Since Its 2007 Debut, Upin & Ipin Has Become More Than Just an Animated Series. It has evolved into a global ecosystem that proudly represents Malaysia.
From Disney to Netflix, from feature films to theme parks, it all stems from one core principle: telling honest and authentic local stories.
From the Small Screen to the Global Stage
Les’ Copaque has aired Upin & Ipin on Disney Channel Asia and India since 2019 and produced feature films such as Keris Siamang Tunggal, which was shortlisted for the 2020 Oscars. Malay folklore is presented with world-class cinematic treatment.
The brand’s business expansion has been remarkable: merchandise, collaborations with Japan through Ultraman Ribut, and even a global console game set to launch this June and go on sale worldwide in July. The game is a collaboration with a developer based in Las Vegas, but the entire production is carried out in Malaysia.
"The game is ready. I hired Streamline from Las Vegas on the condition that they open a branch in Malaysia. We have 100 people working on it. We control how the game is developed,” Burhanuddin explained during an interview at Les' Copaque's office in Shah Alam, Malaysia (May 8, 2025).
Read also: From Malaysia to the World: The Incredible Journey of Upin & Ipin
Theme Park & Bigger Dreams
Taking it a step further, Burhanuddin is now developing a Upin & Ipin theme park in Melaka, with an investment valued between RM500–700 million. This will mark a new milestone in expanding a local brand into the international leisure and entertainment industry.
Why Would the World Want to Buy Our Stories?
Upin & Ipin might be a local story, but its global success lies in something universally appealing: authenticity. This is the key principle he consistently emphasizes.
It’s not just about telling local stories, it’s about the entire feeling conveyed through the animation. From age-appropriate dialogue to the way characters move and interact, every detail matters.
Burhanuddin explained that classic, natural gestures of children, those unpolished, honest expressions, are actually what make Upin & Ipin characters feel so authentic and relatable, not only to Malaysian audiences but also to viewers around the world.
“These values must be protected. Dialogue must also be handled with care. This is a children’s show, so the dialogue must reflect a child’s perspective. My wife really understands this. If the story is for children, then the way they speak must sound like children, not like adults pretending to be children.”
Burhanuddin emphasized the importance of delivering humor through visuals and actions, not just through dialogue. He noted that while dialogue can lose its meaning when translated into different languages or cultural contexts, action, through movement, and face expressions, is universal and easier for anyone to understand.
This commitment to authenticity is precisely what drew the attention of major global platforms.
“I’ve said this from the beginning, we can’t compete with American animation. My animators have never even been there. How could we create American stories? Our children come from a different culture. But if we tell our own stories, village tales, folklore, something truly original, then others will want to buy it.”
It’s this commitment to authenticity that eventually caught the attention of global streaming platforms like Disney and Netflix. According to Burhanuddin, there was a moment when a Disney representative came to Malaysia after watching Upin & Ipin, expressing direct interest.
“Disney came to us, I didn’t go to them. Someone in Singapore watched it, then called me, and the next day they flew in to meet.”
Netflix also showed strong interest, even offering an exclusive deal. However, the initial negotiations fell through due to price disagreements. Yet a year later, Netflix returned—this time, without lengthy discussions, and fully agreed to Burhanuddin’s terms.
Animation Need More Than Just Creativity
As the interview came to a close, Haji Burhanuddin shared an important message for the younger generation aspiring to enter the animation industry, not just as creators, but also as entrepreneurs.
“If you want to become an animation entrepreneur, you must understand that animation requires significant capital. The biggest cost is salaries. And even once the product is finished, there’s no guarantee it will sell. There’s no guarantee you’ll break even. There’s no guarantee a TV station will buy it,” he said seriously.
However, he acknowledged that today’s opportunities are far greater than when he first started.
“Now there’s YouTube. Just try uploading your work there first. See how many people watch. If after a month there are only a thousand views, try something else. But if you get a million in just two days, then you’ve got potential.”
To him, digital platforms can serve as valuable testing grounds, early indicators of whether the content has market potential or not.
“I didn’t have that back then. Now there are many ways to test. But you also need a system to manage your team. If you want to produce 10 to 12 episodes, you must be prepared to cover nine months of salaries.”
His message was clear: the animation industry isn’t just about creating funny characters or entertaining stories. It’s a combination of idealism, strategy, patience, compelling storytelling and visuals, and the resilience to withstand economic pressures.
Read also: He Left the Oil Industry for Animation Success: The Man Behind Upin & Ipin
