Mining, Atlas Komiks, and a few highly recommended blog sites

Time for some scuttlebutt. Its been reported in this blog that in 1996, Atlas Publications, Inc., one half of the Roces family's Filipino komiks publishing monopoly, was sold to National Bookstore, the leading Filipino bookstore chain in the country owned by the Ramos family. Since the sale, "traditional" Filipino komiks under the Ramos family's watch has practically disappeared from the Philippines' cultural map and radar. Word is even going around that some of the publications bought from the Roceses are encountering some financial difficulties and that a new infusion of cash is needed. Fortunately, events are transpiring that may just bring a turnabout. But first, a brief backgrounder.

The bookstore chain's grand old lady and founder, Gng. SOCORRO RAMOS, was awarded this year for her vision and entreprenuerial accomplishments. Mrs. Ramos has two sons: Benjamin, who is said to be real and direct owner of Atlas Komiks, and Alfredo who is the President of the country's premier mining company: ATLAS CONSOLIDATED. Atlas Consolidated met with some hard times during the late 1980s and has not been performing well in the stock market.

However, with the Supreme Court's recent decision declaring the constitutionality of the Mining Act, the local mining industry was given a serious shot in the arm. Now, foreign investors especially the Chinese are interested in going into mining. It is estimated that given the right treatment, the Philippines' rich deposits of iron, copper and zinc (materials badly needed by industrial hungry China) can yield, just for starters, a cool $1 Trillion U.S. dollars. Which is why Alfredo right now is busy trying to raise capital and obtain new partners in order to prop up Atlas Consolidated. What does this have to do with the Philippine comics scene, you ask?

If successful, the money generated from the mining venture would be pumped back in to the Ramoses' other business interests particularly (and hopefully) the now anemic and almost defunct Atlas Komiks publications. New money can bring in a lot of things, especially new players in the business administration side of Atlas Komiks as well. So, here's to the Ramos family. May their mining venture bear fruit and may they not turn their backs on the other cultural treasure they have that still needs a lot of investment, care and development: Filipino Komiks.

And on a different note, this blogger has visited other interesting and noteworthy blogs related to the topics discussed here and they are highly recommended. Foremost of these is www.usapang-komix.blogspot.com which is a highly informative site by Randy Valiente, a multi-talented and awarded Filipino komiks writer-artist, who gives us valuable insider information on the Philippine comics scene as he experienced and lived it from the late 1970s to the 1990s. The blogsite's text is written in Filipino (which is refreshing and commendable) so my sympathies if you'll be turned off by this. You'll be missing a lot.

Another site of worthy note is www.silpayamanant.blogspot.com by Jon Silpayamanant. Jon's survey of Oriental comics in general is so pleasantly vast and overwhelming. The data is so varied and engrossing that one or two visits is not enough. You will eventually leave however, with the comfortable thought that not all comics are American or Japanese. Thanks, Jon.

And then there's Chrissy Beltran's www.dlsu-xy.blogspot.com. Chrissy is a marketing (?) student from La Salle and she has an interesting, albeit lengthy, article on "monopolistic competition" which I found very enlightening. Great introduction for those interested in the economics and historical side of Filipino comics publishing.

The Return of Filipino Komiks' old target market: the C-D-E low income groups

When several natural, economic, and political difficulties faced the country during the decade of the 1990s, the financial situation of low-income individuals was affected. It got worse steadily.

Half of the country's middle income class got poorer consequently increasing the size of the C, D, and E low income groups. To cope, many became overseas contract workers leaving their families behind. The nation's wealth meanwhile, got smaller and smaller with each passing year, most of it being held by an elite rich few who now had the purchasing power to control the market. Make no bones about it. Unequal distribution of wealth is very real and a fact of life in the Philippines.

Possessing the all important purchasing power, the elite rich few then became the target market of most businesses and advertisers in the country. Products that catered to their various lifestyles and tastes came to the fore. Nowhere is this most evident than in the Philippine comics scene today where we see the dominance of imported and licensed American and Japanese comics. Most of these comics have prices that are beyond the reach of low-income groups and are sold in places where the A, B income class usually congregate.

