FACULTY OF ART AND DESIGN

MARA University of Technology

REPORT ON VISIT TO MALAYSIA CARTOON & COMIC HOUSE

ADE491 – ADE232

INDIVIDUAL ASSIGNMENT

PREPARED BY :

NAME MATRIC NUM PROGRAMME CLASS

LUQMAN HAKIM NORAZMI 2018699036 AD241 ADE232PAB

LECTURER’S NAME :
MADAM JULIANA BINTI MANAN
 LIST OF CONTENTS

NUM CONTENT PAGE

1 INTRODUCTION 3
2 OBJECTIVES 4
3 ANALYSIS
3.0 DEFINITION OF CARTOON AND COMIC 5
3.1 HISTORY & DEVELOPMENT OF CARTOON AND COMIC 6
IN MALAYSIA
4 CONCLUSION 12
5 REFERENCES 13
6 PHOTOS

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 INTRODUCTION

This report focused on the Malaysia Cartoon and Comics development before

and after independence. All artworks produced significant impacts on both readers

and contemporary cartoons in Malaysia. Therefore, the inherited cultural belief is

always presented in each artwork and makes each cartoon and comic special and

different from other cartoonists in Malaysia. Furthermore, this report will look closely

at the historical development of Malaysian cartoon and comic for the period of before

and after independence through the cartoons and comics exhibited at the Malaysia

Cartoons and Comics House. In the analysis, this report is expected to determine

whether Malaysian’s artworks successfully communicate the Malaysian culture to the

readers through visual language just before and after independence. In the Malaysian

context, the cartoons have been proven as effective since the beginning of

independence or before until now. Even, the form and style of criticism have always

been changing through the time and are influenced by environmental, socio-political,

legal and media ownership factors.

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 OBJECTIVES

2.0 The purpose of this report are :

• Able to analyze the historical development of Malaysian cartoon and comics

for the period of before and after independence

• To give exposure to the students about the development of cartoons and

comics in Malaysia

• To discover the personality on how the Malaysia’s artist produce their artwork

through thick and thin

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 ANALYSIS

3.0 DEFINITION OF CARTOON AND COMIC

A cartoon is a type of illustration, possibly animated, typically in a non-realistic

or semi-realistic style. The specific meaning has evolved over time, but the modern usage

usually refers to either an image or series of images intended for satire, caricature, or humor

or a motion picture that relies on a sequence of illustrations for its animation. Someone who

creates cartoons in the first sense is called a cartoonist and in the second sense they are

usually called an animator. Cartoon art is a form of visual communication that can

effectively convey a message and social criticism. In the Malaysian context, the cartoons

have been proven as effective since the beginning of independence until now. Even, the

form and style of criticism have always been changing through the time and are influenced

by environmental, socio-political, legal and media ownership factors.

Meanwhile, comics is a medium used to express ideas through images, often

combined with text or other visual information. Frequently, comics takes the form of

sequences of panels of images. The history of comics has followed different paths in

different cultures. In Malaysia, comics such as Ujang, Gila-Gila and Kampung Boy have

been set a placed in Malaysia’s heart since 19’s until now. Normally, there are three main

groups of written text in comics, which are text within a balloon, text within the panel, and

text at the edge of, or between caption text. Written texts in cartoon not only transmit their

message by the words themselves, but also through the typographical appearance of the

lettering. One important feature of the balloon text is its size. Small letters in a relatively

oversized balloon indicate a low voice or a whisper, big letters, almost bursting out of their

balloon, indicate a loud voice or scream. The size of the lettering thus compensates for the

absence of sound in the cartoon medium. Since cartoons cannot represent sound, then they

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make it visible. This is achieved with the aid of sound - imitating or describing words.

Whenever the text is not confined to the balloon, there are even fewer limits on the

imagination of the author as to their typography. Caption texts are explanatory texts located

at the edge of the panel or between panels, often in a small, square frame of their own. They

comment on the progress of the story in the panel and give information that has not been

conveyed by the panels. The function of the caption text is to link the panels, sum up or

comment on the action, or provide any information the author wants to communicate to the

reader.

