Francisco V. Coching

Coching was born in Buting, Pasig, Rizal province in the Philippines. He was the son of Gregorio Coching, a Filipino novelist in the Tagalog-language magazine Liwayway. == Early work and World War II Hunters-ROTC role ==

Coching was unable to finish his studies in order to be an illustrator for Liwayway under the apprenticeship of Tony Velasquez. World War II interrupted Coching's career in comics. He became a guerrillero (guerilla) for the Kamagong Unit of the Hunters-ROTC resistance organization. == Postwar era and the "golden age of Philippine Komiks"==

After the war, Coching created Hagibis, a character influenced by Reyes's Tarzan-like Kulafu, Hagibis ran for 15 years in Liwayway magazine and inspired eight film adaptations starting with the first in 1947. During the 1950s and 1960s, Coching was a leading figure of the "Golden Age of Philippine komiks" Many of Coching's works depicted social struggles during the Spanish colonial period, such as Sabas, ang Barbaro ("Sabas, the Barbarian") and Sagisag ng Lahing Pilipino ("Symbol of the Filipino people"). His oeuvre also spanned diverse genres including comedy, adventure, history, romance, mythology, sex, and horror. Among his best-known works is Pedro Penduko (1954), a story about a folk hero who battles mythical creatures from Philippine folklore. Other notable titles include Bertong Balutan, Don Cobarde, Ang Kaluluwa ni Dante (Dante's Soul), Pagano (Pagan), Haring Ulupong, Dumagit, Lapu-Lapu, Bulalakaw, Waldas, Talipandas, Palasig, Movie Fan, Anak ni Hagibis (a sequel to Hagibis), Gat Sibasib (another sequel to Hagibis), Satur, Dimasalang, Bella Bandida, El Vibora, Sa Ngalan ng Batas, and El Negro. El Negro (1974) was his last komiks novel. == Retirement and Death ==

After 39 years in the komiks industry, Coching retired in 1973 at the age of 54. Coching was able to produce 53 komiks novels overall. He died at age 78 on September 1, 1998. == Digital restoration of works and recognition as National Artist==

In 2004, architect and comic book creator Gerry Alanguilan began the task of digitally restoring Coching's 1952 work "El Indio" after visiting Coching's family and convincing them to allow him to undertake the restoration. This led to the 2009 publication of a digitally restored edition El Indio by the Vibal Foundation, which later also published restored editions of other Coching works. This renaissance of Coching's works preserved the artworks and also made them available to a new generation of Komiks readers, contributing significantly to Coching's recognition as a National Artist of the Philippines in 2014. == Style ==

Coching was among the few Filipino comics artists who also served as the writer of his own stories, The Encyclopedia of Philippine Art published by the Cultural Center of the Philippines notes that Coching's style adhered to the romantic tradition of Philippine komiks, characterized by "dynamic curvilinear lines and tonal modeling, with a fluid undulating effect." Comics historian and artist Gerry Alanguilan wrote that "His brushwork was bold and frenetic; he sculpted figures that seemed to move even when they were standing still." Art critic Alice Guillermo remarked that Coching's "the acute characterization, the interrelationship of the figures, the general composition, the use of color and tones, as well as the feeling for the natural setting" reveal the influence of 1930s American comic strips artist Hal Foster. == Legacy ==

The National Commission for Culture and the Arts, which conferred on Coching the title of National Artist, noted that his komiks raised issues of race and identity in the Filipino consciousness. Esquire magazine wrote that Philippine pop culture acquired its sense of identity through Coching's komiks, which reflected "the culture and ideals and personalities" of the pre-martial law Philippines. Coching's works such as Pedro Penduko, which centers on "a heroic everyman" from an indigenous tribe who fights monsters for the people, have been described as fusing traditional folk culture with pop culture. Art curator Patrick D. Flores places Coching alongside muralist Botong Francisco and filmmaker Manuel Conde, arguing that these three National Artists wove folklore and the desires of the masses into their works, portraying a Filipino identity that "cannot easily be confined to expectations of custom or citizenship or even nationalism." Coching influenced many other Filipino illustrators. Among them were Noly Panaligan, Federico C. Javinal, Carlos Lemos, Celso Trinidad, Emil Quizon-Cruz, Nestor Redondo, Alfredo Alcala, and Emil Rodriguez. while Steve Gan, artist and co-creator of Star-Lord for Marvel Comics, collected Coching's comics and artwork. Kajo Baldisimo, artist and co-creator of the supernatural series Trese, was also inspired by the artist. His 1973 illustration of Lapu-Lapu was among the series of national postage stamps based on Philippine comics released on November 15, 2004, by PhilPost. In 2019, his centennial year, a commemorative stamp featuring Coching's self-portrait was issued. Exhibitions of Coching's works have been held at cultural venues such as Nayong Pilipino Clark (1987), the Cultural Center of the Philippines (2001), and the National Museum of Fine Arts (2009). In 2009, the exhibit Francisco V. Coching: Filipino Master Komiks Artist was held in New York and Hawaii. On Coching's 100th birth anniversary, Ayala Museum held an exhibition titled Images of Nation: F.V. Coching, Komiks at Kultura, which ran from October 30 to February 3, 2019. ==Film adaptations==

Almost all of Coching's komiks novels were adapted into films, with the exception of three titles. Among those that were made into a film was El Negro in 1974. ==Awards==

In 1981, Coching obtained the Makasining na Komiks Award in the Tanging Parangal for Comics Art from the Manila Commission of Arts and Culture. == Publications ==

Several of Coching's komiks serials have been reissued in collected editions since the 2000s. • • • • ==See also==