So pervasive, so overwhelming is the media influence of American and Japanese comics that most of today's generation of Filipino comics creators likewise target the same elite A, B income group by aping and emulating the concept and styles of the American and Japanese. The result of such endeavors is what this blogger calls: "globalized" Filipino comics which really strain behind the lame excuses of artistic freedom and eclecticism.

Yet, recent developments indicate a possible turn of events. It seems that the collective purchasing power of the C, D, and E "masses" are staging a comeback. Somehow, a saturation point has been reached in the limited A and B income market. Businesses and advertisers are now slowly being forced to focus back on the masses as a target market.

The success story of Smart Communications, Inc., the Philippines' No. 1 cellfone service, is being held up as a rallying point. In a news article appearing in the September 25, 2005 issue of the Manila Bulletin entitled: "Focusing business on low income groups is profitable" by Iluminado Varela, Jr., important research data is disclosed concerning this new and significant development. The news article is herein reproduced in full:

"MANILA (PNA) -Focusing business on the low income groups can spell big success. This has been proven in the telecommunications services by Smart Communications, Inc.

According to the World Resources Institute, a US-based research center, "The special focus of Smart Communications Inc. on the low income segment of the Philippine population is a success story that has made it the No. 1 wireless carrier in the country."

Once ignored--in fact written off--by the telecommuications experts, the C-D-E market was the focus of the Smart marketing strategy which enabled the company to raise revenues and prepaid subscriber base to gain notice from the business community.

"Overall, Smart has paid close attention to the reality of its Filipino market. With as much as 90 percent of the population in the D and E income segments, many in the Philippines are beginning to acknowledge consumers in the lower-income-bracket as those who are keeping the country's retail industry afloat, proving true the adage that there is strength in numbers," says the study.

According to the study, Smart's ability to understand the spending habits and limited cash flow of its individual consumers generated a ripple effect in the low income community.

The study says that "not only did Smart's approach with the telecommunications services to be finally within reach of the majority of Filipinos, but their aplications have helped to generate real revenue and opportunities for small Filipino entrepreneurs."

According to the study, Smart's success stems from its "base of the economic pyramic (BOP) market organization from the start.

The Smart load payment scheme targeted the low-income practices and created a network of over 500,000 retailers, including sari-sari stores, teachers and students, housewives, employees and other 'roving agents".

Retailers complete transactions using SMS (short messaging system) as well, but Smart catered a special system to their needs, including a unique menu and a specially designed subscriber identity module (SIM). Smart says that some retailers earn up to 1,000 pesos per day in reload sales.

The study says that Smart's innovative approach minimizes physical product distribution costs and creates a demand-response stocking system for prepaid airtime, reducing risk across the firm. Product distribution is now faster, more efficient, and as the company claims, more secure.

The World Resources Institute concluded: "Smart came to this realization earlier than most Filipino businesses and designed their business model to target these segments from the beginning. The result is that Smart's BOP oriented business model, in particular their Smart Load product, has had a real impact on their overall financial success on the low-income customer they serve."

Those seriously interested in going into comics publishing should take note. If the trend towards the low income groups continue, the next wave of Filipino comics should take into prime consideration the economic lifestyles and tastes of the various groups within this new target market which means in essence, producing non-expensive, non-glossy, non-english language, Filipino comics. Businesses will most surely adopt to the situation by creating more budget-friendly products that are accessible to, and will be patronized by, the low-income groups. Advertisers will definitely be following suit.

But in order to produce inexpensive Filipino comics for the low-income market, this will entail, in light of inflation, reduced production costs, efficient distribution, and most importantly, effective collection.

Will this mean the return as well of the corrupt banketa dealers of yesteryear who secretly lease komiks to the public, then return the dilapitated and read komiks back to the publisher as unsold material, while secretly keeping the unreported extra profits for themselves? A good question best reserved for another topic for another day.

Cost-efficient comics printing at Print Philippines '05

If you're one of the brave few seriously considering of going into comics publishing, you'll be glad to know that recent advances in print technology have made the process a lot less tedious, less expensive, and less labor-intensive. Definitely good news in today's inflationary times.

