All – Page 13 – Premium storytelling in African comics, manga and webtoon

From Print to Digital: African Comics on Politics

Comics have been used as a tool to raise awareness and educate readers about important political issues around the world. African comics are no exception. From digital comics to print comics, African creators are producing works that explore the political landscape of their countries and the continent as a whole. In this article, we’ll take a look at some of the best African comics based on politics.

1. Wrong Dial

Synopsis: Wrong Dial is an African comic book set in the Lake Chad region. Qutir, a terrorist group, is causing chaos in the area, and the governments are determined to stamp out this growing threat. Qutir, who is running low on resources, is feeling the pressure from the international community’s solidarity. To turn the tide of the battle, the group’s strategist turns to witchcraft, defying cultural norms and ignoring the consequences that come with such a decision. The story follows Wahab Guiswe, who loses his brother during a military raid. Fueled by a desire for revenge, Wahab is willing to use ancient, forbidden technologies to achieve his goal. Wrong Dial is an African fantasy story that explores the use of witchcraft technology in terrorism and how it shapes the politics of the region.

Overall, Wrong Dial is an excellent example of African comics that explore political themes. The use of witchcraft technology in the story is a unique twist on the typical political thriller, and the creators did a great job of delivering a compelling story. If you’re a fan of political thrillers or fantasy stories, then Wrong Dial is definitely worth checking out.

Team: Wrong Dial was created and written by Fensou Miles, illustrated by Jean Ayissi, and coloured by Judith Ebogo and E.N. Ejob.

Where to find: You can read Wrong Dial on the Zebra Comics app, which is available on Android and iOS devices. You can also read it on their website.

2. Le Cauchemar d’Obi

Synopsis: Le Cauchemar d’Obi is a satirical comic book that presents a take on the consequences of dictatorship on the lives of ordinary citizens in Equatorial Guinea. The story follows the journey of President Obiang Nguema as he wakes up one day to find himself stripped of his power and wealth and living like an average citizen in a poor neighbourhood of the capital city.

Team: Le Cauchemar d’Obi was created and written by Chino and Tenso Tenso, with illustrations by Jamonyqueso.

Where to find: You can find it on Waanda Comics’ website, an online platform that provides access to African digital comics. Readers can access the comic by subscribing to the platform or purchasing the digital version of the comic.

3. Lucha: Chronicle of a Nonviolent Revolution in Congo

Synopsis: “Lucha: Chronicle of a Nonviolent Revolution in Congo” presents the narrative of a nonviolent battle undertaken by young Congolese of diverse backgrounds, origins, and religions in a country where matters are frequently settled by the use of weaponry or corruption.

This citizen movement began in 2012 in Goma, in the Democratic Republic of the Congo’s eastern area (Kivu region). Members of the Lucha advocate exclusively through nonviolent acts for access to water, education, the elimination of impunity for armed organisations, and the staging of presidential elections. The graphic novel is a testament to the movement’s five-year struggle for reform, courage, and hope, and it received Amnesty International’s Ambassador of Conscience Award in 2016.

Team: Written by Justine Brabant, a journalist and independent researcher with a master’s degree in political science from Sorbonne, and illustrated by Annick Kamgang, a press cartoonist born in Yaoundé, Cameroon. Lucha: Chronicle of a Nonviolent Revolution in Congo is her first graphic novel and her first collaboration with a journalist.

Where to find: You can read Lucha: Chronicle of a Nonviolent Revolution in Congo on Babelio.

4. Tempête sur Bangui (Storm over Bangui)

Synopsis: The comic book depicts the brutality and mayhem created by the Séléka coalition during the turmoil in the Central African Republic between the end of 2012 and June 2013. Didier Kassa, the author, draws on his personal experience as a cartoonist at this time to demonstrate the solidarity, humour, and creativity that developed during this trying time.

The illustrations are done in fine lines and watercolours, with many amusing details and faces that lack features, such as black masks. The dialogues capture the Bangui dialect and feature Sango idioms that are translated in footnotes. The comic is the first in a three-part series.

Team: Author and illustrator: Didier Kassaï

Where to find: You can find the comic book on Amazon.

