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  • Intellectual Property Rights and Digital Comics

    Intellectual Property Rights and Digital Comics

    As technology continues to evolve, it is important for comic book fans to understand the intellectual property rights associated with digital comics. Digital comics are becoming increasingly popular due to their convenience and accessibility; however, they also pose unique legal challenges that must be addressed by both creators and consumers.

    Digital comics, like all digital products, are more susceptible to being pirated. With a smartphone and internet connection, anybody anywhere can pretty much access content online. At the same time, there are pirate websites and all kinds of digital tools that pirates can use to access content illegally. With this status quo, it is therefore important for all digital comics creators to be knowledgeable about intellectual property law so as to effectively protect their creations online.

    Intellectual property rights are the rights given to persons over the creations of their minds. They usually give the creator an exclusive right over the use of his/her creation for a certain period of time. As an example, according to the World Trade Organization, the rights of authors of literary and artistic works (such as books and other writings, musical compositions, paintings, sculpture, computer programs and films) are protected by copyright, for a minimum period of 50 years after the death of the author. Also protected through copyright and related (sometimes referred to as “neighbouring”) rights are the rights of performers (e.g. actors, singers and musicians), producers of phonograms (sound recordings) and broadcasting organisations. The main social purpose of protection of copyright and related rights is to encourage and reward creative work.

    Intellectual property rights are an essential part of protecting creative works from unauthorised use or distribution by third parties without permission from the copyright holder(s). So, as earlier insinuated, in order for creators and publishers alike to ensure that their work is properly protected, they must understand what IP laws exist and how they apply specifically within the realm of digital comics publishing.

    Intellectual property law for African comics on the zebra comics blog

    Intellectual property law applies differently in the digital world than it does in print media. For example, while copyright laws protect physical copies of a work from unauthorised use or distribution online, these protections do not necessarily extend into the virtual realm. This means that if you purchase a digital copy of your favourite comic book series online without obtaining permission from its creator first, you may be violating copyright laws even though you have paid for access to the material itself.

    In addition to protecting against unauthorised use or distribution of copyrighted works online, intellectual property law also protects against plagiarism – using someone else’s ideas without giving them credit – as well as trademark infringement (using another company’s logo). As such it is essential for all comic book fans who wish to engage with digital content legally and ethically, to understand what constitutes plagiarism or trademark infringement when accessing any type of content on-line – including comics!

    Furthermore , understanding how Intellectual Property Law affects our ability to share digitally purchased materials can help us ensure we remain within legal boundaries while still enjoying our favourite titles . It’s important that everyone involved – whether they’re creating new works based off existing ones , sharing fan art , posting reviews on social media sites etc, understands how IP Laws apply, so we can continue supporting innovative stories told through this medium.

    It is therefore clear that we all need to know what we should do and what we shouldn’t do when we come across content online or when we publish digital content like digital comics ourselves. Now, the question that remains is; What should we actually do to protect digital comics online? What measure should we take concretely? The following paragraphs provide some must-dos.

    plagiarism in african comics on the zebra comics blog

    The first thing to do is to ensure that you have copyright protection. Copyright protects the original expression of an idea but not the idea itself. This means that if someone creates a story featuring characters similar or identical to yours, they cannot be held liable unless they copy your exact words and drawings directly from your comic book without permission (this includes using screenshots). Additionally, it’s important to note that copyright does not protect ideas or facts; only expressions such as artwork and text are protected by copyright law in most countries around the world including the United States where copyrights last up until 70 years after the death of the creator (or 95 years after publication date if still alive).

    Another key thing to consider when it comes to Intellectual Property Law & Digital Comics is trademark protection which applies mainly to names used within stories or comics like character’s name, titles etc. The purpose behind trademarks being registered under IP Laws is basically to give creators exclusive rights over usage or exploitation associated with said names and marks. This means that no one else has authority nor right over those names or marks, except those who own them legally through the registration process. This also helps prevent confusion among readers who might think certain products come from the same source even though there are actually different companies involved in producing them respectively.

    Finally, patenting should also be taken into consideration when talking about IP Laws & Digital Comics. This is because patents give creators exclusive rights regarding inventions made during the production process – like special techniques used while drawing panels or pages etc. Patenting gives additional layer security against unauthorised use or copying which could lead to costly litigation cases down the road, especially considering how much money some big publishers invest annually into development departments responsible for making sure all new releases stay true to the original vision set forth by author(s) at the conception stage!

    Understanding how intellectual property laws apply specifically towards digital comics will help ensure that both fans and creators alike remain safe while enjoying their favourite content online. While there may seem like an overwhelming amount of information out there at first glance , taking some time to educate yourself about this area will ultimately benefit both creators and readers alike. Besides, it always feels good when you get a high value comic illegally and free, from shady sources online. However, when the lawsuits come, that’s when you begin to understand that life can appear with different shades of blue. Do not take any chances to pirate somebody else’ digital comics online.

  • Is There A Market For African Comics?

    Is There A Market For African Comics?

    Like in many parts of the world, comics are becoming very popular in Africa. Gone are the days when it was very rare to find comics created by Africans and based on African characters, cultures, settings and general ways of life. It used to be a nightmare for comic book lovers on the continent to find African comics easily, and it was even worse when consistency was put on the table. Thank God, some light has come in to illuminate some of the dark spots of the African comic book industry. There are still issues of production, distribution and overall consistency, but so much has changed today, making African comics garner more respect and recognition than ever before.

    Generally, comic book fans often find themselves drawn to the same characters and stories. Superheroes, fantasy, sci-fi, romance and slice of life are some of the most popular kinds of comics that fans have been served over the years, and these stories have been dished out in particular patterns while incorporating particular tropes that fans have grown to love. But, in the middle of all of this convention, African comics bring a breath of fresh air to the game. The cultures, settings, characters and even stories are generally different from what is currently mainstream as far as comics are concerned. African comics may therefore be more available now thanks to the increased consistency in production and distribution. However, since they are very different from other mainstream comics from the West and East, is there really a market for African comics?

    The answer is an emphatic yes! In recent years, African comic books have seen tremendous success both in Africa and abroad. From South Africa’s “Kwezi” to Nigeria’s “Guardian Prime” passing through Cameroon’s “Anaki”, these titles are gaining traction with fans of all ages from different parts of Africa and the world. African comics are therefore growing tremendously. However, the question remains: What do African comics do that provides an attractive market share to them? Lets see a few answers below.

