More ideas seem to be thrown at the table and what's interesting about all of this is that there's discourse. Unfortunately, the questions too are ever-expanding and I think have strayed a bit from the original topic (or at least loosely based on them) so it's best we formulate them into question and address them (feel free to clarify):
1) The Criteria for Filipino Speculative Fiction
This question I think is easily what Bhex and Kenneth are asking. The former gives us a clear-cut definition while the latter not so much. If I may, I'll use Cecille's (see previous comments) questions to attempt to answer this question. Should Filipino fiction be about the Philippines? Well, not necessarily. Most of our stories might take place in the Philippines but isn't that kind of limited in scope. Aren't there other Filipino experience that go beyond our borders, such as OFWs, expatriates, or perhaps a Filipino who's lost somewhere? Should the stories be written in Filipino? Well, when use the language Filipino, we automatically make it our own. But as I pointed out earlier, the country has had a long history of different national languages and what about all the stories that's not written in Filipino, especially the quintessential Filipino novel Noli me Tangere? Must it be written by a Filipino? I think some local writers who aren't natural-born citizens that have managed to capture the Filipino spirit (albeit not necessarily in fiction) such as Fr. James Reuter, S.J. And then comes the bigger question I think: that a story not contain all of these elements or lack one of these elements, as long as at least one of these elements is present in the work. That's honestly a tough question. But at the end of the day, we're talking about speculative fiction here and not realist fiction. The strength of the former is that it goes beyond boundaries. I think by placing such boundaries, in this case an undeniable Filipino element, we are limiting the kind of stories we tell. That's not to say Filipino Speculative Fiction should not contain a Filipino element. I think one can be included even if it's an abstract one. For example, of the strengths of fantasy and science fiction is that it distances readers from reality and uses something else as a metaphor for our current experience. The aliens might represent another ethnicity. Other planets other countries. le Guin writes in Left Hand of Darkness writes about a culture so totally alien yet familiar if you continue on. Could we not write about aliens traveling to far off galaxies and working there, never to return home despite the technology being readily available? Can that not be a metaphor for the OFW experience even if OFW is not spelled outright?
2) The Agenda in Filipino Spec Fic
Tin's more recent post I think best describes this argument. That Filipino Spec Fic should have a thrust, a more social agenda. Now I'm not saying it shouldn't. But isn't that what the realist writers are doing right now? Writing stories that theoretically have an impact on society? Of course I'm not saying that spec fic should or should not be socially relevant. I dread the world of two extremes, one where all the fiction in the world is socially relevant, and the other where all fiction is merely fluff. I was talking to Dean the other day and he makes a point of nurturing both aspects. He talks about how the beginning literature of a civilization starts off with the relevant and later moves on to material with less gravity. Arguably we're still in the former stage but that doesn't mean we shouldn't be writing material belonging to the latter. Does ethics and politics and social responsibility have a place in speculative fiction? Definitely. But I also want to read stories that don't attempt to be as lofty. Ultimately though, what story isn't political, what story doesn't set out to teach a lesson of some sort? Even the most simplistic of mores have something to reach readers, albeit it's not necessarily the ones we want to read about.