Ejob Benjamin – Page 7 – Premium storytelling in African comics, manga and webtoon

The Five Highest-Read Comics on the Zebra Comics App in the Month of April 2023

Introduction

Zebra Comics is a digital platform that publishes African comics. The app was launched in 2022 and has since become one of the most popular platforms for African comics. In April 2023, the Zebra Comics app had over 60 thousand downloads and over 30 thousand active users less than 6 months after its release. The following are the five highest-read comics on the Zebra Comics app in the month of April 2023:

1. Kawana

Synopsis
Kawana, or Kauna, means “love” in Hausa. Ikei’s parents are constantly fighting, and she has never felt loved or supported by them. She has turned to relationships and material possessions to fill the void in her life, but these things have only brought her more pain. She is now at a crossroads, and she must decide whether she wants to continue down this destructive path or try to find true happiness.

Ikei’s story is a cautionary tale about the dangers of materialism and the importance of family. It is also a reminder that even the most privileged people can suffer from emotional pain. Kawana has been sitting at the top of the charts for over 3 months now!

Lessons
Kawana teaches readers about the importance of family love. It shows the importance of parental love and how the absence of it can destroy a family.

Credits
Kawana was written by Franklin Agogho, a Cameroonian author with several works under his belt such as the poetry anthology “Crossroad of Dreams” which he co-authored. He was also the pioneer laureate of the short story prize organized by Cameroon’s Ministry of Arts and Culture in 2016.

Concept: E.N. Ejob
Illustrations: Beti Ophélie
Colours: Achidi Ajaga
Cover art: Maitre Show

Lettering: Tamunjoh Azushi

2. City Blues

Synopsis
City Blues tells the story of Malika and Ade, a young university couple who face challenges and are divided by peer pressure and devious forces. Malika, a devout lover who stays focused and perseveres despite all the temptations around her, is pushed to the edge of compromise when something happens that threatens her reputation. Her problems interfere with her relationship with Ade as she struggles to resist the advances of rather…persistent admirers. It is not often easy to stay true to your values when life throws you curveballs, but Malika’s resolve is tested as she faces situations that challenge her values. It seems like no one is there to help her until Dijki comes into her life. But whether he is a sheep or a wolf remains to be seen.

Lessons
City Blues teaches readers about the importance of friendship, courage, and self-acceptance. It also brings out the ills of succumbing to peer pressure and the consequences it can result to.

Credits
City Blues was written by Cameroonian author, Ejob Nathanael Ejob. Despite his background in Law, EN Ejob now spends his time creating comic books of various genres. You can find other comic books by his hand on the Zebra Comics mobile app or website.

Illustrations: Maitre Show
Colours: Achidi Ajaga
Lettering: Tamunjoh Azushi

3. Anaki

Synopsis
Anaki is an Afrofuturistic comic book series about a witch tortured by the past of her forebears and hunted by a powerful religious inquisition. An ambitious project which brings you a piece of African Sci-Fi, Fantasy and Afrofuturism in ways which you haven’t seen before.

The union between randy gods and human women gives rise to the Balemba-kids with special gifts. The last of them, Anaki, struggles to survive in the face of the deadly Inquisition tasked with wiping out all evidence of the gods’ descendants.

Anaki is a powerful witch, but she is also a young woman who is trying to find her place in the world. She is haunted by the memories of her ancestors, who were killed by the Inquisition. She is also struggling to control her powers, which are often unpredictable and dangerous.

Anaki is a complex and compelling character, and her story is one of hope, resilience, and the power of the human spirit.

Special Features:

A powerful and original story about a young witch who is trying to find her place in the world.
Stunning artwork that brings the world of Anaki to life.
A unique blend of African Sci-Fi, Fantasy, and Afrofuturism.
A must-read for fans of science fiction and fantasy.

Lessons
Anaki teaches us about survival, resilience, and never giving up. The protagonist’s resolve and struggles teach us that although the journey may be tough, there’s hope at the end if we keep fighting.

Credits
Anaki is another piece from Ejob Nathanael Ejob. Anaki has seen three successful Kickstarter campaigns. All credits including writing, illustration, colouring and lettering to E.N. Ejob. You can also find it on the Zebra Comics mobile app and website.

4. Kush

Synopsis
Once in the kingdom of Kush, arose a Queen called Amanirenas. After facing great personal loss, and with the empire of Rome constantly seeking to conquer her realm, Amanirenas had to become more than just a queen. She had to become a warrior. This story is largely based on real events.

She grew up as royalty in the Kingdom of Kush. As a kid, Amani became a favourite of the gods, especially Sobek, the crocodile god of the Nile. But that did not stop certain forces in the dark from trying to usurp her position as the next Kandake (Queen) of Kush. Despite having Sobek on her side, it is not enough to counter the deep political machinations that move against her.

In this pit of turmoil, she must either solicit the help of an enemy in Kemet (Egypt) or face the crushing forces coming against her alone. She must become the Queen that Kush needs to survive.

Lessons
Kush is a story of courage, determination, and the power of faith. It is a story about a young woman who must overcome all odds to save her kingdom. It is a story that will inspire readers of all ages.

Credits
Yet another piece by E.N. Ejob. However, there were other creatives who contributed their talents to bring this story to life.
Illustrations: Maitre Show
Colours: Coeurtys Minko
Lettering: Tamunjoh Azushi

5. The Pharmacist

One of the surprises in the month of April was The Pharmacist which falls under the category Slice of Life. The Slice of Life category in the Zebra Comics digital platform contains very short thought-provoking tales. It can be likened to flash fiction in written storytelling.

Synopsis

“The Pharmacist”, is a hilarious short comic book that will have you in stitches with its comedic take on a young man’s pursuit of love. Meet Suyru, a penniless guy who encounters a major problem – a serious case of diarrhoea. In desperate need of medication, he heads to the neighbourhood pharmacy and meets the stunning pharmacist. Unfortunately for him, his quest for love is complicated by his ongoing stomach issues.
“The Pharmacist” is a short, lighthearted comedy that will take you on a journey filled with laughter and mishaps. Watch as Suyru tries his best to impress the pharmacist and win her heart, all while battling the unpredictable nature of his gastrointestinal system. This hilarious tale of love and digestive issues will leave you cheering for Suyru and his never-ending pursuit of happiness.

Lessons
The pharmacy teaches us to choose our timing carefully. If you know what I mean.

Credits
The Pharmacist was written by Cameroonian author and translator, Njoka Marvin. He has written other literary works such as “A Dame for Three and Other Short Stories”, which he co-authored with An Nina (AKA Athena) under the pseudonym Nsai Shiyki. You can find other comic books by his hand on the Zebra Comics mobile app or website.

Illustrations: Alone Legend

Colours: Coeurtys Minko

Lettering: Tamunjoh Azushi

Conclusion

The five comics mentioned above are just a few examples of the many great African comics that are available on the Zebra Comics mobile app and website. If you are looking for a fun and engaging read, I highly recommend checking out some of these comics.

