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Finally.. My paper is done….
Thanks to :
Tedy”Shadow Fox” (Dearest of all my friend),
Dea Gena (Kok sakit - sakitan mulu sigh?),
Bima Green Leaf,
Istiqo”Crushes” (Bujang penyair….. Gak tau nih ngebujang mulu, ntah kapan ada pasangan),
Cindy-san (Arigato Gozaimasu),
Adite (Wah mulai nakal ya….),
Eith (Beneran tobat gak sigh??),
Raka “Sableng” (Udah sembuh kakinya?),
Dian”Dianadika”,
Arief (Pipi …… HeE),
MKI (Masyarakat Komik Indonesia),
and others who help me and reply my question….. Without all of you helped me, I will be in difficulty to finish my paper….
This is my LIA English Paper, and sorry for my grammar, I hope it’s still understandable….. Thanks to all of you… (^_^)…
Oh yeah, I will be very happy to accept your critics, and comment….
“Why Indonesian Comic Not as Popular as Japanese Comic?”
OUTLINE
I. Introduction
A. Definition
B. Background
II. The Comparisons of Indonesian and Japanese Comic
A. Design
1. Indonesian Comic
2. Japanese Comic
B. Themes
1. Indonesian Comic
2. Japanese Comic
C. Story Telling
1. Indonesian Comic
2. Japanese Comic
III. The Economic Subjects of Comic and Their Problem in Indonesia
A. Consumer (Reader)
1. Children and Teenagers
2. Adults
B. Distributor (Publisher) : Terms
C. Producer (Comic Artist)
1. Productions
2. Skills
3. Markets
IV. Improvements Needed In Indonesian Comic
A. Design
1. Researching Consumers Demand
2. Creating New Characteristic of Indonesia Comic Character
3. Improving The Cover
B. Themes
1. Exploring
2. Socializing
C. Story Telling
1. Improving Story
2. Explaining Expression
V. Solutions For Comic’s Economic Subjects
A. Readers
1. Socializing
2. Classifying
B. Publishers
1. Giving Chance
2. Convincing Government
C. Comic Artists
1. Improving Skill
2. Accepting Apprentice
3. Making cooperation
VI. Conclusion
Thesis Statement :
Indonesia comics need innovation in character, theme and other aspects to dominate the market.
Why Indonesia Comic Not as Popular as Japan Comic
I. Introduction
A. Definition
Comics are graphics, telling a story with written naration.
Therefore, comics producing involves the arts aspects, such as graphic style, composition, writing style, and theme.
B. Background
It is well known that the most sold comics in the world comes drom Japan. The reason why the Japanese Comic are popular in the world, because the characters are attractive, the themes are various, and the story telling is clear and interesting. On the other hand, Indonesia comic character are too plain and the themes are monotonous. The other problem is, in Indonesia, comics are considered negative. Most of the parents forbid their children to read comics, because it may disturb their concentration while studying, these are cliche problems. To overcome these problems, Indonesia comics need innovation in character, theme and other aspects to dominate the market.
II. The Comparison of Indonesian and Japanese Comic
A. Characters Design.
Most of the characters of Indonesian comics are considered not attractive, the characters considered ugly, or too plain by their readers, and make the readers feel dull and bored to read it. These problems can make sense, since people always are interested in nice appearence: a powerfull character, and spicified character. a handsome or pretty character may be the first thing that attract the readers to read a comic. If it is compared to Indonesian comics nowadays, some comic artist have started to draw an attractive and good looking character. Unfortunately, most of them are influenced by other countries characters, especially manga, since this type of character has begun entered Indonesia in the late of 1970’s and the Indonesians have become familiar with the manga character.
The Indonesian comic characters are also considered too plain, the draw lines are not smooth, the character anatomy is also not spicified as the real human in the comic which uses human character. This is what most of Indonesian comic readers think. This argument appear because of the lack of ‘fresh’ Indonesian comic, and most of Indonesian comics could be find in the market are old issues which are the old generation comic This problem is related to Indonesia Comic Artists’ problem of marketing.