    Boxsa of Spoof Comics African comics on the Zebra Comics Blog

    African comics offer something special that traditional Western superhero stories don’t: they provide readers with insight into the culture of their creators while still delivering thrilling adventures full of action-packed drama and suspenseful plotlines. These tales feature unique characters who reflect the diversity found throughout many parts of Africa; from modern day superheroes like BOXSA to ancient gods like Anansi or Mami Wata, these heroes represent various aspects of African culture in ways that no other medium can match.

    Additionally, African comic books have been embraced by major publishers such as Dark Horse Comics which recently launched several YouNeek Studios IPs in print like Malika: Warrior Queen, EXO: The Legend of Wale Williams and Iyanu: Child of Wonder. Added to this, there are also independent publishers such as Omenka Comics which has released several critically acclaimed titles featuring Nigerian superheroes since 2017 . This means more access for readers around the world who may not be able to visit or experience first hand some aspects depicted within these works—but still want to explore them through art form available on paper or online platforms.

    Exo the legend of wale williams African comics on the zebra comics blog

    As a demonstration of the attractiveness of African comics and the availability of a market for them, let’s examine an example on the African continent. There are a few African comics companies that have invested in the production of digital comics. A good example is Zebra Comics PLC. This company has launched a mobile application for android and iOS devices, and a website where they publish original African comics on a regular basis. With this platform, the company has been able to attract thousands of users who read African comics on a daily basis. It is interesting to note that a large percentage of their readers come from outside the continent. Countries like the United States, India, Brazil and the Philippines are notable markets where Zebra Comics PLC’s African Comics are consumed, on a daily basis. The numbers are great and they keep growing. Evidence that there is indeed a market for African comics out there.

    Zebra comics characters of African Comics on the Zebra Comics Blog
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    The African comics landscape is witnessing a current surge in interest from both creators and consumers of comics. This is principally because these comics present a unique take on storytelling, incorporating aspects of African culture and traditions, and thereby rendering it unique. This innovation in storytelling, despite the fact that it deviates from mainstream comics, is still very attractive to comic book lovers as a whole, as we see through numbers obtained through different digital comics platforms. So, if you have been reluctant about reading or investing in African comics, now is definitely the time to hop on the bandwagon and enjoy all the goodies that African comics have to offer.

  • The Importance of Translation in African Comics

    The Importance of Translation in African Comics

    It should be no surprise to any lover of comics that comics have become so popular that they are now consumed in every corner of the world. The medium has moved from print to digital, superhero comics to multiple genres and has even seen the creation of other products based on it, like movies, video games, animation, merchandise and much more. Comics are therefore a powerful medium for storytelling and entertainment. However, given that the peoples of the world speak varied languages, with continents like Africa boasting thousands of languages, it still remains a mystery how comics, which are mostly from the United States, France, Belgium, Japan and China, got to be present in every nook and cranny of the planet.

    Comics are great and they are readily accessible, but their full potential is often limited by language barriers. After thorough research, therefore, one can comfortably say that the magic potion that has made comics very popular across the world is Translation. It cannot be overemphasised that translation plays an essential role in making sure that comics can be enjoyed by as many people as possible, no matter where they live or what language they speak. It is so central to the growth of comics that without it, comics would not be as mainstream as they are today. Well, to know how important translation really is to comics, let’s quit talking about generalities and look into how this discipline changed the business of comics.

    Translation helps to break down the walls between cultures and allows audiences around the world to experience stories from different perspectives. Translating comics into other languages gives readers access to works that might otherwise have been inaccessible due to linguistic differences. Not only does this open up new opportunities for international collaboration between creators and publishers, it also increases the reach of comic books beyond just one geographic area or culture—giving more people than ever before access to great stories! 

    Translation makes it easier for fans of certain series or genres of comics who don’t read English fluently (or at all) to enjoy them without having any difficulty understanding what is going on in each panel or page. This means more readers can follow along with storylines without worrying about missing out on important plot points due to not being able to understand every word written in a book’s original language—and ultimately leads towards increased appreciation and enjoyment of these amazing works! Without translation, people across the world will not enjoy great manga hits like Dragon Ball Z, Akira, One Piece and even Naruto.

    Manga-in-France-scaled and African comics on the zebra comics blog

    Publishing companies have grown and made more money thanks to translation. Today, even though Japan remains one of the largest comic book markets in the world, North America and Europe still stand as strategic and important markets for the growth of manga. France remains the highest consumer of manga outside Japan and this is only possible because the mangas, which are originally written in Japanese are translated into French and made available to the French market. This also means that creators of comics from different parts of the world can make more money from their comics by translating them into other languages. Translation is therefore very important to the economic growth of comics from around the world.

    As already mentioned, comics are a powerful medium for storytelling and they can be an excellent tool for the proliferation of ideologies and ways of life of different people from around the world. Issues like peace, love, belonging, poverty and even climate change are best communicated through comics because images are associated with text to show these things. At the same time, however, these messages and points of view would not be adequately grasped if the consumer is not reading in the language that he or she understands. Translation is therefore key to ensuring that strong messages in comics are adequately gotten by people from different regions of the world, thereby filling up trenches that existed between them.

    Now, as far as Africa is concerned, there are between 1500 to 2000 languages on the continent. It should however be noted that besides English, French, Arabic, Spanish and Portuguese, the most spoken languages in Africa include Swahili, Yoruba, Igbo and Fula. Most of the rest are spoken by minorities. Nevertheless, there are a great number of people from these minorities who only speak their local languages and so, it will be difficult for them to read a comic book which is not translated in their languages. It is true that many of these languages are not yet coded and so do not have writing systems into which comics can easily be translated. Still, there is a need to look into the translation of comics into these African languages so that Africans can fully grasp what is happening near them and around the world.

    Truth be told; the above sounds lofty and overzealous, and it is no lie that translation is expensive. There aren’t many publishing houses in Africa that can manage the cost of translating their catalogues into other languages. This is even very rare with African comics as the medium is still growing on the continent. Nevertheless, we can spot an African comics company that is already doing this on a daily basis. This publishing company is called Zebra Comics PLC. Out of the box, Zebra Comics PLC ensures that all their comics are produced in English and translated into French before they are published. At the same time, the company is working on getting their titles translated into other African and international languages. In the near future, people from different parts of Africa and the world will be able to read African comics and language will not be a barrier.

