Indonesian comics: On the way out?<\/p>\n
By Rita A. Widiadana<\/p>\n
Despite worldwide comic mania, the 40-year-old Indonesian
\ncomic industry is in ruins. A lack of top level drawing skills,
\nfresh ideas and professionalism have contributed to the collapse
\nof the industry. The deluge of foreign comics has made the
\nsituation even more distressing. The Jakarta Post documents and
\nanalyzes this disheartening situation through interviews with
\ncartoonists, publishers and observers.<\/p>\n
JAKARTA (JP): Shita is alluringly portrayed in a trendy slit
\ndress ornamented with contemporary jewelry and high-heel boots.
\nHer long-haired husband Rama wears a leather jacket and tight
\npants. He brandishes a laser gun instead of his traditional
\narrow.<\/p>\n
This is a scene from the futuristic comic book Ramashita
\nwritten by former top local comic artist Jan Mintaraga. Published
\njointly by Dunia Fantasi and Gramedia, Jan's Ramashita, a
\nmodification of the legendary Ramayana epic, is intended to
\npenetrate the local comic market currently dominated by foreign
\ncomics.<\/p>\n
The science-fiction setting makes the colorful Ramashita more
\nmarketable.<\/p>\n
\"In order to meet market demand, I had to change the
\nappearances of Rama and Shita to resemble western superheroes. It
\nis a way to survive although I know it is almost impossible. To
\ncompete with foreign comics is like Jack against the Giant,\" said
\nJan who was one of the nation's top comic illustrators.<\/p>\n
Exploiting super hero stories won't work, Jan said.<\/p>\n
\"It would be much better if we dug up ideas from domestic or
\nclassic stories including wayang stories such as the Mahabrata
\nand Ramayana legends,\" the artist added.<\/p>\n
However, the artists must be able to adapt such stories into
\nmodern and entertaining styles.<\/p>\n
Starting his career in the l960s, when comics first gained
\npopularity in Indonesia, Jan has just finished a historical story
\ncalled Imperium Majapahit. He is now working on Bangkitnya
\nMataram, which is based on life in the Mataram Kingdom.<\/p>\n
\"I'm just the lucky one,\" sighed Jan whose works Tembok,
\nSebuah Noda Hitam and Pulang dari Bukit were best selling comics
\nin the l960s and l970s.<\/p>\n
Despite comic mania hitting the world, the Indonesian comic
\nindustry, which began in the early 1950s, is in ruin and the
\nnumber of artists is declining.<\/p>\n
Twenty years ago, R.A. Kosasih, Ardi Soma, Ganesh TH, Teguh
\nSantosa, Djair, Zaldy and Jeffrey were still going strong. Comics
\nwith various themes ranging from martial arts and puppet shows to
\ndrama and superheroes swamped the local market. Both children and
\nadults read them.<\/p>\n
Pathetic<\/p>\n
The lives of Indonesian comic book artists are pathetic when
\ncompared to their counterparts in Japan or the United States. In
\nJapan, for instance, successful artists are among the country's
\nrichest people. Japanese comic artist Machiko Hasegawa, the
\ncreator of Sazae San, won the People's Honor Award two months
\nafter he died in l993. American comic artists Roy Leichenstein
\nand Art Spiegelman are praised as the pioneers of avant-garde art
\nforms. Speigelman won the Pulitzer prize for his works Maus I and
\nMaus II.<\/p>\n
\"In Indonesia, comic artists are often regarded as morals
\ndestroyers. You can count the number of surviving artists on your
\nfingers. Many of them are now in a very poor condition and
\njobless,\" Jan said.<\/p>\n
Comics are considered as a counter culture in Indonesia. Many
\ncomics restrict themselves to humor, adventure, fantasy and
\nromance stories, but others tell alarming stories involving sex,
\ndrugs, smuggling and underground activities.<\/p>\n
Comics are thought to be a bad influence on Indonesian
\nchildren with their sensual scenes and vulgar language.<\/p>\n
The industry, which involves artists, publishers and readers,
\nis now in remission.<\/p>\n
Production costs are increasing sharply, but the honorarium of
\nillustrators has remained the same or even declined. If their
\ncomic strip appear every week they get between Rp 50,000 (US$25)
\nand Rp 200,000 a month. Compared to an unskilled construction
\nworker, who may receive Rp 10,000 a day, this isn't much.<\/p>\n
\"We draw sketches night and day but we get less payment. You
\ncan't blame illustrators who have left the profession to seek
\nbetter lives. That doesn't mean that they are not loyal to their
\nprofession, they just don't have any option. This is the only way
\nto survive,\" Jan stressed.<\/p>\n
Shifting career<\/p>\n
Many of them have joined advertising agencies and
\norganizations which promise better standards of living. At least,
\nhe said, they get a salary.<\/p>\n
\"Only stubborn artists like myself insist on continuing this
\nrisky and unprofitable career,\" Jan said.<\/p>\n
The poor pay has affected the quality of comics. \"How can we
\nproduce high-quality pieces if we still have to think of our
\ndaily needs?\"<\/p>\n
A lack of fresh ideas and a dearth of drawing skills have also
\ncontributed to the collapse of the Indonesian comic industry.<\/p>\n
Jan said local artists market their products to publishers
\nthemselves.<\/p>\n
