KUALA LUMPUR: Tech companies must comply with local laws to continue operating in Malaysia, a minister said on Tuesday, after an industry group urged the government to pause a plan to require social media platforms to apply for a regulatory license.
The Asia Internet Coalition (AIC) — whose members include Google, Meta and X — had made the call in an open letter to Prime Minister Anwar Ibrahim, citing a lack of clarity over the proposed regulations.
Communications Minister Fahmi Fadzil said the government was ready to discuss the proposed regulations with the AIC and other industry groups but had no plans to delay their implementation, aimed at tackling rising cybercrime.
Under the plan, social media platforms and messaging services with more than eight million users would be required to obtain a license and could face legal action if they failed to do so by Jan. 1, 2025.
“Big tech companies are big but our laws are bigger. If they want to operate in Malaysia, they must respect and comply with our laws,” Fahmi told reporters, adding earlier talks with representatives of social media firms on the plan had been positive.
The AIC letter, originally dated Aug. 23, was taken down from its website late on Monday. Ride-hailing firm Grab, also a member of the group, said separately on the same day that it had not been consulted on the letter’s contents.
A new version of the letter, dated Aug. 26, was later posted to AIC’s website with several sentences removed, including a reference to the government’s plan being “unworkable” for the industry.
The letter also removed a list of the AIC’s member companies, which remains available on the group’s website.
In a statement on Tuesday, Malaysia’s communications regulator said it would conduct a public inquiry and was seeking feedback on the regulation from industry players and the public.
In its letter, the AIC had said an absence of formal public consultations had led to industry uncertainty and concerns over potential unintended consequences from the regulatory license.
Tech firms must comply with Malaysia’s laws, minister says, amid backlash over social media licensing plan
https://arab.news/4vtt7
Tech firms must comply with Malaysia’s laws, minister says, amid backlash over social media licensing plan
- Government set to move forward with regulation despite request to pause on plan to license social media firms
- Google, Meta and X says proposed regulations lack clarity
To infinity and beyond: Grendizer’s 50 years of inspiring Arabs
- 50 years after its creation, the Grendizer anime series continues to capture Arab imagination
- Arab News Japan speaks to creator Go Nagai, Middle Eastern fans and retells the story behind the UFO Robot tasked with protecting our planet
LONDON: Few cultural imports have crossed borders as unexpectedly, or as powerfully, as Grendizer, the Japanese giant robot that half a century ago became a childhood hero across the Arab world, nowhere more so than in Saudi Arabia.
Created in Japan in the mid-1970s by manga artist Go Nagai, Grendizer was part of the “mecha” tradition of giant robots. The genre was shaped by Japan’s experience during the Second World War, and explored themes of invasion, resistance and loss through the medium of science fiction.
But while the series enjoyed moderate success in Japan, its true legacy was established thousands of kilometers away in the Middle East.
The anime “UFO Robot Grendizer” arrived on television in the region in 1979, dubbed into Arabic and initially broadcast in Lebanon during the Lebanese civil war. The story it told of the heroic Duke Fleed, a displaced prince whose planet had been destroyed by alien invaders, struck a chord with children growing up amid regional conflict and occupation by Israel.
Its themes of defending one’s homeland, standing up to aggression and protecting the innocent were painfully relevant in the region, transforming the series from mere entertainment into a kind of emotional refuge.
Much of the show’s impact came from its successful Arabization. The powerful Arabic dubbing and emotionally charged voice-acting, especially by Lebanese actor Jihad El-Atrash as Duke Fleed, lent the show a moral gravity unmatched by other cartoons of the era.
The theme song for the series, performed by Sami Clark, became an anthem that the Lebanese singer continued to perform at concerts and festivals right up until his death in 2022.
By the early 1980s, “Grendizer” had spread across the Middle East, inspiring fandoms in Saudi Arabia, Kuwait, Iraq and beyond. For many, it was not only their first exposure to anime, it also delivered lessons on values such as justice and honor.
Grendizer was so influential in the region that it became the subject of scholarly research, which in addition to recognizing the ways in which the plight of the show’s characters resonated with the audience in the Middle East, also linked the show’s popularity to generational memories of displacement, particularly the Palestinian Nakba.
Half a century later, “Grendizer” remains culturally alive and relevant in the region. In Saudi Arabia, which embraced the original version of the show wholeheartedly, Manga Productions is now introducing a new generation of fans to a modernized version of the character, through a video game, The Feast of The Wolves, which is available in Arabic and eight other languages on platforms including PlayStation, Xbox and Nintendo Switch, and a new Arabic-language anime series, “Grendizer U,” which was broadcast last year.
Fifty years after the debut of the show, “Grendizer” is back — although to a generation of fans of the original series, their shelves still full of merchandise and memorabilia, it never really went away.