The latest in print technology is on exhibit at "Print Philippines '05": A Total Printing and Graphic Arts Show", being held at the Philippine Trade Trading Center at Roxas Boulevard corner Buendia Extension, Pasay City. The exhibit is from September 23 to 25, 2005 only.

Of particular note is the new innovation being introduced by Gakken Philippines, Inc. (www.gakkenphil.com). Traditionally, the content page had to be placed on disc and sent to the printer who would then produce a "plate". The plate would then be attached to the printing press' rollers and after the press starts to run, several copies of the content page come out in volumes. For this printing job, one usually pays the printer for the camera work, film negative (or positive), image setting, plate, and finally the running. However, with the new technology being introduced by Gakken, all prior stages except running, are eliminated thus lessening the cost. Its also ridiculously simple.

All you need is a computer, an HP laser printer, and the polyester based paper products created by Technova: NOVASHARP and NOVADOM.

It works like this: after scanning or creating the comics page itself in the computer, you take out either a Novasharp or Novadom piece of polyester paper, set it on the HP laser printer tray, then print. Now, if Novasharp paper is used, the laser print-out becomes the equivalent of a film negative (or positive) which you give directly to the printer who then proceeds to make a "plate" out of it to be attached later to the offset printing press' roller. The process is faster and the pre-press cost reduced. All you pay for is the paper stock and running of the press. Plate production is usually included in the press' running cost. But if you really want to bring the cost down, that's where the other paper product comes in.

If Novadom is used, the laser print-out itself can be used as the plate to be attached directly to the printing press rollers.

With this system, a small-run comics publisher could just pay for the reams of Novasharp or Novadom paper and running cost of the printer. The only catch here is that so far after a series of tests, Gakken can guarantee that Technova's polyester papers work well with HP laser printers. But laser printers are expensive. Can these polyester papers work on inkjet printers? The answer is yes. Gakken will later introduce another version of polyester paper for inkjet printing.

This new printing technology can be either in black and white or in full color. If say, the comics page is computer colored and then laser printed on either Novasharp or Novadom polyester paper, the print-out will be in black and white. But don't worry. When this is attached to the printing machine, the output will be colored. No more separate color plates to be attached on the printing machine's rollers, just one paper.

Now usually, its possible that when the ink cartridge is about to dry up, the print-out on either Novasharp or Novadom paper will have white streaks or look a bit pale. In answer to this, there's a chemical that is sprayed on the paper to increase its image density i.e., making the image fuller, eliminating streaks or lightness. Another thing, with Novadom, printing mistakes on the print-out can be erased through Technova's special type of liquid. Corrections can also be made using Technova's special pen. This feature unfortunately, is not available on Novasharp paper.

In both Novasharp and Novadom, printing resolution is limited to 150 l.p.i. (dot lines per inch). l.p.i is not the same as computer d.p.i. But if you think this is a drawback, why not visit the exhibit and take a look at the sample. I saw it and it looks real good. Specifically, I was shown a colored copy of "Bantay Balita" a provincial mini-broadsheet newspaper. The color resolution looks pretty good comparable (maybe even better) than the colored "Tanodbayan" tabloid and other major dailies in Metro Manila.

If you want to have a small scale printing press of your own however, mosey on over to the "Copylandia" exhibit where they now have photocopying machines that can print your black and white or colored comics page directly from the image stored in your computer. That's right. From computer, direct to the photocopying machine, and the number of copies is in the heavy duty volume: 50,000 copies of a 32 page comic kaya. For the Black and white or two color comics job, look for the Riso MZ 710 prized at P550,000.00. For the full color job, ask for the Riso HC5000 priced at P2.3 Million. Drawback: both machines can only accomodate bookpaper not glossy or newsprint paper. But if you're really interested in doing comics in white newsprint paper, Copylandia recommends the Hamada Superb 47NP (P2.4Million) and the (unfortunately sold out) Hamada 600 CD. Drawback: can only do two color.

So, you got the comics page printed on those photocopying machines. The next step is to have them stapled and folded. Not to worry. Copylandia has a machine for that too: the Plockmatic P61 (P500,000.00). Just place the printed pages on the Plockmatic's bins, switch on the machine and the magazine or comic comes out folded and stapled in several copies just like a photocopying machine.

