"The kingdoms fought each other for domination. The historical background allowed the producers to fit in a similar plot. That was also the time when there were major political shifts in the Nusantara kingdoms, marked by the rise to power of the Islamic Kingdom of Demak and the Hindu Sunda Kingdom’s momentous decision to move its capital to Bogor. Since in the books there are some storylines where Wiro clashes with European warriors, the sixteenth century seemed a good choice, since that was when the "spice route" that attracted Europeans to the Nusantara archipelago began. Producer Lala Timothy said the Wiro Sableng books cover many eras, but they had to choose one period for the film. The sixteenth century setting was not a random choice by the film's creators. You won’t see the whole layout in the movie, just the throne and the front yard, but that's the big concept," Adrianto said.
"The interior of the palace is more or less like the Keraton but with some Majapahit influences. The architecture of the palace, for example, is Cirebon’s Keraton Kasepuhan-meets-reimagined-Majapahit. I tried to find moves that hopefully match the jurus Bastian Tito created in the novels," Yayan said.Īlthough the film's story is set in fantasy land, the creators did take some inspirations from real life sixteenth century Indonesia. "They're West Java styles of pencak silat, but I also used a bit of West Sumatran styles. Yayan told the Jakarta Globe he didn't stick to one style of pencak silat, but combined moves from three different schools: Ciung Wanara, Panglipur and Pencak Silat Tenaga Dasar. He also plays Wiro’s nemesis Mahesa Birawa. The Raid legend Yayan Ruhian is the action choreographer for Wiro Sableng. The Indonesian influence is felt right down to the fighting scenes, since the choreography is heavily influenced by moves from pencak silat, the traditional Indonesian martial arts and a debut event in the 2018 Asian Games in Jakarta and Palembang where Indonesia made a clean sweep of the gold medals.
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