THE UNTOLD TRUE BEGINNING OF DARNA

(More excerpts from the 1985 unpublished interviews with Mars Ravelo)

          Darna is the most popular character in Philippine komiks. Its iconic popularity is so well-established that just like the Jerry Siegel and Joe Shuster’s Superman, the character that inspired her creation, it transcends racial and cultural borders. Darna is not only loved by millions of Filipinos, but her charm has attracted fans from all nationality, all over the world. Even in the manga and Marvel universes, you’ll find Darna fanatics. There’s even a fan club of Darna in, of all places, Russia.

WHY DARNA IS SO POPULAR?

          I would rank Darna as one if not the greatest among Mars Ravelo's works. What makes Darna unique from any other superhero characters has been the object of several write-ups. If you read her stories, saw her films and television series, you would probably say she’s a superhero like most others, can fly, endowed with superstrength, champions the cause of good and justice, etc. So, what makes her different?

          If I remembered correctly, Mars Ravelo once said: “Si Darna, nakuha niya ang damdamin at panlasa ng mga sumusubaybay sa pakikipagsapalaran niya.” (Darna, she captured the emotion and taste of those who followed her adventures.) Who wouldn’t?

           A young barrio lass, living a plain and simple life together with her grandmother and younger brother, is bestowed a power to fight injustice and all forms of evil. People saw themselves in her and in the hope, no matter how mystical, she brings. The simplicity and fluidity of Ravelo’s story combined with the uniqueness of his story-telling style are also factors inherent in Darna’s iconic popularity. Ravelo is no longer around to write or supervise the writing of Darna’s continuing stories, but the legacy of the superheroine he created lives on. For seven decades spanning four generations of fans, her name – Darna – still soars sky-high.

DARNA’S EVOLUTION: THE GOOD AND THE BAD

          Darna’s character and image had gone through several changes and twists from the original simple story. While some fans like this evolution, majority don’t. Indeed, if you based it on the critical reaction of fans in every walk of life, every time there is a sudden alteration of her character, image or even her powers, you'll know they are against it. Majority would prefer the original Darna, unblemished, beautiful, sexy, alluring, but can kick the wits of any villain she encounters.

          Recent writers had used the Marvel style of incorporating the so-called multiverse (either “multiple universe” or “multiple version”) in continuing her saga and adventures. In one film (Darna: Ang Pagbabalik, 1994), she was given powers like that of Superman. In another post-Ravelo story in Super Action Komiks, a scenario of three Darna was narrated. Still another story forcibly connected her with the Adarna bird, which is contrary to Ravelo’s concept. Some illustrators even showcased a change of image, giving her a different costume and outlook. Still others gave her an Amazonian physique, which many fans, both male and female, considered abhoring. For today’s writer and illustrators, for all intent and purposes, she should remain sexy and alluring.

WHO’S THE ORIGINAL AND WHO’S THE COPYCAT?

          In all of Darna’s history, one controversy refused to give up: Was she a copycat of Wonder Woman? Or if I may boldly asked, could it be possible that it’s the other way around – Mars Ravelo’s concept was stolen from him? This is especially so when you look at and scrutinize the circumstances and coincidences behind the creation and publication of these two characters.

          In my unpublished 1985 interviews with Ravelo, he admitted that when he was in his early youth, he was quite gregarious and talkative. He loves telling his stories to both his Filipino and American friends and acquaintances. When he first saw Superman from a newspaper comics strip brought by American soldiers, he so loved it that he boasted he would create a female counterpart in Philippine komiks. According to him, it took three weeks to one month of conceptualizing before he was able to form his story. “Ang dami kasing pumapasok sa isip kong ideya. Pinili ko ang pinaka-simple.” (There are a lot of ideas going inside my mind. I chose the simplest.)

          “Alam mo naisip kong gawin yung Varga para itapat kay Superman. Lalake yung sa mga Amerikano, babae yung sa atin. Di ba ayos?” (You know I thought of creating Varga as a counterpart of Superman. Male on the part of the Americans, female on our part. Isn’t that okay?). Then he revealed something else: “Pero alam mo, hindi naman Varga ang unang pangalan ni Darna. Atin-atin lang ito ha.... Ang una kong itinawag sa kaniya ay Suprema.” (But you know, Varga was not the first name of Darna. This is just between the two us.... The first name I gave her is Suprema.)