May 20, 2023

The Comic Book Landscape in Cameroon

Like many places in Africa, the creation of comics in Cameroon dates as far back as the 1960s. By then, there weren’t necessarily any comic books which were filled with well thought out stories and super powered characters who chased bandits in the hot neighbourhoods of Cameroon. What was available were newspaper publications which carried satirical comics strips. These strips were usually satirical pieces of happenings within the country, political and otherwise. And many people enjoyed these pieces, providing the basis for the continuous creation of these pieces.

The post-colonial history of Cameroonian comics began with the adventures of Sam Monfong, a fearless policeman. His adventures were published in La Gazette, under the brush of the cartoonist Thomas Durand Kiti. This was the first comic book hero in Cameroonian history. But Kiti had previously published the country’s first comic strip in the same newspaper in 1974. Afterwards, he worked as a journalist for the Cameroon Tribune, the only authorised daily newspaper in the country and the quasi-official organ of the government at the time. Kiti was the first cartoonist to caricature the then President of the Republic, Amadou Ahidjo, in the newspaper Cameroun Sports in 1982. In 1986, Kiti created the African Centre for Studies and Research on Comics and Cartoons. Without financial support, the centre was closed. Other series appeared in 1975, like Le grand duel, scripted and published by Macus, in about fifty issues between July 21 and September 25 1975. Although he was one of the precursors of the national 9th art and author of the first series, Macus remains relatively unknown to the Cameroonian public.

Other artists who laid the foundation for comics in post colonial Cameroon include Lémana Louis Marie, Janvier Mana and Jean Florent Goawé (Go’away). Lémana Louis Marie created the series Pep’s ballon, which tackled various social ills of the time (corruption, the place of women, etc.) in a humorous way. Later, he animated the page Les petits desseins du sourire for ten years, undoubtedly one of the most talented cartoonists in the country. After him came Janvier Mana, then in 1988 Jean Florent Goawé (Go’away), who developed a mischievous line in a column entitled Le sourire du jour. These cartoonists laid the foundations for press cartoons and comics in the country, before the liberalisation of the press in the early 1990s.

This way of creating and distributing comics persisted right into the nineties when a unique satirical comics based newspaper was launched. LE POPOLI was unique and remains unique to this day because it was a newspaper that disseminated news exclusively with caricatures and in the form of comics. Due to its dark humour and its focus on depicting political and social figures as caricatures, the newspaper gained a lot of success from the thousands of readers it garnered during its years. Naturally, it faced reprisal from the government, but it persisted.

At the same time, the first specialised publishers of comics in Cameroon, Editions Akoma Mba, saw the light of day. They came in to fill a void in the literary landscape that was already asking for more African and Cameroonian comic books. Until now, all of what people consumed as comics came from the United States, France and Japan. Marvel comics and DC comics like Spiderman and Batman, Franco Belgian comics like Blek Le Roc and Zembla, and Japanese manga like Dragon Ball were the only comics available to Cameroonians. There were one or two comics publications about Africa like Kouakou and L’Histoire du Cameroun, but these comics were created and published by Europeans. Editions Akoma Mba therefore came in to fill a void that had been existing for quite a while.

Between the nineties and the early 2000s, there was a slowdown in the comic book production and publishing landscape in cameroon. There weren’t many creators around and publishing was still very minimal. Then, Le Collectif A3 came around. Made up of passionate youngsters who were ready to make a life out of comics, this association began creating their own comics and selling at very affordable prices to comics lovers across the country. Members like Christian Bengono, Charles Patrice Afane, Noutchaya Herve, Georges Pondy and Yannick Deubou created comics like Vie de Jeune and Bitchakala magazine. Creators like Yannick Deubou even participated in international projects like “Visions d’Afrique”, which brought together adaptations of poignant works on colonisation, published in 2010 by L’Harmattan. Also, based on a script by Jean-François Chanson, Yannick Deubou Sikoué adapted the short story “An Outpost of Progress” by Joseph Conrad which garnered so much attention on his person.

Side by side all of these, newspapers like Cameroonian Tribune and Le Popoli, and magazines like 100% Jeune continued to publish comic strips. However, the most prominent action which gave new energy to the Cameroonian comic book industry and encouraged many more creators and publishers to emerge was the Mboa BD Festival. This is a comic book and geek event created by Le Collectif A3 and aimed at promoting all that is Cameroonian comics and geek culture. The first edition of this festival took place in 2009 and since then, it has helped Cameroonians, Africans and visitors from across the world to discover new talents and awesome projects from Cameroon and beyond.

Awesome comic books and magazines like CATY by George Pondy, La Vie d’Ebene Duta by Elyons, Zebra Comics Three in One (Aliya, Totem and Tumbu), Blacktrek Magazine, Mulatako by Reine Dibussi, Djo’o Bar by Hughes Biboum, Anaki by Ejob Nathanael Ejob, Android Night by Cedric Minlo, Mulema by Maitre Show and Le Mpoue by Martini Ngola all got the chance to see the light of day and get proper exposure thanks to the Mboa BD festival. New publishers also emerged like Waanda Comics, Zebra Comics PLC and 3AG Edition, evidence that the festival brought about real rejuvenation in the comic book sector in Cameroon.

With the advent of the internet, many more comic book creators are encouraged to create and share their works with the world. On social media platforms like Facebook and Instagram, it is common to see creations by young Cameroonians and they increase by the day. Many of them have been published locally and internationally and some are also exploring new comic book formats like webtoons.

Today, publishers like Zebra Comics PLC have gone even further with using the digital sphere to create and promote their works. The company has developed a subscription based android and iOS application, and a website, and they are investing heavily in the creation of digital comics and webtoons which are based on African cultures and traditions. Users of their platforms are therefore assured constant supply of original African comics, manga and webtoons on their digital platforms.

With growing interest in African comics and content from across the world, many more Cameroonian comic book creators will emerge. There will be a visible increase in the quality of productions (both in storytelling and art) and many more people will be interested in comics from Cameroon. So, if you were wondering if Cameroonian comics were any good, you can now be assured that they are actually great. And if you are looking for where to start reading and enjoying Cameroonian comics today, you can just start HERE.

May 18, 2023

Comics and Education

Every comic book reader understands the power of a good story. But did you know that comics can be used for more than just entertainment? Comics have been proven to help children learn and retain information better in educational settings. In fact, research has found that using comics as an educational tool helps increase student engagement and comprehension while also boosting motivation levels!

In recent years, educators have begun to recognize the potential of using comics as instructional tools in classrooms. Comics provide students with a fun way to explore new topics or ideas without feeling overwhelmed by dense text. Comics provide students with visual representations of complex concepts, allowing them to better understand difficult material while having fun at the same time. The use of visuals such as illustrations and panels makes it easier for students to comprehend these concepts quickly, which increases their interest in learning more about the topic at hand. This is especially helpful when introducing young learners to difficult subjects like math or science! By leveraging familiar characters from popular titles like Marvel or DC Comics, teachers can make learning more enjoyable for their students while helping them retain information more effectively than traditional methods alone could achieve.