    ZEBRA-COMICS-FRENCH-VERSIONS (2)

    Overall, translation serves an incredibly important role when it comes to expanding comic book fandom globally; allowing us all greater insight into diverse cultural perspectives while simultaneously giving everyone equal opportunity regardless if they speak English fluently or not. So next time you pick up your favourite issue off the shelf, or view it on a digital comics platform, know that behind every translated comic there was someone working hard so that you could experience these wonderful tales wherever you may be located across this planet we call home.

  • Investigative Comics from Africa: A New Wave of Storytelling

    Investigative Comics from Africa: A New Wave of Storytelling

    Introduction

    Comics are a form of visual storytelling that combine words and images to create sequential narratives. Comics can be used for various purposes, such as entertainment, education, propaganda, or activism. In recent years, comics have gained popularity and recognition as a medium for journalism and documentary, especially in regions where freedom of expression and access to information are limited or threatened. These comics are often referred to as investigative comics.

    Investigative comics are comics that use research and reporting to investigate and expose a topic or issue of public interest or concern. They can cover a wide range of subjects, such as human rights, corruption, conflict, environment, health, culture, or history. They can also adopt different styles and formats, such as comic strips, graphic novels, webcomics, or interactive comics. Investigative comics aim to inform, educate, persuade, or mobilize readers through compelling stories and visuals.

    One of the regions where investigative comics have emerged and flourished is Africa. Africa is a vast and diverse continent with over 50 countries and more than a billion people. It is also a continent that faces many challenges and opportunities in terms of social, economic, political, and cultural development. Africa has a rich and vibrant history of comics production and consumption, dating back to the colonial era and continuing to the present day. However, most of these comics have been either imported from Europe or America or influenced by their styles and genres. Moreover, most of these comics have focused on entertainment or fantasy rather than reality or critique.

    In contrast, investigative comics from Africa are comics that are made by African artists for African audiences (and beyond), that reflect the experiences, struggles, and cultures of the many African countries without influence from the West or its expectations. These comics also use graphic narratives to explore and expose various issues that affect African societies, such as corruption, violence, poverty, inequality, democracy, identity, or heritage. These comics aim to challenge the status quo and inspire change through awareness and action.

    Production and Distribution

    One of the main challenges that investigative comics from Africa face is the lack of adequate resources and support for their production and distribution. Most African comic artists work independently or in small teams, often relying on their own skills, equipment, and funds. They also face difficulties in accessing quality materials, printing facilities, and distribution channels. Moreover, they have to deal with censorship, harassment, or threats from authorities or other groups that may not appreciate their critical or controversial work.

    However, investigative comics from Africa also benefit from some opportunities and advantages that enable them to reach and engage their audiences. One of these is the use of digital technology and platforms, such as the internet, social media, mobile phones, and tablets. These tools allow African comic artists to create and share their work more easily and cheaply, as well as to interact and collaborate with other artists and readers across borders and boundaries. Platforms such as the Zebra Comics website and app already publish comics written and illustrated by Africans. Another advantage is the growing interest and recognition of comics as a legitimate and valuable form of art and expression, both within and outside Africa. This has led to the emergence and development of various initiatives and events that promote and celebrate African comics, such as festivals like the Bilili Festival, MboaBD, the Lagos ComicCon, Forum International de Bande Dessinée de Tétouan (FIBaD); exhibitions, awards, workshops, publications, or networks.

    Reception of Investigative Comics from Africa

    The reception of investigative comics from Africa varies depending on the context and audience. Some readers may appreciate and support these comics for their informative and innovative content and style. They may also relate to or empathize with the stories and characters that represent their realities and aspirations. Others may reject or resist these comics for their challenging or provocative nature. They may also question or criticize the accuracy or credibility of the information, or the perspective of the authors. In any case, investigative comics from Africa aim to elicit a response from their readers, whether positive or negative, as a way of initiating a dialogue and a debate about the issues they address.

    Examples and Creators of Investigative Comics from Africa

    There are many examples and creators of investigative comics from Africa that deserve attention and recognition. However, due to space limitations, we will only mention a few of them as illustrations of the diversity and quality of this genre.

    One of the pioneers of investigative comics from Africa is Andy Akman , a Ghanaian artist who created Captain Africa in the 1980s. Captain Africa was the first African comic and superhero comic to go global. It was written and illustrated by Akman and published by African Comics Limited, a Nigerian publisher. The comic featured a masked vigilante who fought against corruption, injustice, and oppression in various African countries. The comic was acclaimed for its realistic and detailed depiction of African politics and culture, as well as its action-packed and suspenseful plot.

    Another example of investigative comics from Africa is Lake of Tears by Kwabena Ofei and Setor Fiadzigbey. Lake of Tears is a graphic novel that sheds light on child trafficking and labour in Ghana. It follows the story of Kyei, Anima, and Aya, who meet by a twist of fate and come together to rescue other victims like them. The graphic novel was created in partnership with Challenging Heights, a non-governmental organization that works to end child slavery and exploitation. The graphic novel won the 2018 Nommo Award for the best graphic novel.

    A third example of investigative comics from Africa is Tatashe by Cassandra Mark and Tobe Max Ezeogu. Tatashe is a webcomic that is set in a world of food called Alomnia. It follows the adventures of Tatashe, a red bell pepper, as she makes new friends, fights strange creatures, and tries to find her long-lost master in a world where food is all around you. The webcomic is filled with Nigerian pidgin slangs and food, as well as subtle commentary on social and environmental issues.

    Another example of investigative comics from Africa is Mancraft by Ejob Gaius and Bertrand Zeh published on the Zebra Comics digital platforms. Mancraft explores a world of witchcraft and spirits that affect the real world. We follow Tain as he tries to uncover his role in this new world he has been forced into. It is filled with awesome fight scenes, contemporary locations that will fascinate comics readers beyond the continent, and a lot of magic.

    These are just some of the many investigative comics from Africa that are worth reading and supporting. They demonstrate the potential and power of comics as a medium for telling stories that matter and make a difference.

    Conclusion

    Investigative comics from Africa are a new and exciting genre of comics that use graphic narratives to expose and critique social and political issues on the continent. They are made by African artists for African audiences (and beyond), that reflect the experiences, struggles, and cultures of the many African countries without influence from the West or its expectations. They also challenge stereotypes and misconceptions about the continent. Investigative comics from Africa face some challenges and risks in terms of production, distribution, and reception, but they also benefit from some opportunities and advantages that enable them to reach and engage their audiences. Investigative comics from Africa offer a unique and powerful way of engaging with the realities and complexities of African societies, while also inspiring change through awareness and action.

