311

Mumbling Our Comics:

An Overview of Indonesian Comic Books' Condition
Karna Mustaqim

Comics are considered as the integration of words and pictures, a

sophisticated medium that integrates both visual media and literature. Comics
can also be considered as a social artifact to understand a society's beliefs.
Marcel Boneff, a comic scholar who spent about seven years living in
Indonesia, believed that Indonesian comics reflect its dynamic society. In
1972, he wrote "Les Bandes Desinees Indonesiennes" which gave a sharp
observation of Indonesian comics related to many social contexts, the
economy, and political conditions at the time.'

Fig. 1. Marcel Honefl 199b. Komik Indonesia. KrPU, Jakarta.

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Early Comics from 1930s Until the End of 1980s

According to Boneff, early Indonesian comics can be divided into two

major categories: comic strips and comic books. Early comic strips in 1930s
can be found inside Holland's media such as De Java Bode and D 'orient with
the stories of Flippie Flink and Flash Gordon. Yet, the first local comic character
was the works of Kho Wan Gie in Sin Po newspaper called Put On, a Chinese-
Indonesian. From the 1930s till 1960s, his famous character Put On inspired
many other comic strips found in other media such as Star Magazine (1939-
1942) which later became Star Weekly. In the beginning of the 1950s, one of
the renowned comics pioneers, Abdulsalam, published his heroism comics in
the Kedaulatan Rak7at, a daily newspaper from Yogyakarta. Another title,
"Kisah Pendudukan Jogja," told about the aggression of Dutch troops in the
city of Yogyakarta, and was published as a complete series by PikiranRakyat,
a daily newspaper from Bandung. Some critics believed that it was the first
2
comic book by an Indonesian comic artist.
Since the late 1940s, many comics from the United States were included
in daily or weekly newspaper supplements. Some of them were "Tarzan," "Rip
Kirby," "Phantom," and "Johnny Hazard." Later, a local publisher Gapura and
Keng Po in Jakarta, and Perfects in Malang, compiled them into comic books.
Amid the influx of early foreign comics, emerged Siaw Tik Kwei, one of the
early comic artists, who was highly skilled and proficient in drawing, and was
known for his comic adaptation of the Chinese legend "Sie Djin Koei." This
comic book successfully beat out the popularity of Tarzan among local readers.
The popularity of foreign comic books inspired local artists to convert several
famous foreign superhero characters into local ones. R.A Kosasih, who later
was renowned as the father of Indonesian comics, started his career by
imitating Wonder Woman. He named his super heroine Sri Asih. Characters
produced by other artists were Siti Gahara, Puteri Bintang, Garuda Putih, and
Kapten Comet; they were inspired by the power of Superman and the
adventures of Flash Gordon.
However, that kind of adaptation was refuted by critics and educators.
Publishers such as Melodi in Bandung and Keng Po in Jakarta searched for a
new orientation by looking back into national cultures. As a result, stories
were taken from the wayang, the shadow plays from Sunda and Java, and
became a priority in comic book themes. R.A Kosasih was one of the famous
artists who transposed Mahabharata epic stories from wayang into comic
books. From Sumatra, especially in Medan, there were also pioneering skillful
artists such as Taguan Hardjo and Zam Nuldyn, who contributed to the
aesthetics and philosophical values of comic art. Under publishers such as
Casso and Harris, they explored Sumatra's folktales which became very popular
comic themes in the 1960s and 1970s.

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The political changes in Indonesia around the 1960s and 1970s had an
impact on the production of comics. Some comics were driven by a particular
ideology or belief. Political messages were often found in comics; messages
such as nationalist vision, aspirations and hopes of the nation, and religious
syncretism appeared frequently. After the revolution in 1965, comic books
and comic artists were blamed for moral degradation. All comic activities were
watched by the authorities. But at the same time, romance and love stories in
comics began to bloom. These romance comics fulfilled young adults' escapism
needs. It was a mixture of drama, love, even eroticism which turned the reader's
feelings to a fantasy world of dreams.