For older students who may struggle with reading fluency or literacy skills, incorporating graphic novels into lesson plans can make it easier for them to grasp key concepts without feeling embarrassed about needing extra help understanding written material. Additionally, many educators believe that teaching through visual storytelling is beneficial because it encourages critical thinking skills from an early age—something essential for success later on in life!

Additionally, comic book stories often feature protagonists who face challenging situations – making them perfect vehicles for teaching valuable life lessons such as problem-solving skills without being overly didactic or preachy. With its combination of visuals and narrative storytelling techniques, reading comics can help foster creativity among young minds by encouraging kids, and adults alike, to think outside the box when it comes to tackling tough problems they may encounter throughout their lives!

The above looks all rosy and full of praise. However, let’s be fair, the picture is not always entirely gleeful. Using comics for educational purposes can have its downsides, making it not always suitable for the classroom. The following are therefore some inconveniences one can experience when using comics for educational purposes.

Comics contain violence or mature content which could be inappropriate for younger audiences or certain classroom settings where such topics should not be discussed openly due to school policies or age appropriateness considerations. Additionally, graphic novels can sometimes contain language unsuitable for children, making it important that educators carefully vet any materials before introducing them into their lesson plans.

Although there are certainly benefits from using comic books in education – such as fostering creative thinking skills – these advantages might only apply if students actively engage with the text instead of simply skimming through pictures without taking time to absorb what they ‘re seeing. If this happens, then just like any other type of reading assignment, students won’t get full benefit out of studying comic book materials.

While there may still exist potential benefits from utilizing comics within academic curriculums, educators need to consider both positive and negative aspects before doing so to ensure the best possible learning environment for their pupils. Nevertheless, Comics are not only great sources of entertainment but they’re also powerful tools when used correctly within an educational setting! So if you’re looking for ways to spice up your lesson plan this year then consider adding some comic books into the mix—you won’t regret it!.

May 17, 2023

African Comics and Adaptation Rights: A Rising Trend

In the eighties and nineties, when all we had were cathode ray television sets and free satellite TV, seeing animated shows developed from African comics was as strange as watching Netflix on smartphones in the middle of traffic in a 1992 version of Yaounde, Cameroon. This strangeness had little to do with the inexistence of the internet or touch screens at the time, and everything to do with the availability and reputation of African comics in that era. To be fair, African comics have been around for as long as the existence of comics go. However, most of these publications were only available in newspapers, were hardly based on popular fiction genres and were difficult to find in bookstores, newspaper stands and every other place where comic books were sold. Apart from massive successes like Kouakou, African comics were not usually on the forefront of source materials for adaptations into animated shows. There were shows like KIMBOO and KIRIKOU, however, these were not comic book adaptations

Fast forward to the early 2000s and things begin to change. The most notable projects in the first decade of the 2000s were SUPA STRIKAS and AYA: LIFE IN YOP CITY. Supa Strikas is a pan-African association football-themed comic, about the titular football team dubbed “the world’s greatest.” Despite their enormous talent, the players must adapt in a game where being the best is only the beginning and where the opposition is always full of surprises. Aya: Life in Yop City, on its part, is a lighthearted, lively and funny retelling of life in Cote D’Ivoire in the 1970s. This African comic book series, created by Marguerite Abouet, was first published in 2005. Recounting the adventures of the despicable Aya alongside her adventurous friends and highly dysfunctional family, this comic went on to win several prizes amongst which was the Prize for First Album at the 2006 Angoulême International Comics Festival. The popularity and ultimate success of this excellent comic naturally led to its adaptation into an animated film. The film was released in 2012 and, like its source material, it was a great success.

SUPA STRIKAS and AYA OF POP CITY ultimately opened the eyes of the world to the exotic nature of African storytelling and this saw the rise of many more animated shows based on African cultures, traditions and characters. Notable mentions include Black Panther, Magic Cellar, URBO: The Adventures of Pax Afrika, Tinga Tinga, Munki and Trunk, Bino and Fino, Super Sema, The Adventures of Noko Mashaba and Tales Of Africa: Papa Nzenu Conte L’afrique. Before we go any further, however, it is important to state here that despite all the influence and exposure that it brought to African content as a whole, Black Panther will not be considered as an African comic book adaptation. This is because, even though its themes and characters are African (like The Lion King), it was not created by Africans. That aside, it is clear from the above that there has been an upsurge in the interest in content that is from Africa.

Today, mega entertainment studios are interested in exploring African content in a big way. Apart from Black Panther that took Afrofuturism and African culture to a whole new level, there are movies like The Woman King which have seen great success as far as box office numbers are concerned. All of these successes have pushed these companies to look even further towards Africa and the results of this interest are quite interesting.

Even though it is not typically drawn from a comic book, the animated series IWAJU which is currently being developed by Disney and Kugali Media, is one of the recent big adaptation deals signed between a mega studio and African creators. This deal is particularly important because it is the first of its kind in a world where most of what is dished out to Africans as entertainment is created and distributed by the west. And, yes, we will consider this because it is the creation of Ziki Nelson of Kugali media, a purely African comic book publisher.

After Kugali Media, came the turn of YouNeek Studios. Founded by Roye Okupe, this independent comic book publisher has created and published some of the most iconic African comics out there. Stories like Malika: Warrior Queen, EXO: The Legend of Wale Williams and Iyanu: Child of Wonder have entertained and wowed comic book fans from different parts of the world. This brilliant use of African storytelling in comics has not just earned the studio the admiration of fans, but it has also earned them great adaptation deals for their stellar content. In 2022, Iyanu: Child of Wonder was greenlit for an adaptation into an animation series by HBO. This is another big win for African comics because this is a purely African story which celebrates African cultures and thereby innovates deeply in a market which is almost void of productions like these.

The most recent African comics adaptation deal was sealed between Comic Republic and Universal Studios in 2023. Comic Republic is a Nigerian comic book studio that has worked hard on the creation and promotion of African comics for so many years. On their website and android application, they have published mostly African superhero based comics for free, entertaining millions of fans across the world. This deal sees Universal studios take on the task of bringing Comic Republic’s complex web of superhero characters to life in animated series which Africans and fans of comics across the world cannot wait to see.

So, what does all this mean for African comics creators? Simply put, it means that, more than ever before, African content is at the forefront of entertainment today and African comics constitute a pool from which to draw undiscovered gems for the creation of top notch entertainment products. The focus of this article may have been on animated shows, but the possibilities are wide. Mega entertainment companies haven’t yet scratched the surface of what is potential as far as African content is concerned. They may be developing animated shows today but this can quickly evolve to video games, movies, merchandise etc. So, if you are an African creator and you have a great story to tell, now is the time.

