Pensive – Page 9 – Premium storytelling in African comics, manga and webtoon

What African Comics Companies Should Learn from Webtoon

In the world of digital comics today, there is no name greater than WEBTOON. Wait! Before you argue that webtoons aren’t really comics, let me remind you that webtoons are just comics whose panels have been organised in such a way that they can easily be read on mobile devices such as smartphones and tablets. A webtoon is a type of digital comic that originated in South Korea and is read vertically by scrolling down on a computer or smartphone.

Webtoons began as online daily chronicles, created by people out of work during the Asian Financial Crisis in 1997. These eventually evolved into more complex narratives produced by both professionals and amateurs, mixing styles and genres in unexpected ways, and engaging with contemporary Korean social issues.

In 2020, webtoons’ combined sales topped 1 trillion won (£684.6 million) for the first time, representing a year-on-year increase of over 64%. Today, webtoons stand as a foundation of Korean storytelling industries, having become an inexhaustible source of inspiration for K-drama, cinema, musicals and computer games.

Undisputedly, today, the biggest webtoon company out there is Line Webtoon. Webtoon is a South Korean webtoon platform launched in 2004 by Naver Corporation, providing hosting for webtoons and compact digital comics. LINE Webtoon was founded by JunKoo Kim, under the name “WEBTOON,” after he watched the manhwa industry crash in the late 1990s and early 2000s.The platform is free, and is found both on the web at www.webtoons.com, and on mobile devices, on both iOS and Android. Today, webtoon attracts over 180 million active users. That’s the population of several countries put together. Pretty huge!

Webtoon boasts of thousands of webtoon creators and has millions of users in every continent of the world, including Africa. With its hugely diverse catalogue of webtoons, the platform which you access via a smartphone, tablet or PC continues to thrill African comic lovers with engaging stories. There are some African creators on the platform, however, they are so small in number that their impact is seldom felt across the board. This therefore makes one wonder if there are creators and companies from Africa who produce and publish webtoons full time. The answer is an astounding YES! The issue here, however, is that these creators and platforms are not yet well known internationally. Line Webtoon is not the only webtoon publisher out there as there exist other companies like Tappytoon, Manta comics, Bilili Comics, INKR comics etc. Nevertheless, Africa is not yet anywhere close to enjoying the reputation of these giants even though they are effectively present on the international market.

At this stage, the follow up question one will ask will be: what do African comics and webtoon companies have to do to enjoy the success that Line Webtoon enjoys?

Well, we did some research and we came up with the following things that African comics and webtoon companies can learn from Webtoon to become better platforms out there.

1. TAP INTO LOCAL CULTURE UNAPOLOGETICALLY FOR HIGH QUALITY CONTENT CREATION.

Open the webtoon app or browse through their website and you will find a ton of stellar content. From action adventures to fantasies, passing through slice of life stories and romance IPs, there is a ton of stuff to enjoy on the platform. The peculiarity of the content therein, however, comes from the fact that most of it is based on Korean culture. Well, it may be logical that a majority of the content on the platform is from Korea because most of the creators whose works are published there are Koreans. Nevertheless, they could still decide to create content based on other cultures which are more mainstream than theirs. The fact that they chose to focus on their own cultures, sets the content apart by giving it a unique tone and feel and showing great originality.

Thanks to this way of doing things, many IPs on the platform have been adapted into TV series, movies and games, helping Webtoon to bring in even more revenue. Quite a good number of K dramas on Netflix are adaptations from webtoons and they are amongst the most watched shows out there. So, African comics companies should not compromise on using African cultures as the basis for their content creation. Africa boasts of millions of untold stories and so much more undiscovered cultures. That is a huge opportunity for African comics to leverage on and stand out on the international market.

2. PROVIDE DIVERSITY IN CONTENT, TAKING INTO CONSIDERATION USERS FROM DIFFERENT LOCATIONS.

Webtoon is known for its strengths as far as geolocalization is concerned. What does that mean? Well, in simple English, it simply means that Webtoons platform is developed in such a way that it identifies where users are located and shows them content based on their location and preferences. Webtoon goes even further with this by curating content that comes from different parts of the globe. This way, users in different places get to see the kind of content they like and that can relate the most to. With this retention is assured and many more users will come to their platform. It is a good thing for African comics companies to unapologetically create content that is focused on their cultures and traditions, but they should be as diverse with these cultures as possible. This will include many more people from different regions and ultimately increase the popularity of their platforms.

3. PROVIDE FREE CONTENT AND DIVERSIFY MONETIZATION

Every business exists to make money; that’s a fact. However, how that money is made is not always an easy mountain to climb. Right out of the box, mobile applications and websites like Webtoon make use of a confirmed variety of monetization strategies which enable their owners to ensure cash flow. Amongst these monetization methods, it should be noted that offering the comics or webtoons for free can also ensure that money comes in regularly and consistently. Do not get it all mixed up, we are not saying that you should take ages, effort and resources to build something authentic and really useful, and then play Mother Theresa by distributing it for free. What we are actually saying here is that African comics companies should open up their platforms with free content and then use smart ways to make money from the tons of people who populate their platforms.

Webtoon has used and is still using this strategy to brilliant effect. Most of the content on their platforms is completely free, however, even when you are reading for “free”, you are compelled to view ads on the platform. Webtoon makes money from every ad that is displayed on any device using its platform anywhere in the world. This way of opening up their platform by making the content free and monetizing it indirectly has helped webtoon make hundreds of millions of dollars every year. This strategy is particularly good for African comics companies because African comics are not yet as popular as those from North America, Europe and Asia. These African comics companies will have to open their platforms so as to let as many people as possible get in, so that they can gain popularity and then make a lot of money in the process. They can add other monetization options like subscriptions and micro transactions, but they have to gain popularity first for the other strategies to be really effective.

