The globalization era creates almost universal world with influences from many culture.
Moreover, the thesis also proposes the method of eliciting participants’ subjective perceived attractiveness and behavioral intention to explore reasons behind emerging interests and behavior toward particular visual cultures. These results explain reasoning behind the aforementioned emerging phenomenon.
We also found that manga produces consistent arousal, continually enforcing positive attitude and behavioral intention in imitating its visuals a feature found lacking within non-manga. Results showed that manga excels in term of perceived attractiveness compare to non manga and there are significant relationships between perceived attractiveness, perceived easiness and behavioral intention aspects that support the viability of the developed model within manga that leads to the imitating behavior. We then conducted exploratory experiments to assess the viability of the theoretical model by comparing participants’ subjective evaluation in term of their perceived attractiveness, perceived easiness and behavioral intention in imitating visuals of manga, non-manga and their own personal preferences. Following the social cognitive theory on self-efficacy and behavior change, we developed a theoretical model of relationship between manga’s perceived attractiveness, perceived easiness in drawing similar visuals, self-efficacy and outcome expectancy, which would lead toward positive attitude and behavioral intention in imitating its visuals. Ambivalent public reactions to wayang manga’s hybrid characteristics should therefore be understood as deeply enmeshed in histories of how mimicry, hybridity, and foreign influences are both celebrated and contested in Indonesian visual culturesĭerived from the curiosity relating the phenomenon on the emerging of Japanese manga’s influenced drawings among Indonesian youths, this thesis explores the relationship between attractive visuals appearance of manga and their subsequent behavior in imitating its visuals. In addition, I suggest that the aesthetic syncretism featured in wayang manga comics is not a new phenomenon but has been a key feature of both Indonesian comics and of traditional wayang performances throughout history. In doing so, I offer new insights into questions of social capital and changing circuits of distribution and consumption in the Indonesian mediascape, with particular focus on inter–Asian popular culture flows. This article analyses these comics and their online fan communities, exploring how artists and audiences characterise and value both the manga and wayang aspects of these hybrid forms. Since the late 2000s, the Indonesian comic world has witnessed a boom in local comics that are based on traditional Hindu–Javanese wayang (shadow–puppet) tales, yet stylistically emulate Japanese manga aesthetics.
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