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COMIC BOOK REVIEW: Buhay Habangbuhay, Chapter 2

 
Buhay Habangbuhay Chapter 2
Buhay Habangbuhay Chapter 2
Buhay Habangbuhay Chapter 2

 
Overview
 

Story by: Paolo Herras
 
Art by: Tepai Pascual
 
Publisher:
 
FG RATING
 
 
 
 
 
4/ 5


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To sum it all up..

PURPOSE OF “LIFE” The dynamic duo of Philippine independent comics, Paolo Herras and Tepai Pascual, finally concludes the quest of closure of the tragic feminine figure, Sandy San Jose, in Buhay Habangbuhay, Chapter 2. First, let’s quickly examine some of the physical dimensions here. The cover art are definitely made by one of the country’s influential […]

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Posted November 20, 2015 by

 
FULL REVIEW
 
 

Buhay Habangbuhay Chapter 2PURPOSE OF “LIFE”

The dynamic duo of Philippine independent comics, Paolo Herras and Tepai Pascual, finally concludes the quest of closure of the tragic feminine figure, Sandy San Jose, in Buhay Habangbuhay, Chapter 2. First, let’s quickly examine some of the physical dimensions here. The cover art are definitely made by one of the country’s influential female artists, Ms. Pascual, signaling something ominous things to come in the interiors. The overall pages clock at 66, another foreshadowing application to get things more interesting. And, the creative team’s respective “wishes” for the rest of their lives (or “habang” may “buhay”) are presented to illustrate the general message of the titular book itself, another indicator of the word play that signifies our unique and enduring fascinations and beliefs with our brand of the afterlife, spirituality, religiosity, and significantly more, our coping mechanisms, as represented by the entire cast, and most possibly, the creators’ own perspective. Quite indeed, the story starts and ends with the main character that finally realized/enlightened/opened-up beyond the living and the co-existence with the supernatural as well.

As revealed by the writer himself, Herras specified that the title itself has three levels of understanding, buhay (“life”), habangbuhay (“forever”/“eternity” or “for life”), and habang buhay (loosely translated as “there’s still life”. Students of the Deconstruction thoughts of Jacques Derrida and his predecessor of sorts, Ferdinand de Saussure may have the grand time decoding further the socio-cultural-psychological levels of the texts that may or otherwise enhance our understanding regarding the existence of spatial and the secular dimensions, aside from our collective empirical consciousness on our dealings with life, deaths, their respective rituals, and apparent reactions to the latter.

Anyways, the main character, Sandy, has to find these elements for herself as she tries to make sense as the wandering soul/spirit in the corporal realm whose former family’s memories on her are anything but, well, memories. There are fewer dialogues for the most of the pages until the last portion of the arc that centers on the eventual realization and the liberation of the parties concerned that ended with something more optimistic, if not a bit hilarious, than ever. The narrative relies much on the continuing sequential paneling mastery of Pascual that I even didn’t notice I got through a relatively medium-thick chapter. The storytelling is deliberately paced, making this finale a decently good reading. Moreover, the supernatural elements that we are so familiar with play an important part in conveying the general themes of acceptance, realizations, and so-called celebration of life for the main characters and even the dead people. Even the concept of dualism is played upon, the simple black-and-white polarity is very obvious in projecting the dead lady’s feelings and reactions towards anyone she encounters, most particularly her “philandering” counterpart and the young son whom his “third eye” is already activated but portrayed innocently and even playfully.  In other words, there is nothing to be scared upon, unless one counts with the graphic illustrations of the unrest souls in the climatic part.

The heavyweight portion of this chapter lies on the hands of the illustrator herself. Aside from her improving paneling executions and the angular perspectives that make this chapter more accessible to comprehend the dynamism between the characters involved, she most probably goes beyond the Herras texts by enhancing further the latter through her brand of illustrating the surroundings that may arguably become somewhat a character itself in the deliverance of the femme cast to her another level of self-awareness in the finale. What prove of her continuing grasp of interpreting the texts are the illustrative characterizations of the femme soul that shifts from one mood to another without the actual texts or the mere wordings. Naturally, that personality shifts are plainly straightforward, but to Pascual’s hands, she makes those moments much simple than they are looked. Additionally, her black-and-white color scheme generally makes wonders in the direction and pacing of the story itself. Probably, the dual contrast serves its purpose of complimenting the less scripted or dialogue nature, most particularly the places where the scenes took place. Even the moods of the supporting casts are dictated by this two color scheme which ultimately conveys their respective emotional responses, depending on the dictates of the story’s flow. Hence, her craft is getting more and more significant in her chosen artistic styles, and the fundamentals of paneling and angular perspectives.

However, some of the creative team’s respective strengths can be cited as their own Achilles. As stated, there are lesser wordings, but the art delivers most in the interiors. Personally, there could be more thought balloons or even dialogues on the main casts, not just relying much on the emotional facial portrayals that are aplenty. Another thing is the artist’s inconsistent facial portrayals of her characters around. In one panel, one’s hair, lips, and eyes are detailed and drawn aesthetically pleasing. But in another panel or so, these same illustrations are either slightly or dramatically changed, though not entirely altered of their general appearances, I mean. On the latter side, they are a bit rushed in some pages, especially on far angular perspectives or paneling. Same goes to her inking, sometimes light in some panels, and very heavy despite the daylight scenes. Lastly, the overall plot and/or theme are basically explored in many medium already, such as films, Ghost and The Crow.  What this book stands out is the positivity, if not optimism, it can inflect on readers whose lives are still in the low stages/moments, even spirits and/or souls if they really exist at all.  Also included here are some disturbing images that continue the “mature” rating, though it is not specifically labeled at all, unlike the first chapter.

Buhay Habangbuhay Chapter 2 sums up the so-called “celebration of life” for the unrest souls, mostly exemplified by the deceased devoted wife. Sure, the inclusion of our supernatural beliefs and the corresponding rituals and/or practices are magnified to illustrate the creative team’s respect and application of what our country’s vast socio-cultural-psychological practices can do in the pushing of the comic’s envelope, specifically creativity and storytelling. There are bumps along the way, as nothing is perfect, yet this one provides another evidences on how our current artistic executions are evolving to greater lengths, to which the collaborative efforts between the narrator and the illustrator is now given emphasis more than ever.  As said, it’s time to LET IT GO!


Paul Ramos

 


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