Malaysian comics

Malaysian comics (Malay: komik, kartun, cergam) originated in colonial Malaya in the early 20th century as single-panel satirical cartoons in newspapers. Following Malaya's independence in 1957, comic strips became the predominant form of newspaper comics. By the end of the 1970s, humor magazines featuring satirical cartoons had emerged. While indigenous comic book publishing existed as early as the 1950s, it did not attain widespread recognition until the 1980s.

Malaysia is a multicultural nation, primarily comprising Malays and Chinese, with smaller populations of Indians and other groups. The country’s complex geopolitical history, from the colonial period to the present, has been significantly reflected in its comics. Each ethnic group produced comics in its language. Due to the small and fragmented market size, some scholars argue that Malaysian comics did not develop a distinctive style comparable to those of Japan or the United States. In traditional Malaysian comics, identifying a character's ethnic group was important for readers and was often conveyed through stereotyped external features. While many works depict Malaysia as a tolerant society where diverse ethnic groups coexist, some contend that the nation's mixed cultural identity is still evolving, as is its comics.

Before the late 1980s, Malaysian comics were predominantly modeled after American comics. Since then, Japanese manga has increasingly shaped Malaysian comics, reflecting global trends. Japanese manga and anime are often described as “culturally deodorized” (Iwabuchi, 1998), meaning they are not bound to specific cultural or national contexts. Malaysian comic artists of the post-manga era, “whose identities are not bound by traditional geographical and national constraints” (Gan, 2011), tend to adopt Japanese styles to portray a fictionalized Malaysia where ethnic tensions are less pronounced. However, the revealing clothing and other stylistic elements drawn from manga are sometimes criticized by readers and government officials as conflicting with Islamic values.

History

The Malaysia Cartoon & Comic House, established in Kuala Lumpur in 2017, houses works from World War II to the present.

Malaysia was formed in 1963 through the union of several former British colonies. Cartooning in the region dates back to 19th-century British Malaya. Singapore and Penang, key trading centers in Malaya, had thriving publishing industries and were central to the development of Malaysian comics for many years. The Nanyang Academy of Fine Arts, established in Singapore in 1938, also played a role in training satirical cartoonists. Comics publishing in Kuala Lumpur and Johor Bahru did not become significant until the mid-20th century, while regional comics in East Malaysia did not develop until the 21st century.

British Malayan Period: 19th century to World War II

Modern cartoons flowed in alongside colonialism. The Straits Produce, an English-language newspaper founded in 1868 for British merchants in Malaya, primarily featured satirical cartoons, following the model of Punch magazine from the United Kingdom. It is believed to have been the third publication of its kind in Asia, following Japan Punch (1862) in Japan and China Punch (1867) in China.

Immigrant workers in British Malaya published newspapers in their respective native languages. Singapore's Chinese-language newspaper, Chong Shing Yit Pao, began publishing cartoons in 1907. Founded by supporters of revolutionary Sun Yat-sen, the newspaper's early works primarily criticized the Qing dynasty. Chinese satirical cartoons in the early 20th century generally targeted political issues in the home country. After the Marco Polo Bridge incident in 1937, they became increasingly critical of Japan's invasion of China. As the Pacific War escalated and British Malaya was occupied in 1942, the artists of these cartoons were executed by the Japanese military.

Malay satirical cartoons developed later than their Chinese counterparts. Some believe this delay is due to Arab publishers' traditions that discourage illustration. Others argue that the Malays held a privileged position among colonial ethnic groups, resulting in a weaker motive for political satire. In the 1930s, Malay newspapers began to express a sense of urgency regarding the changing social situation. Warta Jenaka started featuring satirical cartoons by S. B. Ally, along with naive works submitted by readers. These cartoons highlighted the shortcomings of the Malays, such as indebtedness and carelessness, while also criticizing the colonial government and Chinese and Indian immigrants. In another major Malay newspaper, the Muslim-oriented Utusan Zaman, Wak Ketok (Uncle Knock), one of Malaya's first cartoon characters, debuted in 1939. Written by Abdul Rahim Kajai and illustrated by Ali Sanat, this character inspired Malay nationalism and critiqued Westernization and the influence of Malay Arabs. These early Malay cartoons were influenced by traditional theater forms, such as Bangsawan and the shadow play Wayang kulit, and were characterized by texts incorporating proverbs and pantun rhyme.