There are other companies (and lovely promo girls too :) ) featured in the exhibit with their varying and wondrous innovations. But of them all, I think Gakken and Copylandia was it for me. They even gave demonstrations and seminars. But don't take my word for it. Visit the exhibit. It will truly be worth your while. There's no entrance fee and its free to the public. See for yourself. Tomorrow, September 25, 2005 (Sunday) is the last day. Don't miss out.

Government help, anyone?

The Arroyo administration is desperate right now. The economic situation in the country is so bleak that any business enterprise that can help stimulate the economy, no matter how small or negligible, is being given attention.

In a news article appearing in the September 23, 2005 issue of the Manila Bulletin entitled: "DTI to harness "creative industries' potential" it is reported that the Department of Trade and Industry through Secretary Peter B. Favila, has announced that it will assist all small or undeveloped "creative enterprises" in the country by helping them develop into effective money-making ventures. Today's Filipino comics, in this blogger's opinion, is one such "creative enterprise" involving as it is, valuable intellectual properties through its characters, stories, and "art" that have become big business (in the print medium) in countries such as France, Japan, Italy, Taiwan, Hong Kong, England, and Korea. The full news article is as follows:

"Trade and Industry Secretary Peter B. Favila is pursuing ways to harness the potential of the so-called creative industry into a money-making field. Under Favila, the creative economy concept is now being pursued by the Center for International Trade and Exposition and Mission (CITEM). It also enlists all members of the creative community in entertainment, fashion, furniture, and software and animation in IT, among others, where intellectual property rights is a big issue.

"We are constantly assessing the various facets of the Philippine competitive edge towards formulating appropriate strategies that can enhance their contributions to economic growth and progress," Favila said.

Favila believes that the prospect of the Creative Industries as a driver for economic vitality is quite huge. "The DTI is confident in the value and strength of our human resources and their capacity for economically rewarding endeavors," he said.

The key, he said, is to be able to understand how creative professionals and industries function, and be able to develop a supportive infrastructure that would enable them to flourish and integrate into the mainstream of growth.

"Over the past years, we have learned that the distinctive elements that we Filipinos bring to the global market, creativity, artistry, craftsmanship, and innovativeness, are becoming more and more apparent and valuable factors that differentiate us from our neighbors and other nations in the international community," Favila stressed.

Among the success stories that validate the cause of developing Philippine Creative Industries include the achievements of Holy Cow! in the animation industry, and Movement 8 in design and crafts.

The progress that have been made in various fields of creativity is more by individual efforts rathen than an orchestrated, intentional design.

While there may be sectors that are more developed and more advanced in their support infrastructure than the rest, they are all still separate and uncoordinated sectors functioning on their own.

"The goal of the Creative Economy is to develop the environment that would make it possible for artists, creative individuals and innovators to produce their work with less impediments, and at the same time also have a means or an organized system through which to market their creations, and gain formal recognition from government and their respective sectors," Favila added.

The government must be able to build its case so that strategic investments from government and the private sector can be channeled towards developing a truly Creative Philippines. (BCM)"

For those seriously interested in exploring the possibility of promoting and developing our dismal comics scene into an "industry" with the help (or "intervention" depending on what side of the fence you're on) of the government, now is the chance.

The creative industry in the country is, as correctly observed by the news article, largely uncoordinated. This perception can be rightly applied to the present comics scene as well. Filipino comics creators are hiring their services for the development of "other" foreign comics and other media, instead of trying to help create an indigenous and homegrown industry. Most of these bohemians are artistically self-indulgent and focused on comics as an 'artform' that is limited only to a cult few audience. They have not yet set their sights into developing comics as a medium of communication accessible to a larger public and open up the medium to participation by other occupations and interests. Most Filipino comics publishers (handful that they are) are also of the same vent what with their plethora of globalized or licensed american and japanese comics flooding the market today. When will today's Filipino comics community ever grow up and develop as a creative industry? The travails of youth are indeed many.

