by Matt Wagner, Amy Reeder Hadley, and Richard Friend (Vertigo/DC)
* Unknown Soldier, by Joshua Dysart and Alberto Ponticelli (Vertigo/DC)

Best Publication for Kids
* Amulet, Book 1: The Stonekeeper, by Kazu Kabuishi (Scholastic Graphix)
* Cowa!, by Akira Toriyama (VIZ)
* Princess at Midnight, by Andi Watson (Image)
* Stinky, by Eleanor Davis (RAW Junior)
* Tiny Titans, by Art Baltazar and Franco (DC)

Best Publication for Teens/Tweens
* Coraline, by Neil Gaiman, adapted by P. Craig Russell (HarperCollins Children's Books)
* Crogan's Vengeance, by Chris Schweizer (Oni)
* The Good Neighbors, Book 1: Kin, by Holly Black and Ted Naifeh (Scholastic Graphix)
* Rapunzel's Revenge, by Shannon and Dean Hale and Nathan Hale (Bloomsbury Children's Books)
* Skim, by Mariko Tamaki and Jillian Tamaki (Groundwood Books)

Best Humor Publication
* Arsenic Lullaby Pulp Edition No. Zero, by Douglas Paszkiewicz (Arsenic Lullaby)
* Chumble Spuzz, by Ethan Nicolle (SLG)
* Herbie Archives, by "Sean O'Shea" (Richard E. Hughes) and Ogden Whitney (Dark Horse)
* Petey and Pussy, by John Kerschbaum (Fantagraphics)
* Wondermark: Beards of Our Forefathers, by David Malki ! (Dark Horse)

Best Anthology
* An Anthology of Graphic Fiction, Cartoons, and True Stories, Vol. 2, edited by Ivan Brunetti (Yale University Press)
* Best American Comics 2008, edited by Lynda Barry (Houghton Mifflin)
* Comic Book Tattoo: Narrative Art Inspired by the Lyrics and Music of Tori Amos, edited by Rantz Hoseley (Image)
* Kramers Ergot 7, edited by Sammy Harkham (Buenaventura Press)
* MySpace Dark Horse Presents, edited by Scott Allie and Sierra Hahn (Dark Horse)

Best Digital Comic
* Bodyworld, by Dash Shaw
* Finder, by Carla Speed McNeil
* The Lady's Murder, by Eliza Frye
* Speak No Evil: Melancholy of a Space Mexican, by Elan Trinidad
* Vs., by Alexis Sottile & Joe Infurnari

Best Reality-Based Work
* Alan's War, by Emmanuel Guibert (First Second)
* Blue Pills: A Positive Love Story, by Frederik Peeters (Houghton Mifflin)
* Fishtown, by Kevin Colden (IDW)
* A Treasury of XXth Century Murder: The Lindbergh Child, by Rick Geary (NBM)
* What It Is, by Lynda Barry (Drawn & Quarterly)

Best Graphic Album — New
* Alan's War, by Emmanuel Guibert (First Second)
* Paul Goes Fishing, by Michel Rabagliati (Drawn & Quarterly)
* Skim, by Mariko Tamaki and Jillian Tamaki (Groundwood Books)
* Swallow Me Whole, by Nate Powell (Top Shelf)
* Three Shadows, by Cyril Pedrosa (First Second)

Best Graphic Album — Reprint
* Berlin Book 2: City of Smoke, by Jason Lutes (Drawn & Quarterly)
* Hellboy Library Edition, Vols. 1-2, by Mike Mignola (Dark Horse)
* Sam & Max Surfin' the Highway Anniversary Edition HC, by Steve Purcell (Telltale Games)
* Skyscrapers of the Midwest, by Joshua W. Cotter (AdHouse)
* The Umbrella Academy, Vol. 1: Apocalypse Suite, deluxe edition, by Gerard Way and Gabriel Ba (Dark Horse)

Best Archival Collection/Project — Strips
* The Complete Little Orphan Annie, by Harold Gray (IDW)
* Explainers, by Jules Feiffer (Fantagraphics)
* Little Nemo in Slumberland, Many More Splendid Sundays, by Winsor McCay (Sunday Press Books)
* Scorchy Smith and the Art of Noel Sickles (IDW)
* Willie & Joe, by Bill Mauldin (Fantagraphics)

Best Archival Collection/Project — Comic Books
* Breakdowns: Portrait of the Artist as a Young %@&*!, by Art Spiegelman (Pantheon)
* Creepy Archives, by Various (Dark Horse)
* Elektra Omnibus, by Frank Miller and Bill Sienkiewicz (Marvel)
* Good-Bye, by Yoshihiro Tatsumi (Drawn & Quarterly)
* Herbie Archives, by "Sean O'Shea" (Richard E. Hughes) and Ogden Whitney (Dark Horse)

Best U.S. Edition of International Material
* Alan's War, by Emmanuel Guibert (First Second)
* Gus and His Gang, by Chris Blain (First Second)
* The Last Musketeer, by Jason (Fantagraphics)
* The Rabbi's Cat 2, by Joann Sfar (Pantheon)
* Tamara Drewe, by Posy Simmonds (Mariner/Houghton Mifflin)

