Holding a degree in architecture from the University of Santo Tomas, Alanguilan worked as an architect for two years before becoming a full-time creator in 1992. Filipinos had worked in American comics a long time ago-Nestor Redondo, Tony de Zuniga and Alfredo Alcala are good examples-but those days were long ago. Second, Alanguilan proved it was possible for Filipinos to work full-time in contemporary comics. The Komikero Komiks Museum stands as a tangible symbol of what Alanguilan fought for. It was always vital to preserve all this work and during a time when literally nobody was doing it, Alanguilan worked to save and scan as much of it as he could. He put up the online archive in 2016, but today, the Komikero Komiks Museum, which features work from both that earlier generation and the current generation of komikeros, stands proudly inside Tia Maria’s Sining at Kultura on No.29 Marasigan St., in San Pablo City. Coching, Nes Ureta, Ruben Yandoc, Mars Ravelo, Tony Velasquez and Rudy Florese (who is also the father of Alanguilan’s wife, Ilyn). He did this in three ways:įirst, Alanguilan fought to preserve the work of the golden age of komikeros, such as Alex Niño, Alfredo Alcala Larry Alcala, Francisco V. That’s why Alanguilan, who died last week at the age of 51, was the most important Filipino komiks influence in his generation.
If choices were pages being turned, then Gerry Alanguilan turned the pages of an entire chapter in Philippine comics-komiks. Gerry Alanguilan at the Komikero Komiks Museum.
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