Today, African comics are gradually gaining popularity across the world. This can be seen in the different adaptation deals signed between African comics publishers and large media companies to turn these comics into other media like animation and games. However, even with this popularity and even though some African comics companies like Zebra Comics PLC are doing much to position the continent internationally, African comics still need to grow and position themselves firmly in an ever growing market. With the deep penetration of the internet and the massive adoption of digital comics and webtoons across the globe, African comics companies will gain much by learning a thing or two from greats like Line Webtoon. Copying and fine-tuning what Webtoon has done and is doing will provide the much needed growth that African comics need today.

May 30, 2023

The Comic Book Landscape in Cameroon

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

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

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

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

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

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

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

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

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

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

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

May 18, 2023

Comics and Education

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

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

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

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

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

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

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

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

May 17, 2023

African Comics and Adaptation Rights: A Rising Trend

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

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

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

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

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

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

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

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

May 12, 2023

Violence in African Comics

It should be clear by now that wondering if there is violence in comics is like wondering if superheroes ever punch villains. Comics are about storytelling, and whoever says storytelling says conflict. Conflict is an essential ingredient for great storytelling. Without conflict, it is difficult or even impossible to enjoy a story. This is because stories usually invite us to go on a journey with a character and witness how he or she succeeds in overcoming, or succumbing to conflict. And conflict can be depicted in so many ways. Fighting, crying, silence and even laughter can be used to depict conflict.

In comics, like any other storytelling medium, conflict plays a central role in engaging readers. Amongst the different ways in which conflict is depicted in comics, violence is certainly the most used. Remember those memorable fights between Batman and Joker, Spider-man and Green Goblin, Rick Grimes and hordes of zombies? Yes, they were epic. But guess what? Those fights were laden with violence that is sometimes not appropriate for younger audiences. However, that does not end there. Those curses in the Saga comic book series and the domestic violence depicted in several slice of life titles are all forms of violence. It is so present in modern day literature as a whole that it is practically impossible to read through anything without seeing some violence somewhere.

So, the question one will certainly ask in the face of this status quo is; why are comic book creators and publishers so interested in violence?

Well, as already insinuated above, violence has been used many times to illustrate conflict. In a war between two or more peoples, just like in The Witcher comics, there aren’t a multitude of ways to show how much these people hate each other than through physical violence. The same can be said for any comic book genre (sci-fi, fantasy, slice of life, romance etc). The violence may be physical (like what we see in all Marvel and DC, Japanese and Franco Belgian comics and/or manga), emotional or domestic, but it is always there. Also, many comics are known for their thrilling action sequences and larger-than-life battles between good and evil which make for great entertainment. Violence, therefore, can be highly entertaining.

The real issue here is how much violence creators and publishers expose their readers to. If we had to organize an award for the most violent comics in the world today, titles like Crossed, Berserk, The Walking Dead, Kick-Ass, The Laughing Vampire, God is dead, Punisher Max, Fetus Collection, Sin City, Judge Dredd, The Kurosagi Corpse Delivery Service, Evil Ernie Vs Superheroes, Spawn, Homunculus and Invincible will certainly go home with the highest number of awards. These titles clearly take the violence game in comics a little too far and so younger audiences should clearly ignore these if they ever come across them.

Let’s be fair, many comic book publishers take great care to ensure the safety of their readers by limiting how much graphic content they allow in each issue. For example, most mainstream superhero titles contain minimal amounts of blood or gore with no explicit language or nudity included at all. In addition to this self-regulation from within the industry, parents can also help protect children by monitoring what comics they read and ensuring appropriate age restrictions are followed when purchasing material online or at local stores. So, yes, there is violence in those books with pictures and speech bubbles but anyone can be spared any of that if they follow the restrictive signs already put in place by publishers and book store owners.

In African comics, the use of violence is very present. Just like in the productions of their Western and Eastern counterparts, African comics creators have utilized violence to develop plot and to create highly entertaining products. Also, when one looks at the African continent today, there is no shortage of inspiration when it comes to violence. The different armed conflicts and even domestic conflicts on the continent today are fertile grounds from where to draw inspiration. Good examples can be seen in the African comics titles, Moi, Antibalaka, Le cauchemar d’Obi, T’zee, Barikisu and Wrong Dial. These African comics treat violence which is smeared deeply in politics, painting an accurate picture of what usually transpires on the African continent. At the same time, there are African comics which use violence as a tool for good. Most superhero comics, crime comics and even slice of life comics depict violence, but this violence is used solely for the purposes of bringing evil forces to book. Good examples here include Anaki, Jemiro, Guardian Prime Genesis, Boxsa, Lake of Tears, Jember, Kwezi, Strike Guard, Retrograde and Kush.

The good thing, as far as African comics are concerned, is that the use of violence hasn’t yet gotten to nefarious extents. Violence in African comics is generally just a device used to tell beautiful stories and to criticize the not-so-good things that happen around us. It is mild and is mostly used to entertain audiences. This is particularly applaudable, given that a great majority of comic book readers are kids and young adults whose minds are not yet ready to consume content which is violent or explicit in nature.