3.1 HISTORY & DEVELOPMENT OF CARTOONS AND COMICS IN MALAYSIA

Malaysian comic art has developed tremendously since 1925’s. In 1928, the first

local cartoon by Raja Sulaiman was published by Malayan Police Magazine on 13

November. After that, in 1936, cartoons began to be featured in the newspaper when ‘Warta

Jenaka’ newspaper which was first published in September 7 provided first columns ever for

cartoons in their newspaper. In 1938, S.B Ally or his original name, Salleh Bin Ally became

the first cartoonist to draw on a regular basis in Warta Jenaka. His first cartoon was

published on 6 January. Other than Warta Jenaka, Straits Echo and Times of Malaya also

published a section for cartoons. Those newspapers are a weekly publication contains

articles with humorous stories, cartoons and satires. This publication supports the cartoon

and comic industry by receiving contributions from readers. Pre – independence publications

which is in 1930’s – 1059’s such as Warta Jenaka, Lembaga, Warta Ahad, Utusan Melayu

and Majlis carried cartoons that sparked the growth of cartoon and comic interests. Abd

Manan, S.B. Ally, Ali Sanat, Abu Bakar M. Nor, M. Salehuddin, Madras and Saidin Yahya,

to name a few, are the greatest cartoonist during the pre-independence era. In 1939, Ali

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Sanat introduced his cartoon’s character of Wak Ketuk in Utusan Zaman on 12 November.

The character of Wak Ketuk became well-known because it was featured with the writings of

the columnist, Abdul Rahim Kajai. The cartoons during this era shone light on various

issues including the anxiety of the Malays who felt threatened by the uncontrolled influx of

foreign immigrants as their numbers exceeded the Malay population. From then on, cartoons

in comic strips began to raise the interests of Malay readers.

In 1941 until 1945, cartoons in print media became propaganda tool for the

Japanese government in the Japanese occupation. Department of Propaganda or in Japanese

called (Senden-Bu) used cartoons as a campaign for New Orders which was aimed to

encourage the youth of Malaya participate in agriculture, military units, and to be fluent in

Japanese language. There were even cartoon competitions held by the press inviting the

local Malayans to ridicule leaders of the Allied powers. The cartoonist who drew on a

regular basis during this period was Abdullah Ariff. He produced cartoons for Penang

Shimbun. We can see the drawing style is heavily influenced by the western features,

western comic strip, such as a western face or a cowboy character. Still, cartoonist back then

feature character with a Malay-clothing or local content, mostly on cultural domestic joke.

Post – War Era in 1946 until 1950 made the debut of Hiboran magazine provided

space and opportunities for comic artists to display their works. Comic artists such as K.

Bali, O.S Arshad, Mohd Hussin, Yusoff Idris Kelantan, Nas Achnas and Jamil Sulong

contributed comic series to the magazine. Plus, the Majlis newspaper was revived on 27

August using cartoons and caricatures as the tool to deliver messages to readers. While, the

first cartoon of Saidin Yahya was published in the Majlis newspaper on 29 March 1947.

Saidin drew cartoons regularly in the newspaper. Later, he produced comics.

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 From 1951 until 1960, cartoons and comics growth rapidly in this era. During this

era, a lot of entertainment magazines were introduced to the market. These magazines

provided space for cartoons and comics. Among the magazines and newspapers that

provided space dedicated to comics and cartoons were Gelanggang Filem, Filem Raya,

Kenchana, Utusan Kanak-Kanak, Utusan Filem dan Sport, Utusan Zaman, Hiboran Filem

and many more. During this period, there were many publishers that showed their interest in

comics. Among them were Geliga Limited, Harmy, Abu Bakar Al-Ahmadi, Royal Press,

MIBS and many more. These publications and publishers gave birth to many new comic

artists. Amongst them were Raja Hamzah, Halim Teh, Hashim Awang, Othman Kangkong,

Yusoff Shariff, Nora Abdullah and many more. Plus, the entertainment magazines also

played an important role in the development of cartoons and cartoonists in the country.

Amongst the cartoonists born through the entertainment magazines were Rejabhad, Lat,

Mishar, Rossem, Hussain Saad, Mojo and others. Rejabhad first cartoon was published in

Gelanggang Filem in July. Rejabhad is an important figure in the development of many

cartoonists. He is considered to be the Tuk Penghulu of cartoonists and also the Raja Kartun

Malaysia (King of Malaysian Cartoons).