SUPREMA, THE NAME BEFORE VARGA

          Many in the komiks world know that before Darna, there was Varga. But did you know that Varga was actually the second name. When Ravelo was telling his “Superman female counterpart” story, the name he was calling her was “Suprema,” which is the female equivalent of a “Supremo” (highest rank leader), a nom de guerre of Andres Bonifacio. Ravelo intended Suprema to be an all-powerful and indestructible woman just like Superman. She would be a Filipina given supernatural power by a diwata (fairy). When asked, “why not just call her Superwoman?” Ravelo answered, “Ayaw ko kasi siyang parang ginaya lang. Naisip ko, para maging naiiba siya.” (I don’t want her to appear like a copycat. I thought, to make her different.) Ravelo didn’t want to bootleg the character he so admired. “Naisip ko ring gumamit ng pang-uring tatatak sa isip ng tao. Naisip ko ang salitang ‘kamangha-mangha.’ Kaya ang itinawag ko sa kaniya ay Suprema – ang kamangha-manghang dilag.” (I also thought of using an adjective that will be retained in the minds of people. I thought of the word ‘wonder.’ So I called her Suprema – the Wonder Woman.) This was in the middle of 1939. This should be the year of the birth origin of Darna.

          Ravelo had a change of mind, however, and opted not to use the name Suprema. “May nagsabi kasi sa akin na baka may magalit at sabihin pang iniinsulto ko si Bonifacio. Taga-Cavite ako. Alam mo naman noon.” (Somebody told me that I could get the ire of some people who may think I’m insulting Bonifacio. I’m from Cavite. You know the situation during those times.). The controversy between Emilio Aguinaldo, who hailed from Cavite, and what happened to Andres Bonifacio and his brother were still an unresolved problem at the time. So, Ravelo had to change her name.

          “Nag-isip ako ng panibagong tawag na naiiba. Tapos nakakita ako ng dibuho ng mga seksing babae, ang tawag ng mga Kano ay Varga Girls. Ang gaganda ng mga dibuho. Doon ko kinuha ang pangalang Varga.” (I try thinking for another name that is unique. Then I saw some illustration of sexy girls, which the Americans called Varga Girls. The illustrations were so beautiful. That is where I got the name Varga.)

          When Ravelo changed the name to Varga, he also changed some of the premises of the story. The superheroine will no longer be a Filipina given superpower by a diwata, but an alien entity will used a young barrio girl as vessel to appear and fight evil. The idea of a “vessel,” a child turning into a superhero after shouting a word is something he borrowed from another character he admired, Captain Marvel. From his nickname “Mars” (also the name of the Greek god of war and the fourth planet from the sun) and its Tagalog equivalent “Marte,” he purportedly used as the name of Varga’s homeworld. So, the Philippines’ first superheroine was born – “Varga, ang Kamangha-manghang Dilag mula sa Planetang Marte” (Varga, the Wonder Woman from the Planet Mars).

          It came to pass that Ravelo borrowed the name Varga from the Varga Girls, which were painted pin-ups that Peruvian artist Joaquin Alberto Vargas (1896-1982) created for Esquire magazine (1940). There was another reason why he chose Varga, but as of this writing I couldn’t recall the complete details as much of the notes of my 1985 interviews with him are gone. Though I remember that it also has something to do with anagrams.

          For Varga’s alter-ego, Ravelo has a galaxy of names mostly beginning with the letter “D” (I wasn’t able to ask why): Diana, Digna, Dina, Donata, Donna, Nova, Olivia, etc. He saw one Varga Girl name Diana illustrated in the cover of a Lucky Strike cigarette pack given to him by an American soldier. “Mahilig ako sa mitolohiya. Kaya napansin ko agad ang pangalang Diana. Siya ang diyosa ng pangangaso at ng buwan. Gusto ko yun. Pero gusto ko rin na katutubo ang dating.” (I like mythology. So the name Diana immediately caught my attention. She is the goddess of hunt and of the moon. I like it. But I also like a native impression.) Ravelo like playing with words and anagrams. He likes leaving hidden signatures in his works. One anagram of Diana is Nadia. Then he noticed that if he replaced the “I” with an “R,” the first letter of his surname, the name “Narda” could be formed. “Bingo!” He said. “Naalala ko ang pangalan ng isang kakilala ko noong bata pa ako – si Narda.” (I remember the name of one of my acquaintances when I was a kid – Narda). Incidentally, it is also noteworthy that Dyana, a character in another of Ravelo's early works, “Ric Benson,” is also believed to be an offshoot of the Varga Girl, Diana.

          Ravelo drew the illustrations of Varga himself, the first issue being just a one-page, six-frame, layout, with a first-frame showcase of Varga. He admitted that his drawing was bordering on the unrealistic, “Malayo sa hugis” (far-off shape). “Naisip ko baka isa yun sa mga dahilan kaya inayawan ng mga publishers.” (I thought maybe that is one of the reasons why the publishers rejected it)

FEMALE SUPERHERO WILL NOT SELL?