During the Japanese occupation, each ethnic group developed a sense of independence after witnessing the fragility of British rule. Tunku Abdul Rahman, later regarded as the founding father of the nation, drew anti-Japanese and nationalistic cartoons. In contrast, watercolorist Abdullah Ariff produced pro-Japanese propaganda cartoons for Penang Shimbun newspaper published by the Japanese military. The work was compiled in 1942 into a book titled Perang Pada Pandangan Juru-Lukis Kita (The War as Seen by Our Cartoonists) with text in Malay, Chinese, and English.

The Establishment of Malaysia: The 1940s and 1950s

In the political vacuum that followed the end of World War II, communist guerrillas suddenly evoked the Malayan Emergency, and ethnic tensions intensified. Malay and Chinese cartoonists of the era sought to promote ethnic harmony and progressivism through social and political satire. Tan Huay Peng, an editorial cartoonist for The Straits Times, became known for his symbolic works advocating independence from British rule.

The Federation of Malaya gained independence from Britain in 1957. After further realignment of the surrounding territories and the withdrawal of Singapore, modern Malaysia was established. Unlike the colonial government, which upheld freedom of expression, the independent government sought to control the mass media to stabilize governance. Political cartoons disappeared from the newspapers in all languages, replaced by foreign comic strips focused on adventure and humor. Western works such as Flash Gordon, Tarzan, Mandrake the Magician, and The Saint became prominent features in local newspapers.

Malaysian comic strips trace their origins to 1947. That year, the Singaporean magazine Kenchana was the first to publish "Tunggadewa", a Malay-language historical adventure strip, signaling the need for comics with an Eastern sensibility absent in American comics. Harun Aminurrashid, the magazine's editor, played a pivotal role as a mentor for early Malay comics. Later, newspapers began publishing one-panel and strip cartoons by Malay cartoonists such as Raja Hamzah, Rejabhad, and Mishar. Raja Hamzah emerged as a key figure in postwar Malay comics, with his family humor strip Keluarga Mat Jambul (Mat Jambul's Family) — inspired by the British strip The Gambols — serialized in Brita Harian. Hamzah’s other serials, such as Dol Keropok & Wak Tempeh in Utusan Melayu, focused on village life and classical literature and went on to influence future creators like Lat.

British weeklies such as The Beano and The Dandy, imported as scrap paper in the 1930s, were the first comic books to reach Malaya. The first known Malay comic book is believed to be Hang Tuah (Untuk Anak-Anak) by writer Nasjah Djamin, published in Indonesia in 1951, which depicted the legend of the hero Hang Tuah. In Singapore, Malay comic books began to flourish after the publication of Pusaka Datuk Moyang (Treasure of the Ancestors) in 1952, with which Harun Aminurashid was involved as a publisher. Among these publications were an adaptation of the American hero Batman and science fiction stories by Indonesian filmmaker Nas Achnas. Nora Abdullah, who adapted the story of the legendary Queen Siti Wan Kembang in 1955 at 15, became the first female Malay comic book artist. Despite the early success, comic book publishing in Singapore declined by the early 1960s, with Penang, home to publishers such as Sinaran Brothers, emerging as the industry’s hub. However, after the 1960s, the industry experienced further downturns. Early comic subjects were predominantly focused on history and folk tales but later expanded to include romance and detective stories. The writing in Malay comic books shifted from the Jawi script to the Latin alphabet.

