The secret to move on is to FREAK OUT… Wait…What?! Nasa kanya na raw ang lahat pero friendzone si Blue Sandejas sa kanyang kababatang matagal na niyang minahal. Yes. Mas gusto kasi nito ang bad boy. Dahil dito, natakot na ang tinaguriang “Pambansang Thirdwheel” ng Pilipinas na magmahal uli kaya nagsimulang magsungit at umiwas sa mga babae. Tahimik na sana ang pagmo-move on ni Blue pero sa ‘di inaasahang pagkakataon ay dumating sa buhay niya si – teka lang, wala pala itong maalala. Pansamantala, tinawag muna niya itong Sadako. Bakit? Kasi unang pagkikita nila ay kinagat siya nito, naglalakad ito na parang wala sa sarili, tumatawa at nagsasalita na parang multo kapag gabi. As in nakakatakot talaga! Pero ano nga kaya ang gagawin ng matatakutin na si Blue kung malaman niyang siya ang ugat ng trahedya sa buhay ni Sadako na kapag nalaman ng mundo ay talaga namang ikasisira hindi lang ng kanyang papausbong na career bilang artista kung ‘di ng kanyang pamilya? Love is a Horror Story - Paperback

Outside Japan, the term ’manga’ usually refers to comics originally published in Japan. Yet nowadays many publications labelled ’manga’ are not translations of Japanese works but rather have been wholly conceived and created elsewhere. These comics, although often derided and dismissed as ’fake manga’, represent an important but understudied global cultural phenomenon which, controversially, may even point to a future of ’Japanese’ comics without Japan. This book takes seriously the political economy and cultural production of this so-called ’global manga’ produced throughout the Americas, Europe, and Asia and explores the conditions under which it arises and flourishes; what counts as ’manga’ and who gets to decide; the implications of global manga for contemporary economies of cultural and creative labour; the ways in which it is shaped by or mixes with local cultural forms and contexts; and, ultimately, what it means for manga to be ’authentically’ Japanese in the first place. Presenting new empirical research on the production of global manga culture from scholars across the humanities and social sciences, as well as first person pieces and historical overviews written by global manga artists and industry insiders, Global Manga will appeal to scholars of cultural and media studies, Japanese studies, and popular and visual culture.

Being gay is not a choice. It is really detrimental for someone living in a third-world country. How do gays cope up with society’s constraints? How do they live their lives to the fullest? Edited by J. Neil Garcia and Danton Remoto, Ladlad: An Anthology of Philippine Gay Writing, is an anthology of poems, stories, essays, and plays about gay experience in the Philippines. It is a collective effort made by Filipino members of LGBT to celebrate being their true selves.

This is the first overview of cartoon art in this important cultural nexus of Asia. The eight essays provide historical and contemporary examinations of cartoons and comics in Indonesia, the Philippines, Thailand, Cambodia, and Vietnam, and sociocultural and political analyses of cartooning in Singapore, Myanmar, and Malaysia. The collection benefits from hundreds of interviews with Southeast Asia's major cartoonists, conducted by the four contributors, as well as textual analyses of specific cartoons, on-the-spot observations, and close scrutiny of historical documents. All genres of printed cartoon art are studied, including political and humor cartoons, newspaper comic strips, comic books, and humor and cartoon periodicals. Topics of discussion and comparison with cartoon art of other parts of the globe include national identity, the transnational public sphere, globalization, alternative media forms, freedom of expression, consumerism, and corporatism. Southeast Asian cartoon art has a number of features unique to the region, such as having as pioneering cartoonists three countries' founding fathers, comics that gave their name to a national trait, some of the earliest graphic novels worldwide, and a king who hired a cartoonist to illustrate his books.

Halintulad ng kuwento ng buhay ng naging kaibigang masahista sa baywalk, nakipagsapalarang mamuhay mag-isa ni Jaret sa pag-aasam na matakasan ang lagim ng mga bangungot at hilera ng mga trahedyang gumugupo sa kanyang pagkasino. Sa daigdig na ito ng mga gising na malayo sa mahiwagang babaeng wagas niyang sinisinta, maliligaw sa landas niya o siya sa kanila silang mga nilalang na makatutulong sa kanyang makabuo ng kuwento - isang contortionist sex freak, mga birhen at lagalag, filmmaker na mahilig sa mga pahiwatig, at silang bigla na lamang nililindol, namamatay at tumatagos sa pader.Samantalang sa mundo ng mga nananaginip, isang binatang makata ang sumusulat ng isang journal ng mga bangungot habang nasa bingit ng bangin. At kasabay ng sandaling maisilang ang isang butas na kuwentong magpapalutang-lutang sa kawalan na magbubunga ng paghahalo ng kung ano ang totoo sa guniguni at ang gising sa himbing ay ang pagkaunawang silang pinangyaring magbuklod kailanma'y hindi na mapaghihiwalay.

Grand in its scope, Asian Comics dispels the myth that, outside of Japan, the continent is nearly devoid of comic strips and comic books. Relying on his fifty years of Asian mass communication and comic art research, during which he traveled to Asia at least seventy-eight times and visited many studios and workplaces, John A. Lent shows that nearly every country had a golden age of cartooning and has experienced a recent rejuvenation of the art form. As only Japanese comics output has received close and by now voluminous scrutiny, Asian Comics tells the story of the major comics creators outside of Japan. Lent covers the nations and regions of Bangladesh, Cambodia, China, Hong Kong, India, Indonesia, Korea, Malaysia, Myanmar, Nepal, the Philippines, Singapore, Sri Lanka, Taiwan, Thailand, and Vietnam. Organized by regions of East, Southeast, and South Asia, Asian Comics provides 178 black-and-white illustrations and detailed information on comics of sixteen countries and regions—their histories, key creators, characters, contemporary status, problems, trends, and issues. One chapter harkens back to predecessors of comics in Asia, describing scrolls, paintings, books, and puppetry with humorous tinges, primarily in China, India, Indonesia, and Japan. The first overview of Asian comic books and magazines (both mainstream and alternative), graphic novels, newspaper comic strips and gag panels, plus cartoon/humor magazines, Asian Comics brims with facts, fascinating anecdotes, and interview quotes from many pioneering masters, as well as younger artists.