Book review: From Mouse Deer to Mouse: 70 Years of Malaysian Animation

Famously, Walt Disney once said, ‘I only hope that we never lose sight of one thing – that it was all started by a mouse’ (Lucas, 2019: 12). Implicit in these words is the idea that Disney’s success began with the character of a mouse, namely Mickey, and that its success continues to be one of the world’s greatest icons in the history of animation. The history of Malaysian animation is indebted in a similar way to the character of the mouse deer, which featured in the first animated short film in Malaysia and has since become a local icon (Harun and Abd Rahim, 2010).

Early Malaysian animation was heavily influenced by Malaysian folk tales, with tales of the Mouse Deer being the most notable among them. The first Mouse Deer short, Hikayat Sang Kancil (The Story of the Mouse Deer), made its debut appearance on television screens in 1983. This was followed by Sang Kancil dan Monyet (The Mouse Deer and the Monkey) in 1984 and Sang Kancil dan Buaya (The Mouse Deer and the Crocodiles) in 1987. These stories were incredibly successful not only because of their entertainment value but also because of their role in instilling moral and ethical values in children.

Hassan Abdul Muthalib’s From Mouse Deer to Mouse (2016) is a 12-chapter book that details the history of how Malaysian animation has evolved over the last 70 years, starting with a traditional approach, such as drawn on paper, celluloid or on glass, drawn directly on film or on scratchboard, or simply cut out of paper, and gradually moving towards computer-generated animation. This transition from traditional to digital methods is implied in the pun in the title: the ‘Mouse’ refers not to Disney’s Mickey but to a computer mouse, which serves as a symbol of the technological age. Although a clear definition of animation still remains elusive (Linares Martinez, 2015; Wells, 2011), it seems Hassan applied the broadest definition when identifying the first animation made in Malaysia, i.e. to move or change an object on the screen display over a perceptible period of time. Specifically, Chapter 1 summarizes the animation concepts, techniques and technology that have been used in the industry both past and present. Overall, Hassan adopts a first-person narrative approach in writing the book, as he was involved in the local animation industry for 45 out of its 70 years and therefore has first-hand experience of it.

Hassan begins the chronological history of Malaysian animation with the establishment of the Malayan Film Unit (MFU), a documentary film studio set up by the British in Kuala Lumpur, Malaya, in June 1946. Gillie Potter, the British filmmaker, was the first person appointed to assist in the establishment of the MFU and to train emerging local talents. With Potter’s guidance and supervision, the Art Department was formed, which went on to produce numerous title and animated sequences for the MFU’s documentaries and training films. The early animation production was limited to the titling and making of animated diagrams and maps. According to Hassan, Potter was a key contributor to the development of Malaysian animation. In Chapter 3, in particular, Hassan acknowledges the debt that the animation industry owes to Potter and details a visit that Hassan made to Potter’s production house in High Holborn, London, in 1979.

With Potter’s departure to England in 1956, Goh Meng Huat, who was recruited and trained by Potter, took over Potter’s job as the Head of the Art Department at the MFU. During Goh’s tenure there was increased interest in animated commercials, and he was responsible for all of these projects. Among the first animated commercials were a one-minute advertisement for Planta Margarine featuring an animation intercut with live action in 1955, a 30-second advertisement for the Shelltox Mosquito Repellent in 1958 and the Teapot Condensed Milk advertisement in 1964. According to Hassan, based on Goh’s role and contributions at the MFU, he can be considered Malaysia’s first animator. The story of Goh Meng Huat and other early animators who were operating before and after Independence is reported in Chapter 4. This is followed in Chapter 5 by the story of the second-wave animators, who were operating from 1960 onwards. Being a prominent name in Malaysia’s animation industry himself (see Lent, 2003), Hassan takes the opportunity in this chapter to report his own story and journey as an animator.

From 1990 onwards, Hassan explains, there were numerous efforts to create animated series by cartoonists turned animators. Indeed, this era marked the emergence of computer animation software, with Kamn Ismail fully utilizing 2D animation software to create the first animated series for television, Usop Santorian in 1995. This was followed by Anak-anak Sidek (The Kids of Sidek) in 1999 and Keluang Man in 1999, among many others. Chapters 7 and 8 focus on the development of animation during this period, particularly looking at the increase in the number of production houses and attempts to broadcast animated television series both locally and internationally. Chapter 9, meanwhile, summarizes the development of traditional and digital film titling, animation and visual effects. Surprisingly, however, Hassan omits Upin & Ipin from his history of animated television, a show that is widely regarded as the most successful and longest-running 3D animation television series in Malaysia. Upin & Ipin, released in 2007 by Les' Copaque Production, is the story of two adorable 5-year-old twins. Upin & Ipin won the hearts of people from all walks of life, appealing to audiences across different races and age groups (Abdul Ghani, 2015). The animation series was so successful that it achieved not only local appeal but also regional appeal. Indeed, if the Mouse Deer was once regarded as the icon of local animation, then the characters Upin and Ipin can now claim to hold that title.

Chapter 10 focuses on the transition from television to cinema. According to Hassan, Silat Legenda (Legendary Silat Warriors) by Hisham Harun Hashim was Malaysia’s first animated feature film in 1998. This was followed by Nien Resurrection in 2000, Putih in 2001, Budak Lapok in 2006, Geng: Pengembaraan Bermula in 2009, and others. Geng: Pengembaraan Bermula (Geng: The Adventure Begins), was the first 3D animated film and became the most successful animated film in Malaysia. Its success can even be claimed to have changed the face of the local animation industry. This was arguably because Geng: Pengembaraan Bermula was inspired by Upin & Ipin, which was already well loved by Malaysian audiences.

As an animator turned academic, Hassan brings his academic background to bear on his observations in Chapter 11, which discusses the most effective forms of animation training and, in Chapter 12, lays out his views on the future of the Malaysian animation industry. Hassan suggests that animation training should place a greater emphasis on theory, story and film language, rather than on animation technology and techniques. Controversially, this is a view that contradicts the advice of a new breed of academics, who believe that mastering current animation technology and software is just as important as mastering theory, principles and the skills of storytelling.

From Mouse Deer to Mouse is an essential reference for animation and film scholars, students, historians and producers. In particular, the book clearly shows how technological developments and innovation have influenced the animation industry in the Malaysian context. In addition to its focus on animation production, the book extensively explores the aspect of animation storytelling and will appeal to readers with interests in either or both of those areas. Finally, the book suggests a strong approach to and method of conducting animation courses and training, an important contribution given that, in an era of technological advancement, a growing proportion of the younger generation has made animation their career choice.