Like all of Zint's,Ben's,Kaoru's,Keith's comics. GempakStarz™ Cool!
Local Manga/comic fan club =D, we support our local artists!!
|
|
 Sep 26 2009, 01:36 PM
|
 
Junior Member
123 posts Joined: Feb 2009  
|
|
Quote|
|
|
|
|
Sep 26 2009, 01:50 PM
|
Junior Member
408 posts Joined: Nov 2006 From: LANGKASUKA مليسيا 
|
THE HISTORY OF MALAYSIA CARTOON INDUSTRY
By FAKHRUL ANOUR (AYOUR) The word cartoon has various meanings, based on several very different forms of visual art and illustration. The term has evolved over time. Cartoons defined as drawings formed by an exaggeration or a distortion of a subject for an effect of satire and entertainment. The original meaning was in fine art, and there cartoon meant a preparatory drawing for a piece of art such as a painting or tapestry. The somewhat more modern meaning was that of humorous illustrations in magazines and newspapers. Even more recently there are now several contemporary meanings, including creative visual work for print media, for electronic media, and even animated films and animated digital media. When the word cartoon is applied to print media, it most often refers to a humorous single-panel drawing or gag cartoon, most of which have captions and do not use speech balloons. The word cartoon is not often used to refer to a comic strip. The artists who draw cartoons are known as cartoonists. Malaysia is a country in the southeast of Asia with population estimated (by February 2008) around 27.496 million. The people of Malaysia come from a number of different ethnic groups mainly — Bumiputra (65%), Chinese (26%), Indian (8%) and others (1%). Though Malay is the country official language, freedom use of other languages mainly English, Chinese and Indian in electronic or printing media are fully allowed. Thus Malaysia provides a multi culture cartoon industry based on their ethnic and language preference though Malay medium take more of the market percentage. Cartoon industry started in Malaysia almost simultaneously with Indonesia during the late 1920s in conjunction with the development of newspapers. In that context, not only did cartoonists illustrate culture, but they also recorded, criticized or commented upon current events, known as editorial cartoons. From there, the industry evolved to different medium such as magazine or electronic media to become not only as editorial cartoons but also comic, strip and animated cartoons. During the early phase of Pre-independence Period (1930s – 1957), two major newspapers written in Jawi; ‘Warta Jenaka’ & ‘Utusan Zaman’ played vital role on introducing regular and freelance community of cartoonists. In addition to entertainment, most of the cartoons functioned as instruments of criticism and satire, in line with the goals of the papers to raise racial consciousness towards their rights and their future. The cartoons contained political, social and economic criticism concerning the community especially Malays, as well as humorous subjects. One of the major subjects in early cartoons was the effect of colonization in the way of life. Many cartoons recorded and criticized the influence of Western Culture, especially on those who considered the western way of life more attractive.  * A cartoon by Abd. Manan entitled ‘Barat Tinggal di Barat, Timur Tinggal di Timur’ (The West Must Stay in the West, the East Must Stay in the East) in ‘Warta Jenaka’ (7th September 1936) is not only an anti-Western statement, but it also criticizes those who are fascinated by the West. It shows a couple of monkeys symbolizing Malays who are aping Western attitudes. When came into Post-independence era after 31st August 1957 (Independence Day), the social, economic and political conditions of Malaya played a very important role in shaping the form and content of local cartoons. By this period, new publications of newspapers were introduced which begin the era of multi language freedom in media. There are two types of cartoons, namely, strip and single-x-frame. Most of the strip cartoons deal with social issues related to attitude, modernization and moral crisis. Meanwhile single-x-frames depicted most local and international contemporary events which only began to thrive in the 1980s. By this era, Berita Harian (first published on 1st July 1957) claimed to feature the largest number of cartoons among newspapers in Malaya at that time.  SINGLE-FRAME Editorial cartoon by Peng which was published in Berita Harian newspaper dated 7th September 1957 for weekly column called ‘Berita Harian Hidangan Hari Sabtu’ (Berita Harian’s Saturday Column). Translated from English, these cartoons were originally drawn for the ‘Straits Times Saturday Forum’ in The Straits Times, the English version of Berita Harian.  