The other problem of Indonesian comics in this modern era is the characteristic or design of Indonesian comic character. Some factors that caused these states are the influence of graphic style from other countries and because of the very few of published Indonesian comic number. As we know, that the characters of Indonesia comic are influenced by other countries, such as, USA, Europe, Japan, etc. These various types of comic character make it difficult to conclude the characteristic. The other factor is the number of comics which are produce are not many if only, the number of Indonesian comic published have been lot, we could conclude the charasteristic of Indonesia comic character from the most common similarity among the characters.
The character of Japanese comic already has its own characteristic, due to lots of Japanese Comic. The Characteristic of Japanese comic characters are usually have big eyes, specified body parts, the clear gesture, the expression using a symbol, etc.
These characteristic of comic character has been familiar to the Indonesian. So, for some people, these characteristic of comic character are the standard of comic characters. Thus, the Indonesian comic characters which are still considered bad - as stated above - cannot compete with Japanese comic.
B. Themes
Indonesian comic themes are considered not creative. Most of the themes are fable, legends, or satire. These are the most common themes we could find in the market. When they read such themes, the adult readers will be considered childish and it is hard for adults to finds comic books which are suitable for them, and because the adults mostly read novels or other books which have already provide a complex, and mature themes.. The satire theme could only be understood by adults, or people who know the related issues to the comics, and lots of children and teenagers are not very interested in such themes.
Japanese comic artists have realized this theme problem, and the example of their themes revolution could be found in the beginning of 1970s, when the girl comics started to be published with more mature themes which are forbidden before the 1970’s. This was moved by comic artist which are called “24 nen gumi” or the 1949 generation. The example of the comics are : “Tanjo!”, this comic tells about a pregnant high school girl; and “Kaze to ki no uta”, which tells about homosexsual love story at high school.
Japanese Comic also have classified the comic theme. The classification are based on age and gender. The examples are: Shonen for boys, Shojo for girls, Young for teenagers, Ladies for women, and Hentai which contain sexual themes.
C. Story Telling
The story telling of Indonesian comic artist are considered bad: it fails to achieve the readers’ emotion. This problem can be find in example, history comic. In history comic, what the character is doing is explained too simple, flat, and most of the events are explained by words, but the characters feelings are rarely express. This factor made the Indonesian comic readers feel bored to read it If we compared to the novels (which use many words) which using first point of view, the author could succesfully achieve the readers emotion, and the reader feels he / she is the main character. This is one example of the lack of skill of Indonesia comic artist in story telling.
The Indonesian comic, also fail to explain the behaviour of the character. If the character is the protagonist, the character will be as perfect as an angel, like he / she does good things because only this is a good thing to do, or he / she saves the world because it will be endagered for the human beings, but why he / she must be the one who does it, is not explained, the characters sometimes are too perfect as if he / she doesn’t have a sin. The characters point of view is too ideal, like there is no personal feeling about it, this can be found in many Indonesia comic books especially, the stories about the conflict between good and bad. And in the antagonist point of view will be as evil as devil. The reason why he / she wants to do bad things, for example to conquer a nation or earth, the reason why he / she use his / her power to do so usually is not explained, is it because of a revenge? Posessed? Or other factors? For instance why the antagonist need to rob a bank? Why he / she doesn’t do other things?
The plot of Indonesian comics usually only forward, it makse story line seems too flat for some readers, especially for those who always read or hear stories.
If we compar to Japan comic which uses history story, for example Vagabond, which tells us about the history of Miyamoto Musashi, we will realize that the story telling gap between Indonesian and Japanese comic artist is too far. The comic really expresses Musashi personal feelings; why he changes his name, Why he wants to be a strong person. If we read it, the behaviour or personality of Musashi comes from his family influence, especially from his father. Most of Indonesia comic, lack of emotional explanation, contrary to the Japanese comic which imitate the drama story telling to their comics.
