Booksology 
Dezuñiga is editor Joe Orlando who tells us that the Philippines has a thriving comics market, full of talented artists who work at lower page rates than DC, and more talented artists than the Philippine market paid. This appealed to DC Publishing’s Carmine Infantino, who had heard rumors that his American artist was planning to unify. And in 1971 Dezuniga, Orlando and Infantino flew to Manila to recruit artists. For the next few years, DC (and subsequent American publishers) began to feature works by Filipino artists such as Alfredo Alcala, Alex Niño, Nestor Redondo, Jerry Tarak, Romeo Tangar and Ernie Chan.
These artists worked on marquee characters like Batman, Superman and Spider-Man, but their work was primarily seen in other genres that are less expressed today, such as horror, sword, magic, science fiction, war, martial arts. This huge lack of presence in superhero comics may go in some way to explain why the Philippine invasion is less well known than the British cartoon invasion of the late 80s, but I think the fact that comic book artists expect to see them in a certain way is very responsible.
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Filipino invasions have a complicated history. In addition to the implicit union arrest and declining opportunism, Dezuñiga, who served as an intermediary for DC and the Philippines-based artists, has taken the lead without DC knowing. But none of them deny (and will continue to do so!) the beauty of the works that Filipino artists have made in comics during this period, or the importance of recognizing and celebrating their contributions. This excellent video by Comictropes covers both sides and shows off the talent and diversity of many related artists while unleashing thin meaning.
Unfortunately, there is still little information about the move, outside of the video and the handful of blog posts scattered across the internet. There was a documentary written by Levi “Pepper” Marcelo in 2012 Illustrated: Philippine American cartoon invasionsadly it doesn’t seem to be streaming anywhere, but you can see the trailer here. I’d like to see the spotlight shine in this history in the future, as a reminder that comics should be not just once, but always for everyone.
