Animation is a reflection of folks' lifestyle via a set of signs and symbols in the cultural industry which can be a potential platform in contributing to the establishments of national identity. Western countries and Japan seem to be prominent pioneers which are becoming the most influential animation in the creative industry. Kluang Man was inspired by Batman & Robin, while anime style could be identified in Anak-anak Sidek, Yokies and Sang Wira in the late 90's. Apparently, these have proven that Malaysia is also not an exception. Datuk Lat, a well-known local cartoonist, admitted that Malaysian animation lacks a sense of identity in developing character design, especially amongst today's apprentice generation. Therefore, this paper will investigate the development of local identity focusing on the characters' physical design selected from the most prevalent animations in Malaysia. Content Analysis was used to analyze the characteristic differences between the five chosen leading characters. The results found that only Boboiboy's character is highly influenced by the Japanese styles especially the facial features and haircut. Nevertheless, Usop Sontorian, Bola Kampung, Upin-Ipin and Kampung Boy are still standing strong on their own while sustaining the local identity without the influence from other animations.
A snapshot of the animation and digital content in the region shows an industry that is thriving despite a challenging year.
With 60 animation studios operating as both IP cre ators and producing worldclass service work for a global market, Malaysia boasts a strong pipeline of domestic and international projects that have helped the industry weather a tough period.
“The total digital content industry in Malaysia stands at RM 7 billion [$1.68 billion] with exports doubling since 2014 to RM 1 billion [$240 million],” says Hasnul Hadi Samsudin, the VP of Digital Creative Content at Malaysia Digital Economy Corporation [MDEC]. “This stellar growth has been supported by a strong workforce, averaging over 10,000 jobs. Our homegrown animation studios that have produced more than 65 original IPs and seen their work trav el to 120-plus countries, with an export value of RM 170 million [$40 million].”
According to Samsudin, most an imation studios in the country have maintained their workforce throughout the earliest months of the pandemic, through distributed work and manage ment of the pipeline. “Through 1H2020, the industry is consolidating its momen tum by keeping most the operations still active while navigating the Movement Control Order [MCO] enacted by the govern measures will be implemented through pub ment, initially as a pure work-from-home modlic-private partnership,” says Samsudin. “Specifel and later, with the latest version of the MCO ically for MDEC, we have received RM 35 million entering a recovery phase since the end of June, of funding under the Digital Content Grant with studios resuming normal operations and ready focus on animation and visual effects projects. to scale up their pipeline once again.” The grant can cover a broad range of activities
He notes that the response of Malaysian such as development, production / co-produc studios has stayed very positive since the MCO tion and IP marketing & licensing.” period, with studios contributing dozens of MDEC is also offering multiple programs Public Service Announcements based on their to boost the local and regional ecosystem. As well-known IPs, running Digital VS COVID do Samsudin mentions, “In addition, MDEC drives nations to assist healthcare workers and other IP development through the DC3 and DCG; front-liners and mobilizing their upskilling the talent pool thus en artists, engineers and staff with suring a funnel for the studios to machines to be home based. grow via grassroot programs such
The Government has allocat as Kre8tif!@schools, DICE UP and ed RM 225 million to spur the related development programs; growth of the creative industry and building scale in the industry through programs and soft loans through structured incubation pro under the National Economic Hasnul Hadi gram to catalyze start-ups.” Recovery Plan [PENJANA]. “These Samsudin The Government of Malaysia
through MDEC has also been run ning a Virtual Buyer Fly-In Program where buyers get the opportunity to speak to the region’s top animation companies about a variety of solutions, including IP development and services. “The upcoming Kre8tif! Virtu al Conference plays a unifying role in the Malaysian ecosystem growth, gathering the best of the industry within the region to facilitate business and net working opportunities,” says the VP. “Founded in 2009, this small gathering of industry, talent and partners has grown to be an exciting and vibrant part of the Southeast Asian animation and VFX scene.” Among the many benefts of working with Malaysian studios: Malaysian animation studios are committed to world-class production pipelines. Over the years the talent pool and studios have grown exponentially, which will eventually lead to many new IPs being created. They can han dle multiple collaboration and co-production projects with in ternational studios and broadcasters.
Language is not a barrier, as English is widely spoken. “We are proud of our strong and diverse multicultural and multiracial heritage which also promotes good work ethic,” says Samsudin. “They can understand and blend various differ ent cultures and languages across the region. On top of that, Malaysia offers a vast array of fora and fauna which inspire new stories that can travel the world!”
