Designer C.Y. Tung nostalgic for East Coast

Spatial designer C.Y. Tung revisits his childhood haunts in Katong, finding inspiration in the area's blend of heritage and modernity.

- Chantal Sajan

"You can't find anything locally, but when you go overseas and win something, that's when people pay attention at home." He notes that he has an easier time submitting works to festivals in Europe, Japan and South Korea. One of his short films, Lah Bok Ki (2016), had a limited reception in Singapore until it won two awards in Japan.

The lack of local support has consequences. Animators point to cities like Montreal in Canada and Sydney in Australia, which have invested heavily in their animation sectors with grants and robust industry infrastructure.

Bandai Namco's Mr Chew says Singapore's animation industry is vastly different from Japan's. "In Japan, you could make a middling show, but it could still sell, allowing you to improve continuously. You keep doing it until you get better."

In contrast, Singapore animators cannot afford to fail. One financial misstep can lead to layoffs and studio closures.

And a rising tide lifts all boats. Japan's thriving comics and publishing industries provide ample material for animated adaptations. Combined with partnerships in the toy industry and theme parks, animators have numerous opportunities to monetise their works.

"The anime industry often adapts manga, so there's a direct connection between publishing and animation, sometimes with game tie-ins," he says. "In Singapore, all three industries are not developed."

WHERE ARE SINGAPORE'S ANIMATED STORIES?

Still, some creators persist with Singapore-infused works. Robot Playground Media produced Downstairs (2019 to 2022), an animated series about the zany adventures of stall owners at a local coffee shop.

"I wanted to create a very local animated adult sitcom. I had no hopes that it would travel very far," says Mr Han. The show is available on Netflix, but only in Singapore, Malaysia and Brunei.