UNAIR NEWS – The animated film Merah Putih: One for All has recently sparked public debate. Intended to promote nationalism and unity, the project was expected to instill pride in local animation. Yet, concerns over its visual quality—seen by many as falling short of industry standards—have drawn both praise and criticism, particularly regarding how effectively it communicates cultural messages.
Visual quality
Irfan Wahyudi, S.Sos., M.Comms., Ph.D., a lecturer in Communication Science at Universitas Airlangga’s Faculty of Social and Political Sciences, emphasized the central role of technical and aesthetic quality in any audiovisual production. He noted that the way audiences receive a message depends heavily on how it is packaged.
“Films, whether animated or live-action, must meet aesthetic standards because these influence audience perception. If the visuals fail to support the story, the intended message risks losing its impact,” he said.
According to Wahyudi, criticism of One for All is natural, given that audiences today are accustomed to global-quality animation and have developed higher expectations. “When people watch visual media, the first thing they notice is the quality of the imagery. Only afterward do they process the message. If the visuals are weak, even messages of nationalism can be overshadowed,” he explained.
Nationalist themes
Wahyudi further argued that messages in audiovisual works are inseparable from the quality of the medium itself. Just as effective writing requires refined language, he said, animation relies on strong visuals to engage audiences.
“If the visuals are strong, the message can resonate clearly. But when heroic or nationalist themes are delivered through visuals that fail to meet standards, the effect may run counter to the intended purpose,” he said.
He also noted that the public has compared One for All to other animated works viewed as more polished, underscoring the challenge for Indonesia’s animation industry to raise its standards and compete not only domestically but internationally.
Creative image of nation
Still, Wahyudi stressed that a single underwhelming production does not diminish the nation’s broader creative reputation. Indonesian audiences, he argued, are familiar with many other locally produced animations that have been developed with care and earned positive recognition.
“What matters is that we continue to learn and improve. One weak example should not be taken as representative of all Indonesian animation,” he emphasized.
He concluded that production houses should prioritize technical quality as the foundation for effective storytelling. With stronger visuals, cultural messages and nationalist values can reach audiences more effectively, while also building greater pride in local creative industries.
Author: Rosali Elvira Nurdiansyarani
Editor : Khefti Al Mawalia