          “Natatandaan ko inalok ko yung istorya sa Liwayway, Salinlahi, Mabuhay, pero tinanggihan nila. Pakiusap ko pa sa isang publisher na para sana sa kaarawan* ko iyon. Pero hindi raw bebenta ang isang babaeng superhero.” (I remembered offering the story to Liwayway, Salinlahi, Mabuhay, but they turned it down. I even pleaded to one publisher that it would be for my birthday*. But they say female superhero will not sell). “Sabi pa nila, manatili na lang daw ako sa mga kuwento ng pagpapatawa.” (They even said, I should just stay in stories that make people laugh**). *RAVELO WAS BORN ON OCTOBER 9, 1916, AND HE STARTED HIS CAREER IN KOMIKS AS A **WRITER-CARTOONIST OF HUMOROUS EVERYDAY SITUATIONS OF ORDINARY PEOPLE.

          That was not the case with Ravelo, who is a versatile and prolific writer. He likes writing in all genres, excel and be number one in it. “Gusto kong subukan lahat. Gusto kong maging mahusay sa lahat.” (I like to try everything. I like to excel in everything).

BOOTLEGGED WONDER AND SPOOFED MARVEL

          Ravelo was quite disappointed when a “Wonder Woman” character came out in All Star Comic #8 in December 1941. He sincerely believed that much of the concepts of his Suprema (Varga), his kamangha-manghang dilag (Wonder Woman) was bootlegged and allegedly reconstituted in that character.

          Unable to do anything, he kept his angst to himself, and later vent out a sort of retaliation on the Captain Marvel character that he was starting to like. This time, he admitted doing the spoofing himself, and out came Captain Barbell. He tailor-made the character Tenteng (Captain Barbell’s alter-ego) to Dolphy, who was then a comical skinny actor, as a pun or insult, as opposed to the matinee-idol type Billy Batson (Captain Marvel’s alter-ego). He specifically told illustrator Jim Fernandez about that, and you can see the obvious similarity between Dolphy and Tenteng in Fernandez’ drawings (“Captain Barbell,” Pinoy Komiks, 1963). He even intended the character to have a funny transformation – that Captain Barbell would turn into a skinny bungling superhero. (Un)Fortunately, Captain Barbell became a great hit and Dolphy made his character Tenteng quite a sensation. So, Ravelo changed his mind and continued the legacy of Captain Barbell.

 

          In a sense, Captain Barbell owes its existence to the bootlegging of Darna’s predecessor character.

ANOTHER SUPREMA?

          It is an admitted fact that Wonder Woman (All Star Comics #8, December 1941) was published first before Varga (Bulaklak, Hiyas ng Tahanan Vol. 4 Number 17, on July 23, 1947) or Darna (Pilipino Komiks #77, May 13, 1950), but this is only because the publishers that Ravelo approached in 1939-1941 turned him down. Then came the Japanese invasion and occupation of the Philippines, the onset of the Pacific phase of World War II. Ravelo’s female superhero was shelved for more than five years. It was only after the war that he was able to again offer his works, this time to Bulaklak (Hiyas ng Tahanan) magazine. Now, as to who is the copycat among the two, I only recently confirmed.

          In the book Secret History of Wonder Woman (2014) by Jill Lepore, it was mentioned that William Moulton Marston (1893-1947) a.k.a. Charles Moulton named his superhero “Suprema, the Wonder Woman.” Coincidence?! The probability is mathematically staggering! It was also revealed in Lepore’s book that Marston’s character was only called “Wonder Woman” when comics editor and script writer Sheldon Mayer (1917-1991) dropped the name Suprema from the initial name given by Marston to publisher Maxwell Charles Gaines (1895-1947), which coincidentally also published Superman. Another coincidence is the name of Wonder Woman’s clandestine identity – Diana Prince. Well, maybe, we can accept the fact that Marston also love the Varga Girl name Diana.

          Backtracking, it is noteworthy that Marston only got his “opportunity” when Gaines saw his interview in Family Circle and afterward hired him as a consulting psychologist for the National Periodicals and All-American Publications, two of the companies that would merged to form DC Comics. Marston immediately proposed to Gaines the possibility of publishing a female superhero. Like Ravelo, he also encountered difficulty in convincing the publisher with regards to a female superhero’s ability to sell. But unlike Ravelo’s experience of rejections with Filipino publishers, Marston was given a chance by Gaines.

          The revelation in Lepore’s book brought up one question after another in my mind. Why would Marston gave such a name – Suprema? Where did he get it? Or the better question, perhaps, is where did he hear the name? Don’t tell me it’s the female equivalent of the word “supreme.” That will bring up a million laughs. Mayer even said that Marston’s concept of the female superhero was “so vague that so many revisions were necessary to make it unambiguous.” Marston was in the Philippines in the late 1930s up to the third quarter of 1940. Did he overhear Ravelo’s storytelling? Did he bootleg Ravelo’s idea and turn it into his own? Evidences are being uncovered one after another that indeed Darna is the original.

