After a decorated high school career and a so-so one-and-done freshman year with the Washington Huskies, the Philadelphia 76ers (#3) swapped draft positions with the Boston Celtics (#1) prior to the 2017 National Basketball Association (NBA) Draft in order to select heralded 6’3″ point guard Markelle N’Gai Fultz.
On paper, Bryan Colangelo–then the 76ers President of Basketball Operations–had assembled a young, talented, and exciting team[i] with Fultz being groomed as one of its pillars. But after only four games to start the 2017-2018 NBA regular season, it was reported that Markelle Fultz would be out indefinitely due to “shoulder soreness and scapular muscle imbalance.”
The injury was described to be so severe that ESPN’s Adrian Wojnarowski was quoted as saying, “(Fultz) literally (could not) raise up his arms to shoot the basketball.” In mid-March 2018, after a great deal of speculation surrounding his health, Markelle Fultz rejoined the 76ers and even posted a triple-double (13 points, 10 rebounds, and 10 assists in 25 minutes) on the last day of the regular season to become the youngest ever to accomplish the feat (19 years and 317 days).
Markelle Fultz opened his sophomore season as the 76ers starting shooting guard before losing his position to newly acquired Jimmy Butler. Shortly after, Fultz went on indefinite leave from the 76ers in order to care for his ailing right shooting shoulder–diagnosed a neck and shoulder injury called Thoracic Outlet Syndrome (TOS).
As part of Far Eastern University’s (FEU) 91st Foundation Anniversary, Lindol Comics’ co-creator Tedi Gustilo Villasor will join The New DI-13 writer Mr. Damy “Ian” Velasquez III for an alternative learning class entitled, “Komiks sa Piyu: Mga talks tungkol sa History at Self-Publishing ng Komiks” (February 8, 2019 | 1:30 pm – 4:30 pm).
Starting with Damy “Ian” Velasquez III’s talk, “Si Kenkoy, DI-13 at ang “Golden Age ng Komiks,” FEU Fine Arts students will be treated to an insightful look at a number of iconic Filipino Komiks and the rich history behind them. While Tedi Gustilo Villasor’s talk, “Self-Publishing: Making your mark in the comic book industry today” will provide participants with not only an inside look into independent publishing but also some tips on how indie creators could make their projects a reality.
As we looked through the modest selection of books at the rear of Art Bar, one of the sales ladies came over and said to me, “It’s a good thing that you came today. There is still a lot to choose from.”
I’ll be honest. At that moment, I didn’t know if I should be grateful or somewhat sad for reasons I already discussed in yesterday’s post.
Nevertheless, my family and I did our due diligence and went through their small selection. Unlike Powerbooks Trinoma[i], Art Bar was not stocked with graphic novels but it did have a number of Chuck Palahniuk books that I was interested in: Survivor (1999) and Make Something Up (2015)[ii].
Disclaimer: The following post is purely conjecture on my end. But at this point, it is very hard to see it any other way.
Back in the late 90’s, Powerbooks pulled out all the stops when they opened their first branch along Pasay Road in Makati. Housed in a two-story building[i], Powerbooks offered local and foreign book lovers a wide assortment of specialized books, food and beverages from their deli on the ground floor, and more than ample space to just sit down and read.
It was a magical place and my family and I would make it a point to frequent it as much as we could. Back then, I was a big Batman: The Animated Series fan[ii] and I managed to find a copy of Paul Dini and Chip Kidd’s Batman Animated (1998) in one of their second floor shelves.
Batman Animated (1998) was the definitive book on the animated series and incredibly hard to find–even by today’s standards.
After back-to-back monster events[i] to start out Lindol Comics’ convention schedule for 2019, a thought occurred to me this afternoon while I was working on the script for Issue #5:
“What have people been doing with their Lindol Blank Cover Variants?”
How we got here
Published in September 2017, the print run of the first issue stood at a solid 500 copies with 100 designated as the limited edition blank cover variant[ii]. Now, between the creative team’s complimentary copies, advance orders, and convention sales–more than a few are currently circulating locally and abroad.
So, I am curious, if you own one of our blank cover variants…how did you make use of them?
Are they stored for safe keeping? Did you have a commission done by Lindol co-creator Randy Valiente? Maybe another artist worked their magic on it? Did you have it graded?[iii]
With every intention of being the first one to set up shop, I arrived at the Ayala Museum shortly before the 7:00 am ingress period. But to my surprise, the good people from Adarna House were already there and putting on the finishing touches to their table! I guess you could say, they beat me to the punch!
Despite hearing of a number of unfavourable online reviews, we decided to catch Glass (2019) in the cinema today and came out of it enjoying director M. Night Shyamalan’s vision of a comic book universe set in the real world.
Shyamalan did a masterful job weaving in familiar comic book troupes into, what I have come to understand, is the third installment in the Unbreakable film series.
Lindol Comics co-creator and artist Randy Valiente talked about the state of Philippine Komiks, his current local projects, as well as upcoming independent comics events in this PTV – Bagong Pilipinas interview last Monday morning.
Have you ever found yourself in a situation wherein you needed to hastily jot down notes and were—to a certain degree—confident with your output?[i] Only to realize that when you revisited them, you could no longer make out what you wrote down?
This was the challenge of this particular post. So I am hoping for the best.
During one of our recent Jung Certification Program classes, my classmates and I had the opportunity to try out a Jungian intervention called Active Imagination (AI). The process involved guiding the participant into a meditative state wherein their unconscious would somehow “reveal” to them possible dreams, feelings, images, or objects of significance. Once the unconscious narrative presented itself, the participant is then instructed to engage it in a dialogue.
Ideally, one who is immersed in such a process should also be mindful to not consciously control the narrative; rather let the possible dream, feelings, images, or objects of interest come organically.