STRIP The strip cartoon ‘Keluarga Mat Jambul’ (Mat Jambul’s Family) by Raja Hamzah in Berita Harian dated 14th May 1961. This series was said the first to introduce strip cartoon in Berita Harian. Late 1960s, imported comics from Indonesia has encourage a new transition of style with more realistic drawing compared to cartoon feature. By right, this realistic drawing mainly influenced by western comics such as Spider-Man and Superman, but with local content, the popularity has appeared to attract the readers. When cartoons comic mostly appeared in newspapers, these realistic drawing comics were published as graphic novels or magazines  Achir Suatu Kemesraan’ (The End of Intimacy) was one of the famous Indonesian matured comic series back in 1970s.  Comic industry in Indonesia used to be hyper-active before people started to complain about bad moral issues that was implanted in youngsters’ mind.   In 1970s, Malaysian publisher, Raz Studio published a realistic drawing comic magazine titled ‘SALINA’. It introduced a new breed of comic artists instead of cartoonists such as Rizalman, Zawawie HO, Sang Arif Budiman, S Zain, Samudra Perwira, S Mohammad and R Rahimah. This comic magazine has lasted for more than 10 years thus encourage cartoon industry to follow the same method by publishing magazine for cartoons. As 1973 approached, western cartoons and comics were terminated in line with the policy to encourage the development of local themes and cartoons. It also echoed the search for a national identity as proposed in the National Cultural Congress of 1971. Cartoonists had to abide by rules and laws related to the Printing Presses and Publication Act 1984, which among others, prevents the discussion of social and political issues deemed to be ‘sensitive’. These policies determine what is politically and stylistically acceptable in terms of criticism, form and content of local cartoons. In 1978, the first Malaysian cartoon magazine ‘GILA-GILA™’ was published by Creative Enterprise Sdn. Bhd. The success of the magazine encouraged more publishers to produce similar publication until many years later the success was took over by ‘UJANG™’ and ‘APO™’ published by Moy Publication Sdn. Bhd. The increase in the number of cartoon magazines, the emergence of new cartoonists, the exhibition given by the public and by the government turned the 80s into the golden age of Malaysian cartoons. During this period, most of them inspired by western cartoon magazines such as ‘MAD™’ & ‘NUTS™’ but with their own identities that reflected the local culture. continue........... |
|
|
Sep 26 2009, 03:17 PM
|
Senior Member
4,242 posts Joined: Aug 2006 From: Soviet Putrajaya
|
i used to read Captain Malaysia when i was 6 7 something.dunno what happen the manga stopped just like that
|
|
|
Sep 26 2009, 08:38 PM
|
|
Junior Member
408 posts Joined: Nov 2006 From: LANGKASUKA مليسيا
|
 Generally cartoons in the early 80s pioneered by GILA-GILA™ are different in form and content from those of the pre-independence era. The sense of humor is subtler. The cultural themes portrayed deal with the nature of a multi-racial society and international issues rather than focusing on only one specific ethnic group or society.  The early 1990s became the age of manga and anime influence, a new breed of cartoons created from Japan. Chinese community in Malaysia has long been influenced by these genres with most of it pirated and translated into Mandarin language. The habit went on to Malay readers to the extent where Malaysia was suggested as a media pirate’s paradise. This has not stopped some publishers in their piracy as the rightful owners of the respective media don’t take legal action over their materials.  Some samples of pirated manga in Mandarin language. Readers don’t know these publishers keep on making profit off pirated comics without paying any copyright fees to the respective owners. In the late 1990s, most cartoon magazines ceased publication due to low readership, the economic turndown and the emergence of many other interesting reading materials such as manga. Since the humor of one magazine seems to duplicate the others, readers tended to choose and buy only the most attractive ones. In this context, the publishers have had to be creative enough in order to attract their readers. Cartoon magazines in the late 1990s seemed to be created for a specific readership with a specific theme. This is a new trend for cartoon magazines now.  In June 1998, a new publisher, Art Square Creation Sdn. Bhd. was making a scene in the cartoon industry by publishing a new breed of comic magazine called GEMPAK™, categorized as a comic info magazine. Inspired by WIZARD™, it follows a different concept compared to any other comic or cartoon magazine known in the country or globally.  