WHERE IS PARADISE ISLAND?

          Another casing point is the place where Wonder Woman supposedly came from. In Moulton’s story, “Wonder Woman” came from what was supposedly called “Paradise Island.” It is here where the plane of American intelligence operative, Captain Steve Trevor, crash-landed. The island is inhabited by Amazons ruled by Queen Hippolyta, mother of Diana (Wonder Woman’s alter ego). This is also another vague part in Moulton’s story. According to the early scriptwriters of Wonder Woman, it was implied that the location of Paradise Island was somewhere in the Pacific. Where? This add more confusion to the storyline since the antagonists in Moulton’s Wonder Woman story were Nazis.

          In the Philippines, there are two islands that are called “Isla de Paraiso” (Paradise Island) since the Spanish time: Mindoro and Samal islands (in the Davao Gulf). Nowhere else in the world was there another island called by this name during the 1940s. There are also American military bases in the Philippines, which can be construed as the origin or failed destination of Captain Trevor’s plane. Many aspects of the initial Wonder Woman’s storyline were unclear (or perhaps deliberately obscured). This is admitted by its scriptwriters. They had to “patch” the story as they go along. In fact, in his interviews, Moulton was so inconsistent in his answers with regards to Wonder Woman that both writers and fans were so confused.

          Incidentally, the “present” name of Paradise Island – Themyscira – was only given on February 1987, in the relaunch of Wonder Woman Vol. 2 No.1. It was taken from Themyscyra (with a “y” instead of “i”), the capital city of the Amazons in Greek mythology. From 1941 to 1987, no mention of Themyscira can be found in all of the comics that Wonder Woman appeared. It was not in Moulton’s story. Indeed, even Themyscira is not “original” to Moulton. The location of the island had also been changed several times depending on the whims of later scriptwriters.

OF FATE AND CIRCUMSTANCE

          The year Marston and Gaines died, 1947, was in a twist of fate the year Mars Ravelo got his opening for the publication of Varga (Karma working here or what?). Inside the pages of Bulaklak (Hiyas ng Tahanan)  #17, on July 23, 1947, Varga began her story: “In Barrio Masambong, not far from Manila, there lies a small hut. Here live Narda and Ding, in the company of their Lola Asay. They are orphaned and indigent. They ask people for alms while Narda sings accompanied by Ding’s harmonica. This is how they were able to make ends meet with their grandmother. One night, the two were with other kids playing hide and seek.....”

          Contrary to what the editors of the other publications said about a female superhero, Varga became very popular with the readers. But by some twist of circumstance, the name Varga became the ownership of Bulaklak magazine (during those times, intellectual property right is not yet in effect) and when Ravelo left the publication in 1949 after a falling out with its editor, Varga stayed behind. Ravelo took Varga’s personality, revised her costume, and brought her to Pilipino Komiks, and renamed the character Darna, from the anagram of Varga’s alter-ego Narda.

          On May 13, 1950, inside the pages of Pilipino Komiks #77, Darna, the original Filipino superhero, donned a blue bikini with crimson red stars, red sash, golden wings on her forehead, and knee-high stiletto (probably diluted from the aftereffects of seeing Varga Girls pin-ups), and drawn and illustrated by Nestor Redondo, started her adventures battling the snake-haired woman Valentina. Rosa del Rosario (1917-2006), Manila’s “Golden Age” movie queen, portrayed Darna on the silver screen on May 31, 1951, this time with the crimson red bikini and white sash. It was the blockbuster of the era!

          And the rest is history!


THE GALAXY OF DARNAS
DRAWN BY VARIOUS ARTIST


By markovah

By chlei-pinoyexchange

By gammaknight-monsanto

By maehao

By comicartcommunity

By waversphil

By ryanorosco

By hasmot-jennyjasminlacay

 

 

 

 

 

 

 

 

 

 

 



By 16siddhartha-brianfajardo

By jio2

By xenonvicentelegend

By raffya3-photobucket

 

 

 

 

 

 

 

 

 

 

By g_spot1

 

By mazingerpip

By jagr10-josegutierrez

By redgvicente

 

 

 

 

 

 

 

 

 

 

 



By josedalisayv

By keikei11-gladzykei

By noellayonflores-behance

By tristangarcia-tsart

 

 

 

 

 

 

 

 

 

 

 

 



By poch

By bobbyrubio

By luato

By migs3331

 

 

 

 

 

 

 

 

 

 

 

By ianar

By demidemi

By glee-chan

By jdan

 

 

 

 

 

 

 

 

 

 

 

 



By orig13-deviantart

By ralphgarcia-wooserr

By chufano19

By lynyrdnarciso

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Here’s to put the stone in the right place:

Darna telling it upfront to Wonder Woman with a couple of whacks in the eyes while Captain Barbell and Shazam (formerly Captain Marvel) looked on. My concept and illustrated by Rocel Siena.

