Dynamics of Industrial Revolution 4.0: Digital Technology Transformation and Cultural Evolution –
Wulandari et al (eds)
© 2021 The Author(s), ISBN 978-1-032-04451-4
Garudayana comic adaptation of the Mahabharata story series in the
millennial era
I.D.A.D. Putra
Telkom University, Bandung, Indonesia
ABSTRACT: Mahabharata comics, once popular in the 1950s–1970s, receded and sank in popularity because of the development of Japanese comics in the globalization era. During the sinking
of Indonesian comics, the comic Garudayana emerged as a popular Mahabharata series among
millennials. The success of these comics was due to the author’s creative process in dealing with
changes and challenges of the times. Reinterpretation and reduction of the Mahabharata story can
be accepted and represent the tastes of readers of his era. Changes that were made, such as storyline,
new characters, drawing style, and the right promotional strategies as keys to the success of the
comic. This research used a qualitative method with data collection techniques through observation
and literature study, as well as visual analysis to position the comic that can show the Mahabhatara
story values and Indonesian identity.
Keywords: comics, Mahabharata, millennial
1 INTRODUCTION
Indonesian comics triumphed in the 1950s–1970s in various genres including the puppet genre
with a comic artist named R.A. Kosasih. Kosasih was later considered the father of Indonesian
wayang comics. Visualization or character figures in the Mahabharata comic created by R.A.
Kosasih used the classic West Java Sundanese puppetry form approach, namely “wayang golek”,
“wayang wong”, and ballet. The comic artist succeeded in merging puppet comics and Indonesian
identity, which at that time were heavily influenced by American comics, with Western superhero
characters. Even so, in Indonesia at that time there were already superhero comics, such as “Sri
Asih”, which was made by R.A. Kosasih who was influenced by the American comic “Wonder
Woman” and “Garuda Putih” made by John Lo (Irena & Andri 2017).
Entering the era of globalization in Indonesia, puppet comics are no longer known. Indonesia
was flooded by the Japanese comic with its manga style. Japanese comics flooded Indonesia both
physically, in the form of books, and digitally. Manga visualization was not only popular in the
form of comics, but also in the form of animation, films, games, and other social media. This
makes the millennial generation only recognize manga visuals. The millennial generation, born at
that time, were crammed with manga visuals. They were also used to draw people at school, at
home—everywhere was manga. Manga has become a meat in their minds, who shifted the visuals
of American and European comics with their superheroes.
This development makes it appear that Indonesian comics have lost their identity and do not have
reliable comic artists. In addition, the Indonesian people themselves have underestimated Indonesian comic artists. In 2009, the comic puppet Garudayana by comic artist Is Yuniarto appeared.
It adopted the classic Mahabharata puppetry story from the first series, Adi Parwa. The story
of Garuda in its classic version was changed through a contemporary approach with a simpler
storytelling style by applying manga as a visual approach.
The Garudayana comic created by Is Yuniarto still can be said to be a success for a millennial
version of the puppet comic with various publishing media. The success of this comic artist is the
DOI 10.1201/9781003193241-48
259
Wulandari et al (eds)
© 2021 The Author(s), ISBN 978-1-032-04451-4
Garudayana comic adaptation of the Mahabharata story series in the
millennial era
I.D.A.D. Putra
Telkom University, Bandung, Indonesia
ABSTRACT: Mahabharata comics, once popular in the 1950s–1970s, receded and sank in popularity because of the development of Japanese comics in the globalization era. During the sinking
of Indonesian comics, the comic Garudayana emerged as a popular Mahabharata series among
millennials. The success of these comics was due to the author’s creative process in dealing with
changes and challenges of the times. Reinterpretation and reduction of the Mahabharata story can
be accepted and represent the tastes of readers of his era. Changes that were made, such as storyline,
new characters, drawing style, and the right promotional strategies as keys to the success of the
comic. This research used a qualitative method with data collection techniques through observation
and literature study, as well as visual analysis to position the comic that can show the Mahabhatara
story values and Indonesian identity.
Keywords: comics, Mahabharata, millennial
1 INTRODUCTION
Indonesian comics triumphed in the 1950s–1970s in various genres including the puppet genre
with a comic artist named R.A. Kosasih. Kosasih was later considered the father of Indonesian
wayang comics. Visualization or character figures in the Mahabharata comic created by R.A.
Kosasih used the classic West Java Sundanese puppetry form approach, namely “wayang golek”,
“wayang wong”, and ballet. The comic artist succeeded in merging puppet comics and Indonesian
identity, which at that time were heavily influenced by American comics, with Western superhero
characters. Even so, in Indonesia at that time there were already superhero comics, such as “Sri
Asih”, which was made by R.A. Kosasih who was influenced by the American comic “Wonder
Woman” and “Garuda Putih” made by John Lo (Irena & Andri 2017).
Entering the era of globalization in Indonesia, puppet comics are no longer known. Indonesia
was flooded by the Japanese comic with its manga style. Japanese comics flooded Indonesia both
physically, in the form of books, and digitally. Manga visualization was not only popular in the
form of comics, but also in the form of animation, films, games, and other social media. This
makes the millennial generation only recognize manga visuals. The millennial generation, born at
that time, were crammed with manga visuals. They were also used to draw people at school, at
home—everywhere was manga. Manga has become a meat in their minds, who shifted the visuals
of American and European comics with their superheroes.
This development makes it appear that Indonesian comics have lost their identity and do not have
reliable comic artists. In addition, the Indonesian people themselves have underestimated Indonesian comic artists. In 2009, the comic puppet Garudayana by comic artist Is Yuniarto appeared.
It adopted the classic Mahabharata puppetry story from the first series, Adi Parwa. The story
of Garuda in its classic version was changed through a contemporary approach with a simpler
storytelling style by applying manga as a visual approach.
The Garudayana comic created by Is Yuniarto still can be said to be a success for a millennial
version of the puppet comic with various publishing media. The success of this comic artist is the
DOI 10.1201/9781003193241-48
259