GEMPAK™ issue 01 (June 1998) Pushing the tagline ‘Majalah Komik Generasi Baru’ (New Generation’s Comic Magazine), GEMPAK™ not only filled its content with strip cartoons and multiple genres of comics, it also delivered genuine news and articles about related industries such as videogames and animations. Most importantly, GEMPAK™ is the first and by far the only Malay language magazine in Malaysia enjoying the full support of said industries.  GEMPAK™ issue 18 (November 1999) Success didn’t come overnight but only 18 months later the large volume of readers took the publisher by surprise as GEMPAK™ a huge success almost surpassing UJANG™, highest selling Malaysian cartoon magazine of the time.  Year 2000 – 2002, GEMPAK™ became popular not only as New Generation’s Comic Magazine but its style of writing (slang language) and the manga influence in local comics, which was totally against the principles of most local veterans. But these issues never stopped the publisher publishing more comic-related products such as a series of novel graphics and a few more comic info magazines under its own label, GEMPAK STARZ™. GEMPAK™’s success encouraged more publishers to produce similar publications, none of which stayed long to nurture the market. One of the possible reasons might be because they focused on mostly European inspired comics rather than the new genres introduced by local magazines. With the growth of the animations and videogames industry in Malaysia, GEMPAK™ by far is the only cartoon magazine that provides such information to the readers in Malay language. Concentrating not only the local industry, it has been celebrated as the only magazine producing cartoon series for the new generations without interfering in the original concepts of old timers such as GILA-GILA™ and UJANG™. More so, the talents of GEMPAK STARZ™ cartoonists have been used in advertisements by other organizations such as telecommunication service providers and fashion apparel. Though most define cartoons produced in GEMPAK STARZ™ as manga influenced, several of its artists have been acclaimed overseas, such as in China and Japan. Adding up to the success, they are the most awarded internationally who came under the same label. This has proved that the influence does not truly exist but is a new breed of cartoons created by local comic artists with global commercial value. Today, GEMPAK STARZ™ is considered the only Malaysian comic label with more than 100 comics or novel graphics titles by local talent, and the most active comic publisher in Malaysia, which also has organized the most successful ‘Malaysia Comic Carnival’ since 2001 and ‘Malaysia New Comic Talent Competition’ since 2002. Regarding such activities, they have put up a trend by having working crossovers with talents from Hong Kong, Taiwan and China with copyrighted comics from Japan (Shogakukan Productions Co., Ltd.), South Korea (Seoul Cultural Publishers Inc.), Hong Kong (Hong Kong Culture Co., Ltd.) & China (Comic Fans Co., Ltd.) also being published. With an eye to encourage cooperation with overseas publishers, they aim to promote local cartoonists by local publishers to other countries and at the same time bring more healthy view of Malaysia’s cartoon industry to the world. 2008 saw the celebrations of GEMPAK™’s 10th Anniversary and the 100th issue of COMIC KING™ (Chinese comic info magazine), injecting new related projects into the export-import market, exhibitions, tours and special issues for readers. In addition, this comic label is the only one in Malaysia that actively participates in international comic, game and animation (ACG) exhibitions. The publisher now known as Art Square Group is considered as one of the largest and most prolific publishers of comics and infotainment-related materials in Malaysia today.   GEMPAK™ is a bi-monthly info-comic magazine. June 2008 issues were released in conjunction with the 10th Anniversary with special extras inserted with the magazines being given away. There is still room for improvement in the local cartoon industry with Malaysians looking at the successful progress of Art Square Group as Creative Enterprise Sdn. Bhd. celebrated their 30th Anniversary of GILA-GILA™ by announcing new projects. From 2007 – 2008, a few giant publishers open their comic departments while new publishers nurturing the industry by producing their own comic magazines concepts. Today, there is still healthy competition in the Malaysia Cartoon Industry, with no sign of stopping despite a global financial crisis. Fakhrul Anour Fakhrul Anour Abdullah Holds a B.Sc. Hons, Furniture Technology from UiTM, Shah Alam. A romantic at heart, Fakhrul Anour is really fluent in the art of love. Able to create just the right kind of mood in all his romantic comics, his realistically drawn characters would envelop you into their world of love and beauty. But be careful because he could also break your heart with his graphic novel 'Siri Maskeret Cinta-Hanya...' and a novel 'Cinta Tunggal.' Together with Kaoru, the cartoonist is producing his latest romance novel, 'Kaoru s Cake House: 143'. He is currently holding the position as Editor for comic magazine like Gempak, and Elemen. Sources : Komik Tangun : Manhoa Chongbor (Vol.42 dated 12/11/08) http://fakhrulanour.blogspot.com/ http://www.intercomicon.org |