Comics Censorship in the Philippines: A look back in time

Even the concept and style of comics censorship prevalent in the United States during the 1950s, which was the banning of "horror, sex, and crime" comics was aped by the Philippine comics industry at the time.

The comics industry in the Philippines began in 1947 when ACE Publications owned by the late Don Ramon Roces, put out successful print runs of "Pilipino Komiks", "Hiwaga Komiks", "Tagalog Klasiks", and "Espesyal Komiks". ACE's editorial policy was guided by a so-called "Golden Code" established in 1955 pursuant to Executive Order 217 of the late President Manuel Quezon.

In 1959, the Association of Publishers and Editors of Philippine Comics Magazines (APEPCOM) was established in collaboration with the Catholic Laymen's Committee for Decency (later changed to the Knights of Columbus Good Press Committee). Its declared objective was to practice self-censorship within the industry by producing "only clean, wholesome, entertaining and educational strips" in order to promote the welfare of the komiks reading public. This was actually an adoption of ACE's "Golden Code" comics publishing editorial policy; the APEPCOM code was the Philippine equivalent of the American Comics Code Authority. Significantly, the APEPCOM was composed of Tony Velasquez, Angel Ad Santos, Clodualdo del Mundo and Ramon R. Marcelino. (Source: History of Komiks of the Philippines and other Countries, Islas Filipinas Publishing Co., ed. by Ramon R. Marcelino, 1985 ed.)

Another more practical purpose for the establishment of a censorship body, was to help perpetuate ACE's editorial policy of publishing "clean, wholesome, entertaining and educational comics" which not surprisingly, was also the preferred taste of the religious Knights of Columbus. In other words, this particular "conservative" taste and preference was being imposed upon the general komiks reading public by the Roces comics publishing monopoly and the Roman Catholic Church.

So extensive was Don Ramon's growing power and influence that in 1960, then President Carlos Garcia lauded Don Ramon for his contribution to the "generation" of business and industry in the Philippines. He was consequently made an honorary lifetime member of the Management Association of the Philippines for fostering "high level" management in the country by conducting workshops and seminars to speed-up management know-how and giving due recognition and awards to executives who excel in their respective fields. Tony Velasquez, APEPCOM member President, creator of Kenkoy, and trusted right hand man of Don Ramon, was one of those executives. (Source: "Garcia lauds Roces, Wilkman", Bulletin Today newspaper, May 16, 1960).

Is fair and honest business generated when one businessman imposes his company policies on another? Some would answer in the negative for this not only unduly promotes the business interests of the monopolist at the expense of another, but also compromises the rise of innovation and quality by inhibiting the freedom of expression of a competitor businessman.

Don Ramon's ACE Publications was the publisher of "Hiwaga Komiks" which specialized in supernatural, horror and "weird" stories, albeit in watered-down "wholesome" versions. Yet, through the APEPCOM, other comics publishers intent on putting out the same kind of horror, supernatural and "weird" comics format were kept at bay. This double standard is all the more evident when we look at the following 1961 news article:

"The APEPCOM approved an all-out campaign against stories of the horror and weird types in their latest meeting held at the Philippine Columbian House.

Member-managers were enjoined to devote at least half a page for editorials addressed to parents, as a regular feature.

The editorials will be illustrated and will have such subjects as "Weird Stories Wean Scary Children", "Don't Raise Weak-Hearted Children", "Superstitions that lead to Perdition", "Life Among the Supernaturals", and such similar subjects which over-imaginative comics writers utilize to the detriment of young minds.

An APEPCOM member had been ejected from the Association for devoting one of its magazines wholly to weird stories. Also a target of the campaign is a non-member that specializes in horror and crime stories.

A new seal for the use of qualified members has just been released. APEPCOM members are: ACE Publications, Liwayway Publishing, Bulaklak Publishing Inc., Mission Publications, Co., and Benipayo Press, Inc.

The APEPCOM campaign for clean and wholesome comics has been supported for the last six years by the good press committee of the Kngihts of Columbus under the direction of Fr. George F. Willman." (Source: Ban Horror Comic Books, Manila Bulletin newspaper, September 13, 1961).