  • 4 Ways To Create A Memorable Villain

    4 Ways To Create A Memorable Villain

    Introduction

    According to Studio Binder, “A villain is defined as an evil or wicked character that enacts evil action and/or harms others. A villain may have a justification for their actions that is in line with their own principles, but their actions inflict harm and create ruin in the process.”

    The villain is an essential aspect of comic books. A well-written villain can make a comic book series unforgettable and keep readers engaged. However, creating a memorable villain is not an easy task. So what ingredients do you need to make the next Joker?

    1. Develop a Strong Motivation

    Killmonger and T'Challa from Black Panther

    One of the key elements of a memorable comic book villain is a strong motivation. A believable motivation is essential for the villain to make sense within the story. The villain’s motivations should also be tied to their backstory and personal history. It is not enough to have a villain who is just bad because the story needs someone whom Stormtroopers can actually aim at. With a good motivation driving the villain’s actions, especially when they’re outrageous, you can even get readers to agree with them. That plants them firmly in their long-term memory. 

    Examples of villains with strong motivations include:

    • Killmonger from Marvel’s Black Panther: Killmonger’s motivation is to liberate black people from oppression, due to his own experiences with racism and discrimination.
    • Ebai from Zebra Comics’ Mancraft: Ebai’s motivation is to destroy the current world order by any means necessary, even if it means stealing powers from the Gods.

    2. Give the Villain Depth and Complexity

    The Shade from the Flash comic book series.

    A memorable comic book villain should not be one-dimensional. They should have depth and complexity to make them more relatable to readers. This can be achieved by exploring their past, their fears and weaknesses, and their relationship with the hero. In a nutshell, they should feel human. No matter how mad you may want to portray them, there should be an element of humanity to them. 

    Examples of villains with depth and complexity include:

    • Thanos from Marvel’s Avengers: Thanos is a complex villain with a tragic backstory, who believes that the universe is overpopulated and must be balanced by wiping out half of all life.
    • The Shade from DC Comics’ The Flash: The Shade is a villain with a complicated history and a moral code. He is not entirely evil, as he has worked with the Flash in the past to save lives.

    3. Create a Memorable Appearance

    A memorable comic book villain should have a unique and memorable appearance that sets them apart from other characters. This can be achieved through their costume, physical features, or mannerisms. With just a glance, fans can identify an iconic villain from miles away. A helmet, a scar, a jacket or even a noseless face can make your villain memorable. Right?

    Examples of memorable villains with unique appearances include:

    • Apocalypse from Marvel’s X-Men: Apocalypse has a distinct blue-skinned appearance with tubes and wires attached to his body.
    • The Joker from DC Comics’ Batman: The Joker has a distinctive clown-like appearance with green hair, white skin, and a red smile.

    4. Make the Villain a Worthy Adversary

    Emperor Wu from Zebra Comics' Damo.

    A great comic book villain should be a worthy adversary for the hero. They should pose a significant threat and push the hero to their limits. This can be achieved by giving the villain powerful abilities, intelligence, or resources. When your villain is considerably powerless against your protagonist, it renders the villain an unworthy opponent, so to speak. Consequently, the conflict is weakened and your villain’s value goes into recession.

    Examples of worthy adversaries include:

    • Lex Luthor from DC Comics’ Superman: Lex Luthor is a brilliant scientist and businessman who is a constant thorn in Superman’s side.
    • Emperor Wu from Zebra Comics’ Damo: Emperor Wu is a very skilled fighter able to match the prolific Damo in martial art.

    Conclusion

    Creating a memorable comic book villain is essential to crafting a compelling story. By developing a strong motivation, giving the villain depth and complexity, creating a memorable appearance, and making the villain a worthy adversary, writers can create villains that readers will remember for years to come. The key is to create a villain that readers can understand and relate to, while still making them a formidable foe for the hero to overcome.

  • The Place of NFTs in the Digital Comics Market

    The Place of NFTs in the Digital Comics Market

    NFTs, or non-fungible tokens, are unique digital assets that can be bought, sold, and traded on blockchain platforms. They have been gaining popularity in various fields, such as art, music, gaming, and sports. But what about comics? How are NFTs changing the way comic fans collect and enjoy their favourite stories and characters? Can African comic book creators make use of NFT comics to grow the industry and make money from their craft?

    What are NFT comics?

    NFT comics are digital versions of comic books that are minted as NFTs. Minting an NFT is the process of publishing your NFT on the blockchain. When that is done, each comic has a unique identifier and ownership history that can be verified on the blockchain. Unlike traditional digital comics, which can be copied and shared easily, NFT comics are scarce and exclusive. They can also have different levels of rarity, depending on the cover art, edition number, or other features.

    Some NFT comics are simply digital replicas of existing physical comics, while others are created exclusively for the NFT market. Some NFT comics also offer additional benefits, such as access to exclusive content, community events, or physical rewards.

    Players in the NFT comics market?

    Marvel on the Zebra Comics blog

    One of the biggest players in the NFT comics market is Marvel Entertainment, which has partnered with VeVe, a digital collectables app, to launch a series of classic Marvel comics as NFTs. Each comic’s full issue is readable within the VeVe app and sold in blind boxes for $6.99. Each digital comic book has five versions of rarity: Common, Uncommon, Rare, Ultra Rare, and Secret Rare.

    Some of the titles that have been released so far include Marvel Comics #1, which features the first appearance of the original Human Torch and Namor the Sub-Mariner; Journey Into Mystery #85, which features the first appearance of Loki, Heimdall, and Asgard; Fantastic Four #1, which features the first appearance of the Fantastic Four and began the Marvel Age of comics; New Mutants #98, which features the first appearance of Deadpool and Domino; House of X #1, which features a new era for the X-Men; and Marvels #1, which features a stunning retelling of the origin of the Human Torch.

    Another major player in the NFT comics market is DC Comics, which has collaborated with Palm NFT Studio, a blockchain platform for artists and creators, to launch a series of DC Comics NFT collections. The collections feature the usual superheroes such as Batman, Superman, Harley Quinn, Wonder Woman, and Green Lantern. Based on the rarity level, it is also possible for users to collect comic book covers as NFTs. The NFTs vary depending on the various issues of the comic book covers.

    Besides these two giants, there are also other independent creators and publishers who are exploring the possibilities of NFT comics. For example, Bad Idea Comics, a new comic book publisher that aims to disrupt the industry with unconventional strategies, has announced that it will release its first NFT comic book called Whalesville x Rocks and Minerals. The comic will be available for free to anyone who owns a Bad Idea button or pin. Another example is The Source, an original sci-fi comic book series that is being sold as an NFT collection on OpenSea, a popular marketplace for NFTs.