The point of view of Japan comics not only from one person, the protagonist and the antagonist, even other characters which are the main character, their reason to fight or do something are explained, and sometimes the readers can feel symphaty for the antagonist character.
The plot of Japanese comic, sometimes using forward, flashback, and forward again. This story time can made the story complicated but, this will make the comic story becomes more interesting and the readers will understand better about the problems in the comic.
III. The Economic Subjects of Comic and Their Problems In Indonesia
A. Readers.
Children and Teenagers are sometimes forbidden by their parents to read comics. The parents think, comics only give negative effects to their children. The reason is because of the fictional story of comics, and it can disturb their children study times. Some comics which came from other countries are also considered contains adults themes, especially sexual exposures which are not suitable for children.
Adults also have problem to read comics. Most of Indonesia comic themes are fable or legends. The number of Indonesia comics which contain adults themes are very few, most of then come from other countries. The suppliers of Indonesian comic – or comic artisan – usually published comics for children. The adults who read comics are considered immature or childish by the society. This is because the lack of comic number which contain adult themes, which the adults prefer a more complicated or scientific themes. So the adults in Indonesia prefer to read novels because many of novels published in Indonesia have already supplied the adults themes.
B. Publisher
Indonesian comic publishers have problem about deadline. Indonesian comic distributors are want the comic artist have schedule, and work with deadline. Most of Indonesian comic artist, can’t work with deadline, because most of them are teenagers who are still studying, and can’t manage their time when they got examination and other problem.
Other problem of Indonesian publishers that the publishers don’t want to do the editing process. Indonesian comic which are still fresh from the the comic artist hands, still need to be edit. Different if the publishers import comics from other countries, the publishers only need to translate it, because the editing process and other process have already been done in the countries came from.
C. Comic Artist
Comic artist in Indonesia also get problems when they want to produce thier comics, these problems are characters, themes and story telling. According to MKI (Masyarakat Komik Indonesia), the character problem, that the comic artist actually is in character design and they have been proud of their own design, but actually what they have been proud of is a common thing in the market, so the comic readers think that the character of Indonesia comic are too plain, and they feel bored with the characters. Many of comic readers also think that the characters are ugly and made them uninterested in Indonesian comic. Another problem is that the comic artist, couldn’t satisfy the market demand with their design.
In themes and story telling, most of the Indonesia comic artist have difficulty with themes and story telling. These problems may be the effect of old Indonesia government which censor many of media information. This censorship also affect on Indonesia comic artist when they want to produce comic. And when reformation era comes, which made the information easily spread, the Indonesia local comics are loose to imported comics because the themes, and story tellings of other countries comic artists are better than Indonesia. After reformation era – about l998 – the Indonesian comic has got improvements in themes and story telling. Unfotunately, even the improvements have begun, experience between the beginner – which are Indonesian comic artists - and the advanced – which are the other countries comic artists - create the gap of the quality product (comic). The gap for example, the Indonesia comic themes are still cannot compete with various themes of other countries’– especially Japanese, which has many years of experience in comic Industry -, and the story telling which are still flat and simple and more the same as the first generation (after 1930), and the second generation (1960 – late 1970s).
Most of the Comic artists problem in Indonesia is about deadline. This problem can be found in many forums in the internet. This indicates that Indonesia comic artist cannot do the time management skill. Most of the reasons stated in the forums are because they got examination - especially for comic artist who still study - and because other urgent problems they can’t do the job due to deadline. This is unreasonable because every job has its own deadline, and need a good time management. A professional must able to separate between personal and work problems.
Some of the comic artists do not have the the collaboration skill. These comic artist prefer to work individual, and don’t like if their characters are drawn by other people. This result of this problem can be found in the first and second comic generations, when the comic artist dies, there is no one inherit the character, and the next result is the comic characters also died within the comic artist because no one inherited the character, and finally the comic itself is not republished, and in time the character and the comic will be vanished.