Golden Age: 1960s-1970s

The 1960s and 1970s are considered the golden age of Malaysian comics. From the 1970s onward, the government's cultural policies for fostering national identity led to an increase in home-grown comic strips, with some newspapers ceasing to publish foreign works. In 1973, the Association of Cartoonists and Illustrators (PERPEKSI, Persatuan Pelukis Komik Kartun dan Ilustrasi) was established, improving the status of comic creators. That same year, Suarasa, a company founded by comic artists, published comic books for children focused on Malay cultural education, achieving a significant hit with sales of 30,000 copies. Additionally, in 1973, the National Art Gallery exhibited single-panel cartoon works from Asian countries for the first time.

This period also saw the emergence of a new generation of artists, including Lat, Nan (Zainal Osman), Meor Shariman, Jaafar Taib, and Zainal Buang Hussin. Lat gained nationwide recognition after his Keluarga Si Mamat (The Family of Mamat) and Scenes of Malaysian Life appeared in newspapers for several decades, starting around 1970. The popularity of Scenes of Malaysian Life, a satirical take on current events, sparked a resurgence of editorial cartoons in newspapers, which had previously disappeared for a time. In the 1980s, Lat transitioned from a newspaper staff cartoonist to a freelance, merchandising his work and achieving rare financial success in the Malaysian comic industry. His book The Kampung Boy, a memoir about traditional Malay culture, has been widely read internationally. While Lat was active in the English-language New Straits Times affiliate, Nan appeared in 1976 in the Malay-language newspaper Utusan Melayu and drew Din Teksi, a family strip featuring a cab driver, and the slapstick Barber's Corner.

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  Lat, a leading Malaysian cartoonist, photographed in 2007 during his guest appearance at the International Comic Arts Forum.
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  AirAsia airliner adorned with Lat characters (2010).

Humor Magazines and Foreign Comics: The 1980s-1990s

Of particular note during this period was Gila-Gila, launched in 1978 by cartoonist Mishar and others. The Malay word “gila” corresponds to “mad” in English, and the publication was modeled after the American humor magazine Mad. Featuring cartoons that parodied Malay literature, folklore, history, and movies, its circulation grew to 200,000 at one point, making it the largest magazine in the country. Until then, most Malaysian cartoonists held other primary jobs, but Gila-Gila raised fees to a level where full-time cartoonists could make a living. The magazine also fostered young artists, encouraging interaction and helping to improve their status. Subsequent humor magazines emerged, and by 2003, more than 50 magazines had sprung up, including Gelihati, published by a major book publisher. The teen-oriented magazine Ujang was named after its signature artist Ujang, who started his career in Gila-Gila. Ujang revitalized the Malaysian comics industry in the early 1980s with Aku Budak Minang (I am a Minang Kid) and Atuk (Grandpa). These two works were adapted into animated series. By the end of the 20th century, the market for humor magazines became saturated, leading magazines to survive by subdividing their genres, such as Lanun (religion) and Mangga (entertainment). The first women’s humor magazine, Cabai, featured one of the rare female cartoonists, Cabai (Sebariah Jais). Due to the limited market for the Malay language, some magazines were published in English, while others specialized in silent cartoons.

Apart from humor magazines, foreign comics were also popular. Comic books from the United States and the former colonizer, the United Kingdom, were widely sold. Residents of Chinese and Indian descent imported works published in their home countries. Locally produced works were almost exclusively created by Malay artists. As of 1984, there were only a few Malay comic book publishers, with a monthly circulation of about 15,000, and most titles were short-lived. Some publishers imitated American superhero comic, while others specialized in Photo comics. From the late 1980s, pirated copies of Japanese, Taiwanese, and Hong Kong works began to flood the market, hindering the development of the domestic industry. These pirated copies were published openly by specialized publishers and were tacitly overlooked by government authorities and foreign copyright holders due to the small market. The main distribution channels for these comics were Chinese book rental shops.

In the 1980s, the mainstream newspaper New Straits Times published a series of columns that introduced both domestic and foreign comics, significantly raising social awareness about the medium. The column's author, Daniel Chan, organized Malaysia's first comic convention in 1984. This event inspired Malaysian fans to publish the first fanzine in Malaysia, APAzine, paying tribute to Marvel Comics. It also leads to the opening of stores specializing in U.S. comics, primarily in the suburbs of Kuala Lumpur. The popularity of expensive U.S. comics peaked in the 1990s, with dedicated enthusiasts forming the core of the fan base.

