Kikomachine
Komix is a Filipino comic strip series by Manuel “Manix” Abrera that’s been
running in the Philippine Daily Inquirer since 2001—that makes the series about
seventeen years old. It appears on the newspaper daily from Monday to Saturday,
but if you don’t read newspapers, you can buy any one of the twelve
compilations of Kikomachine published by Visprint.
The comic
strip series centers mainly around the adventures and trials of college life
and early adulthood. From those sources, it finds quirky and sometimes super
absurdist humor. When it’s not doing that, it delves into the current issues of
the time—political or others—sometimes even going as far as to attempt to
answer life’s greatest questions, like “Who am I?” and “What is my purpose in
this universe?” Then it finds super absurdist humor in that too. There’s rarely
a dull moment in Kikomachine Komix, basically. Even when it makes you think or
tries to expose a problem in modern society, it makes you laugh.
Kikomachine
is special to me because this is the first newspaper comic strip which I
genuinely got into, and the first comic to make me laugh. As in, not just amuse
me, not just make me smile, it made me laugh in a way that got me a weird look
from my mom once. So far I’ve been trying to understand what makes it so
special and what kept it solid for over a decade and a half. I don’t think I’ve
understood everything yet, but I hope that what I’ve written in this essay can
encourage you to go check this incredible read out, or at least leave you with
a deeper appreciation for comics.
1.
The newspaper
comic strip format can be pretty limiting due to the amount of space you’re
given per day/week, so one way Kikomachine works around that is by making space
for a whole lot of words. The important visual elements (like the comic’s
characters) are pushed down to the bottom half of the panel, letting the words
take over half the space of each panel. Sometimes it even takes over
three-fourths of the vertical space per panel. That’s a lot.
The good
thing about that it gives the comic freedom to extend the time of each panel by
adding a truckload of words. Words add time to a panel. A panel with words
doesn’t end until you read all the words within these panels, and voicing out
these words in your head take time. That’s one of the ways this static medium
can convey time.
No wonder why
Kikomachine comics rarely feel very fleeting despite them being small on paper.
That’s a problem with me personally regarding newspaper dailies. They’re just
really fast sometimes, you feel? Like, one second you’ve just started, and in
the next moment you’re done reading the thing, and you feel nothing because you
passed by that so quickly. No such thing in Kikomachine because you’ll be
reading it for a little longer.
This is
something I believe only this type of comics can do. Constantly high word
density per panel like in Kikomachine won’t be well-received in longer-form
comics. I mean, wouldn’t it feel really lazy and bogged-down if all the panels
in your hundred-page graphic novel were half-full of just words? Where in the
world’s the artwork at? Some people read comics just for that, you know. Plus,
wouldn’t it be a very intimidating and exhausting read for the casual viewer
too? That book wouldn’t sell very well.
However, it
doesn’t feel boring at all in Kikomachine Komiks because each strip is so short
and tightly-written that it doesn’t have much room to get boring before the
punchline.
More
importantly, doing that gives the Filipino language actual space to develop and
flourish as needed, which plays exactly into the hands of my next point.
2.
The dialogue
of this comic is so relatable. As in, it captures the details of what everyday
people would say in real life. Like the anos, the kuwans, the slangs, the many
quirky mutations of everyday words (i.e. “olats,” “gelpren,” “labs,” etc.), the
English indiscriminately woven into the Tagalog in small bits, the perceived
pretentiousness of English in everyday conversation, the Filipino’s knack for
cool lines and humor in everyday situations, the conversational Tagalog’s feel
and cadence, and the imperfect sentences, among others that I don’t know of yet.
But most
importantly, I feel that the dialogue beats with the heart of a Filipino.
Reading the dialogue, I always get this feeling like Manix Abrera doesn’t do
research or role-play or put on a persona or anything like that while writing
the script. He doesn’t need that. I feel that he simply writes the script as if
he were just talking. Since the important visual elements are always pushed
down, the dialogue’s also got all the space to add in all the needed quirks of
the Filipino language, and it does.
Combined with
the comic’s very cartoony style and the downplaying of visual elements I
mentioned above, what results is a reading experience that feels so natural.
Since it recreates the everyday language of everyday Filipinos so well, you
don’t have to make voices for these characters or anything like that. You can
just breathe life into the lines of these characters using the voices and
cadences of the everyday Filipinos around you. You can just read the lines of
the comic’s students in the voices of your own classmates, friends, or siblings
and cousins in college. Those of the comic’s professors you can vitalize with
the voices of your own teachers or professors. Those of the characters’ lolos,
lolas, titos, titas and parents, you can fill with those of your own lolos,
lolas, titos, titas, and parents. And it’s so lucid and easy because we hear
this kind of talk every day, in living our day-to-day lives. It fits so well,
like a key custom-made specifically for a lock.
No wonder Manix Abrera's such a rock star around the youth these days.
Of course,
what I mentioned up there all depends on how immersed and versed you are in
this super breezy kind of Tagalog. I know comics depend on your real-life
experiences a lot, but I think this one does even more so. But since we all
live and study in the same place, I’m pretty sure all of us can relate to this,
even just a little bit. I’m just hoping that at least one of us knows and feels
exactly what I mean in this essay.
I think what
we can take away from Kikomachine in the end is that conversational language can
be just as powerful as scholarly.
School doesn’t
reward using the breezy kind of Tagalog that Kikomachine uses, but that doesn’t
mean it’s inferior. Its power lies in the fact that this current generation has
chosen to speak this language. In simple terms, this is the language of the Filipino
youth. Maybe not this school’s youth, but definitely that of the general Philippine
youth. Aware or not, they chose to speak this language with friends and family
as a sign of intimacy. The youth has colored our culture with this language, and
the results are the OPM, Filipino memes, hugot culture, spoken word, art, komiks,
and fiction we’ve come to know and love (or hate). And even in the chaotic
social landscape of the Philippines today, the youth chooses to fight with this
weapon of language in the battlefields of online discussion and raising social
awareness.
I know, dude.
It sounds super squammy and sagwa sometimes. But by harnessing this language,
you also unlock the emotions, the desires, and the trust of millions of Filipinos
here and abroad. You could expose to everyone the sins and flaws of the
government and end corruption in the Philippines forever. You could woke
Filipinos to issues around them like poverty, fake news and depression,
inspiring them to take quick action. Or maybe, you could make another
long-running comic strip that makes the lousy day better for all its thousands
of young readers.
***
Hi, Kazumi here. Uh, yeah, admittedly this is way more rushed than all my previous works. I usually take care to make my works the best they can be before posting them here. But I think that perfectionism's really hurt my output rate really badly, so I'll try shaking things up for a bit. I hope you won't mind. Translations and images of the source material will be added later on, don't worry. I'll use the negative energy harvested from your reviews to make a hella polished revision of this essay next time around.
I'm also back at it again with that essay for a super niche target audience. I'm sorry if you wanted to be in on this, but lately I'm not really concerned about publishing works for YWS. This place is not the end goal for me at the moment. I'm just posting this here so I can get free feedback. But hey, maybe I might publish something that isn't exclusive to Filipinos only lol. Though if you still choose to review this thing despite not understanding the comic I'm analyzing, then a big highkey thanks to you. All feedback helps me a lot.
If you're a Filipino, please come in and give feedback. If you're a Filipino comic fan, then I urge you even harder. You guys know a lot about the heart of the matter, so your comments are super valuable to me right here.
Thanks for reading so far.
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