At its core, comic books provide a safe space where fans can explore different aspects of human nature without actually experiencing them firsthand – including acts such as violence which exist both inside and outside our fictional universes alike. This violence, if not properly portrayed, can be damaging to anyone. However, the good news is that as long as we continue to monitor what we consume responsibly, there should be absolutely nothing to fear when enjoying this unique artform.

May 12, 2023

What Is It Like To Work For An African Comic Book Company? An Interview With Achidi Ajaga

Go to the streets of any city in Africa and ask random people in what industries they will like to pursue a career. I bet you, not many of them will mention a desire to work for a comic book production company. This is not necessarily because comic book publishing companies do not exist in Africa or that it is impossible to pursue a fulfilling and successful career in this sector. The real issue actually finds its root in the fact that there aren’t many of such companies in Africa and how they function is mostly obscure business.

In this article, we seek to demystify the sector by throwing some light on the daily activities of someone who works in the sector, so as to show that it is a vibrant sector and anybody can pursue a successful career here if they really want to.

Below is therefore a discussion we had with Achidi Ajaga, colourist at Zebra Comics PLC, on what it means to work for a comic book creation and publishing company like Zebra Comics PLC. Enjoy!

Zebra Comics Blog: Hello, Achidi. Thank you for accepting to talk with us and share your experiences working for a comic book company. Now, the first thing we would like to know is; Who is Achidi Ajaga?

Achidi Ajaga: Thank you very much. Achidi Ajaga is a colourist at Zebra Comics PLC and holder of an Msc in Medical Physics from the University of Buea, Cameroon.

Zebra Comics Blog: How did you get into comics?

Achidi Ajaga: Actually, my dive into comics was certified at Zebra Comics PLC. However, long before I understood what comics meant and was all about,I had already started drawing. As early as my infant years, I had already fallen in love with drawing and illustration and I could always be seen drawing in my exercise books at home and in school. With time, my interest and skills in drawing grew and I ultimately became a comic book colourist at Zebra Comics PLC.

Zebra Comics Blog: How did you know about Zebra Comics PLC?

Achidi Ajaga: Well, I actually got to know about Zebra Comics PLC from another artist who is a close friend. This was around the time when Zebra Comics launched a recruitment for an artist to work in their creative studio. When I saw the opportunity, I was amazed that in Cameroon, there exist creative companies that deal in something I was passionate about. I therefore applied for a position at the company and here we are today.

Zebra Comics Blog: What is your role at Zebra Comics PLC?

Achidi Ajaga: At Zebra Comics PLC, I work as a colourist. My everyday job is to bring the illustrations done by the penciller and inker to life. I decide on colours that work well with the story and make them pop for every reader. I ensure that the colours bring out the mood that the story should have and thereby assure enjoyability for the consumer.

Zebra Comics Blog: What does your working day at Zebra Comics PLC look like?

Achidi Ajaga: A normal day of work at Zebra Comics consists of daily tasks. To ensure that all staff members, I included, are productive, tasks are given and follow up is implemented to make sure that these tasks are accomplished. So, everyday, I am called upon to colour or ink a certain number of pages. I make sure that I do these tasks everyday so as to achieve an objective that will take the company forward.

Zebra Comics Blog: Over all, how does it feel working for a comic book company in Cameroon? How do your family, friends and loved ones view this?

Achidi Ajaga: I will say working at Zebra Comics PLC is fulfilling. I use the word fulfilling because not everyone has the opportunity or privilege to enjoy what they do as work. When you enjoy your daily work, it usually doesn’t feel like work. So, creating these stories, bringing them to life and the general environment just makes creativity flow seamlessly and provides for a magical environment where you can work without feeling like it is work. This magical environment is also appreciated by my friends who are so excited because I work for one of the few or only comic book publishing companies that recruit on a full time basis in Africa. We all know of Marvel and DC comics in the United States, but there wasn’t any competitor in Africa until recently. And for the icing on the cake, my parents always knew that I am a creative person who loved to draw, and so they are very happy that I am able to pursue a career in something that I actually love to do. It is amazing!

Zebra Comics Blog: Any advice for young people who wish to work with a comics book company like Zebra Comics PLC?

Achidi Ajaga: My advice to anybody who is willing to pursue a career in a comic book company like Zebra Comics PLC is that they should know that it is very possible. The possibilities for any artist to pursue a career in this sector are huge nowadays. They just need to grow in their craft, keep on getting better and always put their work out there for people to see. They do not necessarily need to know too much from the get go, they just need to put their work out there for the world to see. Also, be willing and be ready to learn, because that is the only way you will grow as an artist. This is a sector where innovation is as common as the air we breathe, so you need to always be ready to learn new things.

Achidi Ajaga is an artist who has worked on several comic book hits from Zebra Comics like Kawana, Wrong Dial and Khadija. You can follow him on instagram.

May 9, 2023

Sports Comics from Africa

In the world of entertainment, sports occupy a position that few other domains can even dream of occupying. From football (soccer), to basketball, passing through tennis and cycling, professional sports continue to sustain a lot of attention from fans across the world. This is particularly the case because sports are very entertaining and they keep viewers glued whenever they are staged. Sports therefore constitute an interesting place to draw inspiration from when it comes to creating comics.

When the theme of sports is thrown on the table when comics are discussed, there are usually some key names that come to mind. Without question, Japanese manga and Franco Belgian comics constitute the majority of sports comics publications out there. IPs like Jojo’s Bizarre Adventure, Blue Lock, Eyeshield 21, Diamond No Ace, Hajime No Ippo, Haikyuu, Real, Ashita No Joe, Aoashi, Asterix Et Obelix Aux Jeux Olympiques, Les Schtroumpfs Olympiques, Le Sommet Des Dieux, Thorgal: Les Archers and Ping Pong have been wonderful creations, enriching the sports comics catalogue from Japan and Europe.