Maturation and Globalization: The 2000s

After the Asian financial crisis at the end of the 20th century, globalization swept through the region's comics scene. This period saw a massive influx of Japanese anime and manga alongside the spread of the Internet. Later generations showed greater interest in genres such as science fiction and fantasy than in traditional culture and history, drawing strong influence from Japanese and other foreign works. Domestic works produced before the early 1990s were rarely reprinted, and the traditional style developed by artists like Lat, Rejabhad, Jaafar Taib, and others was scarcely inherited.

The domestic comics industry began to mature around this time, and in the 2000s, comics became increasingly interconnected with animation, entertainment, games, advertising, and merchandise. Art Square Group emerged as a prominent publisher with hit magazines that combined comics with information on anime and games (ACG), such as the semimonthly Gempak. They adopted a publishing model in which serialized works were later collected into book form, creating opportunities for Malaysian artists by publishing numerous local works alongside officially licensed foreign titles. Art Square also promoted the spread of comics by publishing Korean educational manhwa to appeal to teachers and parents, as well as through digital development and the establishment of new talent competitions. Many works from the company were influenced by Japanese manga, evident in their flat coloring patterns, character settings, and plots. Notable artists included Keith, who created Lawak Kampus, a four-panel gag comic about high school life, and Kaoru, a prominent shojo manga artist known for her Maid Maiden and other works that incorporated Japanese trends. Additionally, many artists drew inspiration from Hong Kong kung fu comics and American superhero comics; Tan Eng Huat, for instance, was recruited by DC Comics.

Urban Comics, launched in 2001, was a pioneering indie comic. In 2007, the magazine's publisher, Muhammad Azar Abdullah, received a government grant to form PeKOMIK(Persatuan Pengiat Komik Malaysia), an organization aimed at promoting networking among comic artists, including amateurs, and fostering comic culture. PeKOMIK, along with other organizations, organized the MGCCon (Malaysian Games and Comic Convention) in 2012, a large-scale event that raised awareness of comic fandom within Malaysian society.

The 2010s - present

2015 Comic Fiesta, attended by 45,000 people.

The advent of digital publishing, such as webtoons, in the 2010s and beyond has led to a new generation of comic artists. Some publish their work on social networking services like Twitter (now X) and Facebook, which were later compiled into book form. In Malaysia, as in other Asian countries, there have traditionally been very few female comic artists, with only seven achieving notable success by the 2010s, including Nora Abdullah, Cabai, and Kaoru. However, in recent years, women have increasingly emerged in the comic scene, publishing their work through indie and digital platforms. Notably, the first Malaysian work to win the internationally prestigious Eisner Award was Fried Rice (2020 Best Webcomic Award), a graphic memoir by female artist Erica Eng.

Since the 2000s, there has also been growing interest in graphic novels as an alternative publishing format to U.S.-style comic books. Some indie artists have received government subsidies to publish graphic novels. Since 2010, the Malaysian Ministry of Education has included graphic novel adaptations of classics such as Black Beauty, Sherlock Holmes, and Journey to the Center of the Earth in English language classes. By 2022, comics in book form emerged as one of the most popular genres in general bookstores. Major publishers include Kadokawa Gempak Starz and the Islamic company Komik-M, with home-grown and Japanese titles sharing popularity among the younger generation. Humor magazines, such as Bekazon, continue to be published.

Art Square Group rebranded as Kadokawa Gempak Starz in 2015 with investment from Japan's Kadokawa. The company is developing a multimedia content business that includes animation, games, and novels, as well as comics publishing, while also establishing animator schools. Through this capital alliance, Kadokawa sought to expand from Malaysia into ASEAN and Middle Eastern countries.

Characteristics

An exhibition of the history of Malaysian comics at Taiwan Comic Festival 2019, showcasing magazines including Gila-Gila and Gempak.

