THE TRANSFORMATION OF R.A. KOSASIH'S MAHABHARATA WAYANG COMICS DESIGN: COMPARISON OF THE 1955 VERSION WITH THE 1975 VERSION

Mahabharata was an epic Hindu story that has been adapted to comics for so many times, by many comic artists. R.A. Kosasih, was one that was known for his mastery in creating Wayang Comics, and Mahabharata was his best creation. He created two versions of Mahabharata comics. The first was in 1955, published by Melodi and the second in 1975, by Maranatha. The storylines were basically the same, but there were differences not only in formats or spelling system, but in the visual narratives. The pictures in Maranatha version were designed in a more up dated style in comics. In the Maranatha version, R.A. Kosasih adjusted his drawing style like younger artist at that time. The angles of the scene drawn were more dynamic and variated. The scene itself expressed an adjustment to the lifestyles at that time. Consciously or unconsciously, R.A. Kosasih practised what a popular artist usually did: to always adapt to changes of. Even in his 56 of age he still succeeded to create another popular work.


INTRODUCTION
Wayang content is a priceless wealth in promoting cultural industry, especially in Indonesia. In this country, wayang culture reaches many regions; it has become and existed as performing arts. Apart from being a cultural product, all of them have turned into promising financial profit products for the producers, artists and the supporting parties, and the tourism conscious. The term wayang originally came from the term wayang kulit (shadow puppet) show (or leather puppet show) in Java. So there were wayang kulit puppet (leather), wayang golek puppet (wooden marionette), and wayang wong (theater, played by human actors). All of those performing arts mostly tell stories taken from the two largest known and read Hindu epics Ramayana and Mahabharata.
Komik wayang or Wayang Comic is basically a blend of two cultural domains. Wayang rooted in Asian literary tradition while the concept of comic comes from the visual culture concept developed in the western world. Wayang comic is a form of new creation based on the media of telling old stories, especially the epics Ramayana and Mahabharata. The design in terms of character appearance, setting and nature is all the result of the imagination of the stories around those two epics. These stories have gone through a number of adaptation processes, from oral tradition, written text, performing art involving the puppet shadow, wooden puppet 'puppet theatre' and wayang wong.
despite the fact that the traditional visual culture tracks are still the features of the character design. Some adaptation concept of R.A.Kosasih in designing the universe were: a. Preserving the form of specific gelung, which is the form of gelung Supit Urang. He did this because it's this form that serves as the specific feature of wayang in general and it is the characteristic of a certain character. The form of this gelung in wayang comic finally becomes the shape of a crown.
b. Simplification of complex accessories used in the wayang design in performing arts.
c. In adapting costumes it should be based on logics. The costumes in imagination should be able to support the movement of the characters. For example, by excluding the badong element as it is considered potential to disrupt the movement of the characters. d. In designing the palace form, he referred to the palaces he found in Java and Bali, for example the Yogyakarta palace, Temples, Bogor Palace and so on.
e. In general R. A. Kosasih wanted his wayang comics to have the image of Indonesia. For that reason, he always attempted to refer to other forms of arts, which he considered able to provide and support the image on his comics.
So, one of the Indonesian comic artists who are very well-known as Wayang comic creators were R.A. Kosasih. Mahabharata was one of the many Wayang Comic titles created by R.A. Kosasih (1919R.A. Kosasih ( -2012. Many created Wayang Comics based on Mahabharata, but R.A. Kosasih's was the most widely read, the most often reprinted, and already became a collective memory of a part of Indonesian readers. That collective memory about Wayang Comics was built since 1955 to the 1980s. Even though there were many other artists doing comics on Mahabharata, they all associated R.A. Kosasih with Mahabharata comics. And some teenagers in the 1990s also claimed to have read the comic Mahabharata of R.A. Kosasih. Maybe their parents bought them the comic. After a while, when I started researching Wayang comics in 1993, I finally realized that the R.A. Kosasih's Mahabharata comics they read were different. Some read the the 1955 version from Melodi and partly read the 1975 version published by Maranatha. I always thought that Maranatha simply reprinted the Melodi version that I read in the 1960s. In fact, Maranatha asked R.A. Kosasih to make a new one. So, it seems that the more senior readers generally read the 1955 version and the younger generation read the 1975 version.  Figure 1: Comparison of the size and design of the Mahabharata cover of the Melodi bundle version (above, 14.5 cm X 20.5 cm) with the Maranatha bundle version (below, 17 cm X 24.5 cm).  The Maranatah version is 20 years adrift from the 1955. There were slight differences is the storyline at the beginning and the middle. In terms of naming, the characters of the two comics are the same, only the spelling was different. The Maranatha 1975 edition already uses "EYD" (enhanced) spelling. I will discuss in this paper that there was a development in terms of visual narratives that was quite significant from the concept of comic R.A. Kosasih in the span of 20 years. I want to see more deeply the visual narrative aspects of R.A. Kosasih who made the second version at the age of 56 years still developing. Mr. Kosasih explained in an interview in 1995 that he admired the works of Teguh Santosa, the illustrator who was famous for his "chiaroscuro" inking style. So, he tried the Teguh Santosa's inking style like added more cross hatching, shading and black spaces. Changes in image style are seen not only in the Mahabharata version of Maranatha which was made back in 1975, but has been seen in the R.A. Kosasih's "Silat" genre such as Setan Tjebol, Kudjang Emas, Kala Hitam, Sariti Kucing Galak and others were published in the 1970s.