This, however, does not mean that American comics have nothing to show as far as sports comics are concerned. American creators may not be very keen on creating sports comics as much as their Japanese and Franco-Belgian counterparts do, but they still spew publications that are revered across the globe. Some notable American sports comics include: Golem’s Mighty Swing, Check, Please!, Fantasy Sports, Big Nate: Game On, Dragon Hoops, Sports Is Hell, Michael Jordan: Bull On Parade, Cheer Up: Love And Pompoms and Spinning.

As far as webcomics or webtoons are concerned, there is a litany of sports comics available online. The genre has evolved to include fantasy depictions of popular sport, thrilling fans of the genre across the globe. Some notable mentions include: Tweener, Build Up, Latent Blue, Attaque, Is This The Korean Wrestling Club?, Fist Of Legend, Into The Net, Green Boy, Backcourt, Wind Breaker and The Boxer.

From the above, it is clear that sports constitute a central theme in comics from across the world. From American comics, to Japanese Manga, passing through Franco-Belgian Comics and Webtoons, there are a plethora of sports comics to enjoy online.

Now, since this article is based on sports comics from Africa, the question that one will normally ask is: are there sports comics from Africa?

The answer is a resounding Yes. There are indeed sports comics created by comics creators from Africa. The issue, however, is that the number of creations, compared to those mentioned above, is still very low. African creators seem to focus on other themes like politics, war and romance more than they do with sports. Nevertheless, there exist sports comics from Africa. The following are notable examples you can check out.

1. KHADIJA

She wants to become a professional footballer, but her community frowns upon it. Khadija Mahamat will have to defy faith and tradition, in order to rise to the highest heights of football.

Her journey takes her down the path of a religious and cultural dilemma. Wading through the murky waters of the game, and the halals and harams of her faith, she strives to sign her name in the annals of football. Khadija is an exciting comic which blends sports, religion and tradition to create an exciting piece. It was created by Njoka Suyru and is available on the Zebra Comics App and website.

2. SAMUEL ETO’O FILS: NAISSANCE D’UN CHAMPION

This comic tells the incredible story of a kid from New Bell, a working-class neighbourhood in Douala, Cameroon, who became one of the best footballers in the world. Samuel is a quiet, well-behaved and obedient little boy, except for one thing, his dream, his passion, his ambition: football. He is interested in nothing but playing inter-quarter matches. He has built up a solid reputation, so much so that he is nicknamed “Petit Milla” after the famous Cameroonian footballer Roger Milla. But his parents don’t want to hear about it, because they consider that he is wasting his time playing football. This comic was published by Dagan Editions.

3. LES LIONS INDOMPTABLES: SAGA ILLUSTRÉE DES BUTS MARQUÉS EN COUPE DU MONDE 1982 – 2010

This graphic novel revisits the exploits of the indomitable lions of Cameroon (Cameroon’s national football team) at the different FIFA World Cups where they were a participant between 1982 to 2010. This collection is very peculiar in the fact that it focuses on the goals that the team scored during the 1982, 1990, 1994, 1998, 2002 and 2010 FIFA World Cups. Depicting these goals in comic book format makes it even more enjoyable as Ezzat El Dine’s art brings these goals to life in ways that other formats cannot. This comic is published by Editions Akoma Mba.

4. SUPA STRIKAS

Supa Strikas is a pan-African association football-themed comic, about the titular football team dubbed “the world’s greatest.” Despite their enormous talent, the players must adapt in a game where being the best is only the beginning and where the opposition is always full of surprises. The Supa Strikas comic prints 1.4 million copies per month in 16 countries making it one of the most popular sports comics in the world. Supa Strikas was founded by Andrew Smith, Oliver Power, Lee Hartman, and Alex Kramer. The comic series was first published in South Africa in 2000. It has also been adapted into a very successful TV show and its characters have been developed into other merchandise. As of 2019, the franchise is currently owned by Moonbug Entertainment.

Sports comics, like their other counterparts, are very popular across the world. Japanese, Franco-Belgian and American comics take the lead in this niche market which is growing by the day. However, new frontiers like webcomics and webtoons are also showing off great sports comics to readers from across the world. In all these, African creators have also created comics that are gaining interest on the market. The only issue here is that the number of publications of African sports comics are too few. This is however curious, given the fact that there is a huge interest in sports on the mother continent. So, this may be a call on African creators to step up their game and produce more sports comics which clearly have a market.

May 9, 2023

How African Comics Reinvent Comic Book Tropes

Introduction

Comic books are a popular form of entertainment that have been around for decades. They feature stories of heroes and villains, action and adventure, fantasy and science fiction. Comic books also rely on certain tropes, which are recurring themes, motifs, or clichés that readers can easily recognize and relate to. Some examples of comic book tropes are origin stories, secret identities, costumes, sidekicks, archenemies, death and resurrection, retcons, etc. While comic book tropes can be useful tools to create engaging and familiar stories, they can also become clichés, stereotypes, or limitations that hinder creativity. That’s why some comic book creators try to subvert, deconstruct, or reinvent these tropes to offer new perspectives and possibilities for their stories and characters.