Success Stories
In 2019, three well-crafted animated features were released on the big screen: Upin & Ipin: Ker is Siamang Tunggal [Les Copaque], BoBoiBoy Movie 2 [Animonsta] and Ejen Ali: The Movie [WAU Ani mation]. Upin & Ipin won the Best Feature Film at the Montreal International Animated Film Festi val 2019 and was the frst Malaysian animation to be shortlisted for nomination at the Oscars in 2020. BoBoiBoy received the Best Poster/Best
Teaser Trailer at the Laurus Film Festival and was a fnalist at the Florence Film Awards and New York Animation Film Awards.
Comedy web series AstroLOLogy [Lemon Sky Studios] has also been receiving acclaim world wide. Another interesting IP which is a positive refection of Malaysian culture is Batik Girl [The R&D Studio] — this animated short has picked up a number of nominations and fve awards.
Future Attractions
Among the numerous animated projects in the pipeline for 2020 and 2021 are:
Lil Critter Workshop, a 2D animation studio in Malaysia, is currently working on productions for Australia, the U.K. and the U.S. One original IP in particular, slapstick non-dialogue series Buck and Buddy, has been gaining sales momentum since its launch in February on CITV in the U.K. Buck and Buddy has secured multiple broadcast er acquisitions, including Discovery Kids MENA.
The R&D Studio is currently working with its partner Robot Playground Media [Singapore] to come out with several Asian stories through a Malaysian lens. Spectrum is an animated anthol ogy flm featuring seven shorts that celebrate family values and the shared culture and heri tage. The R&D Studio is also behind the critical
Vision Animation is working on productions for Australia, Canada and South Korea. It is an established Malaysian studio and currently working on multiple IPs, one of which is The Curious World of Linda, a co-production between Vision Animation and Tak Toon Enterprise [Korea].
Giggle Garage has multiple productions spanning six different countries. The studio behind Fridgies is expanding its production through 2020, and is busy working on titles such as Space Nova, Time Traveller Luke, Dr. Panda and ly acclaimed short Batik Girl.
Kazoops.
Animonsta Studios is working on several original IP expansions, including a Mechamato feature flm.
As Samsudin puts it, the country’s thriving animation scene has come a long way in the past few decades. “Malaysia’s animation indus try began its humble roots as early as 1985 with our frst animated series, known as Sang Kancil & Buaya. Fast forward to today, and we can see that Malaysian companies are playing an active role in markets all over the world,” he concludes. “They are able to understand industry trends that allow them to fulfll the demands of today’s viewers. With a mixed culture and different languages, the Malaysian animation scene will always remain friendly — to both buyers and au diences everywhere.”◆
For more info, visit mdec.my.
Buck and Buddy
A Few Words from Malaysian Studio Heads
Walid Omar , Executive Producer/Owner, Lil Critter Workshop: “The fact that we have no language barrier, enjoy a multicultural society, blessed with a strong experienced workforce and combined with accommodating and adaptive government support. Doing business in Malaysia is a very compelling proposition.”
Low Huoi Seong , CEO, Vision Animation: “Malaysia has strong government support such as the Film In Malaysia Incentive [FIMI] and similar programs to assist studios and creators. Doing business with us in Malaysia is easy with no language barrier, and we understand international pipelines and have created a name for ourselves in terms of experience and quality.”
Irwan Junaidy , Co-Founder and Chief Creative Offcer, The R&D Studio: “The West is looking for some thing different, stories that tell of different cultures with universal values that can reso nate around the world. Malaysia has that.”
Zeno Gabing , Executive Director, Giggle Garage: “Government support in terms of funds, tax incentives, rebates and infra has certainly helped. The Malaysian ecosystem has produced good talent and nurtured studios with world class production pipelines. We have excellent stories due to the multicultural Malaysia, vast fora and fauna that inspire new stories that can travel the world.”
Why is BoBoiBoy so popular?
We were surprised initially by how popular BoBoiBoy became overseas. There's universal appeal around a young boy with superpowers, and refreshingly kids usually ignore barriers of language, countries, or race. Kids will like the animation as long as the story and characters are compelling.
What are the most popular cartoon in Malaysia?
Several Malaysian animation films and series that have hit global market are:.
Geng: The Adventure Begins animated film..
Upin & Ipin animated series..
Bola Kampung animated series..
Satria The Warriors of 7 Elements animated series..
Synostone animated series..
BoBoiBoy animated series..
Ejen Ali animated series..