Concept by Ernee Lawagan and illustrated by Rocel Siena.

 

 

And for the finale, something for the record.

Darna goes international with this illustration from Faye Villanueva-Chelabian. Who needs the Avengers when Darna is here. Come to think of it, Darna’s mystical stone predates Marvel’s Infinity Gems by a quarter of a century in comics.


Illustration by Faye Villanueva-Chelabian

 

 

 



THE LOST WORKS OF MARS RAVELO

(And Some Excerpts of His Unpublished Interviews)

          My first personal encounter with Mars Ravelo happened in the early 1980s, when I started contributing crossword puzzles and articles to different Atlas Publishing magazines. I was a working student, freelancing, mostly in making crossword puzzles and writing trivia articles for Sports weekly, Special People and MOD Filipina. I only knew Mars Ravelo from the komiks stories that I used to follow and admire as a kid. When I saw him talking to the editors at the MOD office I didn’t have the guts to introduce myself to him.

The first issue of Sixteen, the magazine founded by Mars Ravelo.



The first issue of Sixteen MOD Filipina,
December 6, 1974

Note: Mars Ravelo was one of the “Founding Fathers” of MOD. He was the one who brainchild the Pilipino Komiks Incorporated’s Sixteen Magazine (June 22, 1968, with Orlando R. Nadres as its first editor). Later, under Atlas Publishing, Ravelo’s Sixteen eventually expanded to the large-sized Sixteen MOD Filipina (December 6, 1974), then to MOD Filipina (October 10, 1975), and finally to the MOD title (July 3, 1992). It is also interesting to note that MOD’s earliest ancestors were written in Tagalog and later in Taglish before English became its permanent medium.

 

          In 1983, I was finally introduced by then MOD Filipina magazine editor-in-chief Ernestina “Ernie” Evora Sioco to Marcial “Mars” Custodio Ravelo (1916-1988), the “Dean of Filipino Komiks Writer” and “Father of Filipino Komiks Superheroes.” I was asked by Mrs. Sioco to interview Mr. Ravelo. Between the years 1983 to 1987, I had several meetings with Mr. Ravelo. We talked a lot. Uncle Mars was one of two persons (the other is Mr. Antonio Tenorio) who taught me how to conceptualize and write komiks scripts. His style of komiks script writing was very elaborate and descriptive. Illustrators like this because it makes their jobs easier. I’m proud to say that I’m lucky to have been mentored by Mars Ravelo and learned his style of komiks writing.

TWO INTERVIEWS WITH THE MAESTRO OF KOMIKS

A tribute article in the “Starliners” section
of MOD Filipina September 23, 1988 issue,
written by editor-in-chief Ernie Evora Sioco.
Published 11 days after Ravelo's death.

          I did two interviews with “Uncle Mars” as he was fondly called by the people around him. Both of the interviews revolved around many things from comparing politics of old to politics of the 1980s, to komiks and the different komiks characters he created, most especially the superheroes. The interviews were done in Filipino; one inside the office of Mr. Antonio Tenorio, then Atlas Publishing’s head of Komiks Department, in the old Atlas Compound in Roces Avenue, and the second in a Savory Restaurant together with his wife Lucy and Mrs. Sioco. He was around 70 years old, but aside from what he called “a few moments of lapses” he was still quite sharp on his wits. We were even planning to do a komiks project together. He asked me to create 4 or 5 superheroes and they will join his team of superheroes and create a group much like Marvel’s Avengers and DC’s Justice League. We already had a name for the group: Royal League (“R” for Ravelo and “L” for Lawagan), and Tagalized, Ligang Maharlika (again, “L” for Lawagan” and “M” for Mars). To this, Mrs. Sioco gave her thumbs up. Uncle Mars, however, died on September 1988 before the project even got to first base. 



Mars Ravelo’s creations: From
top left clockwise, Darna at ang
Babaeng Lawin, Dyesebel,
Captain Barbell Kontra Captain Bakal,
Latikman, Booma, Goro & Bondying.
(From Tagalog Klasiks #424,
April 14, 1967.