However, comic book tropes are not universal. Different cultures and regions may have different ways of interpreting and expressing them. One of the most interesting and innovative examples of comic book creators who challenge and transform common comic book tropes are African comics. African comics are comics made by African artists for Africans and the rest of the world, to better reflect the experiences, struggles, and cultures of the many African countries without influence from the West.

What are Comic Book Tropes?

Comic book tropes are elements that are commonly found in comic books across genres and styles. They can be characters, settings, plots, themes, or devices that help create a sense of familiarity and continuity for the readers. Comic book tropes can also reflect the values, beliefs, and aspirations of the society and culture that produce them. African comics are a diverse and growing category of comics that originate from the continent of Africa. They are created by African artists who draw inspiration from their own experiences, histories, cultures, and languages. African comics aim to challenge the stereotypes and misconceptions that often surround Africa and its people in mainstream media. They also seek to celebrate the diversity and richness of African cultures and stories.

How do African Comics Reinvent Them?

1. The Superhero: African comic books feature superheroes who are inspired by African mythology, folklore, history and culture. For example, E.X.O. The Legend of Wale Williams is a sci-fi superhero story set in a futuristic Lagos, Nigeria, where Wale Williams inherits a nanosuit from his father and becomes E.X.O., a protector of the city. E.X.O. draws on Nigerian traditions, politics and slang to create a unique and authentic superhero. Another example is Kwezi, a South African comic about a teenage boy who discovers he has superpowers and must balance his ego and responsibilities as a hero. Kwezi explores themes of identity, heritage and belonging in contemporary South Africa, as well as the role of social media and celebrity culture in shaping public perception

2. The origin story: African comic books often subvert the typical origin story trope by showing how the characters’ powers are not always a blessing or a source of empowerment, but rather a curse or a burden that comes with consequences and sacrifices. For example, Malika: Warrior Queen, a historical fantasy comic set in 15th century West Africa, where Malika inherits the crown and the power of her ancestors after her father’s death. However, Malika faces opposition from her brother who wants to usurp her throne, as well as from foreign invaders who seek to exploit her land and people.

3. The sidekick: African comic books often challenge the notion of the sidekick as a subordinate or inferior character by showing how they are equal or superior partners to the superheroes. For example, Lake of Tears is a comic that tackles the issue of child trafficking and slavery in Lake Volta. The main characters are Kwame and Kofi, two brothers who escape from their captors and join forces with Yao, a girl with mystical powers who can control water. Yao is not a sidekick to Kwame and Kofi, but rather their leader and mentor who teaches them how to survive and fight back against their oppressors.

4. The villain: African comic books often present villains who are not just evil or crazy, but rather complex and realistic characters who have motives and backgrounds that relate to the social and political issues of Africa. For example, Khadija is a Cameroonian digital comic that tells the story of a young girl who wants to become a professional footballer but has to face the restrictions imposed on her by her religious background and culture. Khadija is hindered by her father and relatives, but she also develops a friendship with a mentor who helps Khadija pursue her dream. The ‘villain’ in this story is embodied by her culture, religious beliefs and relatives, which are not just downright evil entities.

5. The secret identity: African comic books often challenge the idea of the secret identity as a necessity or a benefit for the superheroes by showing how it can be a source of conflict or danger for them and their loved ones. For example, Razor-Man is a Zimbabwean comic about Takura, a young man who becomes a vigilante after his father is killed by a gang. Takura uses his razor-sharp blades to fight crime, but he also struggles to keep his identity secret from his mother and his girlfriend, who disapprove of his actions and worry about his safety. Takura also faces the risk of being exposed by the media and the police, who are hunting him down. Another example is Avonome, a Nigerian comic about Hilda Avonomemi Moses, a girl who can see spirits and other supernatural beings. Hilda uses her abilities to help the spirits find peace, but she also has to hide them from her family and society, who consider her a freak or a witch. Hilda also has to deal with the dangers of the spirit world, where she encounters enemies and allies who have their own agendas.

6. The team-up: African comic books often celebrate the idea of the team-up as a way of showcasing the diversity and unity of Africa, as well as the potential for collaboration and cooperation among different heroes and cultures. For example, Newborn Saga, is an Ethiopian comic that follows the adventures of four young heroes who are chosen by an ancient prophecy to save their world from an evil force. Newborn Saga draws on Ethiopian mythology, history and culture to create a rich and diverse fantasy world, where the heroes encounter various creatures, races and factions.

Conclusion

African comics are not a monolithic category, but rather a diverse and dynamic field of creative expression that reflects the cultural, historical and social realities of the continent and its diaspora. African comics draw inspiration from various sources, such as folklore, mythology, history, politics, religion, science fiction, fantasy and more. African comics also use different styles, formats and languages to convey their stories and messages. African comics feature superheroes who are not only powerful but also culturally relevant and relatable. They often have powers that are derived from African traditions, such as magic, spirituality or ancestral connections. They also have identities and backgrounds that reflect the diversity and complexity of African experiences, such as ethnicity, nationality, religion and culture. African comics do not simply copy or imitate Western comic book tropes, but rather reinvent them in ways that suit their own contexts and purposes.

If you are new to African comics or wish to discover more African comics, start here.

May 9, 2023

Upcoming Comic Book-Inspired Movies in 2023: What to Expect

Are you a fan of comic book movies? If so, get ready for an exciting year ahead! 2023 promises to be a year packed with action-packed movies inspired by some of our favourite comic book heroes and villains. From iconic characters like Aquaman and Spider-Man to lesser-known characters like Kraven and Blue Beetle, there’s something for everyone to look forward to. In this article, we’ll give you a sneak peek into what you can expect from these upcoming comic book-inspired movies in 2023. Get ready to mark your calendars!