May 12, 2023

Jemiro: The New Afrofuturism Title on the Zebra Comics App and Website

If you are a fan of African comics, then you should be excited: Zebra Comics just released its new Afrofuturism and fantasy title called JEMIRO. As popular as Afrofuturism is, there aren’t enough comics based on this genre from the African continent. African creators are very interested in fantasy, sci-fi, politics, slice of life, thrillers and romance, but not many are producing Afrofuturistic stories for African readers. Created by Ejob Nathanael, written by Franklin Agogho and illustrated by Bryan Bantar, JEMIRO is therefore a breath of fresh air in a space where there is so much potential for awesome Afrofuturistic stories. As a reminder, Afrofuturism is a cultural aesthetic, philosophy of science, and history that explores the intersection of the African diaspora culture with science and technology. It addresses themes and concerns of the African diaspora through technoculture and speculative fiction, encompassing a range of media and artists with a shared interest in envisioning black futures that stem from Afro-diasporic experiences. It comprises cultural production and scholarly thought—literature, visual art, photography, film, multimedia art, performance art, music, and theory—that imagine greater justice and a freer expression of black subjectivity in the future or in alternative places, times, or realities. It also offers speculation about a world wherein black people are normative. Afrofuturism can also imagine dystopian worlds to come, with contemporary injustices projected into, and often intensified in, the future. While Afrofuturism is most commonly associated with science fiction, it can also encompass other speculative genres such as fantasy, alternate history, and magical realism. Afrofuturism is therefore a very important genre in artistic creation. This brings us to the question: how is Jemiro Afrofuturism and what is it all about?

PLOT

For starters, the title JEMIRO was taken from the Amharic word “Jemiri” which means “begin.” The story of JEMIRO is therefore based on the notion of beginnings. The events in this story take place one million years ago and during this time, a planet called Wongan is dying. A geological phenomena where the planet’s sun is pulling the planet to itself is occurring and its occupants have no choice but to leave. The issue, however, is that they do not have the technology to evacuate the eight hundred million inhabitants of the planet, thereby forcing them to send just two people (Tai and Nika) who will ensure the continuity of their race. With just a glimpse of the new world where these two will land, Tai and Nika are therefore sent off into deep space. Their journey brings them to our planet, Earth, in the era of pangaea. Tai and Nika will therefore have to survive this new world which is inhabited by humanoids who look very much like the envoys from Wongan and who are in the middle of a crisis caused by the disappearance of a very valuable resource called Milk Rain.

SETTING

As already mentioned above, the events of this story take place in two principal locations: the planet called Wongan and our dear planet, Earth. Wongan is the representation of technological marvel. The advances in transport, computing, security and medicine are clearly evident when one looks at the beautiful illustrations of this comic. The system of government is also sophisticated, making it the adequate source of conflict that is prominent in the story. Wongan is a technological marvel but, like Earth, it is a place of class distinction: the haves and the have nots live in two different worlds. Made predominantly of hills and mountains, Wongan presents a unique setting where science, politics and fantasy play in tense and exciting ways. All of this is spiced with the noticeable presence of African-inspired architecture, clothing, weaponry and traditions, making it Afrofuturistic. On the other hand, our planet Earth in this story takes us back to a million years in the past. To make things fresh, Jemiro presents a version of earth that is inhabited by beings who look very much like humans (with minor differences), who live in African inspired houses and who practice cultures that are very traditionally African. This therefore makes the newcomers from Wongan to look more human than the human beings on earth, putting an interesting spin on the origins of mankind.

CHARACTERIZATION

Jemiro packs a long list of very interesting characters. The main characters in the story are Deaconess Tomaino, Tai, Nika and Bram. Each character is developed in such a way that their arcs bring so much to the overall story. Deaconess Tomaino is the ruler of Wongan who has to deal with the difficult situation of saving her people by letting almost all of them die. Tai is a recalcitrant wannabe superstar who is forced to embark on the journey to Jemiro for the sake of the survival of his race. Nika is a quiet and nerdy scientist who is also obliged to go on the journey to earth with Tai and become his partner, even if she is not in love with him. Bram is a poor farmer whose son is dying and who will do anything, even defying order, to save his son. The characters in this story are so dynamic and their arcs fit very well into the entire story, making it a must read.

STYLE

At the base, Jemiro is a science fiction and fantasy story and many of the tropes you will find in stories of these genres are present. High tech, political intrigue, mythical creatures, magic, stylized costuming and strong dialogue are all present in this story. The story particularly shines when it comes to the interactions between characters. Dialogue is crisp and crafted in such a way that character traits shine very brightly. Jemiro, therefore, is not just beautiful to look at, but it is also interesting to read.

CONCLUSION

Like many Afrofuturistic comics and graphic novels out there, Jemiro presents a futuristic and fantasy world where people of African descent are fighting to change their fates within a difficult world. This foundation is made rich by a great story, beautiful settings, intriguing characters and posh style which naturally makes for a great read. Jemiro is truly a breath of fresh air in the afrofuturism comics space. You can read Jemiro now on the Zebra Comics App and Website.

March 30, 2023

Mythical Creatures: A Glance at Africa’s Folklore Repertoire

African folklore is rich with tales of mythical creatures that have both fascinated and terrified people for generations. From fierce, fire-breathing dragons to mischievous tricksters, these creatures have played a central role in African storytelling, serving as a way to explain natural phenomena, teach moral lessons, and provide entertainment. In this article, we will take a look at some of the most fascinating creatures in African folklore, delving into their physical features, where they come from, and what they do.

1. Mami Wata

Mami Wata is a water spirit found in West and Central African folklore. She is depicted as a mermaid-like figure with a fishtail, long hair, and a snake-like body. Mami Wata is known for her beauty and seductive powers, often tempting men with her charms. She is also believed to have healing powers and can bring wealth and good fortune to those who worship her. However, Mami Wata is also known to be vengeful towards those who disrespect her or fail to fulfil their promises.

2. Kongamato

The Kongamato is a pterodactyl-like creature supposedly living in the Congo, Zambia, and Angola areas of Africa. The locals describe it as a reddish lizard with membranous wings, sharp jagged teeth in its beak, and a wingspan ranging from 1 to 5 metres. It is notorious for dive-bombing the canoes of the natives, capsizing or breaking them. While its diet consists mostly of fish, the Kongamato will have no problem attacking humans. According to legend, Kongamato will dig up human graves and eat rotting corpses.

3. Tokoloshe

The Tokoloshe is a small creature of Zulu legend, resembling a distorted child with rotting flesh. It is created when a shaman takes a fresh human corpse and removes its eyes, brain, and tongue with a hot poker. Once prepared, the shaman brings the creature to life with magic powder. The creature serves its master by terrorising those who have wronged them, scaring children or animals, destroying property, ruining crops, killing livestock, and even causing illness and death. A Tokoloshi can make itself invisible by drinking water or swallowing a pebble, adding to the confusion it causes. To see a Tokoloshi is deemed a bad omen, but to tell someone they have seen one is to invite retribution. It is said that only a person of great faith, like a shaman or priest, can stop the creature entirely. Raising a bed on bricks is believed to protect a person from a Tokoloshi.

