The Growing World of Indonesian Comics
Wed, August 2025 00:00:00
A Podcast That Sparked Reflection
This morning, I listened to a podcast featuring Raditya Dika and Sweta Kartika, one of Indonesia’s prominent comic artists. The discussion revolved around the comic industry in Indonesia, and I was surprised to learn that it has been growing quite steadily—both in terms of creators and readers. What struck me was the debate about the medium: physical comics versus digital formats. Even within the digital space, there’s a difference between webtoons and dynamic panel comics. Personally, I gravitate towards dynamic panel comics because they resemble the traditional printed comic book format. I’ve tried reading webtoons before, but I found the long vertical scroll format less appealing—it doesn’t really feel like reading a comic, and in that sense, I share the same sentiment as Raditya Dika.
Why Dynamic Panels Matter
This preference is actually what I’m trying to bring to Nagoyaky, the platform I’m developing to digitize comics in a way that preserves the essence of printed books. I believe that the market for this will differ from the webtoon audience. For me, my journey with comics often starts with anime. I usually watch an anime adaptation first, and only afterward do I dive into the original manga. That might explain why my exposure to local Indonesian comics has been limited. After listening to the podcast, however, I realized there are many Indonesian intellectual properties worth exploring.
Discovering Indonesian Titles
For instance, I’ve come across Re*:ON*, which presents its comics in a four-panel format. Personally, I found that a bit difficult to follow because it felt too short and fragmented—almost like a quick gag rather than a story-driven comic. My only strong reference point for Indonesian comics has been Si Juki. I remember reading digital versions of Si Juki through Google Play Books, and I actually found the experience quite enjoyable. That said, I felt the physical versions of Si Juki lacked the “collectible” quality that manga or traditional graphic novels often have. Maybe that’s just an excuse on my part for not buying them, but it does reflect how presentation plays a role in making comics more appealing to collectors.
The Allure of Collectible Comics
On the other hand, H2O was a title that really caught my attention. The thickness of the book gave it a more substantial feel, and the fact that three volumes were compiled into one made it all the more enticing to purchase. I was even more drawn in because the story was inspired by the Ramayana, which gave it both cultural depth and artistic weight. Similarly, I recall older Indonesian comics that took on grand narratives like the Mahabharata, and those thicker editions felt much closer to the manga and graphic novels that I usually collect. These are the kinds of comics that feel worth keeping on a bookshelf.
Looking Ahead: A Bright Future for Indonesian Comics
Reflecting on all this, I realize that the Indonesian comic scene is full of potential. There are readers like me who prefer a format that respects the traditional comic book feel rather than following the fast-consumption model of webtoons. At the same time, local creators are experimenting with various styles, formats, and distribution methods. I think the next step is for platforms like Nagoyaky to give these creators a digital home that highlights their work in a way that feels authentic to the comic-reading experience. If done right, Indonesian comics could become not just something to scroll through, but something to treasure, collect, and revisit—just like the manga and graphic novels that have inspired generations of readers worldwide.