1. The Flash – June 2, 2023

Fans of DC Comics character The Flash have been eagerly waiting for this movie for years, and it’s finally set to hit theatres on June 2, 2023. The film, directed by Andy Muschietti, who’s well-known for his work on horror movies It and It Chapter Two, stars Ezra Miller as Barry Allen, aka The Flash. The movie also features Kiersey Clemons as Iris West and Michael Keaton as Batman.

2. Aquaman 2 – December 22, 2023

Jason Momoa will be returning as Arthur Curry, aka Aquaman, in the highly anticipated sequel to the 2018 Aquaman movie. Aquaman 2, directed by James Wan, is set to release on December 22, 2023. The movie will see Aquaman facing a new threat, and will also feature the return of several characters from the first movie, including Amber Heard as Mera and Patrick Wilson as Ocean Master.

3. Guardians of the Galaxy Vol. 3 – May 5, 2023

7. Kraven the Hunter – October 6th, 2023

Marvel fans are anxiously anticipating the release of Guardians of the Galaxy Vol. 3, which is set to hit theatres on May 5, 2023. The movie, directed by James Gunn, will see the return of Star-Lord, Gamora, Drax, Rocket, and Groot, as they embark on another intergalactic adventure. The film is also set to introduce several new characters, including Adam Warlock, played by Will Poulter.

4. Blue Beetle – August 18, 2023

Blue Beetle, a lesser-known DC Comics character, will become more popular with the release of this movie on August 18, 2023. The movie will feature Xolo Maridueña as Jaime Reyes, a teenager who discovers a powerful alien artefact that grants him incredible powers. Angel Manuel Soto directs the movie, which promises to be an exciting addition to the DC Extended Universe.

5. The Marvels – November 10, 2023

The Marvels is a highly anticipated movie that will see the return of Brie Larson as Carol Danvers, aka Captain Marvel. The film will also introduce several new characters, including Ms. Marvel, played by Iman Vellani, and Monica Rambeau, played by Teyonah Parris. Nia DaCosta directs the movie, which is set to be released on November 10, 2023.

6. Spider-Man: Across the Spider-Verse – June 2, 2023

Spider-Man: Across the Spider-Verse is another comic book-inspired movie to be released in 2023. It is the sequel to the 2018 film Spider-Man: Into the Spider-Verse, which received widespread critical acclaim for its unique animation style and captivating storyline. The film follows the adventures of Miles Morales, who is now a more experienced Spider-Man, as he encounters other Spider-People from different dimensions. The movie features the return of Shameik Moore as the voice of Miles Morales and also introduces new characters such as Spider-Woman and Spider-Man 2099.

7. Kraven the Hunter – October 6th, 2023

Kraven the Hunter is a highly anticipated movie for Marvel fans, as it brings a new character to the big screen. The film follows the storyline of Kraven the Hunter, who is a notorious Spider-Man villain. Kraven is a big-game hunter who travels to New York City to hunt down the web-slinger, Spider-Man. The movie will star Aaron Taylor-Johnson as Kraven and will be directed by J.C. Chandor.

The film is based on the comic book series “Kraven’s Last Hunt,” which is considered one of the greatest Spider-Man stories ever written. The story is a dark, psychological tale that explores the relationship between Kraven and Spider-Man. Kraven believes that he is the only one who can truly understand Spider-Man and wants to prove it by defeating him in a hunt. The story is intense and emotional, and it will be interesting to see how the movie will adapt it.

Overall, 2023 is shaping up to be a fantastic year for comic book-inspired movies. With so many highly anticipated films on the horizon, fans of the genre have a lot to look forward to. From the return of beloved characters like Aquaman and the Guardians of the Galaxy to the introduction of new heroes like Blue Beetle and The Marvels, there’s something for everyone. And with the growing popularity of digital comics platforms like Webtoon, Zebra Comics, Mangatoon, and many others, there has never been a better time to be a fan of the genre. So mark your calendars and get ready for an action-packed year at the movies.

May 9, 2023

Female Creators in African Comics

For a very long time, comic books have been seen as things for boys and young men. This was probably due to the fact that comics had always been likened to the “boyish” stuff: superheroes, fight scenes and guns. This has been true for American comics, Franco Belgian comics and Japanese manga. This trend was and is still being witnessed in almost all African countries where the majority of those who consume comics are young men. This is not to say that there aren’t any girls who love comic books that are filled with flying men, extraterrestrial explosions and devastating punches. Things have evolved and more girls are reading action and superhero comics. Added to that there are genres like slice of life and romance that have brought even more girls into the game, levelling a field that wasn’t flat.

So, yes, girls from different parts of the world now read comics of different genres and in different formats. However, one cannot help but wonder if this interest in the consumption of comics is also witnessed in the creation of this artform.

The number of female comic book creators (writers and artists) from across the world is growing tremendously. From American comics creators like Fiona Staples, passing through Franco Belgian damsels like Claire Bretécher, to female Japanese mangakas like Rumiko Takahashi, the number of women who do comics is growing rapidly. In a world where equality has become a trend, it is interesting to see that there are quite a good number of women who are succeeding as comics creators, in the same light as their male counterparts.

In Africa, the situation is not very similar to the above. While there are many women who are excelling in this art, this sector is still heavily dominated by men. The African comic book industry is growing and this growth will only soar with time, so it is quite questionable that despite this growth, women are not very interested in the trade. Some reasons for this status quo may be found in the environment, culture and shear personal preferences.