The post independence era saw the emergence of serious comic in a comic strip

format in newspapers. The versatile Raja Hamzah can be called as the pioneer of Malaysian

comics. His work mainly in cartoons and classic comics, Malay folklore and classical Malay

literature appeared in newspapers alongside translated comics from Europe and America

such as Tarzan, Mandrake, James Bond and Batman. Raja Hamzah became well known for

his horror comic series such as Sumpah Hantu Jerangkong and Tangan Hantu Jerangkong

in Utusan Zaman. Raja Hamzah works were published in Utusan Melayu and Utusan Zaman

in the 1950s, then in Berita Harian and Berita Minggu from 1960s until in 1981, the year he

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passes away. He influenced a lot young talents including Dato’ Mohd Nor Khalid (famously

known as Lat) and is regarded as the father of Malay Comic.

In the 1960s, Malaysian comics began to flourish. Instead of seeing comics in

newspapers, it was published in comic book format. Sinaran Bros played an important role

as the main publisher for Malay comics. Sinaran Bros, from Penang and Pustaka Antara

were the active publishers of comic books during this period after many publishers of the

1950s ceased operations. First cartoon by Dato’ Kat appeared in Majalah Filem. A few

months later, his first comic book, Tiga Sekawan Menangkap Penchuri was published by

Sinaran Bros. Lat is an important personality in the cartoon industry. He is an icon of

cartoons that transformed the landscape of cartoons in the country. The emergence of new

comic artists under the company of Sinaran Bros such as Abd. Razak, Halim The and Saidin

Yahya, they realized the dreams in serializing comic series in Malaysia. Other artists such as

Osman Baru, Meor Shariman, Alias Kulup, Hassan Rosdin, Nora Abdullah and Zarni also

contributed so called ‘Golden Age’ era of Malaysian comic scene. During this era, local

comics have its place in local comic fan’s heart. This is due to the fact that there were not

many translated foreign comics back then. Increasing concern and interest in Malay classical,

fantasy, romantic and war stories comics sparked he efforts of turning comics as a medium

of entertainment.

In the 1970’s, comics and cartoons were in the glory era. Penerbitan Knight

produced comics by Azman Yusuf, Mohas, Nik Nordin, Rizalman, S. Zain, Zoy, Yamin

Daud and others, after the main publishers of comics in the 1960’s, Sinaran Bros, and

Pustaka Antara ceased operation. Meanwhile, popular comic strip series by Raja Hamzah,

Arham, KLutuk Segamat and Shahrijat became the proof of Malay comic stripes success.

Raja Hamzah made a hit with his Toyol series and many other titles for Berita Harian. The

response from the audience was huge with, some of them only buy the newspaper because of

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Toyol comic strip (Salleh Hamzah, 1986). According to Salleh Hamzah in Berita Harian

(1986), Raja Hamzah is a versatile comic artist and is considered as Malaysia’s comic king.

In Raja Hamzah work, we can see how he evolves from the cartoony approach back in the

1950s into more semi realistic style. Proven, brush and wash inking style add the flavor of

Malay look in the drawing, the look, the face and gesture. In 1972, Suara was established.

Anak Rusa Nani, Bambino, and Rina were some of the comic magazines published by this

company. This magazine filled with comics by well-known comic artist. Suarasa also

published cartoon magazine named Ha-Hu-Hum. Among the cartoonists who contributed to

the magazine were Tetty Zamrud, Nasah, Dino, Rossem and many more while Rejabhad was

its’ editor. We can see more realistic, detail stroke noveu fashion hipster style in Azman

Yusof art.

In 1978, Creative Enterprise published Gila-Gila magazine on 1st of April. Within

8 monts only, Gila-Gila magazine has increased its printed copies to 100,000. Among the

cartoonists who contributed to this success were Mishar, Jaafar Taib, Zainal Buang, Fatah,

Rejabhad and many more. Nan also produced cartoons for Gila-Gila magazine.

Subsequently, he was offered to be an illustrator in Utusan Malaysia and began to produce

cartoon series of Din Teksi and Barber Korner in Mingguan Malaysia newspaper and

Malaysia Kita in Utusan Malaysia newspaper. In 1978 also can see the success and trent

setter starts with humour those comic magazine. Since Gila-Gila comic magazine was

published, it becomes a template, a formula for success for the next 20 years of Malaysia

Comic Magazine Publishing scene. Humour content on local issues, local kampong life,

simple cartoony funny Malay character, seasonal content, drama, love, parody and satire on

politics, economy and local film entertainment become the recipe of fan favourite comic

magazine.

