KUALA LUMPUR: Malaysia’s communications regulator said it granted Tencent’s WeChat and ByteDance’s TikTok licenses to operate in the country under a new social media law, but that some other platforms had not applied.
The law, aimed at tackling rising cybercrime, requires social media platforms and messaging services with more than 8 million users in Malaysia to obtain a license or face legal action. It came into effect on Jan. 1.
In a statement on Wednesday, the Malaysian Communications and Multimedia Commission said messaging platform Telegram was in the final stages of obtaining its license, while Meta Platforms, which owns Facebook, Instagram and WhatsApp, had begun the licensing process.
The regulator said X had not submitted an application because the platform said its local user base did not reach the 8 million threshold. The regulator said it was reviewing the validity of X’s claim.
Alphabet’s Google, which operates video platform YouTube, had also not applied for a license after raising concerns about the video sharing features of YouTube and its classification under the licensing law, the regulator said. It did not state the concerns or how they relate to the law but said YouTube must adhere.
“Platform providers found to be in violation of licensing requirements may be subject to investigation and regulatory actions,” the regulator said.
Malaysia reported a sharp increase in harmful social media content in early 2024 and urged social media firms, including Meta and short video platform TikTok, to step up monitoring of their platforms.
Malaysian authorities deem online gambling, scams, child pornography and grooming, cyberbullying and content related to race, religion and royalty as harmful.
The companies do not publish the number of users per country on their platforms.
According to independent data provider World Population Review, WeChat has 12 million users in Malaysia.
Advisory firm Kepios said YouTube had about 24.1 million users in Malaysia in early 2024, TikTok 28.68 million users aged 18 and above, Facebook 22.35 million users, and X had 5.71 million.
Malaysia grants WeChat, TikTok licenses to operate under new law
https://arab.news/jde9u
Malaysia grants WeChat, TikTok licenses to operate under new law
- Telegram and Meta are pursuing licenses, while X and Google have yet to apply, officials confirm
- The licensing requirement stems from new legislation targeting the surge in cybercrime
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.