5. LES DOGUES NOIRS DE L’EMPIRE

Synopsis: Les Dogues Noirs de l’Empire tells the story of Bakary, a young warrior from the Kabyé ethnic group, who joins the Senegalese riflemen in August 1914 to prevent his village from being destroyed by the colonial administration.

The book sheds light on a little-known aspect of African history, depicting the conflict Bakary experiences with his own people. The title is a tribute to Léopold Sédar Senghor, as reflected in the quote: “Yes Lord, forgive France, which opens triumphal paths to heroes and treats its Senegalese as mercenaries, making them the black mastiffs of the empire”.

Team: Writer: Christophe Cassiau-Haurie; Illustrator: Massiré Tounkara.

here to find: You can find the comic book on Editions Harmattan.

March 19, 2023

Unleashing African Creativity: 4 Animated Adaptations Worth Checking Out

Animated adaptations of comic book stories have long been a staple of entertainment, with comic books and graphic novels often serving as inspiration for movies and television series. There has recently been a rise in interest in African comic books, some of which have made their way into the field of animation. In this article, we will take a look at four African comic books that have been animated or are in the process of being animated. These are a few we think are worth checking out.

1. Aya of Yop City

Aya of Yop City is a comic series written by Marguerite Abouet and drawn by Clément Oubrerie. “Aya of Yop City,” a beloved comic series about life in the 1970s Abidjan, Côte d’Ivoire, has been translated into 15 languages prior to its adaptation. The 7-volume series follows author Marguerite Abouet’s childhood memories of growing up in Yopougon, a working-class neighbourhood on the outskirts of Abidjan. The plot centres around Aya, a studious and clear-eyed 19-year-old, her easygoing friends Adjoua and Bintou, and their nosy relatives and neighbours.

The film’s release represented a successful blend of television drama and humour, garnering it a nomination for the French César Award for Best Animated Film in 2014. The first paperback edition of the comic was released in 2012, and the English version was first published in three hardback volumes by Drawn & Quarterly between 2007 and 2009. The first three books in the Aya series, titled “Aya of Yop City,” were also published in English and originally in French as volumes 1-3 of “Aya de Youpougon.”

“Aya of Yop City” is a fascinating and comical look into Ivorian life and culture, as well as a notable example of African comics breaking into the international market.

2. Iyanu: Child of Wonder

“Iyanu: Child of Wonder” is a comic book series as well as a forthcoming animated superhero epic television series based on Roye Okupe’s graphic novel series. It takes place in a magical version of Yorubaland, which was endowed with spiritual and architectural marvels by the Divine Ones many years ago.

Iyanu is a young orphan with no memory of her past. She unexpectedly realizes that she holds latent abilities that rival those of the Divine Ones. These powers are essential for resurrecting the age of wonders and safeguarding the world from The Corrupt, an evil force out to destroy humanity.

The story follows Iyanu as she investigates the mystery of her unexpected abilities in order to save her people from an ancient curse that threatens to destroy civilization. The animated series will premiere on Cartoon Network and HBO Max in the United States in 2024. The graphic novel is set in a magical version of Yorubaland and is highly influenced by the Yoruba people of Nigeria’s history and achievements.

Roye Okupe, the founder/creative director of YouNeek Studios, created the series and serves as executive producer, writer, and director on several episodes.

3. Supa Strikas

Supa Strikas is a pan-African comic book series with a football theme. It sold over 1.4 million copies per month in sixteen countries and was converted into a Malaysian and South African animated TV series. The story follows the Supa Strikas, the Super League’s top football club, as they embark on adventures throughout the realm of soccer in their quest to win the Super League trophy. Shakes, the team’s youngest striker, is widely regarded as the best striker in the world, but being the best is only the beginning for him and his colleagues. Self-actualization, fair play, teamwork, and respect are among the themes tackled in the comic and TV series.

The Harambee Stars football team, Kenya’s official football team, is said to have inspired the comic book series. Curiously, the character of “Coach” is based on a prominent Kenyan coach named Ghost Mulee, and the characters in the comic book series were also inspired by the legendary Kenyan footballers Odongo and Makena. Supa Strikas is a captivating comic book and TV series that has brought the world of soccer to life with humour, action, technology, and exploration.