Humor Magazine

Humor magazines originated from Gila-Gila (1978) typically spanned 70 to 80 pages and attracted both male and female readers. They featured sections addressing gender and ethnic differences, workplace dynamics, Malay culture, and history, with many cartoonists contributing one page each. The predominant language was Malay, the official language of Malaysia, and the artists were mostly Malay. The characteristics of the works included:

• Moderate humor that avoids extremism.
• Fools pretending to be clever, but somehow succeeding.
• Cultural stereotypes are used for comedic effect.
• Parodies of archetypal characters rather than real people.

Humor occupied an important place in Malay culture, with cartoonists drawing inspiration from traditional theater and literature to elicit laughter.

On the other hand, the critical spirit of humor magazines was not often reflected in general Malay society. Before the 1970s, when “Gila Gila” first appeared, cartoons did not freely criticize society, and critiques of government officials and sensitive subjects (e.g., the designation of the official language, Malay legal dominance, sultanate privileges, etc.) were largely avoided. The expansion of freedom of expression in satirical cartoons during the 1980s can be attributed to:

• The increasing political dominance of the Malay people in the country.
• Cartoons inherited the role of expressing dissatisfaction with authority from traditional Malay arts.
• The perception that cartoons were a childish medium, led to them not being viewed as a political threat by the government.

Censorship

In Malaysia, magazines risk having their publishing licenses revoked by the Ministry of Home Affairs if they are deemed “morally offensive.” The government adheres to a policy of racial appeasement, subjecting any expression perceived as offensive or detrimental to a specific ethnic group to strict regulations. Criticism of the government often results in warnings. Zunar, who debuted in 1983 on the pages of Gila-Gila, is well-known for his scathing satire. He has faced significant repercussions from authorities, including being banned from publishing books and being taken into custody under the Security Act around 2010.

Other types of comic books are also subject to restrictions regarding content suitable for children. Depictions of tight or revealing clothing, kissing between a man and a woman, and guns pointed at people are prohibited. In response to these limitations, some artists since the 2010s have opted for self-publishing to maintain their creative freedom, avoiding the constraints imposed by government regulations or publishers' guidelines.

Archives

Comics in Malaysia have not received much academic attention, and there is no systematic collection of materials within research institutes and libraries. For early Malay comic books, the British Library holds a collection of 270 titles published between 1952 and 1966. This collection was acquired through the colonial book deposit system, and a microfilm version has also been transferred to the National Library of Malaysia. However, these materials have not been thoroughly researched.

