Animation is not just for kids
ALTHOUGH in a wheelchair, Josee is an ambitious girl but was raised by a grandmother who over-shielded her from the realities of life.
Josee wants to achieve his dreams and through his character in the Japanese anime film “Josee, the Tiger and the Fish” this teenage character leads the audience to follow his adventures while proving realism can exist in animated works.
The slice of life genre is a popular animation genre in Japan because it presents a realistic storyline and style and is closer to the lives of various strata of society.
This is in contrast to the animation scenario in Malaysia which is mostly more focused on animated series or films specifically for children.
MOVING WITH TIME
According to the managing director of Brainy Bones Studio, Muhammad Hilmi Ismail, the field of animation is very wide and has grown from action cartoons to realism due to its growing fans.
“Only in Malaysia there is a bit of conflict between animation studios and fundraisers and animation buyers.
“For example, the slice of life genre is very popular among animation fans but Malaysian television stations do not broadcast this genre. Instead, the focus of animation here is for children such as the Pokemon series, Beyblade and superhero stories,” he said.
Clearly, it is this factor that makes many still think that animation is only suitable for children.
TRIGGERING CHANGE
The production of the animated series not only involves behind -the -scenes activists and animators but also involves many parties, including buyers and end users, namely the audience.
In addition to the diverse tastes and perceptions of the audience, one important side is the publishers and buyers who will be posting these animated cartoons.
“We can’t control who holds the money. This is one of the constraints we face because we don’t sell directly to end users (viewers) but to producers, TV stations or partners (partners) unless we have the funds to show in public places like YouTube. , “he said
Breaking the norm of animation just for kids is also a complicated process because many still don’t know that behind the work of animation there are many dense messages that can be conveyed, for example the animation of Kring! Published by Brainy Bones Studio.
“Some people saw the story of Kring! With the children to the point of tears. This is actually very impactful but unfortunately this animation did not reach many viewers because the norm is difficult to change and requires a continuous process of initiative,” he said.
Short animated video Kring! received Best Animated Film recognition at the Du Sur Les Handicap 2020 International Film Festival in Lyon, France.
Hilmi, one of the animation activists who has been in the creative industry for eight years, thinks that producers play an important role.
They need to be more daring to produce comprehensive animated works that can be promoted on other channels like Netflix.
“But I think to get 100 per cent acceptance of cartoons not only for the children may be difficult because there will be people who continue to be influenced by the stigma of ‘what’s so great about watching cartoons’.
“But we can change in a more open -minded direction.” he said.
MORE OPEN
Chairman of the Malaysian Animation Educators Association (PPAM), Assoc Prof Ahamad Tarmizi Haji Azizan said various initiatives were taken by the Malaysian Digital Economy Corporation (MDEC) and the Malaysian National Film Development Corporation (Finas) to encourage and generate animation industry organizations in Malaysia.
“However, not many are maintaining momentum because the acceptance of the Malaysian market is not growing as in the west due to the low population.
“The demand and awareness of the community is low and the cost of making animated products is very high,” he said.
He said PPAM used the slogan “Animation For All” which meant it was not tied not only to age level but to all fields because animation was also used in other fields such as medicine and engineering.
“But it is very little explored in Malaysia. The people in Malaysia are too rigid to accept change and reform because there is too much bureaucracy. Many things cannot grow and develop.
“For me, animation education should be included in the primary school syllabus such as STEAM (Science, Technology, Engineering, Art, Mathematics) education which is also championed by PPAM,” he explained.
THE PLOT IS THE KEY
For graphic designer, Nik Mohd Hasmazi Hassan, research is an important process in producing work so as not to stray from the storyline to be conveyed.
Most stories that have a familiar storyline can be extraordinary because each focal point is studied in depth.
“Our legend Tan Sri P.Ramlee once said that the director he admired who mentored him was Akira Kurosawa – the Japanese director who produced black and white films.
“For a month I studied Akira Kurosawa’s work and now I understand why P.Ramlee considers him a mentor.
“In fact, because of Akira Kurosawa, we know who the samurai is. Only through one story,” he said in an animation education webinar session.
Nik added that scenes of violence that cannot be shown clearly can be done metaphorically to protect children while producing a clear story and dense message.
ANIMATION AS A MESSAGE MEDIUM
Watching animation is not only as entertainment and escapism, but it is able to open the space of the mind and thoughts.
Dean of Student Affairs, College of Creative Arts Studies, Universiti Teknologi Mara (UiTM) Prof Dr Amer Shakir Zainol said among others to children aged three to six years because they think using symbols and imagination.
“From a psychological point of view, animation is closely linked to children’s development. We can see the group watching this animation seems to be in an unreal world.
“In the study of psychology, there is a term we call defense mechanism or self -defense trick mechanism.
“So, sometimes to get out of a stress and problem, one will create other atmospheres and methods in the real world,” he said.
He said animation and psychology were closely intertwined coupled with the improvement of the field of animation through the sophistication of technology that could provide maximum satisfaction to the audience.
But it comes with risks.
“Animation can enhance the creativity and imagination of an audience without limits and boundaries.
“Education through noble values can be applied in a simple way such as daring to express, how to reprimand and greet,” he said.
However, excessive viewing can lead to detrimental addiction and result in immature thinking.
“It’s because the child doesn’t have mature reasoning or thinking so he makes character imitations outright.
“Once upon a time there were cases of individuals who imitated the action of a character by jumping from a tree like the action of Superman, so the concept of reasoning could not be developed well,” he said.
Meanwhile, according to the President of the Malaysian Animation Association (ANIMAS) Amer Hamzah, the open and wide presentation and presentation of stories plays an important role, apart from avoiding being too subject to one theme.
Animators need to think of effective strategies in order to produce storylines and characters that are not just focused on one target group.
This will appeal to people of all ages as well as generate a higher number of viewers.
Amer said in Japan, the animation revolution began with a culture of reading comics that sparked the emergence of animation as an innovation and added value to readers.
“When children and teenagers they read and when they grow up they watch animated series so we will have a generation that enjoys the same work from children to adults.
“For example, Ujang’s comic which was quite popular in the 80’s when his character was made into an animation and Usop Santorian series, we see his fans from children to the age of 50,” he said during an interview at the animated exhibition at the Kuala Lumpur International Book Fair ( PBAKL) 2022.
Animation activist, Ownsani Mohd Asrol Rauf said the early history of animation started from puppetry and evolved to 2D and 3D methods.
“These two mediums are capable of producing interesting and great storylines because the only difference is the production angle,” he said.
But viewers appreciate 3D animation more than 2D because 3D animation looks more sophisticated and beautiful.
“Most Japanese anime still use the 2D medium to become their trademark , but I hope the Malaysian community appreciates and supports the animation industry whether it is 3D or 2D,” he explained.
Supporting the argument, Malaysian Animation Association (ANIMAS) President Amer Hamzah said television stations and the community needed to understand and accept animation and not just focus on 3D animation technology.
“Actually 2D animation is a manufacturing method that has a high artistic value because it uses traditional methods.
Clearly, if all animations are celebrated then we have the opportunity to unearth more potential for better animation products and various forms.
source – BERNAMA