Synopsis of Pandawa Luluhur, the Melodi Version
In the kingdom of Hastina, Prabu Santanu, father of Bisma, hunts in the forest. There he met a beautiful woman named Setyawati. The prabu fell in love and wanted to make her an empress, but Setyawati was only willing if their son guaranteed to be the crown prince. These requirements cannot be fulfilled because Bisma is already the chosen crown prince of Hastina. Prabu Santanu was disappointed and when he arrived at the palace he became ill. Bisma who loved his father very much asked about the cause of his illness and the prabu finally explained about his meeting with Setyawati. Bisma then swore in front of his father not to have a wife so that when he did not become king, no descendants would claim his rights. Bisma picked up Setyawati and brought her to the palace. Setyawati eventually became empress of Prabu Santanu and had two children, Tjitragada and Tjitrasena. After Prabu Santanu died, Tjitragada ascended the throne. Shortly after Tjitragada became ill and died, Tjitrasena was replaced. In fact, even under these conditions, the Hastina state government continued to run well because Bisma controlled it. Bisma kept thinking about Hastina's future and worried about the sustain of the Hastina breed because Tjitragada and Tjitrasena did not yet have a wife.
When the Kasi kingdom held a contest to get a son-in-laws for his two daughters; Dewi Ambika and Dewi Ambahini, Bisma participated and managed to kidnap them. In the process of kidnapping the two daughters, the eldest daughter of Prabu Kasi, Dewi Amba, unintentionally carried along in the Bisma's chariot. Dewi Amba was already had a fiancée, Prabu Salwa. Bhishma corrected the error by returning Dewi Amba to the Kasi kingdom, but Prabu Salwa no longer accepted Dewi Amba as a fiancée and married another princess. Dewi Amba who was still has a grudge against Bisma went to meditate until death. In the process, the goddess Amba was promised by Betara Shiva that she would be able to avenge Bisma when she reincarnated to a person named Srikandi. Then, King Tjitrasena died. He haven't got any children. Bisma heart becomes restless again. After conferring with the queen Setyawati, Bisma decided to meet Abiasa, son of Dewi Setyawati from her previous husband, Begawan Parasara. Bisma Asks Abiasa to have intercourses with Dewi Ambika and Dewi Ambahini to get offspring. Because Abiasa's face was ugly and her body smelled fishy, Dewi Amba closed her eyes during the intercourse, so their son was born blind, named Destarata. While Dewi Ambhini's eyes widened and pale when they came in contact so that their son was pale and his head was a little to the right, named Pandu Dewanata. The queen's mother still did not feel satisfied so she asked Abiasa do an intercourse once again. The two daughters were reluctant to do. So, they asked a nanny to replace them. From the nanny born a crippled son named Yama Widura.

Maranatha Version of the Pandawa Luluhur Synopsis.
In the kingdom of Hastina, Ganggadata, prabu Santanu's son accompanied his father to hunt in the forest. There he parted ways with the group and met a beautiful woman named Dasabala who finally claimed that his real name was Setyawati, the daughter of the king of Wirata who had run away because he had been smelly. After being helped The prabu fell in love with Setyawati and wanted to make her an empress, but Setyawati was only willing if their son would become the crown prince. These conditions cannot be fulfilled because it will violate royal rules. Feeling disappointed, Prabu Santanu returned to his group. Arriving at the palace, the king was immediately ill. Ganggadata asked him about the cause of his illness and the prabu finally explained about his meeting with Setyawati. Ganggadata then swore in front of his father not to have a wife so that no descendants of him would claim for the royal throne. Ganggadata immediately picked up Setyawati and took her to the palace. After the oath, the Gods gave Ganggadata a new name, Bhisma Dewabharata.
