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Friday, April 12, 2013

Preview Art for TRESE BOOK 6

For SUMMER KOMIKON, we are releasing a special preview book which contains the first chapter of TRESE BOOK 6.

It will also contain THE CHOIR (from the STORIES FROM THE DIABOLICAL blog) with new artwork from Kajo.

Preview Art for THE DARK COLONY

Comic Book Story by Budjette Tan. Art by Bow Guerrero. Prose Story by JB “Taps” Tapia. (Php120.00, 80-pages. Black-and-White. Contains bonus pages, character designs, and sketches of the Knights of St. Michael.) 

Be the first to get it at the VISPRINT table, Summer Komikon, April 13, Bayanihan Center, Pioneer St., Mandaluyong City.

Synopsis: Mikey had other plans on his Holy Week holiday. Driving for his grandfather was not part of it. Nor did it involve running into a very unholy secret.

“Mikey Recio and the Secret of the Demon Dungeon”
Story by Budjette Tan
Art by Bow Guerrero

“The Mission at Estero de Vistas”
Story by J.B. “Taps” Tapia
Illustrations by Bow Guerrero

Wednesday, April 03, 2013

Exclusive TRESE story in MANILA NOIR

Got my advance copy of MANILA NOIR! This anthology is edited by Jessica Hagedorn and will be published by Akashic Books.

We were invited to contribute to this anthology of prose stories and Trese: Thirteen Stations is the only comic book story in the line up. It is an honor and privilege to be part of such a great collection of writers and storytellers.

MANILA NOIR will be available in the United States this June. The Philippine edition will be distributed by Anvil and will also be in local bookstores June 2013.

Here's the press release from the AKASHIC BOOKS catalogue:

Launched with the summer ’04 award-winning best-seller Brooklyn Noir, Akashic Books continues its groundbreaking series of original noir anthologies. Each book is comprised of all-new stories, each one set in a distinct neighborhood or location within the geographical area of the book.

Original stories by Lourd De Veyra, Gina Apostol, Budjette Tan & Kajo Baldisimo, F.H. Batacan, Jose Dalisay Jr., Eric Gamalinda, Jessica Hagedorn, Angelo Lacuesta, R. Zamora Linmark, Rosario Cruz-Lucero, Sabina Murray, Jonas Vitman, Marianne Villanueva, and Lysley Tenorio.

One of the most populous cities in the world, Manila provides the ideal, torrid setting for noir. It’s where the rich rub shoulders with the poor, where five-star hotels coexist with informal settlements, where religious zeal coexists with superstition, where “hospitality” might be another word for prostitution, where politics is often synonymous with celebrity and corruption, where violence is nothing out of the ordinary and pretty much anything can be had for a price.

From the Introduction by Jessica Hagedorn:

“Manila is not for the faint of heart. Built on water and reclaimed land, it’s an intense, congested, teeming megalopolis, the vital core of an urban network of sixteen cities and one municipality collectively known as Metro Manila. Population: over ten million and growing by the minute. Climate: tropical. Which means hot, humid, prone to torrential monsoon rains of biblical proportions.
I think of Manila as the ultimate femme fatale. Complicated and mysterious, with a tainted, painful past. She’s been invaded, plundered, raped, and pillaged, colonized for four hundred years by Spain and fifty years by the US, bombed and pretty much decimated by Japanese and American forces during an epic, month-long battle in 1945.

Yet somehow, and with no thanks to the corrupt politicians, the crime syndicates, and the indifferent rich who rule the roost, Manila bounces back. The people’s ability to endure, adapt, and forgive never ceases to amaze, whether it’s about rebuilding from the latest round of catastrophic flooding, or rebuilding from the ashes of a horrific world war, or the ashes of the brutal, twenty-year dictatorship of Ferdinand Marcos . . .

Many years have passed since the end of the Marcos dictatorship. People are free to write and say what they want, yet nothing is different. The poor are still poor, the rich are still rich, and overseas workers toil in faraway places like Saudi Arabia, Israel, Germany, and Finland. Glaring inequities are a source of dark humor to many Filipinos, but really just another day in the life . . .

Writers from the Americas and Europe are known for a certain style of noir fiction, but the rest of the world approaches the crime story from a culturally unique perspective. In Manila Noir we find that the genre is flexible enough to incorporate flamboyant emotion and the supernatural, along with the usual elements noir fans have come to expect: moody atmospherics, terse dialogue, sudden violence, mordant humor, a fatalist vision.”