4. Ninki Nanka

The Ninki Nanka is a fearsome dragon-like creature said to live in the swamps and rivers of West Africa. It has a long neck and a head like a horse, and it is covered in green scales. It is believed to have the power to control the weather, bringing lightning and thunderstorms when angry.

5. Adze

The Adze is a vampiric firefly-like creature from the Ewe people of Ghana and Togo. It is said to transform into a human and prey on children by drinking their blood. The Adze is also believed to be responsible for causing illnesses and deaths in the community by spreading disease and stealing life force. The Ewe people believe that the Adze is actually a human being who has been cursed to become a vampire-like creature. They can only be killed by driving a nail into their head while they are in their human form.

6. Nandi

In Kenya, there exist legends among the Nandi people of a creature called the Nandi bear. These creatures were said to stalk unwary people and animals and kill them via scalping with their claws and eating the brains of their victims. Descriptions of the Nandi bear tend to vary; most agree that it is a large beast with long claws, high shoulders with a sloping back, and the ability to stand on its hind legs, similar to a blend of a bear and hyena. Other features that have been listed include hyena-like fur, six digits on each paw, and even a single eye like a cyclops. Like Bigfoot in North America, Nandi bears are believed by many to be real creatures, perhaps even survivors from the ice age hiding from the world as cryptids.

7. Impundulu

The Impundulu, also known as the Lightning Bird, is a mythical creature from the tribes of South Africa. According to legend, the Impundulu is a creature that can summon thunder and lightning with a beat of its wings. Men only see the Impundulu as lightning in the shape of a bird, while women see it as a black-and-white hammerkop the size of a person. It is also a vampiric creature with a deep love for blood and can transform into a handsome man to seduce young women. The Impundulu is usually the familiar of witches and witch doctors and is passed down through a witch’s family from mother to daughter.

8. Grootslang

The Grootslang is said to take the form of a humongous serpent with the head of an elephant with great fangs coming out of its mouth. Additional descriptions have the legs of an elephant coming out of the front and back of the Grootslang’s serpent body. According to legend, the Grootslangs were one of the first creations of the gods, but the gods made a mistake. They made the Grootslangs too strong and smart and extremely cruel. The Grootslangs went on a rampage, destroying and devouring everything in their path. Eventually, the gods had enough and decided to destroy the Grootslangs by cutting them in half, thus creating the first elephants and the first snakes. But legend has it that one Grootslang was able to get away and then made its home in the Wonder Hole. There it hides, hoarding diamonds and precious jewels while it devours elephants it lures inside its cave. Anyone foolish enough to enter is never seen ever again.

9. Were Hyena

One of the most famous creatures from African mythology is the Were Hyena. This creature is similar to the werewolf but transforms into a hyena instead of a wolf. In some myths, they are able to transform at any time and don’t require a full moon. They are usually solitary creatures with a gluttonous appetite and have a talent for luring people away from their homes by calling out with human voices. Blacksmiths were also thought to be Were-Hyenas due to their skills in fire and metal.

10. Jengu

Jengu is a water spirit found in West and Central African folklore, particularly in Cameroon. It is often depicted as a mermaid with long hair and a fish-like tail. Jengu is known for its healing powers, particularly in relation to women’s health issues. It is believed that it can only be seen by those who are pure of heart and that it can bring good fortune to those who honour it.

11. Kishi

Kishi is a two-faced creature from Angola, Africa. At first sight, Kishi seems to look like an extremely handsome man with a charming personality that lures people in. However, when the person turns their back, Kishi’s face changes to that of a wild animal. Kishi is also known for being a shapeshifter and can transform into other animals.

12. Dingonek

The Dingonek is a creature that is said to live in the rivers of western and eastern Africa it’s described as a cross between a sea serpent and a leopard with a body that is 7 to 10 metres long it has a flat head like a crocodile with sharp curved teeth and small ears it’s said to have dark shiny skin and is covered in scales the Dingonek is a solitary creature that is known for attacking and killing hippos as well as humans who venture too close to its territory.

13. Amphisbaena

The amphisbaena is a creature from the mythology of ancient Egypt and Greece but it is also found in the folklore of Africa it’s a two-headed serpent with a body that is covered in scales and can range in length from a few feet to over 60 metres long the amphisbaena is said to be incredibly fast and agile and it can move in any direction making it difficult to catch or kill according to legend the amphisbaena has a venomous bite and its blood is said to have healing properties.

And that’s the end of our list. It would be a stretch to try and cram all these creatures in one article. Nonetheless, if you’re ever in need of a creature for your story or whatever, you know where to look.

March 30, 2023

Are Comic Books Literature?

For some time now, there has been a debate about whether comics can be considered as literature or not. Given that comics make use of images to tell stories and target an audience which is less inclined to consume voluminous books full of text only, comics have usually been considered as a lower artform. Worse of all, the characters and themes which comic books usually treat are predominant in popular culture and not really in academic settings, making many to regard it with less consideration. So, the question here is: can comics, which are a unique art form that has been around for decades and continues to gain popularity in today’s culture, be considered as literature? Is it really fair to include them in the same category as classic novels? Well, to answer this question, it is important to spell out what literature is in the first place.

What is Literature?

Literature is defined as “written works, especially those considered of superior or lasting artistic merit” or “any collection of written work, specifically considered to be an art form, especially prose fiction, drama, and poetry. Literature is a method of recording, preserving, and transmitting knowledge and entertainment, and can also have a social, psychological, spiritual, or political role.” Going by these definitions alone, one can comfortably say that comics can be considered as literature because they contain writing which has artistic merit and they incorporate different forms of literature like prose and poetry. This is true of most comic books out there, even though many still argue that comics cannot be put on the same pedestal as novels. If you are one of such persons, we will take this debate a little further for you, by looking at the characteristics of literature. This will help us pinpoint elements of literature that are present in comics and which make comics an undisputed part of literature.

Characteristics of Literature

Its focus is on the conscious, deliberate use and arrangement of words. Any piece of literature, like novels, should contain a deliberate use and arrangement of words so that they sound interesting in narration and in verse.

Its purpose is to entertain and to give aesthetic pleasure. Novels and even poems usually tell a story or present characters or situations in ways which are usually entertaining to the reader. If the entertainment aspect is taken out of the equation, then it is not literature.

It is usually fiction that displays a sense of reality. Not all literature is fiction but most of it presents fictionalized versions of real life in a bid to plunge the reader into an experience that is usually memorable and unforgettable.