Works cited

• Gallop, Annabel Teh (2022). "Malay Comic Books from the 1950s and 1960s in the British Library". Southeast Asia Library Group Newsletter (54): 44–70. doi:10.2991/bcm-17.2018.57. Retrieved 2024-09-16.{{cite journal}}: CS1 maint: ref duplicates default (link)
• Junid, Iman; Yamato, Eriko (2019). "Manga Influences and Local Narratives: Ambiguous Identification in Comics Production". Creative Industries Journal. 12 (1): 66–85. doi:10.1080/17510694.2018.1542941.{{cite journal}}: CS1 maint: ref duplicates default (link)
• Kamal, Julina Ismail; Haw, Kam Chin; Bakhir, Norfarizah Mohd (2017). "Sustaining Malay Comic Design: Transformation from Paper to Digital". Proceedings of the 4th Bandung Creative Movement International Conference on Creative Industries 2017 (4th BCM 2017). Vol. 41. pp. 295–298. doi:10.2991/bcm-17.2018.57. ISBN 978-94-6252-478-1. {{cite book}}: |journal= ignored (help)CS1 maint: ref duplicates default (link)
• Karna, Mustaqim (2014). Reading the Visual of Malaysian Comics: A Study on Comics as an Artform (Doctor of Philosophy thesis). Universiti Teknologi MARA. Retrieved 2024-10-03.{{cite thesis}}: CS1 maint: ref duplicates default (link)
• Lent, John A. (2015). "Malaysia". Asian Comics (English, Kindle ed.). University Press of Mississippi. pp. 153–174. ASIN B00QTYUIWG.{{cite book}}: CS1 maint: ref duplicates default (link)
• Mohd Noor Merican, Ahmad Murad (2020). "Warta Jenaka and Wak Ketok: visualising the other in early Malay editorial cartoons". Jurnal Pengajian Media Malaysia. 22 (2): 31–48. Retrieved 2024-10-03.{{cite journal}}: CS1 maint: ref duplicates default (link)
• Mahamood, Muliyadi (1997). "The Development of Malay Editorial Cartoons". Southeast Asian Journal of Social Science. 25 (1, Special Focus: Cartooning and Comic Art in Southeast Asia): 37–58. doi:10.1163/030382497X00031. JSTOR 24492449.
• Nasir, Suraya Binti Md (2021). "Understanding Manga as a "Style" through Essay Manga's Multimodal Literacies ― And Its Relations to the Discourse on "local art style" in Malaysian Comics". Border Crossings: The Journal of Japanese-Language Literature Studies. 13 (1): 61–74. doi:10.22628/bcjjl.2021.13.1.61.{{cite journal}}: CS1 maint: ref duplicates default (link)
• Rajendra, Thusha Rani (2015). "Multimodality in Malaysian Schools: The Case for the Graphic Novel". The Malaysian Online Journal of Educational Science. 3 (2): 11–20. S2CID 157046409.{{cite journal}}: CS1 maint: ref duplicates default (link)
• Rashid, Roswati Abdul; Mamat, Roslina; Paee, Rokiah; Hassan, Asmadi; Ismail, Muhd Zulkifli; Ahmad, Normah (2021). "Acceptance of LGBT Comics and Animation among Public University Students in Malaysia". Journal of Positive School Psychology. 6 (4): 1012–1021. Retrieved 2024-09-26.
• Rifas, Leonard (1984). "Comics in Malaysia". The Comics Journal. 94 (1984–10): 96–101. Retrieved 2024-09-26.{{cite journal}}: CS1 maint: ref duplicates default (link)
• 鵜沢, 洋志 (2015). "漫画 Lawak Kampus における効果音としてのオノマトペ―マレー英語の事例―". アジア英語研究 (in Japanese). 17: 6–27. doi:10.50875/asianenglishstudies.17.0_6.{{cite journal}}: CS1 maint: ref duplicates default (link)
• 顔, 暁暉 (2011). "マレーシアの漫画における混淆性 ─ 少女漫画家カオルのキャリアを通して". 第3回国際学術会議「マンガの社会性―経済主義を超えて―」 (in Japanese). Retrieved 2024-09-15.{{cite journal}}: CS1 maint: ref duplicates default (link)
• リム, チェンジュ (2010). "歴史的記憶のメディアとしてのマンガ/コミックス.シンガポールとマレーシアのコミック". In ジャクリーヌ・ベルント (ed.). 世界のコミックスとコミックスの世界 : グローバルなマンガ研究の可能性を開くために (PDF). 国際マンガ研究1 (in Japanese). Translated by 中垣恒太郎. 京都精華大学国際マンガ研究センター. ISBN 978-4-905187-02-8. Retrieved 2024-09-13.

Further reading

• Karna, Mustaqim; Muliyadi, Mahamood (2022). Reading the Visual of Malaysian Comics: A Study on Comics as an Artform. LAP LAMBERT Academic Publishing. ISBN 978-6205494271.
• Muliyadi, Mahamood (2004). The History of Malay Editorial Cartoons (1930s-1993). Utusan Publications & Distributors. ISBN 9789676115232.
• Ngah, Zainab Awang (1984). "Malay comic books published in the 1950s". Kekal Abadi. 3 (3): 4–11. Retrieved 2024-10-02.{{cite journal}}: CS1 maint: ref duplicates default (link)
• Rosman, Razan; Abdullah, Sarena (2018). "Wak Ketok and the Quest for Malay Identity in 1930s Malaya". Journal of the Malaysian Branch of the Royal Asiatic Society. 91, part 2 (3): 19–47. doi:10.1353/ras.2018.0016.