          For the Ravelo interviews, they were not published in MOD Filipina even after his death because Mrs. Sioco was thinking of starting a Filipino-language magazine. But when Gintong Mariposa was established in 1992, I misplaced the envelope where the cassette tapes and typewritten notes of the interview (the result of my family’s transferring from one house to another). It was only about three years after, around mid-1995, that I was able to recover it. Sadly, during those times, I was “blacklisted” by Atlas Publishing “for writing in other magazines” like Celebrity World, Mr. & Ms., etc. The General Manager, Mr. Deo Alvarez, said it was MOD’s policy that its contributor should not write for rival publication. Heck, I wasn’t even allowed to enter the Atlas Compound to get my paycheck. Luckily, I had some inside help from Mrs. Sioco and Mr. Tenorio, who tacitly called on the Atlas Compound gate guards to let me in. Incidentally, it was also during those times that I had secured a “go signal” from Tita Lucy to push the project that Uncle Mars and I were planning. It was to Atlas Publishing’s lost that the project didn’t materialize because of petty misunderstanding. Mr. Tenorio was very much regretful about it.

 

Mars Ravelo’s comics/cartoon characters:
(from left) Rita, Ipe at Engot, Totit, Gorio at Tekla, and Varga.

          For the backdrop of the interview, I did some research and background profiling of Ravelo, and noted that he was the creator of many of the unforgettable characters in Philippine pop culture: Rita, Trudis Liit, Roberta, Si Gorio at Si Tekla, Maruja, Facifica Falayfay, Bondying, Dyesebel, among others. His komiks dramas like Basahang Ginto and Tubog sa Ginto were literally acclaimed as cinematic gold. His superhero characters like Darna, Captain Barbell and Lastikman were also immortalized in films and television series.

          Today, after comparing my notes with what I was able to gather about Uncle Mars in the Internet, it dawned on me that what he revealed to me in the interviews were valuable information unknown to most people.

PONCHONG AND BEMBOY

Mars Ravelo's Bemboy,
published in a 1939 Mabuhay Extra issue.
(from an anonymous contributor)

          Do you know for example that Ravelo’s first published works came out around mid-1938 when he was still a struggling 22-year-old cartoonist? But if you browse through the Internet and a couple of very “shallow” komiks history books, you would read that Rita (Kasinghot), published in Bulaklak magazine in 1947, is tagged as the first published komiks creation of Ravelo. That’s nine years off the mark!


          In my interviews, Ravelo revealed that “sa abot ng natatandaan ko” (as far as I can remember), his first published works were “Ponchong” and “Bemboy.” And had not Liwayway magazine turned him down on his Varga (Darna’s predecessor character), history would have put Darna’s origin inside Liwayway’s pages instead of Bulaklak, and she would have been the Philippines’ first komiks superhero (Yes, at least one-a-half years ahead of Wonder Woman's first comics appearance!).

          For two years since rediscovering the text of the interviews, I spent part of my spare time trying to find remnants of Ravelo’s lost works. I scoured libraries and my collector-friends’ bauls for naught. It was only in 2011 that I got lucky. I found “Bemboy” courtesy of komiks collector and archiver Jose Dennis Villegas’ blog.

 

Ponchong & Bemboy, the first two
published characters created by
Mars Ravelo (around 1938-1939).

          According to Mr. Villegas, he acquired the very rare find, a 1939 Mabuhay Extra magazine containing Ravelo’s komiks strip “Bemboy,” from an antique dealer. Since then I also scoured even junk shops for Ravelo’s lost works, expecting to be lucky one of these days and perhaps find his other lost work, “Ponchong.”

          Both Bemboy and Ponchong, like many of the Ravelo-created characters including Narda (Varga/Darna alter-ego), Bondying, Penitente Mumolingot or better known as Tenteng (Captain Barbell’s first alter-ego), Tony (of “Tiny Tony”), etc., were names of his childhood acquaintances.

          Ravelo also told me that the two persons that influenced him early in his career were Irish cartoonist George McManus (1884-1954) and Jewish-American animator Max Fleischer (1883-1972). McManus’ cartoon strips “Rosie’s Beau,” “Bringing Up Father,” and “The Newly Weds, influenced him so much both in his style of writing and drawing. The character Ponchong he said was a Filipino version of Jiggs, the character in “Bringing Up Father” that brought McManus to fame and fortune. The komiks strips “Totit,” “Ipe,” “Buhay Pilipino,” “Si Gorio at Si Tekla” and “Rita at Okay” were reminiscent of McManus’ style.

Three cartoon concepts of Mars Ravelo:
Rita (Bulaklak, Hiyas ng Tananan, May 12, 1948),
Boboy (Sinagtala, April 7, 1949) and
Buhay Pilipino (Liwayway, May 2, 1949).

You can clearly see George McManus’ influence in his drawing.