    Benefits and challenges of NFT comics?

    NFT comics offer several benefits for both creators and collectors. For creators, NFT comics can provide a new source of income and exposure, as well as more creative freedom and control over their work. They can also leverage blockchain technology to create interactive and immersive experiences for their fans. For collectors, NFT comics can offer a novel way to enjoy and display their favourite comics, as well as access to rare and exclusive content. They can also benefit from the potential appreciation of their NFTs in value over time. Hence, African comic creators can use this as an alternative medium to publish digital comics.

    However, there are also some challenges and risks involved in the NFT comics market. For comic creators, they have to deal with the technical complexities and costs of creating and minting NFTs, as well as the legal and ethical issues of intellectual property rights and royalties. They also have to compete with other creators and platforms for attention and demand. For collectors, they have to cope with the volatility and uncertainty of the NFT market, as well as the security and environmental concerns of using blockchain technology. They also have to be careful about scams and frauds in the NFT market, such as fake or stolen NFTs, or misleading and exaggerated claims about the uniqueness and value of certain NFTs. Additionally, NFTs are still a new and evolving technology, which means that their long-term viability and compatibility with other digital platforms and standards are uncertain. Therefore, while NFTs offer exciting opportunities for digital comics, they also require careful consideration and management to avoid potential pitfalls and drawbacks.

    Conclusion

    NFT comics are a new and exciting phenomenon in the digital comics market. They offer a unique opportunity for creators and collectors to explore the possibilities of blockchain technology and digital art. Some African comics are already published on other digital platforms such as Zebra Comics, Kugali Media, Comic Republic, YouNeek Studios and many others. NFTs might just be another option for them. However, NFT comics also pose some challenges and risks that need to be addressed and overcome. African comic book creators can make use of NFT comics to grow the industry and make money from their craft by exploring the possibilities of blockchain technology and digital art. As the NFT comics market evolves and matures, it will be interesting to see how it will shape the future of comics and storytelling.

  • How Telecommunication Companies Can Contribute to the Growth of Digital Comics in Africa

    How Telecommunication Companies Can Contribute to the Growth of Digital Comics in Africa

    In the age of digital media, telecommunication companies have an incredible opportunity to promote and encourage readership of digital comics. As a fan base that is largely tech-savvy and eager for new content, comic book lovers are well positioned to benefit from the advancements in technology made possible by telecoms. In the modern world, digital comics are becoming increasingly popular among comic book fans and lovers. With more people turning to their phones and tablets for entertainment, it makes sense that many publishers have begun to offer digital versions of their beloved titles. But what role do telecommunication companies play in this new era of comics?

    Before we get into answering that question, it is important for us to look at why Telecom companies should even care about digital comics in the first place. Comics are great for telling stories and conveying powerful messages in a visual way that can easily draw readers into the narrative, but beyond that, they help develop literacy skills. By having to read words alongside images, comic book readers must use both sides of their brain at once which helps build critical thinking skills and encourages creative problem solving abilities. This type of active learning has been proven beneficial for children and adults alike, who wish to expand their knowledge base or hone existing abilities further.

    Added to the above, as the world of comic books continues to evolve, one trend that has been growing in recent years is the interest in digital comics by Gen Z. This new generation of comic book fans are more likely than ever before to explore and purchase their favorite stories online, rather than relying on physical copies. Many publishers have recognized this shift and are now offering digital versions alongside printed editions or even exclusively releasing titles digitally. When one includes the fact that the global digital comics market exhibited a stellar growth of 52.45% in 2020, and that the market is projected to grow from USD 7.36 billion in 2021 to USD 11.12 billion in 2028 at a CAGR of 6.1% in the 2021-2028 period, there is every reason for Telcos to keep an eye on this sector that does not only educate, builds creativity and critical thinking skills, but also has the potential to generate huge revenues for every investor.

    To promote the digital comics market in Africa therefore, Telecom companies like MTN, Orange and Glo, amongst others, can start by offering discounts on subscriptions or purchases of digital comics through their networks. This could be done either directly through their own services or indirectly via partnerships with existing comic publishers like Zebra Comics PLC. Discounts would not only create more interest in reading comics digitally but also provide a financial incentive for those who may otherwise shy away from such investments due to cost concerns.

    Another way telecom providers can promote digital comics is by creating dedicated channels within their platforms devoted exclusively to this genre of entertainment. These channels could include exclusive access to new titles as soon as they become available, bonus content related specifically to each issue released (such as interviews with writers/artists), video reviews and discussions about popular storylines, etc. This can even be done on existing platforms like Ayoba which is owned by MTN. By giving fans unique opportunities that cannot be found elsewhere – especially when time comes for major events such as Comic Cons (like Mboa BD Festival) – telecom providers will further cement themselves at the forefront of innovation when it comes to providing cutting edge entertainment experiences tailored specifically towards comic book aficionados on the African continent.

    Finally, many telecommunications companies already offer streaming services where users pay monthly fees instead of subscription packages which allow them access various types of film & television shows without commercial interruptions. Similar models should be applied towards providing customers unlimited access to all kinds of different genres of graphic novels & trade paperbacks too! Doing so would give readers instant gratification while simultaneously increasing visibility of these works amongst wider audiences who may not necessarily seek out this type of material independently on online stores like Amazon Kindle Store, iTunes, App Store, Google Play Books etc.

    By taking advantage of modern technological advances made possible by today’s telecommunication industry, telecom companies can help ensure that future generations continue to enjoy timeless tales and artistry that have captivated audiences for generations. Internet penetration and the growth in the consumption of digital comics is rising. A good example of this can already be seen in the deal between T-MOB and Telkom in South Africa. When all of these factors come together, therefore, they inevitably birth a money making and corporate social responsibility trove that no telecommunication company in Africa should ignore.

    Zebra-Comics-App-on-Tablet
  • Mancraft: A New Kind of Comic Book Fantasy

    Mancraft: A New Kind of Comic Book Fantasy

    Fantasy is a popular genre in entertainment that has captivated audiences worldwide for decades through iconic movies and novels. When people think of fantasy, they often imagine old wizards with pointy hats and magical wands, mythical creatures, and other familiar tropes. However, the African comic book industry is starting to shake things up and create a new kind of fantasy that is gaining global recognition. One example of this is MANCRAFT, a comic book series that stands out from traditional fantasy narratives.