Setyawati eventually became the consort of Prabu Santanu and had two children, Citragada and Citrasena. Both are cared for and educated by Bhishma. But only Citragada is capable of mastering Bhisma's abilities. After Prabu Santanu retreated, Citragada was made king. Citragada is arrogant and likes to fight to conquer other countries. The gods acted by sent the Duruwiksa to kill him in a battle. Citrasena succeeded him as king of Hastina. Even under these conditions, the Hastina state government continued to run well because it was controlled by Bhishma. Bhishma kept thinking about Hastina's future and worried about the survival of Hastina descent since Citrasena did not have a wife. Incidentally, the Kasindra king held a contest to get a powerful son-in-law for his two daughters; Ambika and Ambahini if they succeed in defeating Harumuka and Wahmuka. Bhishma participated and succeeded in winning against Harumuka and Wahmuka.
In the contest Bisma also defeated and killed Prabu Salwa, who turned out to be the fiance of Dewi Amba, who then demanded that she be married to Bhisma. Because Dewi Amba forced, Bhishma frightened her with an arrow that accidentally released and killed Dewi Amba. Before dying, she had prayed that his soul could again become a princess to avenge Bhishma. Then, Prabu Citrasena became ill and died. He didn't have children yet. Bisma heart becames restless again. Dewi Setyawati called Abiyasa Dwipayana, the son of the goddess Setyawati from her previous husband, Begawan Parasara. Dewi Setyawati asked Abiyasa to give children to Dewi Ambika and Dewi Ambahini. Because Abiyasa's face was ugly and his body smelled fishy, the goddess Amba closed his eyes when having intercourse, so their son was blind, named Destarata. While the goddess Ambhini's eyes widened and pale when they came in contact so that their son was pale and his head was a little to the right, named Pandu Dewanata. The queen mother was not satisfied, so she asked Abiyasa to have intercourses again. The two daughters were reluctant so they asked a woman from the sudra caste to replece them. From the sudra woman born a son with a limp leg named Yama Widura. Abiyasa's three sons were later educated by Bhishma. When they were old enough they were sent to Abiyasa's hermitage for further training until they had their respective powers.
This paper aims to describe how the differences in visual narrative between the Melodic Mahabharata and the Maranatha Mahabharata. Given the limitations of time and space, I use only the first part of the story as the subject of discussion, namely the Episode of the Pandawa Ancestors for the Melodi version and the 2nd Episode of the Pandawa Ancestors, for the Maranatha version. This first section focuses on the events of Santanu's meeting with Setyawati. The material being compared is the general picture style, depictions of scenes, and panel settings. Of the two versions, an equal scene was chosen, also with consideration of having emotions and varied mood of the story, also on things that might be interesting, which hopefully could show a bit of the concept from R.A. Kosasih. R.A. Kosasih created Wayang Comics Universe. When we create the universe or the setting of a wayang comic story, basically, it was like creating a kind of new "culture". This kind of "Culture" is a system used by actors in a story. Cultural forms are depicted by the behavior of figures, ranging from how to dress, technology, government systems and others. Also, how the actors behave or norms created were also part of the "Culture created". In comics, the "norms" usually can be read through gestures of the actor in a scene. The Mahabharata story has a fictional culture that cannot fully refer to a particular cultural or ethnic form in the world. Actors are individuals who play roles in the story. The relationship between the actors are interlocking. In the Mahabharata story, the composer of the story has a complete "family trees" between the characters. The actors have their own characteristics. The costume designs worn by comic puppet characters mostly have the same characteristics as the costume designs on the types of puppet shows. The development from the shadow puppet costume to the comic puppet costume seemed to have a straight path. The type of puppet show that arises usually shows the characters with characteristics that are identical to the characters in the puppet show people, skin or golek. Because there is a transition vehicle, it is often necessary to interpret the visual characteristics of a character to be translated into another vehicle. This interpretation, coupled with the creativity of the artists, gave birth to diverse visual forms. In this case, it was the visual and language of comics. The two sequentials both illustrate how Santanu was lost in the forest and then carried deeper into the forest to finally meet Setyawati. In Melodi, Prabu Santanu was motivated to find out who the inhabitants of the hut (which was allegedly inhabited by ascetics). He then walked toward the hut. At Maranatha prabu Santanu was attracted by the fragrance that brought her deeper into the forest and saw Setyawati bathing in the river. The first verse told us that Prabu Santanu curios for the hut and want to visit it because he thought it was the house of a hermit. While, in Maranatha version he attracted to a fragrance scent. The motivation in the first version seems to be towards something "noble", while the second gave impression of a worldly motivation Visually, the description of Maranatha looks more detailed in picturing the landscape. The picture gave impression of a broad landscape and silence nature. It seems that the reader feel the sense of prabu Santanu being alone, in serenity. The Marantaha version uses the moment to moment scene drawings techniques. The camera angle shot changed dynamically from panel one, extreme long shot, panel two full shot, panel three medium shot. Like using a zoom-in process on the camera, from the wide image narrowed, prabu Santanu riding a horse scene ito the image of Santanu sitting. After that, it was continued with 4 full shot panels depicting Santanu prabu who stood up to look for the source of fragrance. In Melodi, transition of panel scenes shot uses the subject-to-subject technique, moving from one subject to another, all of which are long shots except for the third panel depicting Santanu's Prabu thinking about using a medium shot. In the Melodi version, Setyawati is depicted fully clothed, wore kemben (javanese clothing) with tiaras, earrings, necklaces, and other accessories. He leaned on the hut with her face down, gave an impression of shyness, passive, and looks like a weak woman. This scene shows the interaction between Prabu Santanu and Setyawati that seems more polite. Female were supposed to be passive and male more active. In this cene, Prabu Santanu was interested in the beauty and gentle impression of Setyawati.