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 In the early 80’s, comic book, one shot and some comic book series consist 22

pages in black and white format make a comeback. Thanks to daring comic publisher

namely Penerbitan Media Seni, Penerbitan Sri Cempaka, Raz Studio and Komik Bayan,

shed some light to local comic scene in early 80’s. Until today, Penerbitan Media Seni had

been dubbed as a distinctive publisher that published many comic titles with different genre

that is for the liking of comic fans and comic creator alike. Titles such as Wak Dojer, Jati

Tunggal, Mat Tarjan, Kapten Malaysia and more than other 150 titles were a cult follower

published by Media Seni. Even though it is a small publication company with a small

number of print circulation, their comics would be considered as exceptionally unique and

mostly sought by comic fans today as collectible items. Starting in 1996, cartoon and comics

experienced a transformation from media to animation. Usop Santorian, the animated series

which was an adaption from cartoon characters created by Ujang was recognized by the

Malaysian Book of Records as Malaysia’s first animated series. And in 1997, the cartoon

characters in the book Kampung Boy by Lat was made into 2D animated television series.

And this year, the most popular cartoon movie that give goosebump to all Malaysian people

is Boboiboy The Movie, have been created a new impact to all Malaysian people about the

value of cartoon.

The rapid development of information technology and the changes of readers’

lifestyles that saw preference to reading on computers’ screens, tablets or smart phones

began to change the forms of cartoons and comics. Cartoons and comics are presented

online and can be accessed either for free or through subscription.

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 CONCLUSION

Formalistically, there is an obvious relationship between Malay pre-independence

cartoons and post independence, especially in the texts and captions. Many cartoons of the

1930s and 1940s used proverbs, pantuns, poems, or elaborate and rhymed sentences as their

captions, while other, such as Wak Ketok by Ali Sanat, were used to illustrate Kajai’s

satirical column, in which the writing style was very much influenced by traditional Malay

literature. However, the relationship was rather explicit, for the critical humour of the pre-

independence cartoons appears blunt and direct, unlike critical humour in traditional Malay

literature, which is usually allegorical and symbolic.

Among other factors, the directness of Malay critical humour in pre-independence

cartoons was caused by the instability of the economic and socio-political condition of the

Malays. The 1930s and 1940s were periods of Malay economic and political struggle against

British colonial rule and Chinese and Indian immigration. It was also the period of the birth

of Malay nationalism, followed in turn by the search by nationalists were used as outlets to

uplift the nationalistic spirit of the Malays. In this context, cartoons were used as a tool to

improve Malay attitudes in order to create progress in the entertainment, economy and

politics.

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 REFERENCES

Malaysia Comics and Cartoons House (MCCH)

2017 History of Cartoon and Comic in Malaysia. Kuala Lumpur: Malaysia.

Muhammad Azhar Abdullah

2012 Development of Malaysia Comic Art. Shah Alam: Malaysia
https://www.academia.edu/37578997/Development_of_Malaysia_Comic_Art

Syed Nadzri Syed Harun

2017 Lat: My Life and Cartoons. Editions Didier Millet

Muliyadi Mahmood
1997 The Development of Malay Editorial Cartoons, UiTM.
2007 Modern Malaysian Art. Utusan Publication: Kuala Lumpur
2012 The Role of Cartoon In The Formation of Asian Community
https://pdfs.semanticscholar.org/dc4e/48e5eb4ed023eadf11b90792c50be898986d.pdf

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 PHOTOS AND VISIT

Figure 1.0 At Malaysia Comic and Cartoon House, Kuala Lumpur

Figure 1.1 Me and my team went together to Malaysia Comic and Cartoon House

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Figure 1.2 The section for our Raja Kartun Malaysia, Rejab Had explains about his personal
life and his artworks

Figure 1.3 The biggest section for the Icon of Malaysia Cartoon, Dato’ Lat

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 INDEPENDENCE DAY SECTION

Figure 1.4 The artwork was made for the Prime Minister, Tun Dr Mahathir and his wife,
Tun Siti Hasmah by Don and have been signed by PM on 30 August 2019

Figure 1.5

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Figure 1.6 Cartoon black and white section

Figure 1.7 Cartoon Blac and White Section

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Figure 1.8 Section for cartoon and comic in colour by all artists especially in new era

Figure 1.9 Section for cartoon and comic in colour by all artists especially in new era

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Figure 2.0 Mr Tazidi is sharing his whole life experiences in this art world with us

Figure 2.1 One of staffs at MCCH is

sharing his knowledge with us. He also can draw caricature

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Figure 2.2 Some of the biggest section for artists on their artwork

Figure 2.3 Sketches by cartoonist, Jaafar Taib displayed at MCCH

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