|
|
Oct 2 2009, 02:22 AM
|
Senior Member
635 posts Joined: Jan 2003 From: Thành phố Hồ Chí Minh, Việt Nam
|
Nice Info From En Fakhroul Anour
|
|
|
Oct 2 2009, 02:23 AM
|
|
Junior Member
408 posts Joined: Nov 2006 From: LANGKASUKA مليسيا
|
Takaza
Comic Artist/Writer : Sitrahaslee Jamil Cover Illustrator : Sitrahaslee Jamil Painter : Zamzami (Takoyaki Chwan) http://www.komik-m.com/ http://komik-m.blogspot.com/ http://zackollections.blogspot.com/         |
|
|
|
|
|
Oct 6 2009, 10:19 AM
|
|
Senior Member
635 posts Joined: Jan 2003 From: Thành phố Hồ Chí Minh, Việt Nam
|
QUOTE(HangPC2 @ Sep 26 2009, 08:38 PM) [color=Black] Good Info Thanks Generally cartoons in the early 80s pioneered by GILA-GILA™ are different in form and content from those of the pre-independence era. The sense of humor is subtler. The cultural themes portrayed deal with the nature of a multi-racial society and international issues rather than focusing on only one specific ethnic group or society.   |
|
|
Oct 8 2009, 12:14 AM
|
|
Junior Member
408 posts Joined: Nov 2006 From: LANGKASUKA مليسيا
|
Musafir
Painter/Illustrator/Comic Artist : Cron / Rodzi Published : KOSMO Newspaper http://cronstudio.blogspot.com/        Musafir 2  Musafir 3  |
|
|
Oct 8 2009, 03:03 PM
|
Junior Member
6 posts Joined: Jul 2009
|
hard to apprciate when the story isn't very interesting at all.
|
|
|
Oct 15 2009, 10:58 AM
|
|
Junior Member
408 posts Joined: Nov 2006 From: LANGKASUKA مليسيا
|
Gedung Kartun
Painter/Illustrator/Comic Artist : Zunar, Jonos, Ronasina, Azzam Supardi, Nazar, Israq, Maisuri Genre : Political Satire http://koncozunar.blogspot.com/       |
|
|
Dec 31 2009, 06:31 PM
|
|
Senior Member
635 posts Joined: Jan 2003 From: Thành phố Hồ Chí Minh, Việt Nam
|
nice Comic
 |
|
|
Feb 5 2010, 07:22 PM
|
|
Junior Member
408 posts Joined: Nov 2006 From: LANGKASUKA مليسيا
|
Keluang Man muncul di RTM selepas 10 tahun hilang
Oleh Rosdalilah Zahari GELAGAT lucu 'super hero' Keluang Man II bakal menemui semula peminat di saluran Radio Televisyen Malaysia (RTM) pada pertengahan tahun ini selepas hampir 10 tahun tidak muncul di kaca televisyen. Walaupun pada peringkat awal siri animasi Keluang Man memperlihatkan kekurangan dari segi perkembangan watak, jalan cerita, aksi dan rekaan animasi yang ketika itu hanya menggunakan teknologi 2D, siri itu tetap berjaya meninggalkan kesan mendalam di hati penonton sehingga diulang tayang di TV9 pada 2008. Namun, kali ini Keluang Man II menampilkan pembaharuan dari segi kualiti animasi apabila pembikinannya dibuat melalui kerjasama antara KPerak Implementation and Coordination Corporation (Kperak) dan syarikat Aspati (M) Sdn Bhd (Aspati). Melalui program Inisiatif Pembangunan Kandungan Multimedia Kreatif (CMC) kedua-dua pihak berkenaan berjaya menghidupkan kembali watak Keluang Man, watak hero pembela manusia sejagat. Di bawah studio animasi KPerak-Aspati, sebanyak 52 episod siri animasi Keluang Man II sedang dan akan disiapkan menggunakan teknologi terbuka 3D (open source 3D) sepenuhnya bagi memberi pembaharuan menarik dalam penghasilan karakter animasi terbabit. Pengarah Projek Animasi Projek Animasi Keluang Man II, Faharul Radzi Lon, berkata anggaran kos bagi setiap episod selama 30 minit berjumlah RM20,000 dan ia amat rendah kerana menggunakan aplikasi sistem teknologi terbuka 3D. "Projek animasi itu membabitkan 16 penuntut Universiti Utara Malaysia (UUM), KPerak Academy dan Kolej Komuniti Teluk Intan yang berpotensi dan diberi latihan secara intensif. "Selain itu, beberapa watak baru seperti Abang Ben turut diwujudkan bagi menarik perhatian penonton untuk menyaksikan siri animasi 3D yang dijangka penuh kejutan berbanding sebelum ini," katanya kepada pemberita di Bangunan Perak Techno Trade Center (PTTC), Bandar Meru Raya di Ipoh, Perak, baru-baru ini. Terdahulu, Faharul menghadiri pelancaran produk animasi Keluang Man II dan majlis pertukaran dokumen antara KPerak dan Aspati di aras enam bangunan yang sama. Turut hadir, Ketua Pegawai Eksekutif KPerak, Datuk Yaacob Nordin; Pengarah Urusan Aspati, Hishamudin Mohd Amin; Pengarah Eksekutif Aspati, Kamaruzaman Jahidin dan Penyelaras Praktikal Pelajar Pusat Jaringan Universiti Industri (UIL) UUM, Dr Masudi Mahmuddin. - Berita Harian - |
|
|
Feb 5 2010, 08:50 PM
|
Junior Member
108 posts Joined: Mar 2009 From: hang suka arbok?