Fig. 2. Budi 2001, "Ali Oncom: Banyolan ABG Pinggiran" regularly appears in
Pos Kota newspaper, Jakarta.

Four major cities in Indonesia, Jakarta, Yogyakarta, Medan, and Bandung,

became successful centers of comic book establishments. These cities had
given birth to many comics artists and gained recognition as the centers of
the golden age of Indonesian comics from the early 1960s through the late
1970s. After those years, the local comic industry was overrun3 by translations
of American and European favorite comics, such as the Walt Disney series,
Tintin and other titles. These foreign comics appeared in major bookshops
and through local press publications such as newspapers and magazines.
Afterwards, translations of Japanese and Hong Kong comics entered the
local scene by the end of the 1980s and attracted many young readers. Slowly

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but surely, the local comics industry began to come to an end.

Nowadays, comic strips along with editorial cartoons can be found in
4
many national newspapers or magazines, but comic books, once called cergam,
are struggling to find their place in bookstores within the flood of translated
comics books from Japan, Hong Kong, and Korea. Comic strips and editorial
cartoons often include social criticism or political satire; on the other hand,
the mainstream comics book themes are about love drama, some action hero,
or horror stories.'

A New Beginning: New Market and New Movement

In particular, some publishers attempted to find a niche in the market of

Moslem readers, by producing varied form of innovation such as comics
compilations, comic novels, and graphic novels.' The major themes were
provided for young and teenage Moslem readers but mostly were for general
readers. The stories ranged from stories about Moslem prophets to pilgrimage
guidance at Mecca, and it also involved drama, life, and friendship themes
which enriched the comics genre. On the contrary, the public opinion that
comics are just for children is not entirely correct, as one can find philosophical,
political, historical, as well as cultural themes in translated comic books, for
example, the serials ForBeginners about world famous intellectuals, the history
of Chinese culture, the serial of Classic Chinese Philosophers, Romance of
Three Kingdoms (Sam Kok), Genghis Khan, wisdom words from AI-Ghazaliyy,
and many more about tales of the prophets and their companions, as well as
other religious comics. This indicates that the comics have developed to
become an effective communication media for serious and educational matters.
During 1980s until the 1990s and even later, the local comics obviously
did not succeed to compete. In spite of developing into a more mature condition,
the Indonesian comics industry became stagnant. Boneff's research around
1970s indicates that although local comics were widely distributed at street
markets and small scale public libraries called taman bacaan, they never got
into big bookshop channel distribution. Unfortunately, this condition was
not getting better and in the late 1980s, Indonesian local comics started to
fade from the market. For more than ten years Indonesian comics were almost
banished from the market, causing a generation gap. When things are
continually ignored, a so-called "missing link" occurs, as Donny Anggoro
mentioned in his essay "Sejarah Komik Indonesia: Kepala Tanpa Leher"
(Indonesian Comic History: Head Without Neck).7 The standstill situation
motivated young comic activists into independent comics production,8 giving
a new breath to Indonesian comics. These circumstances gave impetus to the
Indonesian comics movement which was basically a community based
program-'
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I
II

Fig. 3. Clockwise from top left: PerjalananPanjang, a Moslem youth compilation

comic published by Mizan. Pertemuan Terakhir, published by Syaamil Cipta
Media. Cara Mabrur Naik Haji dan Umrah, published by Nirmana.

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The main and foremost factor that changed the stagnant state of comics
development in Indonesia was the foundation of some new comics communities
beginning in the mid-1990s. Among the communities, there was one pioneer
which was quite famous Kajian Komik Indonesia (KKI or Indonesia's Comics
Studies Forum), established by the Literature Faculty of the University of
Indonesia in 1993. Mrs. Rahayu S. Hidayat, as the chief of the community, was
enthusiastic in monitoring the recent development of the Indonesian local
comics. The communities were created by young lecturers; their idea was to
arrange a seminar about comics once or twice before progressing to holding
local comic exhibitions regularly. Ultimately the National Education and Cultural
Ministry Department, together with Balai Pustaka, took part by arranging a
comic competition and Comic and Animation Exhibition I at the National Gallery
in 1998. As a continuation, there were many exhibitions and other kinds of
activities in different cities that drove big publishers to give a portion of their
production to local comic artists to publish their work. Slowly, media gave
some recognition to the local comics movement. Several comics discussions
were held not only inside the campus but in public places too, such as at
foreign cultural representative centers, public or private art galleries, and general
bookshops.