Setyawati
In the Maranatha version, Setyawati was first shown in a bathing scene in the river that was certainly not dressed, while Prabu Santanu watched from behind a tree. The scene gaves the impression that the initial attraction of Santanu's Prabu to Setyawati is based more on lust than the Melodi version that expresses admiration for the softness of character. The panel's perspective was made with the foreground of Setyawati and Prabu Santanu far behind, so Setyawati's body beauty was better illustrated. This more "bold" portrayal of change shows a development of interpretation of R.A. Kosasih. Maybe, R.A. Kosasih was aware of a shift in values in society at that time (1975). Entertainment media, including comics and the public, are more permissive about showing "bold" scenes that were previously in 1955, considered taboo. On the other hand, R.A. Kosasih is more pronounced and more specific in determining Santabu's prabu character.
In the Maranatha version, Santanu was also told to trace the appearance of "the smell of fragrance" until finally caught Setyawati bathing in the river, not "seeing the hut and interested because he suspected that it was a hermit's house". Two opposing motives. Chasing the smell of fragrance as if there is a thirst for worldliness. An interest in the hermit gives an impression about the search for spiritual things. Panel 6 Melodi depicts Setyawati who was surprised looking at Prabu Santanu in the forest, using the word balloon "OOH!" On panel 7, the camera shot from behind Setyawati's shoulder facing prabu Santanu. The looks on Parbu Santanu's face didn't show any specific expression. Like almost all panels on both Melodi pages, panels 6-7 use a "medium shot" perspective. While panel 6-7 Maranatha shows more specific expressions and gestures, especially in the prabu Santanu figure. On panel 6, Prabu Santanu stands leaned against a tree with his head bowed, and arms folded. The gesture was like showing indifferent personality, whereas before he had just peeked at Setyawati bathing in the river and he was interested in Setyawati. Setyawati passed in front of Prabu Santanu, shocked and said "IH?". So obviously Prabu Santanu is waiting for him. In the second panel, Setyawati's profile in close up perspective with the background of Santabu's prabu who paid serious attention and facial expressions that appeared "very interested". So from the two panels, it looks like R.A. Kosasih is more intensive in interpreting Santanu's prabu nature, which is portrayed through gestures and faces that are more directed towards certain expressions.