Two of George McManus’ works: “Snookums” and “Bringing Up Father.”
Look at the similarity of McManus’ and Ravelo’s style of drawing cartoons
about everyday family situations.
According to Ravelo, the character Ponchong was the Filipino personification of Jiggs.
 

          For the character Bemboy (I earlier thought it was “Bimboy” until I saw the comic strip discovered by Villegas), he recalled having a playmate who argued with his mother a lot because he put so much attention to his dog that he always neglect to do his home chores. It so happened that Fleischer created a character named “Bimbo,” the dog with a human girlfriend, which is “Betty Boop” (the character that immortalized Fleischer). Come to think of it, Bemboy is quite similar to McManus' Snookums. Ravelo sort of experimented during his early works, intermixing the real story with fiction, and also interspersing the drawing styles of McManus and Fleischer with his own.

             Another one is  “Si Berta Ang Tomboy” (1946), which appeared on the pages of Halakhak Komiks, the first regularly published komiks in the Philippines.

Si Berta Ang Tomboy (Halakhak Komiks, January 15, 1947)

          Still another casing point of Ravelo’s early style of drawing is Varga. True to his accounts, Varga’s illustration is a cross between McManus and Fleischer. And based on his story, the timeline of Varga’s birth origin should be put around 1939 and not 1947.

THE (UN)LOST STARTING POINT OF DARNA

          Ravelo admitted that when he was in his early youth, he was quite gregarious and talkative. He loves telling his stories to both his Filipino and American friends and acquaintances. When he first saw Superman from a newspaper comics strip brought by American soldiers, he so loved it that he boasted he would create a female counterpart in Philippine komiks.

          To quote Ravelo: “Alam mo naisip kong gawin yung Varga para itapat kay Superman. Lalake yung sa mga Amerikano, babae yung sa atin. Di ba ayos?” (You know I thought of creating Varga as a counterpart of Superman. Male on the part of the Americans, female on our part. Isn’t that okay?).

          Many in the komiks world know that before Darna, there was Varga. But did you know that Varga was actually the second name. When Ravelo was telling his “Superman female counterpart” story, the name he was calling her was “Suprema,” which is the female equivalent of a “Supremo” (highest rank leader), a nom de guerre of Andres Bonifacio. Ravelo intended Suprema to be an all-powerful and indestructible woman just like Superman. When asked, “why not just call her Superwoman?” Ravelo answered, “Ayaw ko kasi siyang parang ginaya lang. Naisip ko, para maging naiiba siya.” (I don’t like her to appear like a copycat. I thought, to make her different.). Ravelo didn’t want to bootleg the character he so admired. “Naisip ko ring gumamit ng pang-uring tatatak sa isip ng tao. Naisip ko ang salitang ‘kamangha-mangha.’ Kaya ang itinawag ko sa kaniya ay Suprema – ang kamangha-manghang dilag.” (I also thought of using an adjective that will be retained in the minds of people. I thought of the word ‘wonder.’ So I called her Suprema – the wonder woman.)

          Ravelo had a change of mind, however, and opted not to use the name Suprema. Ravelo changed the name to Varga. From his nickname “Mars” (also the name of the Greek god of war and the fourth planet from the sun) and its Tagalog equivalent “Marte,” he purportedly used as Varga’s homeworld. So, the Philippines’ first superheroine was born – “Varga, ang Kamangha-manghang Dilag mula sa Planetang Marte” (Varga, the Wonder Woman from the Planet Mars).

          It can also be noted that Varga was a character archived twice. It was first published inside the pages of Bulaklak magazine Vol. 4 Number 17 on July 23, 1947. Varga became very popular with the readers, but by some twist of circumstance, the name Varga became the ownership of Bulaklak magazine (during those times, intellectual property right is not yet in effect) and when Ravelo left the publication in 1949 after a falling out with its editor, Varga stayed behind. Ravelo took Varga’s personality, revised her costume, and brought her to Pilipino Komiks, and renamed the character Darna.

          For more than two decades the character Varga was lost, until Ravelo established his own RAR Publishing House in 1970 and later acquired the rights to publish Bulaklak. He retitled it Bulaklak at Paruparo, and inside its pages, Varga returned and completed her story. It was followed by “Varga at ang Impakta,” which was illustrated by Jess Olivares. The resurrected Varga, however, didn’t have much flare like its successor-characterization Darna.
            It took three decades again before the name Varga resurfaced, when ABS-CBN Channel 2 made it into a TV series which started on August 2, 2008. The character portrayed by Mariel Rodriguez, however, was very different from the original creation of Ravelo. The superheroine’s costume was change, as well as her origin and beginning. The name of her alter ego was also change – from Narda to Olga. (READ ALSO: THE UNTOLD TRUE BEGINNING OF DARNA)

          The ABS-CBN series portrayed an alien princess named Vara from the planet Vargon who found herself drawn to planet Earth. Gifted with beauty, voluptuous body and superpower, Vara met and merged with a young Filipina girl named Olga (played by Angel Sy), and became Varga. Together they tried to fight evil and save the world. Varga’s archenemy in the series is Xandra (played by Sheryl Cruz), a woman who can literally sucked the youth out of every human.