The comic artists also have problem to publish their product, the most common problem is about money, they do not have enough money, to market it. They finally publish their comics with their own money, and of course with their own money, the comic spreads only in certain areas where the comic artist lives. This is an unfotunate, because maybe some of these comic artists can satisfy the Indonesian comic readers demand.
The other impact of these marketing problem, that the characteristic of Indonesian comic can’t be conclude since the number of the comics are too few. If the Indonesian comic number which are published have been in large quantity, we can conclude the similarity between them, so we could specify the Indonesia comic character characteristic.
IV. Improvements Needed in Indonesian Comic
Improving the quality of Indonesian comic is not different than improving other product in business. It’s all about product quality, supplies, demands, and distribution.
A. Design.
To overcome the bad design of Indonesian comic character, the comic artists need to do some researchs. The researchs are about the popular design of comic characters, and what kinds of comic characters do the readers like. From the result, Indonesia comic artist could try to follow what is the market wants.
The other way to overcome character design problem is the Indonesian comic artists must improve their drawing skills. This is a must, since lots of Indonesia readers always critics about the characters which are too plain, bad graphic style, and the designs are not smooth. Some people may decide that they want to read the comic or not based on the first impression of the character and layout design. With smooth and good looking character, the comics probability to be read by the customer is become higher.
The character and background design which will be put on the cover must be attractive. The good design in the cover may also become the reason beside the sypnosis for some people to read a comic. This, may attract people who usually judge a book from it’s cover. So, the character design may be the first reason for some people to read a comic.
B. Themes
In themes, the Indonesian comic artist must be explored all of the possible themes that could be used in comic. If we compared it to Japan, one of the example of their revolution in themes could be found in 1949, when they started mature themes for girl comics. Indonesia should do this revolution in themes, because most of Indonesia comic readers, especially teenagers feel dull and bored with the Indonesiam comic which are represented.
Most of teenagers, criticize the monotous themes used in Indonesiam comics. They need a themes which are suitable for their age, more complex themes to read, and something different or unique theme, which could satisfy their own imagination or logic. This demand related to their progress in understanding more complex problem. These themes can be detective, war, and other based on history or 100% fiction such as samurai, cowboy, robot, monster, angel, demon, etc.
The adults theme also a must to made comics become popular. The adults themes in Indonesian comic is a rare, and because of that most of adults prefer to read novels. The themes can be about religion, politics, and other complicated matters. The adult themes can also a translation from novels, perhaps if The Da Vinci Code or Supernova can be translate into comic it will attract adult readers. The example of this translation is The Jakarta Undercover, which the comic version already been published.
The other problem about adult comics is society, who thinks that these kinds of comic could harm their children mind. This problem occur because most of the society thinks that comic only for children. This problem could be overcome with campaign to socialize that comic is not only for children and teenagers, but also for adults, which is not different with novels. The other ways are not only with write the classification in the cover but the seller need to pay attention if the comics is suitable or not for the buyers, especially if the buyers are children or teenagers.
C. Story Telling
According to MKI, the story telling is the worst from all aspect of Indonesia comic. To overcome this problem MKI will make an event - 3Gen – one of this event focus is about story telling, and will be less to review about the design. This 3gen is a new program so the result can’t be conclude yet.
Story telling of Indonesia comics need improvements, especially in tellings the character behavior. The background of the character needs to be tell, like why he / she must fight or why this person become the antagonist, the Indonesia comic character is lack of explanation about the character background, so the evil is completely evil. If a character is the protaganist, and there is a question why he / she become the good person ? And the answer is because of moral or social reason etc, that is not the answer that the reader wants. But why must he / she is the one must commit it? So the character has strong reason to commit and the reason is would be better if related to the character experience, principle, or his / her own feelings. It’s vice versa with the antagonist character, maybe experience, revenge, or others.