They don't negotiate legal contracts and most publishers only
\npay a flat fee after the work is delivered. There is no copyright
\nand royalty agreements, he maintained.<\/p>\n
\"Many publishers just put the money into your pocket, without
\neven using an envelope. After the payment, you don't know what
\nwill happen to your comics,\" Jan said.<\/p>\n
Indonesian comics have been published by underground
\npublishers with unprofessional business agreements. Legal and
\nlarge-scale publishers refuse, of course, to produce comics they
\nconsider unprofitable.<\/p>\n
In the 1960s and 1970s, comic publishers were mostly home
\nindustries. Publishers used to hang around Pasar Baru or Pasar
\nSenen, previously known as the city's comic centers, to seek out
\nillustrators. The underground publishers then published 15,000 to
\n30,000 copies.<\/p>\n
In the l980s local comics declined sharply and many publishers
\nwere only able to sell 1,000 copies of each title. The fantastic
\nsales of the l960s and l970s were history. By 1993 no local
\ncomics were being released.<\/p>\n
In 1993's interview with Jakarta-Jakarta magazine, Teguh
\nSantosa revealed he was pessimistic about the future of the
\nIndonesian comic industry. \"Newspapers are our last hope. If they
\ndo no want to publish local comic strips, I am certain that the
\nindustry will die,\" said Teguh.<\/p>\n
Local comics have been adapted to film. Ganesh TH's Si Buta
\nDari Goa Hantu, Panji Tengkorak by Hans Jayaladra, Djaka Sembung
\nby Djair and Manusia Kelelawar by Jan Mintaraga were best sellers
\nin the l970s, but many artists have complained that the films
\nweren't based on their original stories.<\/p>\n
\"I was shocked to read the news that the government banned a
\nporn film entitled Manusia Kelelawar, which was based on my comic
\nbook. The film producers changed the content of the story,\" Jan
\nsaid.<\/p>\n
Si Buta Dari Goa Hantu was recently remade into a popular TV
\ndrama currently running on RCTI every Sunday.<\/p>\n
Is this an indication that Indonesian comics will regain their
\npopularity?<\/p>\n
Retno Kristy, editor of Elex Media Komputindo publishing
\nhouse, stressed that it really depends on the artists's ability
\nto adjust to new market conditions.<\/p>\n
\"They have to improve their drawing skills and the themes of
\ntheir stories,\" Retno insisted.<\/p>\n
New books<\/p>\n
The company, she said, has asked several veteran comic
\nillustrators, including Jan Mintaraga, R.A. Kosasih and Ganes TH,
\nto produce new books. Only Jan has obliged.<\/p>\n
\"When we asked artists to revise their stories to be more
\neducative, they agree but never come back,\" she added.<\/p>\n
In an attempt to compete with imported comics, local artists
\nshould broaden their horizons, Retno said.<\/p>\n
In Japan, comics illustrate the Bible, science fiction books,
\ndetective novels and children's stories, as well as satirizing
\npolitical events. Although they are printed on cheap paper and
\nare designed to be thrown away, they maintain high quality
\ngraphics. Some artists are recognized as stars.<\/p>\n
Indonesian comic artists aren't in touch with universal
\nthemes. They tend to focus their stories on village life,
\nirrationalism and mysticism, which are all considered dull and
\ntedious, Retno said.<\/p>\n
Retno added that the opportunity to push local comics is still
\nopen. \"If local comic authors can produce high-quality stories, I
\nam optimistic that someday domestic comics may regain their place
\nin the market,\" Retno said.<\/p>\n
Japan publishers have asked Elex Media to publish Indonesian
\ncomics in Japan. \"So far, Elex Media only offers Jan Mintaraga's
\nImperium Majapahit because there are no other authors,\" Retno
\nsaid.<\/p>\n
Bre Redhana, an author and journalist, says it will be
\ndifficult to revive the Indonesian comic industry as long as
\nIndonesian artists remain unprofessional.<\/p>\n
It is true that comics have an image problem but comic artists
\nshould realize that the image is now changing. Comics are now
\nseen as high quality literary and art pieces, Bre added.<\/p>\n
Clearly, cartoonists need to improve their skills and
\ncreativity. But it seems that quality isn't the only reason
\nbehind the collapse of the local comic industry.<\/p>\n
\"If a publisher gives a local artist an order to work on a
\ncomic book, there is no guarantee that the cartoonist will be
\nable to finish it within a month, but the publisher could print
\n50 titles of the Japanese Tiger Wong in a month,\" noted author
\nArswendo Atmowiloto said.<\/p>\n
Arswendo, who is also an editor of several tabloids, observed
\nthat local comics can't compete with the foreign ones because
\n\"Indonesian artists see comics as handicrafts while foreign
\nartists see them as an industry.\"<\/p>\n
The fact that printing foreign comics costs less also explains
\nwhy publishing companies prefer the foreign books than the local
\nones, according to Arswendo.<\/p>\n
The golden age of the Indonesian comics is long over. To
\nregain a niche both the artists and publishers have a lot to do.
\nBecoming professional is their first step.<\/p>",
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