The expelled APEPCOM member was none other than GMS (G. Miranda and Sons) Publishing Corporation, publisher of LAGIM Komiks, a Filipino comic that was devoted to the horror and supernatural format. APEPCOM's "members in good standing" at the time were: ACE Publications (naturally), ABC Publication, Benipayo Publication, Liwayway, and Mission Publication Company (of the Knights of Columbus). The APEPCOM practiced monthly self-censorship of all comics magazines published by its members. (Source: "Comics Association expels Member", Manila Bulletin newspaper, June 12, 1961).

Later however, the censoring body was unable to control the rise of new players into the market (i.e., CRAF Publications, Extra Komiks Publications, Mapalad Publishing Corporation, Bulaklak, Soller Press, PSG, Gold Star and others) who, though short lived, gave Don Ramon a run for his money, especially with the arrival of the bomba "sex" comics of the late 1960s and early 1970s. It was only in 1972 when martial law was declared that the APEPCOM through a new reformed body known as the Kapisanan ng mga Publisista at mga Patnugot ng mga Komiks Magasin sa Pilipinas (KPPKP) began to flex its muscle as a censor body under the guidance of the military dictatorship of Ferdinand Marcos. Comics publishers were required to post a yearly P10,000 bond (a huge amount at the time) which would be confiscated to the government if their titles were found to have deviated from the KPPKP censorship code. But this is another story best saved for another time.

Media Demassification and Filipino Comics Part ONE

DE-MASSIFICATION EXPLAINED

The three major mass media: print (newspapers, books, magazines), film (commercial films), and broadcast media (radio and television), arose out of the height of industrialization in the 20th century. During this time, the control and ownership of these media were confined either to the government or to a few private corporations and individuals.

Being products of an industrial age these three major media were termed as "second wave" media and their operations were characterized by a smokestack-like, factory managed system where its media products and images were mass produced in the millions on the assumption that the target mass audience had more or less standardized and homogenized tastes. In effect, the choice of media content was limited to the tastes and preferences of this one mass majority group oftimes at the expense of diverse minority audiences whose tastes and preferences were ignored.

With the arrival however of new technologies and increased market segmentation, the power and influence of second wave media progressively diminished worldwide during the latter part of the 20th century. This was the observation of acclaimed social thinker, Alvin Toffler, who said:

"The demassification of the media de-massifies our minds as well. During the second wave era the continual pounding of the standardized imagery pumped out by the media created what critics called a "massive mind". Today, instead of masses of people all receiving the same messages, smaller de-massified groups receive and send large amounts of their own imagery to one another. As the entire society shifts toward Third Wave diversity, the new media reflect and accelerate the process.

This in part explains why opinions on everything from pop music to politics are becoming less uniform. Consensus shatters. On a personal level, we are all besieged and blitzed by fragments of imagery, contradictory or unrelated, that shake up our old ideas and come shooting at us in the form of broken or disembodied "blips". We live, in fact, in a "blip culture". (Source: The Third Wave by Alvin Toffler, Bantam Books, 1981 edition).

A MORE DIVERSIFIED AND DEMOCRATIZED MEDIA CONTENT

To stress, the power and influence of traditional second wave media has been splintered, fractured and shared by more individuals and corporations who, because of increased market segmentation and new technology, were able to provide media content that cater to several diverse audience groups with distinct tastes and interests called "niches", that were previously ignored by second wave media.

RADIO DE-MASSIFIED

Radio's influence for example, has diminished through the years with the advent of MTV, a music video cable channel launched in the 1980s, to MP3 in the 1990s, and more recently by the Apple I-Pod in the early 21st century.

COMMERCIAL FILMS DE-MASSIFIED

Even commercial films are not immune having suffered stiff competition from cable television's movie channels, then by the video cassette recorder and betamax machines in the 1980s, the video compact disc and dvd players in the 1990s, to the digital camera and soon, online movies in the internet in the coming years.

Movie attendance in the United States particularly, is down. It was reported in the newly reformatted Manila Standard Today newspaper, that Summer 2005 was the worst since 1997 for movie attendance with a 9% drop in summer movie grosses from last year's $3.96 billion to 2005's $3.6 billion.

