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earlapvaldez's review against another edition
5.0
Hands down para sa unang kabanata ng graphic novel na ito. Wala na akong masasabi pa. Salamat din sa mga akdang sinangguni at ilang mga simbolo at ang kuwento sa likod nito. Sana ito na lang ang pinapabasa sa mga estudyante bilang pambungad sa mismong nobela.
andrael's review
challenging
dark
funny
informative
reflective
slow-paced
- Plot- or character-driven? A mix
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? Yes
4.0
mariaellabetos's review
3.0
What made the book interesting are the endnotes and the appendices. Nagulat ako nang makita si Ibarra na kasamang naglalakad ang mga aswang sa Tabi Po. OMG LANG.
BANGIS. Aasahan ko ang mga susunod na kabanata.
BANGIS. Aasahan ko ang mga susunod na kabanata.
dee2799d's review
5.0
Beautifully presented with embossed glossy cover and traditional ink illustrations, Ang Supersibo is a love letter by Adam David and Mervin Melonzo, not only to Rizal's famous novels, but to everyone who was forced to read Noli Me Tangere and El Filibusterismo (which is pretty much everyone who went through high school) and was unable to fully appreciate what they are about.
Mervin Melonzo raises a very good point in his introduction: people who had to read Rizal's novels in their early teens couldn't be expected to 'get' the richness of it; we see the big picture (this is what society was like during the Spanish colonisation, this is how we've been treated as second class citizens in our own country), but rarely do we see Rizal's works as anything but propaganda and torture devices wielded by various teachers of Philippine lit.
Adam David and Mervin Melonzo try to stay as close to the original works as possible, moving away from the source only when they needed to. Adam David mentions that they took out all the narrative points, relying on visuals instead of Rizal's descriptions and it worked so well: in the first few pages of the graphic novel, you see a stunning set of illustrations as Ibarra tries to make his way to Kapitan Tiago's house. We hear gossip, the noises of the crowd, and people talking about the party in Kapitan Tiago's house which is pretty much the event--all in the stead of Rizal's description of the Manila that met Ibarra on his return to the Philippines.
Lovely, painstakingly researched, and brings out the humour and sarcasm in Rizal's novel. If this doesn't make you want to read the original novels, I don't know what would.
Mervin Melonzo raises a very good point in his introduction: people who had to read Rizal's novels in their early teens couldn't be expected to 'get' the richness of it; we see the big picture (this is what society was like during the Spanish colonisation, this is how we've been treated as second class citizens in our own country), but rarely do we see Rizal's works as anything but propaganda and torture devices wielded by various teachers of Philippine lit.
Adam David and Mervin Melonzo try to stay as close to the original works as possible, moving away from the source only when they needed to. Adam David mentions that they took out all the narrative points, relying on visuals instead of Rizal's descriptions and it worked so well: in the first few pages of the graphic novel, you see a stunning set of illustrations as Ibarra tries to make his way to Kapitan Tiago's house. We hear gossip, the noises of the crowd, and people talking about the party in Kapitan Tiago's house which is pretty much the event--all in the stead of Rizal's description of the Manila that met Ibarra on his return to the Philippines.
Lovely, painstakingly researched, and brings out the humour and sarcasm in Rizal's novel. If this doesn't make you want to read the original novels, I don't know what would.
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