The explanation of an event progress by the character point of view and step by step is a must. The readers will be very upset if an event only explained by some text. This problem usually could be found in comic history books, which usually an agreement process only explained by some words, not the process, or when the comics try to explained a war situation, the story telling is too flat, and the characters emotions fail to get the readers. The failure usually connected with the dialogue which is too little, and the line itself felt like an information, not the way a character express his personal feelings and thoughts. Most of the mimic of the character’s face also failed to express his feelings and thoughts, sometimes the mimic is not match with the dialogue or mimic expression is constant, no change at all although the character is in critical or urgent situation.
V. Solutions for Comic’s Economic Subjects
A. Readers
Indonesia need a campaign that explained, comics are for everyone, not only children and teenagers. This campaign is needed because most of the people still thinking that comics only for children and teenagers. If this campaign also give example of adults themes comics, people will be easily understand that comics also offering adults themes, and as interesting as novel and other entertainment books.
Classification in comics alsao a must, to make it easier to classify, in the cover need a statement that, this comic is allowed for children, teenagers, or adults. People need to know this classification. So, if parents want to buy comic books for their children, they already which comic, is allowed, and which are not. The comic book stores or the comic sellers also need to be socialize that comics have classification. Many, of these book stores, allowed teenagers to buy adults comics. To stop this from happening again and again, publishers and society need to warn the sellers if they sell the products to immature people, in this case below 18 years old.
B. Publishers
The publisher need to giving chance to Indonesian comic artist. This is need to improving Indonesian comic demand and to make Indonesian become well-known. If the publishers don’t want to cooperate with Indonesian comic artist, in time Indonesian comic will be lost, and imported comics will dominate the Indonesian comic market. Publishers role is also important to promoting and distributing Indonesian comic to the market.
Another way to solve the low sales in comic, that the comic publishers, need to convince government to made policy which prohibited comic rental before three months, after a comic published. So, if the readers want to read the newest published comic they need to buy it. This way, the comic sales may increasing, and it will give benefit for publisher and also comic artists.
C. Comic Artist
Indonesia Comic Artist need to improving their time management skill, story telling skill and design skill. They need to work due deadline, because every work has its own deadline. Reason for exam and other urgent problem are unreasonable, because to become professional they need to differentiate which are personal problem and which are job problem. They also need to improve story telling and design skill. To know readers demand they can make a questioner and place it in book store or inside comics, with this questioner, they can know what readers wants for the design, and the story telling.
Comic artist also should take an apprentice or assisstant. With an apprentice or assisstant, they can do the job easily and faster. The comic assisstant also may give suggestion for the story, or what story that popular among the readers. Comic assisstant can also give long term beneficial for Indonesian comic improvements, because they can learn from the comic artist, what must and must not be done in producing comic, so the apprentice not start from the very beginning when they become the ‘real’ comic artist.
Comic artist also can make cooperation with novelist, cartoon creator, or singer. With these cooperation comic artist can also promote their comic to society. With novelist, they can translate the novel into comic so the comic readers get many choices of story. Cooperation with cartoon creator, can make the comic well-known in Indonesia and maybe in abroad. With singer, they can make the soundtrack, so if the cartoon which adapted from comic also available in the video clip when the singer, make a video clip for his or her song.
VI. Conclusion
Improving Indonesia comics are a difficult task, because it needs, readers, publishers, comic artists, and others involvement. Indonesian comic is in crisis and need to be preserved. To preserved it, local or Indonesian comic artist must know what the readers demand and try to fullfil what the readers wants, if they fail then Indonesian comic will be ‘vanished’ in time and, people will prefer imported comic to local comic.
Publisher also need to give the Indonesian comic artist a chance to prove their ability to fullfil what the readers wants in comic. Government also can take a part to improving Indonesia comic sales by policy. In short, every people should participate to improving local comic.