"What went wrong? "What didn't go wrong? That's the question," said Paul Dergarabedian, Exhibitor Relations president. "This was a summer that really could be characterized as under a cloud from the beginning. Usually, the first weekend in May, you have a big film that kind of kicks off the summer. It didn't happen that way this time, and that wa sort of an indicator of things to come."

Some movies did score big but the overall downturn lingered and then worsened, prompting gloom-and-doom predictions that audiences were growing tired of rising ticket prices, concession stand costs, preshow advertising and other movie theater hassles.

With so many other entertainment choices--video games, limitless TV programming, home theater setups--audiences may be edging away from moviehouses. In an Associated Press AOL News Poll inJune, nearly three-fourths of adults said they would prefer to stay home and watch movies on DVD, videotape, or pay-per-view rather than traipse to a theater. Almost half said they think movies are getting worse. Films suffered regardless of genre." (Source: "Hollywood worried about low ticket sales", Manila Standard Today newspaper, September 8, 2005 issue)

TELEVISION DEMASSIFIED

Television's mass audience has also been splintered by the arrival of cable and satellite television and its myriad channels serving different splintered audiences, electronic video recording, and electronic games in the 1980s to the internet, dvds, computer online games, and soon television on mobile phones.

NEWSPAPERS AND MASS MAGAZINES DE-MASSIFIED

Print media, especially newspapers and magazines, have suffered a progressive decline in circulation over the years in most countries worldwide (except China and India) especially today with the advent of the internet.

"Each of today's mass-circulated dailies now face increasing competition from a burgeoning flock of mini-circulation weeklies, bi-weeklies, and so-called "shoppers" that serve not the metropolitan mass market but specific neighborhoods and communities within it, providing far more localized advertising and news. Having reached saturation, the big city mass-circulation daily is in deep trouble. De-massified media are snapping at its heels." (Source: The Third Wave, Ibid.)

The almost worldwide rise of FREE newspapers in 2000 have also reduced advertising in major dailies. The free newspaper, unburdened by cover price, is now being read by more people in most countries worldwide with a high pass-on rate that ensures broader and immediate exposure for the printed advertisements inside. (Source: www.pcij.org/imag/Media/newspapers.html, and see "Paper Tigers" news article in The Economist, SEPTEMBER 10-16, 2005 issue.)

"From the mid-1950s on, hardly a year has passed without the death in the United States of a major magazine. "Life", the "Saturday Evening Post" --each went to its grave, later to undergo resurrection as a small-circulation ghost of its former self.

Between 1970 and 1977, despite a 14 million rise in U.S. population, the combined aggregate circulation of the remaining top twenty-five magazines dropped by 4 million.

Simultaneously, the United States experienced a population explosion of mini-magazines--thousands of brand new magazines aimed at small, special interest, regional, or ven local markets. Pilots and aviation buffs today can choose among literally scores of periodicals edited just for them. Teen-agers, scuba divers, retired people, women athletes, collectors of antique cameras, tennis nuts, skiers, and skateboarders have their own press. Regional magazines like "New York, New West", "D" in Dallas, or "Pittsburger" are all multiplying. Some slice the market up even more finely by both region and special interest--the "Kentucky Business Ledger" for example, for "Western Farmer".

With new, fast, cheap, short-run printing presses, every organization, community group, political or religious cult and cultlet today can afford to print its own publication. Even smaller groups churn out periodicals on the copying machines that have become ubiquitous in American offices. The mass magazine has lost its once powerful influence in national life. The de-massified magazine--the mini-magazine--is rapidly taking its place." (Source: The Third Wave by Alvin Toffler, Ibid.)