Nevertheless, even though the number of women in African comics are not yet very significant, the few who are working hard to create and distribute content on the continent are doing a phenomenal job.

Below, therefore, is a list of women who are contributing to the growth of African comics in a very significant way.

1. Marguerite Abouet

Born in Abidjan to Ivorian parents, Marguerite Abouet is one of the most popular comic book creators from Africa. At the age of twelve, she was sent with her older brother to study in France under the care of a great uncle. She currently lives in Romainville, a suburb of Paris, with her husband, illustrator Clément Oubrerie (who illustrates her graphic concepts), and their young son. Her most prominent work is the graphic novel series, AYA OF YOP CITY. Aya tells the story of its 19-year old heroine, the studious and clear-sighted Aya; her easy-going friends Adjoua and Bintou; and their meddling relatives and neighbours. It’s a breezy and wryly funny account of the desire for joy and freedom, and of the simple pleasures and private troubles of everyday life in Yop City.

An unpretentious and gently humorous story of an Africa we rarely see– spirited, hopeful and resilient. Aya won the 2006 award for Best First Album at the Angouleme International Comics Festival. Clement Oubrerie’s warm colours and energetic, playful line connect expressively with Marguerite Abouet’s vibrant writing.

2. Elyon’s

Elyons, also known as Joëlle Épée Mandengue is a Cameroonian comic book creator whose passion for comics is seen not only in her creative work, but in other platforms she created like the Bilili BD Festival and the Kubuni bandes dessinées d’Afrique(s) exposition. As far as comics and graphic novels are concerned, Elyons most successful work is “LA VIE D’EBENE DUTA”. This is a graphic novel which chronicles the daily life of a young black girl far from her country of origin. The story, scripted and drawn by Elyon’s, is delightful on several levels. There is no discourse on a fantasised Africa, nor is there yet another (re)visit of the clichés on immigration or all the misperceptions attached to black identity, making it a must read. As earlier mentioned, when Elyons is not creating comics, she is working on the very successful Bilili BD Festival, the Kubuni bandes dessinées d’Afrique(s) exposition or travelling around the world to attend other comic book festivals and promote African creations in the best ways possible.

3. An Nina

An Nina, whose birth name is Appolonia Otam, is a Cameroonian writer whose work has contributed immensely to the growth of the Cameroonian and African comic book landscape. A founding member of Zebra Comics PLC, An Nina grew up reading a lot of comics and eventually developed not just a passion for comics but also a veritable skill for creating them. An Nina is the creator of the original comic book titled, ALIYA. It tells the story of a young woman (Aliya) who is a successful translator by day and the incarnation of a goddess by night. This duality in her personality makes her a very sought after person by elements of the dark and so she must fight to preserve herself and whatever the universe has set apart from her. When An Nina is not writing comics, she works as a translator. She has translated several comic book titles for Zebra Comics PLC from English to French, thereby making it possible for Francophone readers across the world to be able to enjoy African comics.

4. Reine Dibussi

Reine Dibussi was born in Yaoundé. She is a Cameroonian and French 2D illustrator, cartoonist and author of comics. Like Elyon’s, she is one of the few women working in the Cameroonian comic book industry. She spent her childhood in the capital city of Yaoundé in the Oyom-Abang neighbourhood and then in Ekié with her family. The last of four (04) girls, Reine and her sisters grew up surrounded by books, especially children’s literature and illustrated books. In this environment, she read a lot of comics and watched a lot of animated shows. This generated her passion for stories, art and illustrated narratives. With this background, she decided to develop her artistic skills after two years at the undergraduate level studying language and civilization. She therefore attended the Emile Cohl School in Lyon for five years, at the end of which she obtained a diploma in illustration design. Her most prominent work is the graphic novel series titled MULATAKO. Mulatako tells the story of Jéméa, a Jengu water spirit child who goes to Pamba, the initiation school and learns that she will have to repeat her class. At the same time, the High Council of Chiefs decides to exterminate the school’s students and teachers who have contracted a disease that turns them into mutants. Jéméa, her family and friends do not intend to let this happen. But since she is sick and powerless, she flees her world where she is threatened with death and finds herself in the less advanced world of humans. Mulatako (which means “Union”) is a four-part comic book series based on the myth of Mami-Wata. Still called Miengu in the beliefs of the large Sawa group in Cameroon, this myth is also common to many African and Afro Descendant peoples.

5. Armandine Atangana

Armandine Atangana is an artist and comic book creator who has been on the scene for a while now. From childhood, this lady who originates from the Centre Region of Cameroon has always loved art. She drew a lot and this quickly transformed into her desire to see her own creation come to life. To make this dream come true, she joined a group of artists called BlackTrek and with them, she honed her artistic skills and created a few comics. Later on, she worked with Kiro’o Games on the project Aurion Kajuta Gems Fighters. Her most prominent work today is a comic book titled, Tié Nneme.

6. Beti Ophelie

Beti Ophelie is an artist who has great passion for comics and art in general. She is a Cameroonian whose love of comics was ignited when she read Franco Belgian comics (Blek, Zembla) made available by her mother. When she discovered these characters and worlds, she developed the desire to create her own characters and stories. With this, she began training herself in comic book illustration and art and this culminated in a job with Zebra Comics PLC. Beti Ophelie’s most notable work is found in KAWANA, a comic and webtoon series published by Zebra Comics PLC.