It contains tension or conflict. In a previous characteristic, it was made clear that literature involves the telling of stories. These stories always contain conflict or tension and this is what procures the entertainment in the piece of work, keeping consumers glued to it to the very end.

It sustains artistic unity. This means that usually, in literature, a main idea is conveyed. There may be minor themes but all of them usually lie on a main theme that runs through the piece of work.

It contains figurative language. Usually, in literary pieces, there is the use of similes, metaphors, irony, symbolism, analogy and many other devices that help render the work beautiful.

Literary texts or stories are usually written in first-person, second person or third-person pronouns. This evokes a speaker who is talking to the reader or consumer about the contents of the piece.

Literary works always make use of Style. One of the fundamental ways through which one can separate literature from normal text is through the use of style. The piece can be informal, colloquial or even vulgar in tone so as to sustain a certain mood or tone within the piece. Writing that is void of style can hardly be entertaining and when there is no entertainment, there is no literature.

So, after reading the above, can one still consider comics to be literature? The answer is a resounding yes! Comics can absolutely be seen as literature. Just like any other form of writing or storytelling, they have the potential to evoke emotion and inspire thought-provoking conversations about various topics—all while entertaining readers along the way. Writing in comics is focused and deliberate, it is entertaining, it contains fiction, there is always conflict therein, it sustains artistic unity, it contains figurative language, it is written in first, second or third person, and it makes great use of style to tell memorable stories. Added to that, many comic books contain complex plots with interesting characters that add depth and dimensionality to their stories—qualities commonly found in literary works of fiction too.

At its core, good literature should captivate an audience through vivid details and creative expression; something which comics do exceptionally well thanks largely due to their visual nature combined with carefully crafted dialogue between characters (not forgetting sound effects!). This combination allows creators far more freedom than traditional prose writing when it comes to conveying meaning behind each panel or page turner – making every issue feel fresh even after hundreds of rereads!

So, the next time someone questions whether your favorite superhero series belongs on par with great novelists such Shakespeare or Tolstoy– you know what answer you need to give: Absolutely YES!!

March 9, 2023

The Life and Work of an African Comic Book Colourist: An Interview with Coeurtys Minko

In many African countries, there are certain occupations that are usually so obscure that many do not consider them as “real” occupations. One of such occupations is that of the “Comic Book Colourist.” Actually, the comic book industry in Cameroon and Africa is not yet as developed as it is in North America, Europe and Asia. So there is a tendency of considering everything that surrounds the domain of comics as not very important or of little value. In this blogpost, we will take a deep dive into the life and work of someone who spends his nine to five working as a comic book colourist and discover what it means to do this job in an African country like Cameroon. We will therefore be talking to Coeurtys Minko and, from him, we will discover what his life as a comic book colourist looks like.

Zebra Comics Blog: Hello. Thank you very much for accepting to talk to us about your experiences as a Cameroonian comic book colourist. For starters, can you tell us a bit about your background and how you got into the comic book industry?

Coeurtys Minko: Thank you! Coeurtys Minko is a Cameroonian artist who was trained and has worked solely in Cameroon. My journey as an artist started out at the Institut de Formation Artistique at Mbalmayo where, after three years of study, I graduated with a Baccalaureate Artistique certificate, with painting as my major. From there, I spent three more years at the Libre Academie des Beaux Arts (LABA) in Douala, where I graduated with a Bachelor’s Degree in Multimedia Graphic Design. After obtaining my first degree, I worked briefly as a graphic designer for some private enterprises before I joined Zebra Comics PLC in 2022. Actually, as far as the comic book industry is concerned, Zebra Comics PLC is the company that exposed me to this domain.

Zebra Comics Blog: What inspired you to become a colourist for comic books?

Coeurtys Minko: It is true that before joining Zebra comics, I did not have prior experience as a comic book colourist. However, I am a trained painter, digital painter, illustrator and graphic designer and so it was not difficult to wear the hat of the comic book colourist. I have always loved colours and so I will always be drawn to anything that gives me the opportunity to play with them. I guess what I am saying is that my love for colours inspired me to become a colourist for comic books.

Zebra Comics Blog: How would you describe your role as a colourist, and what does a typical day look like for you?

Coeurtys Minko: The role of the colourist is to complete the illustrations done by the comic book inkers, by making the decision on the choices of colours to use to make these illustrations come to life on the page. This also means that the colourist has to determine the tone of the comic and make sure that the right mood is sustained throughout the story through lighting and shadows.

As far as my typical day is concerned, it usually begins at 4am. I wake up, do a few push ups, meditate for about an hour, take a bath and, by 6am, I leave for the office. At the office, I quickly install myself and get to work. On a normal day, I start off by reading the script of the comic book pages I have to colour so as to have a good idea of the setting, characters and action in the story, which will guide me on the colours to choose for the pages I have to colour. After reading the script and getting a good idea on the colours to use, I immediately get to work, colouring the illustrated comic book pages. I do this until the close of work, which is at 5pm. By then, I should have been through with my tasks for the day. I then work on other personal projects for about two more hours before I leave the office for my home.

Zebra Comics Blog: What tools and software do you use to colour the comics, and how do you decide on the colour scheme for each panel or page?

Coeurtys Minko: Generally, in my daily work, I make use of tools and software which are usually used by graphic designers, illustrators and colourists across the world. At Zebra Comics, all artwork is produced digitally, so I work with a PC, a graphic tablet and dedicated software for illustration and colouring. As far as software is concerned, I use Adobe Photoshop and clip studio. There are quite a good number of other softwares which graphic designers and colourists use, however, I use these two for my work. And when it comes to deciding which colour scheme to use for each panel, I begin by reading the script of the comic I am working on. I study the characters, settings and actions and, based on what is presented in the script, I choose a colour scheme that will best portray what the scriptwriter put on the script. In some cases, the script can provide precisions which are easy to execute. For example, details on the eyes, skin colour, clothes, environment etc. However, in cases where precisions are not made in the script, I decide based on the character types, genre of the story (fantasy, science fiction, slice of life etc) and the target audience (for adults, men, women, kids etc) to get a colour scheme that best works for the pages I have to colour.

Zebra Comics Blog: How do you collaborate with other members of the creative team, such as the writer, penciller, and inker, to bring the comic book to life?

Coeurtys Minko: Well, it all starts with the scriptwriter. Given that he or she is the one who crafted the story, I start by getting in contact with him or her and we have a discussion on the story, its characters, setting and general mood. During our discussion, I ask questions so as to grasp his or her vision since this will enable me to colour the illustrations in a way that brings the story as close to life as the scriptwriter imagined it to be. Side by side with the scriptwriter, I also talk with the creative director. He provides the general artistic direction which gives all artwork produced in the company a signature look and helps readers identify Zebra Comics’ works whenever they come across them. I therefore take his recommendations into consideration before I begin to colour illustrations. As far as pencilling and inking are concerned, note that I double as an illustrator and an inker. So, I do inking for much of the work that I colour. However, if there is another penciller or inker, all I do is that I make sure that I have a discussion with him or her to ensure that the pencilling and inking is done in such a way that will permit the colouring to shine. In a nutshell, I will say that comic book production is a highly collaborative process, especially in an industrial setting like Zebra Comics PLC. There, we have to constantly be in discussion with everyone so as to produce the best comic book possible.