    Synopsis

    Mancraft cover on the Zebra Comics Blog

    Mancraft tells the story of Tain, a young man who turns to a life of crime to survive. Despite the financial benefits, Tain is conflicted about his actions and feels trapped in his current lifestyle. After a botched job, he stumbles into a secret world of magic and legends that exists within our own. He soon realizes that his arrival in this world was not a coincidence and that he has a crucial role to play in the ongoing battle for power. Tain must choose his path carefully, knowing that his decision will have significant consequences.

    Setting and Context

    Unlike traditional fantasy stories that are set in mythical worlds like Westeros or Middle Earth, Mancraft takes place in a slightly advanced contemporary Cameroon, with fictional locations added in. This realistic setting provides a unique backdrop for the story, with characters dressed in modern clothing instead of cloaks and gowns. There are no dwarves or elves, and the focus is on people with special abilities called “craftsmen,” who possess magical powers derived from the culture of the region.

    The Protagonist

    Tain on the Zebra Comics Blog

    Tain is a complex protagonist, a character who is not a typical hero. He is flawed, having made decisions that led him down a dark path. However, his internal conflict and reluctance to embrace his role in the magical world make him relatable and compelling.

    Supporting Characters

    Tain is joined by a cast of diverse supporting characters, each with their own backstory and unique abilities. From the formidable and boisterous Little Chief to the wise and benevolent Kemjei, each character adds depth to the story and helps shape Tain’s journey. They are part of the elite that governs this magical underground world. On the other side, we have Kattia and Ramiz of the Bamenda III Police Department who are investigating a stream of strange phenomena. We see how their investigation uncovers this obscure world.

    Themes

    Mancraft explores themes such as power, identity, morality, and self-discovery. It highlights the consequences of the choices we make and the impact they can have on our lives and those around us. The story’s focus on African culture and mythology also provides an opportunity to showcase a different perspective on traditional fantasy narratives.

    Image from the Mancraft Comic book on the Zebra Comics blog

    Expansion

    The comic book industry in Africa has been steadily growing, with many talented creators producing groundbreaking content that showcases the rich cultural heritage of the continent. Mancraft is a prime example of this trend, with its unique blend of African mythology, modern-day setting, and fantastical elements that make it stand out in the crowded world of comics.

    The series is written by Ejob Gaius and illustrated by Maitre Show, and published by Zebra Comics, a Cameroonian comic book publisher. It is available online on Zebra Comics’ digital platforms, making it accessible to a global audience.

  • The Place of Tech in a Digital Comics Company: An Interview with Fensou Miles

    The Place of Tech in a Digital Comics Company: An Interview with Fensou Miles

    The digital comics market is witnessing great growth. New actors are entering the market everyday, growth projections are over the ceiling and digital comics IPs are seeing more success than they have ever seen in the past. This phenomenal growth, seen in companies like Line Webtoon, can be attributed principally to the strength and reach of the internet. With the possibility of reaching billions of people just by the click of a mouse or the touch of a screen, the internet has been of great importance to the growth of the comic book sector. Comic book lovers who own a compatible digital device like a smartphone, tablet or PC just need to log on to a website or download an app to be able to access millions of stories from different parts of the world. And with the deep penetration of the internet, this trend will only continue to grow. A good example which demonstrates this growth is the company, Zebra Comics PLC.

    Zebra Comics PLC is a Cameroonian company that specialises in the creation and commercialization of comics, animation and other derived products. As a company that saw the light of day in this digital age, it is no surprise that its management team decided to focus fully on digital distribution of comics. Consequently, the company has created a mobile application and website through which comic book lovers can read their favourite stories. And to make these platforms unique, the company decided to focus on the commercialisation of African stories that readers will find nowhere else but on the Zebra Comics app and website. So far, thousands of users have signed up to the company’s platforms and are enjoying the stories whose episodes are published every couple of days. From this, it is clear that technology has a very important place in this company. The question one will ask now is: how is all of this managed to make sure that everything works well and yields great results?

    Well, we caught up with Fensou Miles, Technology Officer at Zebra Comics, to find out how all this works. This is what he had to say.

    The Zebra Comics Blog: Hello Miles. Thank you for taking time to answer our questions. Let’s begin with this: How do you see technology influencing the digital comics industry in the next 5-10 years?

    Fensou Miles: Thank you for the question. Well, in the next five to ten years, technology is going to influence the digital comics industry principally at the levels of content creation and distribution. In an era where we are witnessing the proliferation of artificial intelligence like Chatgpt, creatives will use these digital tools for inspiration, for editing and to assist them create stories and illustrations faster than they would have ever done manually. With an increase in internet penetration and the number of digital comics readers, demand will increase exponentially and creatives will resort to these digital tools to create content that will satisfy these demands. On the distribution side, digital technology will occasion the proliferation of indie publishing. Authors or creatives will not need to pay editors huge sums to get their works edited and proofread, and they will be able to sell their work to people across the world more easily. Also, since there is a noticeable growth in the number of people who use their smartphones to consume comics, creators will resort more to digital tools to create comics which can be best experienced on these devices. This means that with time, we will see the emergence of new digital comics formats, a race to create the most innovative digital comics reading experience out there.

    The Zebra Comics Blog: How has technology impacted the way your company creates and distributes digital comics?

    Fensou Miles: Indeed, technology has impacted the way our company creates and distributes digital comics. Already, most of our creators are using artificial intelligence as personal assistants in their creative process. Daily, each creator has to produce work that will normally be produced by five different creators. Given this important volume of work, creators have no choice but to resort to AI, which can help them produce so much work in limited time. Also, our comics are distributed via a subscription based application (Android and iOS) and a website, which points at two things: firstly, we use digital means to distribute our products (thereby answering your question), and secondly, our creators are called upon to create large amounts of content to meet that high demand that is usually experienced on subscription based content platforms. This therefore reinforces the need to use AI tools to ensure that we catch up with demand, while ensuring that we do not sacrifice the quality of our productions. Personally, I believe that in the near future, creatives who use AI tools in their creative process will outperform creators who don’t, and thereby kick the latter out of the content creation market.

    The Zebra Comics Blog: What role do you see emerging technologies such as AI and virtual reality playing in the future of digital comics?