|
man,got sauce??
|
|
|
|
|
|
Feb 5 2010, 08:59 PM
|
|
Junior Member
408 posts Joined: Nov 2006 From: LANGKASUKA مليسيا
|
Painter/Illustrator/Comic Artist : Cron / Rodzi
Published : Majalah Gado Gado (1995-1997) http://cronstudio.blogspot.com/ Pahlawan Lagenda  Mawar Irma Emas  VEX   Fangora Highway  Painter/Illustrator/Comic Artist : Cron / Rodzi Published : Majalah JOM (2005) http://cronstudio.blogspot.com/ Hexagon  |
|
|
Feb 14 2010, 01:17 PM
|
|
Senior Member
635 posts Joined: Jan 2003 From: Thành phố Hồ Chí Minh, Việt Nam
|
cooollllll
 |
|
|
Feb 14 2010, 01:46 PM
|
|
Junior Member
408 posts Joined: Nov 2006 From: LANGKASUKA مليسيا
|
Illustrator For Cover Album Malaysian Metal Band
Painter/Illustrator/Comic Artist : Po'g Artwork Killer http://www.myspace.com/ampireart Dark Breed - Tahyulistic Penalty Demotape (1996)  |
|
|
Feb 14 2010, 03:01 PM
|
Junior Member
30 posts Joined: Jan 2009 From: 2° 30' N 112° 30' E
|
PEHH...CAM hOKUTO NO kEN VERSI mELAYU DAAA~
just a note here, I have one group...if you might interested to join go to http://khadrastudio.deviantart.com trying our best for CF this year~ |
|
|
Feb 16 2010, 02:05 PM
|
|
Junior Member
408 posts Joined: Nov 2006 From: LANGKASUKA مليسيا
|
Smash 20
Painter/Illustrator/Comic Artist : Foner (Irfan) http://www.facebook.com/Irfan-Foner/ http://twitter.com/IrfanFoneR http://f-one-r.blogspot.com/ http://f-one-r.deviantart.com/ Publisher : PTS Millenia Komik-M http://www.ptsmillennia.com.my/ http://www.blogpts.com/   Sinopsis : Ehsan Fairuz meminati sukan bola sepak, namun orang di sekelilingnya lebih suka dia bermain badminton. Keadaan itu menyebabkan dia memberontak sehingga berlaku pertengkaran antara dia dengan cikgunya. Akhirnya Ehsan Fairuz mengalah dan bermain badminton. Malah, dia terus diberi tangungjawab menjadi pemain penting dalam pertandingan badminton peringkat daerah. Apakah keistimewaan yang ada pada Ehsan sehingga orang disekelilingnya begitu bersungguh mahu dia menjadi pemain badminton? Apakah kelebihan yang ada pada orang baru sepertinya sehingga diberi kepercayaan memikul tangungjawab berat itu ? " Sources : http://www.nomikmalaysia.blogspot.com/ |
|
|
 Mar 4 2010, 03:22 PM
|
Junior Member
65 posts Joined: Dec 2007
|
 This post has been edited by myone1015: Apr 5 2010, 04:21 PM |
|
|
Mar 5 2010, 07:59 AM
|
Junior Member
139 posts Joined: Jun 2006 From: Made In Gombak
|
So far my favorite local cartoonist would be Lambok from Apo?
|
| Change to: |  0.0191sec
 0.39
 5 queries
 GZIP Disabled
Time is now: 25th November 2025 - 06:42 PM |
All Rights Reserved © 2002- 2025 Vijandren Ramadass (~unite against racism~)
Powered by Invision Power Board © 2025 IPS, Inc.