Zebra Comics Blog: Can you talk about a specific project that you worked on as a colourist that you are particularly proud of?

Coeurtys Minko: Sincerely, I will say that every project that I have worked on is important and very dear to me. It is difficult to pick out a particular project and say that it is the best work I have produced. Nevertheless, if I have to absolutely pick out projects where I excelled as a colourist, I will say KUSH, MANCRAFT and THE PATRIARCH DAMO are projects I am particularly proud of. I had great experiences with these projects and they helped me discover aspects of my craft that I didn’t know existed. However, I still believe that every artist is proud of his work, irrespective of how these pieces look and the experiences he had with them.

Zebra Comics Blog: What challenges have you faced as a colourist, and how have you overcome them?

Coeurtys Minko: Well, it has not really been challenging working for Zebra Comics. However, I will say that before I started work with Zebra Comics, I had never worked in an industrial setting. Here, deadlines are very important and that wasn’t something I was used to before I worked for Zebra Comics. I always thought that every artist had to take the necessary time to fine tune his or her work before the world sees it. So, I struggled in the beginning as I found it hard to deliver a certain number of pages every day. With time and with the tools made available to me, I learned how to work faster and so this is no longer an issue.

Zebra Comics Blog: In your opinion, what is the most important aspect of colouring a comic book?

Coeurtys Minko: First all, every colourist should be able to communicate with the different actors in the creation of the comic book. However, to be specific to the art of colouring, I will say that it is very important for every colourist to be able to bring out emotions through colour. This is because colour gives life to illustrations and helps communicate information to the reader. It will be unforgivable for a comic book colourist to use dark and sombre colours for a children’s comic book that is supposed to be vibrant, and that is expected to communicate happiness or joy, for example. So, it is very important for colourists to study the scene on a comic page so as to produce the right emotions expected from a comic book page.

Zebra Comics Blog: What advice would you give to someone who wants to pursue a career in comic book colouring?

Coeurtys Minko: Well, for any aspiring comic book colourist, the best advice I can give is that he or she should have a solid visual culture. What I mean by this is that they should be very observant about the colours around them and they should consume a lot of comics, animated shows and even movies because these usually have a lot of colour. The golden rule in this trade is that you cannot colour what you have not seen. They should study nature and how light rays behave in different settings. It is only by being very observant and trying out what you see that you can be a great colourist.

Zebra Comics Blog: Finally, what are your future plans as a colourist, and what can readers expect from your work in upcoming comic book projects?

Coeurtys Minko: For the future, I will just say that I will like to continue working as a colourist for comics for as long as possible. While doing that, I will grow and become even more apt and dynamic in my craft by producing beautiful colours for comics, manga and Franco Belgian comics. With this, readers should naturally expect great work. Work that will keep their eyes glued to the final products, given that I am always meticulous with my work and I always work hard to produce high quality results. Also, I would like to work on personal comics projects (given that I also double as an illustrator) and provide comic book fans with quality work at the level of illustrations or colours.

So, there you have it. Did you learn something about the life and work of a comic book colourist after reading this blogpost? Were there things which could be better said? Leave your thoughts in the comments section. You can follow Coeurtys Minko on Facebook and Behance.

March 7, 2023

Are Comics For Kids Only?

It may seem understandable that stories that are told with the use of images are stories meant for people with a lesser mental capacity who cannot cope with other forms of literature like novels or poetry. It is even more so because the word comics comes from the word “Funny” which points at the lighthearted and playful nature of the stories told in comic books. Comic books have long been associated with children, but with the developments witnessed in the creation of comics, embracing both lighthearted and dark themes, the truth is that comics can be enjoyed by people of all ages.

In the early years of comic book publishing, comics were usually used for comic relief and so attracted children more. If we add other formats which are close to comics like illustrated books for kids (Cinderella, Pinocchio, The Lion King, Aladdin etc), we quickly understand why comics have been often mistaken to be a medium reserved for a particular category of people. While there are certainly some comic book titles meant specifically for kids, there’s a wide variety of adult-themed stories and artwork available in the medium as well. Whether you’re looking to explore an exciting new genre or simply want to revisit your childhood favorites, here’s why comic books are not just for kids anymore.

For starters, many adults may find themselves drawn to more mature storylines than what they read as children—and thankfully comics offer plenty of those options too! From gripping thrillers like The Walking Dead and Preacher, to darkly humorous takes on superheroes like Batman: Year One, there’s something out there sure to pique any reader’s interest regardless of age. And don’t forget about classic titles such as Watchmen or Sandman —stories that have stood the test of time due to their incredible depth and complexity which only adults can truly appreciate fully. There are also many graphic novels available that explore topics from history (Maus) to classic literature (The Great Gatsby: A Graphic Novel). These types of stories allow adult audiences access into worlds previously unexplored by traditional mediums like film/TV due mainly to their unique visual storytelling capabilities. This also allows creators much more freedom in terms of formatting & structure when compared against other mediums — allowing them greater control over how they want their story told while keeping it engaging at the same time! These and more are clear evidence that comics have evolved greatly to incorporate adult stories and are not just for children.

Of course it goes without saying that certain adult-oriented content isn’t suitable at all times (or even appropriate) for younger readers. However this doesn’t mean older fans should shy away from exploring these darker themes either. In fact many publishers actually designate different age ratings on their products so parents know exactly what kind material is being consumed by whom – allowing everyone involved to make informed decisions when choosing which titles best suit their individual needs .

Fortunately though, there’s no shortage of kid friendly options available ranging from classic superhero adventures like Marvel’s Spiderman or DC’s Superman series through more modern offerings such as IDW Publishing’s My Little Pony: Friendship Is Magic lineup. All-ages titles like Archie Comics and Disney Comics provide fun stories with lighthearted characters who can easily connect with their audience. These books are perfect introductions into the world of comic books as they’re easy enough for kids to understand but still contain plenty of exciting action and adventure! So, no matter what kind of story your little ones enjoy most, you’ll be sure to find something perfect for them. You can also check out good recommendations among our vast selection HERE!

At its core though, reading comics remains one of the most enjoyable pastimes no matter how old you happen to be! With a range of genres encompassing everything from sci-fi, fantasy, horror, romance, drama, crime, political satire, historical fiction and much more, finding a perfect title couldn’t be easier today! Plus, thanks to the recent surge in popularity of print and digital formats alike, no matter your age group – whether you’re an 8 year old just starting out on his journey through comicdom or an experienced reader wanting something new – there is always something out there for everyone when it comes down to offering up quality content within this beloved medium we call ‘comicbooks’!.