Fig. 4. Pekan Komik dan Animasi (PKAN). 1998. Catalogue of the first comics
and animation exhibition at National Art Gallery.

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One of the most famous communities in the 1990s was Masyarakat Komik
Indonesia (MKI), founded at the end of the first Pekan Komik Nasional (The
Week ofNational Comics) exhibition in 1997. Their slogan was "Support Your
Local Comics Movement." It was created by Ardie from the comics studio
Karpet Biru (Blue Carpet), which began its life on the blue carpet in a campus.
From that moment, there was a continuation in the creation of new comics
communities based on campus, hobbyist, mailing list groups, and online forum
discussions. The mailing list groups were quite numerous, MKI, Klub
Komunitas Indonesia, Komik Altematif, Komik Indonesia, and so on. There
are also online forum discussions which provide special divisions for comics
chats. Inside the forum, members can actively exchange their opinions and
news, chatting with the comics artist and debating about the development of
the Indonesian comics. Online discussions are more long lasting then Websites
dedicated to comics, such as planetmerah.com, kitakita.com, barong-komik,com
and mikon.diffy.com. There are several significant Websites, such as
indicomic.com, komikindonesia.com, museumkomik.com, which have already
professionally managed and succeeded in gathering many comics artists to
post their comics online. There is also an effort to publish the comics offline.
According to Tito Imanda (2002), there are two main sources of
independent comics: arts school students and social organization activists.
An informal distribution channel and free expression of graphics and narrative
styles were known as the underground movement. Ultimately, these
underground movements or independent comics publishing inspire small and
medium scale publishing companies. They started to search for new talents in
comics and published their works as part of their line production. Many story
genres from action to religion tried to penetrate the market. The existing issue
has been enabling current artists to reach and to determine the majority market
segment that has been used to consuming imported comics.'
Many people thought that the senior generation of comics artists had
retired in the years of waiting, which was not quite true. In a short discussion
at a comics exhibition by Pengumpul Komik Indonesia (Pengki), at the British
Council's library in Jakarta, there was a gathering attended by senior comics
artists such as Djair, famous for his JakaSembung; Hasmi, for the unforgettable
Gundala,and Hans Jaladara, who remade a silat (Malay martial art) hero called
Panji Tengkorak (Skeleton Mask Hero). Not totally retired, they are still
working as illustrators. Hans Jaladara is making a new comic Walet Merah, a
sequel to the former comic Panji Tengkorak.
Some journalists criticized and cautioned about the misunderstanding
and misinterpretation that could arise in remaking old Indonesian classic
comics. " They feared that the remaking could possibly take away the value or
characteristics of the original works. Though many old fans criticized Hans
Jaladara's new style that seemed to follow new market trends, people should
not forget to applaud him for his passion and constant creativity.

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Fig. 5. Hans Jaladara. The fighting scene of the old (left) Panji Tengkorak 1960s
compared to the new revision (right) Panji Tengkorak 2000.

Other comic artworks from leading comics figures, such as R.A. Kosasih,
Jan Mintaraga, Ganes Th., Hasmi, and Gerdi W.K from the golden era, had
been reprinted and republished by small press publishing, such as Pustaka
Satria Sejati and Komik Indonesia.com. Such activity gives an opportunity to
fill the generation gap, allowing the young generation to learn from their
predecessors. Fortunately, Hans Jaladara and Mansyur Daman (Man) had the
chance to remake and redraw their comics for current readers. Regularly,
assembly of the two generations should be arranged for the purpose of
collaboration and regeneration in order to guarantee continuity and develop
appreciation for local comics readers.
Looking at the artworks of current young Indonesian comics artists, the
influence of many adoptions and adaptations of comic styles from around the
world is obvious. The major influences now are the Japanese comics, and to a
lesser degree, American mainstream superhero and the European cartoon style.
As in the early 1960s when Indonesian comics were trying to free themselves
from western influences, the current Indonesian comic artists also strive to
blend styles and develop original artwork that differ from others.
Recent Indonesian comics' societies came from different backgrounds,
but they tried to gather forces once again. Readers, artists, observers, fans or
comics collectors are becoming comics activists. They collaborate in groups
in which they feel they belong and organize events or other activities relating
to comics. The information about comics events like seminars or workshops
can be reached at several mailing lists.' 2 One of the comic activists, Hikmat
Darmawan, known as a comics critic, founded a small scale community called
Academy Samali, which is under developmental process. Even though
Indonesia's comics industry is not well established, it is heartening to see that