          The series ended on October 4, 2008, after 11 episodes.

MANY MORE LOST WORKS

Three of many komiks novels written by Mars Ravelo:
“Goro, Ang Kapreng Mahiyain” on the first issue of Pioneer Komiks (December 3, 1962),
“Kitikiti” on the Pilipino Komiks #430 (March 4, 1965),
and “Nakangiting Halimaw” on the cover of
Tagalog Klasiks #401 (May 17, 1966).

 

          There were so many which can be considered as lost works of Ravelo. While they are listed among his resumes, many of his works are now considered rarities or, worst, no longer have existing copies. Do you know for instance that aside from “Varga” and “Rita” there was another character – “Ric Benson” – that Ravelo wrote and drew for Bulaklak in 1947? Ric Benson was published 16 issues ahead of Varga.

Three 1940s works of Mars Ravelo for Bulaklak, Hiyas ng Tananan:
“Ric Benson” and “Varga” (May 12, 1948),
and “Bagong Daigdig” (September 8, 1948).

          Before Iskul Bukol’’s Miss Tapia, there was already “Miss Tilapia.” Before Jinkee Pacquiao was even born, Ravelo already have a character named “Jinkee.” Truly, sad to say, much of the priceless legacies left by this legendary komiks great maybe lost forever.

          Now, anyone of you heard about “Boksingera?” How about “Ang Biyenang Hindi Tumatawa?” Can you find me an existing copy of the “Baby Bubut” komiks series? Ah yes, how about “Zorina,” “Kitikiti,” or “Nakangiting Halimaw?” 

 Two komiks novels written by Mars Ravelo.
On top, from Redondo Komix #7, July 30, 1963:
“Devlin, Swashbuckler of the Seas” issue #7 (illustrated by Nestor Redondo).
At the bottom, from Tagalog Klasiks #82, August 23, 1952:
“Cumbanchera” issue #15 (illustrated by Tony Zuniga).

          Still many more are not even listed on Wikipedia or on Mars Ravelo’s official website. Among them “Bagong Daigdig” (drawn by Elpidio Torres), Cumbanchera (drawn by Tony Zuniga), “David Arkanghel” (drawn by Carlos A. Divinagracia), “Devlin: Swashbuckler of the Seas” (drawn by Nestor Redondo), “Fil-American Girl” (drawn by Nestor Leonidez), “Ginto, Pilak, Tanso” (drawn by Bes Nievera), “Goro, Ang Kapreng Mahiyain” (drawn by Rex Guerrero), “Handsome” (drawn by Nestor Redondo), “Higantina, Da Big Byuti” (drawn by Nestor Infante), “Impakta” (drawn by Joe Marie Mongcal), “Jesus Iscariote” (drawn by Romy S. Gaupo), “Jikiriz” (drawn by Dell Barras), “Konde Artemius” (drawn by Romy S. Gaupo), “Mga Kuwento ni Lola Huga” (drawn by Romy Santos), “Pomposa, Ang Kabayong Tsismosa” (drawn by Elpidio Torres), “Taklobo” (drawn by Rey Arcilla), “Wamboo” (drawn by Pat Facundo Jr), etc.



Four of many komiks novels written by Mars Ravelo under the penname Virgo Villa:
“Asuwang” on the cover of Extra Komiks #253 (May 1, 1961),
“Voodoo Diamond” on the cover of Lagim Komiks #248 (December 20, 1965) 
“Botong” on the cover of Universal Komiks #80 (April 7, 1967),
and “Tsangga Rangga” on the cover of Espesyal Komiks #338 (May 6, 1967).



           Let us not forget that because Ravelo was such a prolific writer, he needs to write under pennames so as not to overwhelm both the publication and the reading public. There are several works he did under the penname Virgo Villa: “Anak ng Bakulaw,” “Ang Buhok ni Olga,” “Asuwang,” “Bamaw,” “Botong,” “Captain Bakal,” “Don Facundo,” “Gorgonya,” “Higanta,” “Kanggo,” “Oggra, ang Kapreng Tanga,” “Optarza,” “The Adventures of Rex Braganza,” “Tsangga Rangga,” “100 Lalaki at Isang Babae,” to name a few. As of this updated posting (May, 2017), they are also not yet listed in Wikipedia.

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