'Manga' comics more than meets the eye

'Manga' comics more than meets the eye

Hera Diani, The Jakarta Post, Jakarta

What can we say about the Japanese people? If the Japanese
comics distributed here are anything to go by, then Japanese
girls are all freaky and horny while the boys are all effeminate
and fashion-conscious.

And, most of all, their eyes are beautifully round and wide
open, and -- except for Doraemon and Crayon Sinchan -- they all
have out-of-this-world figures.

That is just a playful generalization, of course. But Japanese
comics, or manga, are undoubtedly highly popular in this country,
where the local comic industry is still in the doldrums.

Despite criticism -- parents still think comics are not very
educational -- people crave them and pack the manga section in
bookstores.

However, according to comic writer Machiko Maeyama, the
Japanese comic books sold here do not represent the Japanese
comic scene.

"The type of manga distributed here are all very similar. But
there is actually a wide variety of manga. Manga for children,
teenagers and adults. The range of the stories is also wide, from
humorous to serious essays," Machiko told The Jakarta Post
through a translator.

In short, there is more to manga than round eyes, great
bodies, and funny and romantic stories.

That was just one of several things that Machiko taught some
150 participants during a recent manga workshop held by the Japan
Foundation.

Machiko is a comic writer who has been living here from 1997
and has since written comics about Indonesia. These comics,
however, are only published in Japan.

The 34-year-old comic writer, or mangaka in Japanese, then
talked about how well-established the comic industry in Japan
was.

"There are dozens of comic books which can be up to 1,000
pages long. There are also some 100 comic magazines alone. Every
major publisher has their own manga section. Comic writers are
appreciated and make money. You know the writer of Crayon
Sinchan? He drives a Mercedes Benz ... oh, I'm so jealous,"
Machiko laughed.

Machiko herself started her career at the age of 22 as an
assistant to a famous comic writer called Takaguchi Satozumi,
whom she referred to as sensei, or teacher.

Takaguchi is known as a mangaka who can write comics for all
ages, and her work has also been adapted into animated movies, or
anime in Japanese.

Machiko worked with her for five years, living in the same
house with nine other assistants, working seven days and off for
the next two days.

"Mangaka in Japan are very, very busy, you know. Sometimes we,
the assistants, couldn't go out of the house for three months
straight. Usually, we worked on 200 pages every month," she said.

"The sensei writes the main story and characters while the
assistants draw other characters in the same style."

Machiko's debut as professional comic writer came in 1990 with
a four-box manga about sumo wrestlers, a highly popular theme
back then.

"At first I was more into love stories and this romantic style
of drawing. But later on, my sensei told me that humorous stories
were more my scene," said Machiko, who also uses the pen name
Chaka Poco.

Since then, the characters in her comics -- which are aimed at
adults -- have all been women, like, for example, Hyoko, a 19-
year-old woman who is married to a 36-year-old man.

"It's true I emphasize women's problems. Some of them are
serious issues, but I present them with humor," she said.

So far, Machiko has published three comic books of her own.
But her work is also to be found in many magazines and
compilation comic books.

In 1997, however, she moved to this country, following her
husband who had also moved here.

Amazed and shocked by the disorder of Indonesia's capital,
Machiko then wrote about it from the perspective of Japanese
people, that is to say herself and her husband.

Among the things that intrigued her were street singers,
vendors, public toilets and demonstrators.

"It seems that a demonstration is some kind of festival here
where people parade, laugh and work out their stress. In Japan at
the moment, Indonesia is known as a country of demonstrations.
Japanese people who read my comics also think that it is
extremely tough to live in this country," laughed Machiko, adding
that she is now working on stories about the recent floods.

As to her profession, Machiko said that it was a serious and
tough job.

"A comic writer is not just someone who can draw well. She
must also be able to tell a good story and have a good insight
into the topic in question. In Japan, comic writers do research
first before writing their comics," she said.

"If a comic were a movie, then the comic writer would be the
director, scriptwriter, lighting person, camera person and actor,
all at the same time. It's a tough job, but interesting."

When it comes to Indonesian comic drawing, Machiko said she
liked G.M. Sudarta's Oom Pasikom which appears regularly in the
Kompas daily. This, she said, succeeded well in reflecting the
situation in the country at the present time.

As for the almost non-existent local comic books, Machiko said
that it was incumbent on the publishers to appreciate comic
writers more and pay them better.

"So, an illustration won't just be paid Rp 50,000 for example.
At the moment, only rich people can become comic writers as they
don't need the money," said Machiko, who plans to establish a
manga course here.

Now, Machiko said, is the right moment to revive local comics
as the interest of young comic writers peaks when they see that
writers in other countries can make money.

"On the other hand, comic writers need to develop their own
style instead of copying the styles of foreign writer."

Here are several tips on drawing manga from Machiko-sensei:

* The first thing to think about is the plot and the idea. After
that, draw the sketch and insert the words.

* A comic writer is sort of like an actor/actress. You have to
know the characters very well.

* The best manga story is the one that is most suitable for your
age.

* You have to be interested in everything. Any issue can become
the subject of manga, from romance to politics.

* When it comes to drawing manga, you just have to go for it.
Sensei said that many Indonesian people did not want, or were
afraid, to try out new things. If we hold ourselves back, we
won't be able to write much.

* Originality matters. Most young Indonesian comic writers don't
have their own style. Being influenced by a style is normal, but
within five to 10 years, you have to develop your own style.
You'd better have your own name too. At least it will still show
that you're Indonesian.

* Send as much work as you can to publishers.