The events of Santanu's Prabu meeting with Setyawati were both described on two pages. If this page is intended to describe a romantic atmosphere, it was felt that the 1975 version was more successful in building the atmosphere.   An important moment in this episode is when Bisma (Ganggadata) vowed not to get married so that he will not have descendants that probably will demand the throne from Setyawati's descendants in the future. In Melodi, the scene depicting when Bhishma swore seemed very "flat. The oaths that was very important in the journey of Bhisma's life Bhishma (and this oath will greatly affected the course of the story) delivered like an ordinary conversation, with no face expression. While, in the Maranatha version, Bhisma's facial expressions show strong intention, strengthened with the expression lines that form the effect of light around Bhishma's head. Also, the next panel depicts lightning in the black sky that struck the earth, which further amplified the impression of how important the oath was. In the next panel (see table 2) Bhishma picyured standing and raised his hand whila taing oath. The drawing in the Maranatha panels clearly showed the changes in R.A. Kosasih's, and it was an improvement. The style added more emotions and expressions.   ) were the scenes where Bhisma arrived in a dramatic way at the contest. He rode a chariot dashingly. In the Melodi version, the chariot pictured moving towards the reader. Bhishma took control of the carriage stoutly. He wore a cape, just like a knight from the ancient Roman empires. The difference between the versions of Melodi and Maranatha, besides the point of view, is the shape of the chariot and the depiction of women. In the Melodi version Bhisma used som kind of coach (carriage) like such in Europe or ones that we can see in the palace of Yogyakarta or Solo. While in the Maranatha version, He rode an open chariot. Women's hairstyles in the Melodi version seem to follow the hairstyles of the time (the 1950s), in contrast to the Maranatha version that also seems to follow the trends of the 1970s.There is a note in the costume worn by Bhisma. In Melodi he wore a cape, while in Maranatha he did not. With the cape, Bhisma looked more like a noble knight. Also, in Melodi, the shoot was from the front of the chariot, while Maranatha was shot from behind. At this point, Melodi's Bhisma looks more dashing than the Maranatha's version. The arrival of the chariot scene, knights and enchanted women reminded me of past Hollywood films that often featured scenes of women who were also fascinated by men in sports cars. Maybe R.A. Kosasih was inspired by the film's scene. R.A. Kosasih once said that in creating chariot designs, and palace he used many references, one of which was portrayed in films about Roman culture such as the Ben Hur film. He considers the "universe" of wayang to be an invention so that it is our freedom to design visual forms. Although he uses the basic story from India, to build the universe of his puppet both costumes, buildings or objects refer to many sources, such as dancers' costumes, puppets, puppet shows, Javanese court, and temples. All of them were mixed and designed according to the aesthetic concepts that he believed in. His concepts became the basic point to be adapted by some other wayang comic artists at that time.

Notes on Melodi's and The Maranatha's Comparations
1. The angle shot of Maranatha's were more dynamic than Melodi's. The Melodi's scenes seem to be taken with a camera that positioned on an eye level.
2. Besides the angles, Maranatha pictured the scenes in a more expressive approaches through the gestures of the characters, the "light" effects on one's head and placing object that will enhance the ambience like thunder in one single panel.
3. The scenes in Maranatha's version were more detailed in telling a scene and detailed in showing the expressions of the characters. For example, it explained how first, Prabu Santanu directed to Setyawati existence after the fragrance scent. The panel also shows Prabu Santanu dazed and stood up after noticing the fragrance.
4. In line with changes in norms and value systems, the scenes depicted by R.A. Kosasih were also evolved and adapted to the changes. For example, the first encounter between Prabu Santanu and Setyawati was described on different "customs" or "norms". Maranatha's even depicted the situation like a peeping tom scene. While Melodi pictured the encounter in a more polite way, shows shyness of Setyawati when meet Prabu Santanu. 5. Just as R.A. Kosasih mentioned in the interview, he designed the concept with references from historical books, performing arts and also movies. Some scenes depicted reminded us of the life styles in the movies.

CONCLUSION
Overall, the Maranatha version shows changes in the style of the picture, the angle of the shot, as well as the expressions of the figures depicted. The pictures of the Maranatha version are more detailed, showing the use of a more bold inking technique and more cross hatched than the Melodi version. Also, borrowing the terms from photography, viewpoints that used were more dynamic than the Melodi version. Melodi use the "eye-level camera" approach and are often static. While the Maranatha version is more varied. In terms of the portrayal of character and character traits, Maranatha is more expressive, more daring to bring out the unique traits compared to the Melodi version whose portrayal of the characters is more uniform. However it cannot be said that the Maranatha version is better than the Melodi version. Each, of course, has its plus and minus. Readers attachment to their favorite version, depends on which edition was his/her first. Uutsually the firsy incised a deeper first impression than the other versions. As for myself, I still feel that the Melody version is more meaningful because it was the first version I read when I was still in elementary school so that I was already deeply impressed. The memory of happiness when we first read the comics book was the clue to our choices of the comics we love. R.A. Kosasih, as a senior in the comic scene, continued to study other successful works of his era. He studied the contemporary sequential techniques from other younger artists which he considered successful. He also absorbed the positive inputs from other entertainment products such as films. Just like any other popular cultural products, comics can show the culture in the age that the comic grew. The context of the comic visual narrative is built by utilizing the living reality around the growth of the comic. He held fast to the original story, but for the making of the (sequential) art he adapted to a style that the reader would like.
So, up until now his concept which were also resulted from many inspirations and resources still being developed by his successors. R.A. Kosasih achievement in designing his comics undoubtedly, adopted and refined by some of his successors. ideally the process will make our comics better and better.