4. Malika

Malika: Warrior Queen is a graphic novel based on the true story of 16th-century West African warrior Queen Amina of Zazzau. Malika, a Lagos-based production, depicts the narrative of the Queen and military commander of the Azzaz kingdom, who inherited the throne from her father in the most unlikely of circumstances. Malika was able to unite all of Azzaz after years of civil conflict, growing it into one of West Africa’s largest empires. Among her council, enemies began to emerge, and Azzaz drew the attention of one of the world’s most dreaded superpowers: the Ming Dynasty.

Malika’s film adaption debuted on YouTube in October 2019 following a successful Kickstarter campaign that raised USD 10,000 from 285 backers. Niyi Akinmolayan of Anthill Productions executive produced the series, which took three years to complete.

Okupe was inspired to create Malika by his goal to create a diverse library of superheroes. He desired to tell stories based on African history, culture, and mythology. Malika’s story takes place in fifteenth-century West Africa and includes fantasy tropes such as mystical treasures, a fighting royal family, and magical swords.

With the increasing trend of African-inspired entertainment, African creators such as Zebra Comics, Comic Republic, Kugali Media, Waanda Comics, Spoof Animation and many others, are working hard to provide enough content to appeal to a broad audience. Many more will undoubtedly progress to animation as the industry expands. I hope you will visit the ones listed here as well as many others.

March 18, 2023

Winning Awards: A Selection Criteria For Great Comic Books?

It is no secret that comic book fans and book lovers alike are passionate about their favorite stories. Whether it’s a classic superhero tale or an original story with unique characters, readers love to immerse themselves in the world of comics. So when it comes to judging which comics are great, should awards be considered? Must a comic book win an award to be considered great?

Make no mistake, awards are an important part of any industry. Awards are given out to recognize excellence in writing, artwork, storytelling, and more. They also help draw attention to great works that might otherwise go unnoticed by readers or critics alike.

Also, awards are often seen as a way for creators to validate their work. It’s always nice when someone takes notice of your hard work! But there is much more value than just personal validation – awards can lead to increased visibility for comic book series or authors who may not have had access before. This helps bring new fans into the fold and encourages others already invested in these stories to continue reading them with enthusiasm!

In addition, awards can encourage publishers and other stakeholders within the industry (such as editors) to take risks on projects they may not have considered before, simply because they were recognized with an award from peers within their field – this is especially true if those peers come from outside organizations such as The Eisner Awards which has been around since 1988 recognizing achievements both inside & outside the comics publishing world each year at the San Diego Comic-Con.

Furthermore – being nominated for or winning an award gives writers/artists/publishers additional credibility when pitching ideas & concepts for future projects to potential buyers / partners etc., meaning potentially greater financial success down the line.

All of these show that awards are important as they can propel writers and even publishers to higher heights. Ultimately, however, what matters most is how we personally connect and emotionally engage with the comic book in our hands. This therefore raises the question again: Must a comic book win an award to be considered great?

The short answer is no – not all good comics need awards for validation. While there are some prestigious awards given out by organizations such as The Eisner Awards, the Harvey Awards, the National Comics Awards, the Prix Saint-Michel, the Shogakukan Manga Award, the Kodansha Manga Awards and the Ringo Awards, many excellent comic books never receive any recognition from these groups at all. In fact, there have been countless amazing stories over time that were created without ever winning any kind of award whatsoever!

Every year, awarding organizations select a handful of comics and award them prizes, leaving out thousands of excellent comic books that deserve these same awards. This alone is adequate evidence to show that not every great comic book must be an award winner.

When one looks at things critically, it is quite easy to see that from Marvel to DC, passing through Franco Belgian comics and manga, and even smaller publishers in South America and Africa, there are a ton of comics that haven’t won awards, but are of great quality. Just research on comics published by Image Comics, Dark Horse comics, Editions Dupuis, Editions Glenat, Viz, Kodansha, Zebra Comics and Brown Roof Studios, and you will get the full picture.