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the comics discourse is thriving."3 Nowadays, the Internet is everyone's

favorite as an alternative medium to display, distribute, and discuss comics,
as in the communities (as discussed before) or through electronic diaries
known as personal blogs.

FATIE

Fig. 6. Clockwise from top left: Dua Warna. Alfi Zachkylelle. 2003. Pesta di Atas
Sungai. Doni, Reni and Roni. 2003. Fate. Shinju Arisa. 2001. Factory Outlet Boys.
Oyas, Ipat, and Ipot. 2005.

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KOMIKITA

AW, A'ýý-
-k - V-A
Fig. 7. Histeria Komikita. Hafiz A., Fig. 8. Dari Gatotkaca Hingga Batman.
Benny M., and Alvanov Z. Elex Media Orakel. Hikmat Darmawan. 2005.
Komputindo (EMK). 2006.

At some point, comics activists have delivered their extreme perspectives

according to their experiences in facing the condition of local comics. The
point of views range from a materialistic one with market orientation to an
idealistic conveyance of expressiveness. It has become an unique feature of
present Indonesian comics, this self referentiality in making comics among
the youth in school.
One of the hot trends now is the foundation of the independent publisher,
usually called indie (independent) or underground, a movement counter to
the stable mainstream comics industry, both in distribution and ideology.
Thus, comics of a more mature genre and individual orientation pop up, even
though the distribution is limited to an exclusive part of the society.
Some of the creators of indie/underground comics were involved in
mainstream comics industry before, one being Beng Rahardian, who had been
in Animik World before he moved to an underground movement in 1999. For
him, the important values worth struggling for are educational, egalitarian,
and recreational. Another artist, whose nickname is Zeus, from Studio Petshop,
wishes that someday comics can be regarded as a form of art in the public eye
and that local comics can be the master in its own home so that comics artists
can make a living from them.
There has been no standard role of production to manage local comic
book publishing; many of the publishers treated it like any other book
publishing. Diversity in building cooperation between the comics artist and
publisher made for variety in the form and content of local comics. Some

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artists worked under special mission from their publisher; otherwise they
worked together with non-profit organizations. Most worked alone or in groups,
and then proposed their product to a publisher. Besides, there is also an
independent publishing system where cartoonists make their own networking
and keep in touch with their fans online or through print. 4

f3namaku:Miskin!
Oran9

CA40 WAPAAK1WANG

Fig. 9. Clockwise from top left: Komik Subversi. Vol. 1. Mei 2004. Seri Hukum
dan Masyarakat: Hukum Kami, Hukum Adat (02). Tim Rumah Warna. 2003.
OldSkuil: In The Garden. Athonk 2003. Petualangan Wening dan Kawan-kawan:
Selalu Ada Jalan Pulang. ICMC Indonesia. 2004.