    Fensou Miles: Let me be honest; the role of emerging technologies such as AI will be more and more central in digital comics. As I mentioned in a previous answer, more creatives will turn to AI as an assistant for their creative process. The line between human and AI creations will be so blurred that at some point, we will begin to see comics that are created entirely by AI tools. With this kind of development, many problems will naturally  arise. Amongst these problems are legal issues pertaining to the ownership of these creations. If a creator uses an AI to create an entire comic book and puts it on the market, who will own the intellectual property? What if the AI creates a product which is criminal in nature? Who takes the blame?

    Emerging technologies will help increase the trend in the use of virtual reality in the consumption of digital comics. Comic book creators will be able to get their fans to experience their comics virtually, providing them with an even more immersive experience. At the same time, interaction between creators and fans will be heightened as, through virtual reality, they will be able to meet each other physically in a virtual environment. An economic system will grow out of this and see the growth of other things like the sale of digital items through VR and much more. From this, there is no doubt that AI, virtual reality and other emerging technologies will affect digital comics in very serious ways.

    VR-on-the-zebra-comics-blog

    The Zebra Comics Blog: Can you talk about a specific technological advancement that has had a significant impact on your company’s operations or products?

    Fensou Miles: Yes, of course. The availability of graphic tablets has changed the way and the speed in which we create comics in our company. A couple of years ago, obtaining a good graphic tablet for the production of digital comics was very difficult. Firstly, they were expensive and secondly, they weren’t always available. Most often, we ordered these graphic tablets from stores abroad and it usually took months for them to be delivered. Worse of all, getting spare parts for these tablets was a nightmare, making operations very difficult. Today, graphic tablets are available everywhere, their accessories are no longer scarce and they are much more affordable than before. We have been able to acquire quite a good number and this has accelerated our production speed. Also, these graphic tablets now come with different options, like an integrated screen, which makes them very efficient in the creation of comics. To crown it all, cheaper versions of these graphic tablets are available, and they still get the job done. These advancements have undoubtedly helped us reduce costs and increase productivity.

    The Zebra Comics Blog: How do you balance the use of technology with maintaining the creative integrity of your digital comics?

    Fensou Miles: For creation to take place, one requires inspiration, and it comes in different forms; it could be from something one saw on social media, a conversation one had, a thought in one’s mind, an image one saw in a museum etc In fact, inspiration can come from anything and anywhere. Now, how do I balance the use of technology while maintaining creative integrity? Well, normally, I start off with an idea, and this idea is usually not very clear. It will require some work for me to take this idea and transform it into something meaningful and monetizable. At this level, I make use of technology, specifically AI to be able to fine-tune the idea and make it look interesting. On a normal day, when I have an idea and I am not very certain about how to create something bigger from this, I resort to AI like ChatGPT to help dissect my idea and break it down to bits, thereby reinforcing my creativity. After that, I go back to what the AI has provided as feedback and I work on it, so as to render it as authentic as possible.

    The Zebra Comics Blog: How does your company approach the use of data and analytics in the creation and marketing of digital comics?

    Fensou Miles: We use a lot of data in the creation and marketing of our digital comics. For starters, we make sure that the way the comics appear on our PCs and laptops in the office should be the same way they appear on the phones of our users. For us to be able to achieve this, we gather data which tells us the kinds of smartphones, tablets or PCs our users use to access our platforms. From this data, we can acquire the devices and test our comics on them before we put them on the market. Sometimes, we find out that the comics do not display well on these devices and we therefore have the opportunity to fix these issues and ensure that the user has the best experience possible.

    Going further, we have tools that provide us with data on the content which is consumed on our platforms. We can see the number of people who view a particular comic, where they are viewing it from and this helps us to decipher what people like and what they dislike. This kind of data can help us to pick out a specific book, identify what makes it good or bad for a particular audience, and use the results to create similar products which will satisfy particular communities and foster our business. Given that Zebra Comics PLC focuses on the creation and commercialization of comics based on African cultures and traditions on a global scale, we have to look at our data closely to make sure that we are doing the right thing and that our users are very satisfied.

    Technology is here to stay. Whether we like it or not, it will continue to affect different aspects of our human activity in very deep ways. From the advancements in hardware to the birth of artificial intelligence, technology is more rooted in our lives than it has ever been. This is also true for companies like Zebra Comics PLC and sectors like digital comics. As Fensou Miles has clearly pointed out, technology has and will continue to have a huge impact on digital comics. Actors in this domain just have to adapt to this trend or they will have nothing but their tears to console them on the other end of the rope.

    Fensou Miles is Technology Officer and comic book creator at Zebra Comics PLC. He is the creator of the comic book IP, WRONG DIAL, which is available on the Zebra Comics App and Website. He holds a Master’s degree in Electrical and Electronics Engineering, and he is a great lover of art and entrepreneurship.

  • The Future According to Comic Books

    The Future According to Comic Books

    Human beings have always been obsessed with the future. From real life, passing through fiction, to science, humans have always wondered what the future holds for them. Throughout human history, we have seen individuals resort to fortune tellers, diviners, pastors and even dreams to catch a glimpse of what the future holds for them. Science has developed systems in meteorology and other sectors that can help predict future natural events. Even film, books and music have shown us imaginations of the future. Human beings are therefore heavily interested in what the future holds. The question one will ask here is, why is the future so important? Well, the very basis for seeking to predict the future is to avoid the errors of the past and ensure that the actions of tomorrow are quite efficient enough so as to provide humans with the best quality of life possible.

    So, with this great interest in the future by every sector of human activity, it is no surprise that futurism is a predominant theme in comic books. Right from the early days of the comic book industry, the future has been an important theme seen in the plots of the most popular comics out there. This has been the same with Japanese manga, Franco Belgian comics, webtoons and comics from different parts of the world. Futurism is one such concept that has been gaining traction among comic book fans lately. From sci-fi stories set in far-off galaxies to dystopian tales about our own future, futurism offers an intriguing look at what could be on the horizon for humanity. 

    Futuristic themes often appear as part of larger story arcs or entire series dedicated to exploring futuristic concepts and technology. Sci-fi comics like “Valerian and Laureline” are great examples of this type of storytelling; they feature characters who travel through time while encountering all sorts of alien creatures along the way! Other popular titles also take readers into strange realms full of advanced technology, mind control devices, interdimensional portals – you name it!

    Fans can also find plenty more futurist elements within other genres outside science fiction too; superhero stories have been known to dabble with time travel storylines or even introduce entirely new technologies from alternate realities (like Iron Man’s armor). Even horror comics are getting in on the action by introducing post-apocalyptic settings where survivors must battle against hordes of zombies or rogue robots for survival!