Even the Philippines is not spared from this phenomena. In a survey conducted in the third quarter of 2004 by A.C. Nielsen Media Research, covering 2,000 respondents aged 10 years and older from all socioeconomic classes in 31 cities in Luzon, Visayas and Mindanao, with a margin error of plus or minus 2 percentage points, it was found that overall readership for newspapers (broadsheet and tabloid) plunged by about 3% from 2003's 25.2%. Jay Bautista, Nielsen Media director, disclosed the findings as follows:

"Of the 2,000 repondents, 25.2 percent read newspapers (either broadsheet or tabloid or both) in 2004, down from 29.6 percent the previous year. Braodsheet readership dropped to 8.8 percent from 13.5 percent. Bautista noted that broadsheets were generally read by members of the upper and middle classes. They accounted for 55 percent of the broadsheets' reader base. Tabloids were more popular among the lower income classes. They represented more than 70 percent of the tabloids' reader base. Regional newspapers had the same reader profile as the tabloids." (Source: "PDI still most read newspaper, says poll", Philippine Daily Inquirer, October 10, 2005).

As will be shown in Part TWO of this entry, even the Philippine media is not immune to de-massification. And as previously mentioned elsewhere in this blog, Filipino komiks-magasins were the dominant print mass media in 1989 towering over traditional second wave media such as television, newspapers, magazines, radio, and newspapers. Yet it fell. What was de-massification's role if any, in the fall of traditional "second wave" Filipino komiks? We explore the issue in Part TWO.

Digital Comics on 3G Cellphones: A long wait?

The world's first 3G (Third Generation) is a folding camera equipped mobile phone that offers video conferencing, I-mode Internet access service and a data card type for notebook computers to link to the Internet. They are capable of transmitting data at 64 to 384 kilobits per second, six to 40 times faster than the slowest 9.6 kbps used for I-mode services. 3G technology is essential for any telecom company to stay competitive globally. (Source: "3G can wait, says Smart Exec" article by Lynda B. Valencia, Bulletin Today newspaper, September 2, 2005 issue)

More than this, 3G mobile phones are also seen, besides fourth generation televison mobile phones, as one of several possible venues for digital comics. 3G came out three years ago in Europe and has an established market in Britain, Germany, France, Italy, and Japan.

However, Smart Communications, Inc., the Philippines' leading mobile operator announced that it was not yet ready for 3G as individual handsets were still expensive and not yet available in commercial quantities in the Asian region. According to Atty. Rogelio V. Quevedo, Head Legal Counsel of Smart, 3G handsets should be priced below US$150 and not more than Php 8,000.00. Accordingly, Smart is willing to wait.

Being a partner of Japan's NTT DoCoMo, and aware that 3G is being used enthusiastically in Japan, Smart is confident that once the Philippine market is ready for 3G it will, as it did in the past, apply the same and overtake its competitors with the aid of its key partners and resources.

Smart President and CEO Napoleon Nazareno observed that the Philippine market will inevitably shift to 3G but that the process would be "evolutionary" and not "revolutionary". This notwithstanding, Smart realizes the significance of this new technology and is committed to it. But as previously stated, Smart can only but wait until the cost of 3G goes down and becomes affordable to the Philippine market. This and also possibly, Smart's monitoring of the development in 4G T.V. cellphones.

Globe Telecom on the other hand, has completed testing its network for 3G readiness and appears to be poised to take the lead.

With a slide in profits this year, cellphone companies are aware that no new subscribers will be coming in and that they will have to focus now on maintaining their subscribers by presenting more gimmicks and features in the cellphone. To keep the business afloat, consumer interest has to be maintained. Cellphones with new advanced features and novel content is the key. And what could be more novel than digital comics or comic strips on the cellphone?

A note of warning though. House Bill 4626 is pending in Congress authored by Rep. Danilo Suarez of Quezon Province, proposing a 10% ad valorem tax on cellphones that wil adopt the 3G. The reason given is that with the prevailing fiscal difficulties facing the government, it has to get its funds from all available sources possible to finance its flagship projects.

The above notwithstanding, Filipino digital comics pioneers may consider besides being mere content providers of cellphone companies, eliminating at the onset the cellphone middleman and explore instead the possibility of individually promoting their respective websites. These sites would contain their individual digital comics work that could be downloaded for a minimal fee through the 3G handset. And if later modifications of 3G technology would allow, from the handset, the digitized comics product could then be transmitted further for viewing on a bigger computer monitor or television screen. Payment to the comics creator's account could be made directly via Smart money or Globe G-Cash.

Positioning early in anticipation of the future would certainly be a good investment. And for that, you don't need a long wait.