Ultimately, whether something wins an award should not determine its worthiness as part of anyone’s reading list. Don’t let this factor put you off from comics that are not award winners, but which you might otherwise enjoy. Instead, the focus should be on searching for interesting storylines with compelling characters that will draw people in regardless because, ultimately, this will be far more important when making the decision on which comic book to read than just accolades on paper.

March 17, 2023

7 Tips to Create Memorable African Characters for Comics

Visual storytelling has been a part of African storytelling for generations, with traditional art forms such as Nsibidi and Adinkra utilized to transmit vital themes. The growth of digital comics in recent years has created new opportunities for African creators to showcase their work to a global audience. African comics have seen a rise in readership, from the superhero genre to science fiction, with fans around the globe looking for fresh and intriguing stories. Characters that are memorable are essential to the success of a comic book. Creating compelling African characters for comics, on the other hand, might be difficult. In this article, we will share some techniques that will help you break the ice.

1. Research and Understand African Culture

To create memorable African characters for comics, a thorough understanding of African culture is required. This comprises the customs, beliefs, and traditions of various African societies. Studying African mythology, folklore, and history might provide inspiration for developing African-based characters. It is also critical to comprehend the diversity of African traditions, which differ by country and location. It is important to research the various cultures prevalent across the continent in order to produce authentic African characters. Africa is home to over 1.3 billion people, and each country has unique cultures, customs, and traditions. Researching African cultures and mythologies allows you to develop a nuanced understanding of African societies and their values. By doing so, you can incorporate these values and beliefs into your characters, making them more relatable and authentic. Beasts of Tazeti published by Zebra Comics tells the story of warriors battling for the heart of a fallen god. The society is divided into 5 clans inspired by cultures from North, West, Central, East and Southern Africa.

2. Develop a Strong Backstory

A memorable character is defined by more than their physical appearance. Their motives, values, and personality traits are shaped by their backstory. Consider your African character’s family history, childhood experiences, and education when writing their narrative. This will help you create a dynamic and convincing character. Consider where your character comes from, what their upbringing was like, and what motivates them. This will help you create a character who feels real and believable. A great example is Kwezi, a South African superhero comic book created by Loyiso Mkize. It tells the journey of a young man who was living an ordinary life until he discovered that he had superpowers. He is motivated by his desire to protect his community from danger, and he works alongside other superheroes to fight crime and corruption.

3. Choose a Unique Appearance

A character’s appearance is critical to making them memorable. It is usually the first thing readers notice, and it may be an effective strategy for making them memorable. The appearance of a character can reveal a lot about their personality, culture, and past. It is essential that they create an appearance that is distinct and representative of their cultural heritage. Take into account clothing, hairstyles, and body language. African fashion and aesthetics can inspire the creation of distinctive and eye-catching character designs. Yet, it is essential to steer clear of stereotypes and caricatures that reinforce damaging narratives about African people. “Malika: Warrior Queen” by Roye Okupe, features an African queen with a unique, regal appearance.

4. Create Characters with Strong Personalities

A character’s personality is what differentiates them and makes them memorable to readers. African comic book characters should have strong personalities that reflect their cultural heritage. They should be nuanced, with flaws and strengths that allow readers to relate to them. Consider what your character is motivated by, what they are passionate about, and what their aims and aspirations are. Consider your character’s quirks, flaws, and strengths. Are they humorous or serious? Are they brave or cowardly? Are they flirtatious or reserved? These elements will aid in the creation of a memorable and interesting character. One popular example is Anansi, the spider-like trickster god from West African folklore. Anansi is known for his cunning, humour, and love of mischief, making him a fan favourite among readers.

5. Avoid Stereotypes and Caricatures

Avoiding stereotypes and caricatures is one of the most difficult tasks in designing African characters for comics. African characters in comic books are frequently portrayed as one-dimensional clichés, promoting negative stereotypes about African people. It is critical to avoid these tropes and develop dynamic, interesting, and real people. This can be accomplished by researching and understanding African culture, as well as consulting with experts and creators from various African backgrounds. Avoid making assumptions or generalisations by researching and educating yourself on the cultures and histories from which you are drawing inspiration. In Malika: Warrior Queen, Malika is the titular character created by writer and artist Roye Okupe. She is a warrior queen who defends her kingdom against invaders, and her character is based on the historical figure of Queen Amina of Zazzau. Malika is a strong and capable character, with a rich and complex backstory that draws on African history and culture.