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Just before and after the beginning of 21 st Century, 1998 till 2006, many
local comics publishers and comics magazines were created, both
independently and by official publishers, such as Koin, Komikland, Wayang
Gaul, and Tabloid Komikka for comics magazines, and SAP Project,MAKO,
and Union for comics tabloids. Yet none of them could survive through time,
as these published products continue to rise and fall. They were only found at
comics exhibitions and bazaars. A few official publishers beside Mizan and
Gramedia, have openly accepted local comics artists to produce their work.
Small press publishing houses feel challenged to publish local comics; some
of those publishers are Terrant Comic, Dahara Comic, Komunitas Nisita, Riko
Amer Production, Gagas Media, Creative Media, and Asy Syaamil. Last but
not least, there is still another comics magazine called Sequen, managed by
Iwan Gunawan which tries to re-establish ceritabergambar(visualized story),
which stands for Indonesian comics.
From the online activity, it is informed that there are several Indonesian
comic artists who have collaborated with foreign publishers. Among others
are Rizki, who illustrated Garland of Moonlight, published by Shoto Press
(Japan); Erufan, the illustrator of two comics editions of Archen, published by
Digital Webbing (US), and Chris Lie, who was involved with several small
press publishers, such as Tokyopop, with comics titled Return to Labyrinth
(2006). There is also a studio, Text and Picture Studio from Jakarta, managed
by Ahmad Zeni, which has been collaborating with Kumaresh Publications in
Singapore. Encouraging news of these collaborations lifts the spirit of local
comics activists and their movement.
However, correspondence from two female comics artists, Esvandiari
from Jakarta and Dyotami from Bandung, told about their activity in mailing
list and online comics forums. They share their work progress and discuss
their vision in developing the comics. Nowadays, most young comics artists
are female, their works mostly published by Elex Media Komputindo. Though
the male domination is broken, male comics artists seem to be more active in
comics events.
Cartoonists say that the constraints in producing comics mostly come
from the artist himself. Mutaroh, one of the young female artists, said there are
many challenging problems inside themselves as well as outside. Many of the
local comics artists still totally depend on manual skilled work; a limited amount
of raster screen as used in manga (Japanese comics) is expensive while the
production techniques with computer has not yet been maximized. Many of
them are producing comics part-time, besides their daily routine work.
For example there is Ardi Sama, who spends his day time as an IT
consultant in an enterprise, and Ahmad Zeni who is an employee for a children
magazine publisher. Ardi imagines that in the future, comics development will
grow along with that of animation, and together with Indonesia's entertainment,
they will become integrated. Some people worry about the consistency of a

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comics artist in making comics. Support from close relatives is meaningful if

one hopes to inspire, said T. Wolv, the author of Riddle of Gravity. Other
young comics artists also gave the same response, saying a comic can exist if
the artist has a strong determination to work on it. And last but not the least,
according to cartoonists surveyed, a comic needs appreciative fans. It is also
important for national comics artists to set a foundation for newcomers who
want to be part of the community.

Fig. 10. Sequen: Majalah Seni Komik Indonesia, Vol. 1 No.1 2006. Later the slogan
changed to Majalah Seni Cergam Indonesia (Indonesian Cergam [Comics] Art
Magazine).

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Fig. 11. Clockwise from top left: Riddle of Gravity: Daydream. T.Wolv. Heart Strings.
Sylvia. Spread pages from Heart Strings; it shows how shoujo manga (Japanese
girls comics) have a deep influence on young female artists.

YJOCA, Spring 2007


Fig. 12. Selamat Pagi Urbaz. Beng
Rahadian. 2002. Terrant. A graphic novel
with the setting of small town in Java,
Yogyakarta. Beng is a junior comics
artist.
Fig. 14. Walet Merah. Hans Jaladara. EMK.
2004. Hans Jaladara is one of the senior
comics artists who made his return to
produce comics again. Walet Merah is a
silat (martial arts) heroine.
325
Fig. 13. Legenda Sawungkampret. Dwi
Koendoro. Mizan. 1999. A humorous
epic based on historical evidence set
in Batavia (Jakarta). Dwi Koen is a
senior respected cartoonist.
K
ENt iFW ýI
SM
Fig. 15. Alit Kencana. Dwiyanto S. &
M. Hardian. EMK. 1995. Also
known as DS studio, one of the
early 1990s' comics mainstream
productions.
IJOCA, Spring 2007
326