7. Carine Umutoniwase

Carine is from Kenya. She is an activist and a member of the youth organisation called Footprints for Change, which aims to transform Kenyan youth by exposing them to values, knowledge, and skills that promote an accountable society through innovative training in leadership for different enterprises. She’s the author of the ALEDNAM comic which spelt backwards is Mandela. Alednam seeks to bring out everyday living in our societies and the challenges we face and moreover highlight what we as young people can do. Talk about hope.

8. Cassandra Mark

Cassandra Mark is an award-winning writer, comic book creator and anime enthusiast resident in Lagos, Nigeria. She is the author and creator of the hit comic TATASHE, published by Comic Republic. She is an Award-winning writer and Visual Development artist with over 5 years of experience specialising in comic book illustrations, character and world conceptualization, storyboarding and creative contention at local and global levels.She is also a hardcore gaming junkie who enjoys gardening, Yoga, and dabbles in African spirituality. Other comics related work she has done include HERO KEKERE, published by Comic Republic.

9. Zainab Fasiki

Zainab Fasiki is a Moroccan graphic artist, activist for women’s rights and mechanical engineer by training. She became internationally known after 2019, following her graphic novel HSHOUMA, CORPS ET SEXUALITE AU MAROC which was translated from French into Moroccan Arabic, Spanish, Galician and Italian. Fasiki joined the comic book collective Skefkef, and in 2017 published a first feminist comic strip, called OMOR (Things), in which she explored the difficulties of a woman’s life in Morocco. Through the characters of three young Moroccan women, she denounced the social inequalities between men and women. Her work, which she publishes on social media and as graphic novels, criticises censorship, taboos and notions of shame in Morocco.

10. Leila Slimani

Leila Slimani is the bestselling author of The Perfect Nanny, one of The New York Times Book Review’s 10 Best Books of 2018, for which she became the first Moroccan woman to win France’s most prestigious literary prize, the Goncourt. Her other books include Adèle, Sex and Lies, and the #1 international bestsellers In the Country of Others and Watch Us Dance, which are the first and second parts of a trilogy of novels based on her family’s roots in revolutionary Morocco. Slimani is French president Emmanuel Macron’s personal representative for the promotion of the French language and culture, and is the chair of the jury for the 2023 International Booker Prize.

Her most prominent work in comics is A MAINS NUES – 1900-1921, a biography of Suzanne Noël, a feminist committed to women’s suffrage and a pioneer of reconstructive surgery. She operated on many soldiers disfigured by shells during the First World War alongside Professor Hippolyte Morestin. Both of them developed revolutionary surgical protocols to restore dignity to broken heads.

11. Nnedi Okorafor

And here comes the best! Nnedimma Nkemdili “Nnedi” Okorafor (formerly Okorafor-Mbachu) is a Nigerian-American writer of science fiction and fantasy for both children and adults. She is best known for her Binti Series and her novels Who Fears Death, Zahrah the Windseeker, Akata Witch, Akata Warrior, Lagoon and Remote Control. She has also written for comics and film. Her writing is Africanfuturism and Africanjujuism, which is heavily influenced by her dual Nigerian and American heritage. She is the recipient of multiple awards, including the Hugo Award, Nebula Award, Eisner Award and World Fantasy Award. She is considered to be among the third generation of Nigerian writers.

As far as comics are concerned, Nnedi Okorafor has created stories for the greats like Marvel Comics and has even created her own series. Some of her most prominent works in comics include; LAGUARDIA, WAKANDA FOREVER, BLACK PANTHER: LONG LIVE THE KING, THE SHURI SERIES and AFTER THE RAIN. These comics tell deeply intriguing stories with complex characters who live in exotic worlds. You will certainly agree here that with some of the names on her list of comics, there is no doubt that she should be the most celebrated African comic book creator out there.

In yesteryears, when anyone mentioned comics, the first thing that certainly came to mind was superhero characters in picture books meant for teenage boys. It goes without saying that this perception has greatly changed and the evolution that followed has seen girls getting more and more interested and engaged in this popular artform. Today, as this article clearly portrays, African women are at the forefront of both the consumption and creation of comics. And, arguably, women creators like Marguerite Abouet and Nnedi Okorafor are amongst the most successful African comics creators of all time, all genders inclusive.

April 26, 2023

Category: Pensive

1. TAP INTO LOCAL CULTURE UNAPOLOGETICALLY FOR HIGH QUALITY CONTENT CREATION.

2. PROVIDE DIVERSITY IN CONTENT, TAKING INTO CONSIDERATION USERS FROM DIFFERENT LOCATIONS.

3. PROVIDE FREE CONTENT AND DIVERSIFY MONETIZATION

Introduction

What are Comic Book Tropes?

How do African Comics Reinvent Them?

Conclusion

1. The Flash – June 2, 2023

2. Aquaman 2 – December 22, 2023

3. Guardians of the Galaxy Vol. 3 – May 5, 2023

7. Kraven the Hunter – October 6th, 2023

4. Blue Beetle – August 18, 2023

5. The Marvels – November 10, 2023

6. Spider-Man: Across the Spider-Verse – June 2, 2023

7. Kraven the Hunter – October 6th, 2023

1. Marguerite Abouet

2. Elyon’s

3. An Nina

4. Reine Dibussi

5. Armandine Atangana

6. Beti Ophelie

7. Carine Umutoniwase

8. Cassandra Mark

9. Zainab Fasiki

10. Leila Slimani

11. Nnedi Okorafor