6. Collaborate with African Creators

Collaboration with African creators is vital if you want to create memorable African characters for comic books. African creators have a deep understanding of African culture and can offer invaluable advice on how to create authentic characters. Cooperation also ensures that varied African perspectives are represented in the development of African comic book characters. A good example of collaboration is Lake of Tears. It narrates the tale of three teenagers who cross paths on Lake Volta, sharing their stories of captivity and redemption. The story sheds light on the sad reality of many children in Ghana who are trafficked and forced to work in the dangerous inland fishing industry. This work of art came to life through the combined efforts of Kobe Ofei, John Schaidler, Setor Fiadzigbey & Challenging Heights (producer) with contributions from Alfred Achiampong & Kofi Ofosu.

7. Test and Refine Your Character

Creating a memorable character is a process that requires testing and refinement. Once you have created your character, test them with a diverse group of readers to see how they are received. Take feedback into consideration and refine your characters until they are authentic and engaging.

Conclusion

It takes research, creativity, and attention to detail to create memorable African characters for comics. By following these tips, comic creators can make their African characters come alive and create an engaging comic book experience for their readers. For both creators and readers, character creation can be a rewarding and memorable experience, but it requires patience and effort.

March 15, 2023

Upcoming Release on the Zebra Comics App and Website: The Artist

The world of comic books and webtoons is about to welcome a new addition with the release of “The Artist” on the Zebra Comics app and website. With stunning artwork, unique characters, and a highly detailed environment, this comic promises to be an engrossing and action-packed experience for readers. In this article, we’ll look at what makes “The Artist” so appealing to comic book readers, from its setting and characters to its broader cultural background.

Introducing the World of “The Artist”: Setting and Context

“The Artist” takes place in a futuristic African society where magical elements coexist with technological advancements. Artists have great power and influence in this world, serving as a link between people and gods and driving society forward. Tahlah, our protagonist, is a gifted young artist who hails from a long family of artists. Tahlah’s story unfolds as he learns about his forefathers, a group of artists who brought the Elder God’s wrath to their ancestral home, Koldari.

Meet the Protagonist: Tahlah

Tahlah is “The Artist’s” heart and soul, a skilled artist who hails from a long line of Artists. Tahlah’s character is multifaceted and nuanced, with a fascinating past that readers will enjoy. After a horrible tragedy paralyzes him from the waist down, his father performs a procedure that allows him to walk again. Yet, due to restrictions, Tahlah must pretend to be crippled in order to preserve his father’s secret. But when a school trip goes totally awry, Talhah returns unwillingly to his ancestral home, where more dangerous secrets and myths are uncovered.

Supporting Cast: Other Characters

No great comic book is complete without a solid supporting cast, and “The Artist” is no exception. The characters in this comic are richly rendered and complex, ranging from Tahlah’s classmates, Mabar and Nuri, to demons and gods, each with their own goals and agendas that push the plot forward. Whether it’s a god trying to regain his place in the celestial realm or a father protecting his son from the history of his ancestry, there’s never a dull moment in “The Artist.”

Themes and Motifs: Analyzing the Comic’s Symbolism

“The Artist” is a comic book about the impact of contemporary technology in African communities and how it influences the continent’s different traditions. The comic examines themes of love, family, and the relevance of ancestral values in modern society, raising critical concerns about the relationship between modernity and tradition. This comic will undoubtedly provide readers with deep insights into the human experience and the complexities of African cultural identity.

The Release: Where and When You Can Access

In April 2023, “The Artist” will be available on the Zebra Comics app and website. Fans of the comic book genre can look forward to the arrival of this new limited series by exploring the platform’s extensive library of titles. “The Artist” is set to become a beloved addition to the world of comic books, thanks to its magnificent artwork, unique characters, and thought-provoking themes.

March 15, 2023

Top 5 Digital Platforms for African Comics

The African comic book industry has grown tremendously over the years. Digital platforms have been critical in promoting and exhibiting African comics to a global audience. This post will feature the top 5 digital platforms for African comics.