"If only there were someone who is brave enough to publish a thousand
Indonesian comic books at one time," said Mrs. Rahayu from KKI; "Indonesian
comics would be able to compete with imported comics." This indicates that it
is the right time to think strategically and tactically in managing the local
comics industry. "Comics bring power both in culture and economy," Beng
said in his short e-mail, but since production costs and time required of
producing local comics are bigger than buying the rights to publish foreign
ones, local publishers are discouraged from supporting local comics activities.
The cartoonists realize that these attitudes need to be changed and that
the most important thing to be done among them is to organize and manage
networking within comics activities. During the last five years, many intense
efforts have been made by small to giant publishers to support local comics,
but the market response seems unchallenged because of the imported comics.
Imported or translated comic books are still on the top of market demands; the
big bookshops are still overflowing them.

Extending a Hope: Indonesia's Comics Renaissance

Although Donny Anggoro (2005) said that the dream of an Indonesian

comics renaissance is still far from reach, he hopes that collaboration among
some institutions through related comics activities will trigger it, that routinely
held comic events will give birth to an Indonesian comics renaissance. He
said that perhaps the quality of local comics production may not be as good
as the American comic production, but that does not mean the best alternative
is to follow manga. The ideal way to overcome the market condition is to
depend on a comic genre flowing steadily in the market and to create through
experimentation a genre that might attract a wider range of readers.
The regeneration of Indonesian comic creator was cut off because of a
stagnant phase in 1980s until 1990s, therefore there were no followers of the
styles of Ganes Th. or Teguh Santosa, and causing an obliteration of the
acronym, cergam (Indonesian comics), from the readers' minds. The only
hope now is to depend on the uniqueness of each individual in cultivating,
finding, expressing a comics language verbally and visually that is uniquely
Indonesian.
So far, the local comics are still struggling to create an original style.
Indonesian comics are a mimicry being conquered by the domination of
translated comics and forced to leave the stereotype of local comics images
formed in the past. While searching for a comics identity, a hybridization of
some styles that already existed has emerged. Meanwhile, behind the comics
style diversity that is being developed, there are ambivalences that camouflage
efforts in marketing local comics products. In their search for a local identity,
local cartoonists learn from comics handbook or from collecting comics. In the

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process of acquiring illustration techniques of their favorite artists, an arduous

task in itself, they lose awareness of the visual grammar principles.

I ý-

E>&
Fig. 16. Berandal: Marcapada. Indira. Fig. 17. Tekyan. Balai Pustaka. Yudi S & M.
Bayu Indie. 2005. A life drama, story Arief Budiman. 2000. They have a distinct
of a lost boy who searches for the cartoon style that leads them to win
meaning of his life. several time comics competition managed
by Balai Pustaka.

The makers of the comics industry face other serious challenges. The
must have a strong desire to develop an established industry, that is not
merely a profitable business. They must have a genuine interest in social-
political issues, art and culture, the environment, as well as a comprehension
of the true spirit of the Indonesian people.

Endnotes

Marcel Boneff suggested in his book that Indonesian comics were best
distinguished by their sociological and psychological aspects. He conveyed
that its originalities led him to comprehend the local people mentalities.
2
Atmowiloto, Arswendo. 1986. "Komik dan Kebudayaan Nasional." Analisis
Kebudayaan Magazine, Jakarta.
I Laine Berman in "Paint It Black in Daliland: Introduction" to The Bad Time
Story, Nov. 1995. Retrieved from <http://www.geocities.com/laineberman!
BadTimesIntro.htm>.
4 Atmowiloto, A. (1986) explained that cergam or Yjergam stands for cerita

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- mI1 inwe
"WM MIMMIM0IM710

Fig. 18. Clockwise from top: Si Lender. Komik P-Project, KPG. 2001. Amel: Kalo
Amel Ketemu Cinta. Uni Komik, EMK. 2004. BeastMaster. Komikers, EMK. 2006.
Searching for identity, some comics were produced by several people under a
comics' studio.