March 4, 2023

Traditional Or Digital Comics Illustration? An Interview With Maitre Show

There has always been a huge debate amongst comic book creators when it comes to the way comic book art should be created. Many swear by traditional methods alone (use of paper, pencil and colours by hand), arguing that it is the only way one can see the authenticity in the craft of talented artists. On the other hand, creators who venerate digital illustration tools like graphic tablets insist on the fact that these tools help enhance their work and provide better results for different kinds of consumers. So, the debate around traditional or digital illustration tools remains a hot topic within the comic book creation community.

Well, this blogpost seeks to provide a direction or a resolution to this heated topic. In that light, the best way to do so will be to get the advice of an experienced and highly talented artist who has done illustrations for comics with traditional and digital tools. We therefore caught up with Mbozo’o Bertrand Zeh AKA Showbizz to find out what he thinks about this topic. Mbozo’o Bertrand Zeh or Showbiz is an artist who hails from Cameroon and he specialises in illustrations of all kinds (comic book illustration inclusive). This is what he had to say.

Zebra Comics Blog: Hello.Thank you for creating the time to answer our questions. Before we get your point of view on the main topic of discussion, we would like to know; Who is Showbizz?

Showbiz: Showbiz or Mbozo’o Bertrand Zeh is a Cameroonian professional artist who hails from the South Region of Cameroon, specifically from the Bulu tribe. As early as the age of three, I began exhibiting skills in drawing and illustration and I continued to hone my skills thanks to my late mother who encouraged me to keep drawing. After my studies in primary school, secondary school and at the university, I decided to become a professional illustrator. I have published comics before and I continue to work to grow the sector. Since 2020, I have been working for Zebra Comics PLC where I currently occupy the position of Artistic Director.

Zebra Comics Blog: When did your comic book journey start and what have you published so far?

Showbiz: Well, I haven’t published much yet. Note that it is only very recently that I got into comics in a big way. Also, it is not very long since I started working as a comic book artist/illustrator, so I haven’t published much. Nevertheless, I have been able to publish some comics. My first publication was in a collection published by New Era Publishers, also known as “Afro Shonen.” I got to do illustrations for four stories in this collection which was published in 2015. Unfortunately, only one volume was released. Then, in 2019, I published “MULEMA” with the startup, Legend Arts. Apart from these, I have been working on several comic book projects for Zebra Comics PLC, notably KUSH, CITY BLUES and RETROGRADE. Concurrently, I am working as an illustrator on a graphic novel to be published by Editions Dupuis. So, this is my comic book creation journey so far.

Zebra Comics Blog: What are you working on now?

Showbiz: Currently, I am working on volume 2 of the original Comic book IP from Zebra Comics PLC called CITY BLUES. Each volume of this comic book comprises five episodes. The first volume is already done and so I am currently working on the second volume. It is a great one for fans of romance comics. Comics fans should check it out on the Zebra Comics App and website. They will not be disappointed.

Zebra Comics Blog: Now, let us get to the bone of contention. What do you prefer to work with: paper and pencil or graphic tablet?

Showbiz: Well, this is a delicate and complicated question to answer because it requires a lot of explanation to be able to show which of these tools I prefer. Each of these them have their methods of use which lead to unique outcomes. For works which are very personal and where I expect a natural look in the final illustrations, I will prefer to use traditional tools. This is because I feel that with traditional tools, I can best display my art and express what I want through my illustrations. With traditional tools, I do not have many constraints which hinder me from expressing myself fully and so the results are usually very close to what I imagine in my mind. Also, I use traditional tools on personal projects, and when I have enough time to invest in them. So, traditional tools are good for producing natural and very beautiful illustrations, but they require huge investment of time. On the other hand, digital tools help in doing repetitive tasks and large quantities of work in limited time. They work well in industrial settings where large quantities of illustrations have to be done on a daily basis (like what happens at Zebra Comics PLC). So, as far as production and speed are concerned, I prefer to use digital illustration tools. But for personal projects which necessitate a great level of artistic investment and time, I will go for traditional tools.

Zebra Comics Blog: What are the advantages and disadvantages of these traditional and digital tools?

Showbiz: Well, let’s start with the use of traditional tools. Firstly, the use of traditional tools is time consuming and therefore makes work go slower. It takes time to do hand-drawn illustrations on paper. Secondly, with traditional tools, it is difficult to do large quantities of illustrations in a short time. This is because it is not possible to be repetitive or to reproduce illustrations automatically. So, traditional tools do not work well in industrial settings. On the other hand, as far as the advantages of traditional tools are concerned, they help portray the works of the artist in the best possible way. The end products of illustrations done with traditional tools are much more natural and so provide a visual appeal that is difficult to provide with digital tools. It brings out what the artist actually feels and so portrays the very basis of the etymology of art.

As far as digital tools are concerned, the first disadvantage is that they do not permit the artist to reduce the margin of error as they do with traditional tools. Digital tools render illustrations artificial, which are usually appealing, but do not provide the same level of visual appeal as traditional tools. Sometimes, no matter how you try, you may not be able to draw a curve the way you want with digital tools and so you end up with a particular way in which illustrations look, which is not always very appealing. On the other hand, digital tools are very advantageous when it comes to massive production of illustrations. In industrial settings (digital comics companies and animation projects) digital tools help produce large amounts of illustrations with impressive accuracy. Also, digital illustrations can sustain great visual appeal especially when they are consumed digitally within applications on smartphones, tablets and PCs. These tools are particularly appreciated in this era, given that many people are now great consumers of the tech on which digital illustrations are best consumed.

Zebra Comics Blog: Any last advice for aspiring illustrators out there?

ShowBiz: To every aspiring artist, illustrator and author of comics, I will say that, irrespective of their preference for traditional or digital illustration tools, they should make sure that they are trained in the use of digital illustration tools. This is because we now live in the digital era where a high percentage of comics are consumed digitally. Going into the future, this trend will increase, making the use of digital illustration tools indispensable for aspiring artists, illustrators or authors of comics. More so, if any of these aspiring artists intend to work as illustrators or graphic designers in any company in the world today, they are obliged to master the use of digital tools in their work because that is what is used in those domains to ensure speed and accuracy. However, for the very young ones who are just starting out in art and illustration, the use of traditional tools is recommended. This is because traditional illustration provides the base and foundation for every young artist. Digital tools just provide shortcuts. For anyone to know that they are using a shortcut, they have to first of all know the main route. Traditional tools will help young artists grasp the fundamentals of art and illustration before they venture into using digital tools to make work easy. To crown it all, practice as much as possible, hone your craft and you will become a great illustrator sooner than expected.

So, ShowBiz has spoken, and his points were pretty clear. What do you think about his arguments? Share your thoughts in the comments section. You can follow ShowBiz and see his works on his Facebook Page.

February 27, 2023

Author: Ejob Benjamin