1. KUGALI MEDIA

Kugali was founded in 2017 by three African creatives, Olufikayo Adeola (Nigeria), Tolu Olowofoyeku (Nigeria), and Hamid Ibrahim (Uganda). The platform aims to promote African storytelling through comics, art, 3D Computer Generated Imagery (CGI), animation, and augmented reality. Kugali has a vast collection of comics in different genres, including sci-fi, fantasy, and action. Some of the popular titles in Kugali include “Lake of Tears,” “Nani,” and “Mumu Juju.”

On an even more positive note, Kugali Media is collaborating with Disney on an animated series called Iwaju. This will be Disney’s first foray into an African-created project, as well as its first collaboration with another creative company. The animated series will debut on Disney+.

Kugali’s website has a sleek, modern style that is simple to use. The platform offers a limited selection of free digital African comics. Joining their Patreon community allows you to access premium features while also supporting the amazing job they are doing for the African comic book industry.

Click here to access their digital platform.

2. ZEBRA COMICS

Zebra Comics, founded in 2016 by Ejob Nathanael and a group of like-minded artists, is a publishing company dedicated to developing and distributing African and Cameroonian stories. Their objective is to present the diversity of African cultures to a global audience through the medium of comic books, which they regard as the future of storytelling.

Zebra Comics’ digital platform has a vintage design that is easy to navigate on desktop and mobile devices. Zebra Comics offers some of its comics for free, however, to have access to the full catalogue, fans can choose to pay for a subscription. It is available to both Android and iOS users.

Click here to have a look.

3. COMIC REPUBLIC

Comic Republic is another digital comics platform that has been making waves in the African comics industry. It was founded in 2014 by Jide Martin, a Nigerian comic book creator, and writer. Comic Republic creates and publishes comics that prominently feature African people, places, and mythology. Comic Republic focuses on publishing African-inspired superhero stories and has quickly become a go-to platform for readers interested in this genre. The platform has published several comics such as “Avonome,” “Might of Guardian Prime,” and “Eru.”

Comic Republic allows users to read their comics online or download them to their devices for a fee. In addition, the platform has an active community of creators who regularly publish new content, making it an exciting platform to watch for new and exciting African superhero stories.

Their work has gained recognition, with CNN featuring them as an African Startup on November 23, 2016. As a digital platform for African comics, Comic Republic has garnered a devoted following for their engaging stories and diverse characters. Their success has led to a production deal with Emagine Content and JackieBoy Entertainment in 2021 to bring one of their popular comics, Ireti, to the big screen as a feature film.

Click here to enter the world of heroes.

4. WAANDA COMICS

Yannick Deubou Sikoue founded Waanda Comics, a group of talented and committed young people who specialize in art, graphic design, audiovisual communication, publishing, and animated film production.

Waanda Comics ensures client satisfaction by providing original content on their digital platform of African comics. The platform promotes African culture and history through comic books and other forms of entertainment, such as animation. Waanda Comics has a collection of comics in different genres, including action, sci-fi, fantasy, and drama. Some of the popular titles include “Android Night,” “CATY,” and “EKIEE! KAMER BOY.”

Access their collection of African comics, including Manga and Webtoon, in both digital and physical formats, with the option to read online or have your preferred comics delivered physically, and the convenience of making payments via Mobile Money (in Cameroon, Ivory Coast, Burkina Faso, Senegal, Mali, and Benin) or bank card.

To access these, click here.

5. RAPTURES

Raptures’ studio network and digital platform are dedicated to producing high-quality webtoons, comics, and animations that communicate captivating tales about Black Americans, Africans, and Arabs. The team is spread across Nigeria, Ghana, the UAE, and the US, and they are dedicated to becoming a reference in the field of African comics.

They provide a diverse range of mobile comics, including romance, action, comedy, drama, sci-fi, fantasy, mystery, and others. Their digital platforms include an easy-to-use interface, and some of their comics are free. Some of the titles you should check out on Raptures include “Chiwetel,” “Chronicles of Sa-Ra,” and “Tales of Miss Koi-Koi.”

Click here to be raptured.

March 10, 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

Category: All