Best U.S. Edition of International Material — Japan
* Cat Eyed Boy, by Kazuo Umezu (VIZ)
* Dororo, by Osamu Tezuka (Vertical)
* Naoki Urasawa's Monster, by Naoki Urasawa (VIZ)
* The Quest for the Missing Girl, by Jiro Taniguchi (Fanfare/Ponent Mon)
* Solanin, by Inio Asano (VIZ)

Best Writer
* Joe Hill, Lock & Key (IDW)
* J. Michael Straczynski, Thor, The Twelve (Marvel)
* Mariko Tamaki, Skim (Groundwood Books)
* Matt Wagner, Zorro (Dynamite); Madame Xanadu (Vertigo/DC)
* Bill Willingham, Fables, House of Mystery (Vertigo/DC)

Best Writer/Artist
* Rick Geary, A Treasury of XXth Century Murder: The Lindbergh Child (NBM); J. Edgar Hoover (Hill & Wang)
* Emmanuel Guibert, Alan's War (First Second)
* Jason Lutes, Berlin (Drawn & Quarterly)
* Cyril Pedrosa, Three Shadows (First Second)
* Nate Powell, Swallow Me Whole (Top Shelf)
* Chris Ware, Acme Novelty Library (Acme)

Best Penciller/Inker or Penciller/Inker Team
* Gabriel Ba, The Umbrella Academy (Dark Horse)
* Mark Buckingham/Steve Leialoha, Fables (Vertigo/DC)
* Olivier Coipel/Mark Morales, Thor (Marvel)
* Guy Davis, BPRD (Dark Horse)
* Amy Reeder Hadley/Richard Friend, Madame Xanadu (Vertigo/DC)
* Jillian Tamaki, Skim (Groundwood Books)

Best Painter/Multimedia Artist
* Lynda Barry, What It Is (Drawn & Quarterly)
* Eddie Campbell, The Amazing Remarkable Monsieur Leotard (First Second)
* Enrico Casarosa, The Venice Chronicles (Atelier Fio/AdHouse)
* Scott Morse, Tiger! Tiger! Tiger! (Red Window)
* Jill Thompson, Magic Trixie, Magic Trixie Sleeps Over (HarperCollins Children's Books)

Best Cover Artist
* Gabriel Ba, Casanova (Image); The Umbrella Academy (Dark Horse)
* Jo Chen, Buffy the Vampire Slayer, Serenity (Dark Horse); Runaways (Marvel)
* Amy Reeder Hadley, Madame Xanadu (Vertigo/DC)
* James Jean, Fables (Vertigo/DC); The Umbrella Academy (Dark Horse)
* Matt Wagner, Zorro (Dynamite); Grendel: Behold the Devil (Dark Horse)

Best Coloring
* Steve Hamaker, Bone: Ghost Circles, Bone: Treasure Hunters (Scholastic Graphix)
* Trish Mulvihill, Joker (DC), 100 Bullets (Vertigo/DC)
* Val Staples, Criminal, Incognito (Marvel Icon)
* Dave Stewart, Abe Sapien: The Drowning, BPRD, The Goon, Hellboy, Solomon Kane, The Umbrella Academy (Dark Horse); Body Bags (Image); Captain America: White (Marvel)
* Chris Ware, Acme Novelty Library #19 (Acme)

Best Lettering
* Faryl Dalrymple, Omega: The Unknown (Marvel)
* Jimmy Gownley, Amelia Rules! (Renaissance)
* Scott Morse, Tiger! Tiger! Tiger! (Red Window)
* Nate Powell, Swallow Me Whole (Top Shelf)
* Chris Ware, Acme Novelty Library #19 (Acme)

Best Comics-Related Periodical/Journalism
* Comic Book Resources, produced by Jonah Weiland
* The Comics Journal, edited by Gary Groth, Michael Dean, and Kristy Valenti (Fantagraphics)
* The Comics Reporter, produced by Tom Spurgeon and Jordan Raphael
* Comics Comics, edited by Timothy Hodler and Dan Nadel (PictureBox)

Best Comics-Related Book
* Bill Mauldin: A Life Up Front, by Todd DePastino (Norton)
* Brush with Passion: The Art and Life of Dave Stevens, edited by Arnie and Cathy Fenner (Underwood)
* Drawing Words and Writing Pictures, by Jessica Abel and Matt Madden (First Second)
* Kirby: King of Comics, by Mark Evanier (Abrams)
* The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America, by David Hajdu (Picador/Farrar, Straus & Giroux)

Best Publication Design
* Breakdowns: Portrait of the Artist as a Young %@&*! designed by Art Spiegelman (Pantheon)
* Comic Book Tattoo, designed by Tom Muller, art direction by Rantz Hoseley (Image)
* Hellboy Library Editions, designed by Cary Grazzini and Mike Mignola (Dark Horse)
* What It Is, designed by Lynda Barry (Drawn & Quarterly)
* Willie and Joe, designed by Jacob Covey (Fantagraphics)

There you go, folks. Linda Barry, a Filipino cartoonist, is becoming unstoppable. I hope she wins!