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ter"'q kmiek

Fig. 19. Clockwise from top left: Kakek Bejo: Helikopter Antik. Text and Pict
Studio, Pragat Comic. IndiComic Magazine. indicomic.com. Page from Street Soccer
(01). Bengkel Qomik, Biki Cipta Idea. 2004. Page from Temputi Comics. Recent
Indonesia comics movement can not be separated from the underground or
independent movement. The major publication of comics comes from them; by
using small scale press or xerography, these comics built their own readers
and community.

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bergambar,a term created by Zam Nuldyn to soften the name of comics

medium.
Elex Media Komputindo is the mainstream publisher who produced comics
book in pocket size. Many styles and formats of their local comics follow the
style of manga or Japanese comics.
6 Mizan and many other smaller publishers took advantage of the Moslem
majority in Indonesia by producing many Islamic themes comic books.
7 Donny Anggoro. 2005. "Komik Indonesia Kepala Tanpa Leher." Sinar
Harapan. Jan. 29, 2005. Retrieved from <http://www.sinarharapan.co.id/
hiburanIbudayai2005/0129/bud2.html>.
I Tito Imanda. 2002. "Indonesian Comics Are Advanced: The Challenges Faced
by Indonesian Underground Comic Artists." Antropologi Indonesia Special
Volume. p.71.
' Beng Rahardian indicates this phenomenon in Komunitas: Antara Sekolah
dan Selera Pembaca (Communities: Amongst School and Readers Taste).
"0Two books discussed the current condition of local comics. They were
published in 2005-2006. Dari Gatotkaca Sampai Batman, written by Hikmat
Darmawan, who tried to explain the ideas of comics from time to time,
Indonesian comics tradition compared to global comics, and the havoc of the
latest underground comics movements. The others by Alvanov Zpalanzani,
Hafiz Ahmad, and Beni Maulana under the title Histeria! Komikita, which
spoke about the fuzziness and confusion around comic discussion in the
Indonesian local comics scene.
I Seno Gumira Ajidarma. "Menjual Komik Indonesia: Paham dan Salah Paham."
Kompas. Nov. 5,2000.
"2Several mailing lists based on the comics community were found and the
number is still adding up and increasing. For example, the owner of
<komik_Indonesia@yahoogroup>.
s.com who has a website komikindonesia.com also opened a bookshop called
Toko Komik dan Tjersil where members of his community met each other in
the real world.
I Academy Samali and <pengajian_komik_dkv@yahoogroups.com> are some
examples of comics communities which tried to start a more intellectual
discourse.
'4Zpalanzani, A., et al. 2006. Histeria!Komikita, pp. 121-159.

References

Anggoro, Donny. 2005. "Sejarah Komik Indonesia Kepala Tanpa Leher"

(Indonesian Comic History: Head Without Neck). Sinar Harapan.
Jan. 29. Retrieved from <http://www.sinarharapan.co.id/hiburan/
budaya/2005/0129/bud2.html>.

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Ajidanna, Seno Gumira. 2000. "Menjual Komik Indonesia: Paham dan Salah
Paham." (Selling Indonesia's Comics: Understanding and
Misunderstood). Kompas Cyber Media. Retrieved from <http://
kompas.com/kompas-cetak/00 11/05! SENI/pahal 8.htm>.
Berman, Laine. 1995. "Paint It Black in Daliland: Introduction." The Bad Time
Story. Nov. Retrieved from <http://www.geocities.com/laineberman/
BadTimeslntro.htm>.
Boneff, Marcel. 1998. Komiklndonesia.Trans. by Rahayu S. Hidayat. Jakarta:
KtG.
Darmawan, H. 2005. Dari GatotkacaSampaiBatman. Jakarta: Orakel.
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Karna Mustaqim has been a lecturer in visual communication design at both

Pelita Harapan University and Bina Nusantara University in Indonesia. This
article resulted from his work with Muliyadi Mahamood at Universiti Teknologi
MARA (Malaysia); he is now a Ph.D. candidate.

IJOCA, Spring 2007

 COPYRIGHT INFORMATION

Author: Mustaqim, Karna

Title: Mumbling Our Comics: An Overview of Indonesian Comic Books' Condition

Source: Int J Comic Art 9 no1 Spr 2007 p. 311-31

ISSN: 1531-6793
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