    That said, here are some great examples of comics that treat futurism in a predominant way.

    1. BRINK by Dan Abnett and I.N.J. Culbard.

    In the late 21st century the remains of the human race are crammed into the Habitats: vast artificial space stations; hotbeds for crime and madness policed by private security firms. When a routine drug bust goes wrong, no-nonsense Investigator Bridget Kurtis finds herself in a life or death struggle with a new sect of cultists. But evidence begins to point to something far more sinister going on behind the scenes.

    2. Judge Dredd: Titan

    On Saturn’s distant moon, Titan, lies the Mega-City, a penal colony for exiled ex-Judges – the most corrupt, dangerous and desperate to ever once carry the badge of office. Now the Justice Department of Mega-City One has lost contact with the Titan penal colony – a big problem considering that it houses over one thousand law-breaking ex-judges, many of which have a grudge with their old colleagues. Now Dredd must team up with SJS Judge Gerhart – a man who holds him responsible for ‘Chaos Day’, and battle a formidable army led by one of the most dangerous ex-undercover Judge’s ever…

    3. FAR SECTOR BY N.K. JEMISON AND JAMAL CAMPBELL(2019)

    When Jo Mullein left Earth for parts unknown, little did she know she’d end up becoming a Green Lantern at the farthest outpost in the known universe, dealing with a complex culture that was about to have its first murder in centuries. Investigating that death unearthed a lot of secrets and made her a lot of enemies. Written by multiple Hugo Award winner N.K. Jemisin and drawn by Naomi co-creator Jamal Campbell, this epic space adventure is one you will want to read over and over again.

    4. Akira by Katsuhiro Otomo

    Welcome to Neo-Tokyo, built on the ashes of a Tokyo annihilated by a blast of unknown origin that triggered World War III. The lives of two streetwise teenage friends, Tetsuo and Kaneda, change forever when paranormal abilities begin to waken in Tetsuo, making him a target for a shadowy agency that will stop at nothing to prevent another catastrophe like the one that leveled Tokyo. At the core of the agency’s motivation is a raw, all-consuming fear of an unthinkable, monstrous power known only as Akira.

    5. PLUTO: URASAWA X TEZUKA BY NAOKI URASAWA (2009)

    Pluto tracks an investigation into what appears to be a serial killer of robots and humans all across the world, headed up by a famous robot detective. It’s partially a retelling of an Astro Boy story — “The Greatest Robot in the World” — but Urasawa’s execution truly brings the series to life. His precision and patience recalls Watchmen, if only Alan Moore had managed to stay away from that giant squid ending.

    6. Kingdom Come

    Created by Mark Waid and Alex Ross, Kingdom Come is the perfect mesh of Rockwell-esque idealism and grim dystopianism. Set in a world in which many heroes have either retired or become complacent, a newer generation of heroes is becoming increasingly violent in their tendencies. This results in a rift between the old guard of heroes and the newer generation, bringing into question the meaning of justice and bringing the definition of a hero into question, as the lines of morality are blurred.

    7. The Dark Knight Returns

    In a future in which super-heroism has been outlawed and all heroes have hung up their costumes and retired (with limited exception), crime has grown progressively vicious. It is under these circumstances that the now grizzled and aged Bruce Wayne decides to come out of retirement and continue his war on crime. Many of the Dark Knight Returns’ greatest strengths lie in its greyed heroism and moral ambiguity, painting traditionally archetypal heroes such as Batman and Superman in a less than favourable light, bringing their ethics and actions into question in a way that feels very human.

    8. Alita Battle Angel  by Yukito Kishiro

    Battle Angel Alita tells the story of Alita, an amnesiac female cyborg. Her intact head and chest, in suspended animation, are found by cybermedic expert Daisuke Ido in the local garbage dump. Ido manages to revive her, and finding she has lost her memory, names her Alita after his recently deceased cat. The rebuilt Alita soon discovers that she instinctively remembers the legendary martial art Panzer Kunst, although she does not recall anything else. Alita uses her Panzer Kunst to first become a bounty hunter, killing cyborg criminals in the Scrapyard, and then as a star player in the brutal gladiator sport of Motorball. While in combat, Alita awakens memories of her earlier life on Mars. She becomes involved with the floating city of Zalem (Tiphares in some older translations) as one of their agents, and is sent to hunt down criminals. Foremost is the mad genius Desty Nova, who has a complex, ever-changing relationship with Alita.

    9. Old Man Logan

    The United States and the world of Earth-807128 has been conquered and divided among supervillains, with territories belonging to the Abomination (later conquered by the Hulk), Magneto (later conquered by a new Kingpin), Doctor Doom, and the Red Skull, who has named himself President of the United States. Superheroes have been wiped out of existence, with the few survivors in hiding. Logan lives with his wife Maureen and young children Scotty and Jade on a barren plot of land in Sacramento, California, now part of the territory known as Hulkland. Needing money to pay rent to his landlords the Hulk Gang (the incestuous hillbilly grandchildren of the Hulk and his first cousin She-Hulk), Logan accepts a job from a blind Clint Barton to help him travel east to the capital of New Babylon and deliver a secret package (which Logan assumes to be drugs). Logan and Barton encounter several diversions on their journey. They rescue Barton’s estranged daughter Ashley (who seems to be an aspiring Spider-Girl) from the clutches of the new Kingpin. However, she then murders Kingpin and reveals her intention to seize his territory of Hammer Falls (formerly Las Vegas) herself as the new Kingpin and “Spider-Bitch”, before attempting to kill her father; Logan rescues him and the pair escape, as Spider-Bitch sends her forces after them.

     

    10. Colonisation by Denis-Pierre Filippi and Vincenzo Cucca

    Following their last mission, Milla’s team has befriended a band of dissident Scum. Together, they decide to join forces to discover the truth behind the disappearance of the first settlers’ ships. A truth that has been carefully concealed by the Atils and the Administration… The first collaboration of this motley crew leads them to recover the survivors of a new Nave, orbiting a planet. But as soon as they arrive, they are hit by an electro-magnetic shot from the surface! Have the survivors of the Nave managed to colonise the planet? And if so, how long ago?

    From the list above, it is clear that the future is of great importance and interest to many. This list can easily be non exhaustive as there exist a ton of comics which are based on the future. Even African creators are producing comics that focus so much on the future, putting forth imaginations of what human life can be in the years to come. Check them out and get lost in not just lessons for the future, but also in quality entertainment.

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