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

Sex In African Comics

There are many things that human beings of this generation are obsessed with – money, power, fame, etc. People will do anything to obtain these things, and they show how much our societies have evolved to revere materialism. Among these objects of human obsession is sex. So much ink has been shed, and so much has been said around this topic that excites and angers, at the same time. From the discourse on liberty passing through equality and identity, sex has been part and parcel of our daily life.

Sex, in its own right, should not be taboo. Sex is part of creation and until now, it still constitutes the main way through which babies are conceived. To be fair, though, the main thing which sex is most known for is the pleasure it procures. The emotional, erotic and romantic aspects of sex are what thrill people the most about this activity, the reason why it has been portrayed endlessly in different kinds of entertainment.

Today, sex is everywhere around us. Movies, television shows, books, video games, magazines, social media, websites and even advertising make use of sex to hook people and keep them coming back for more. The craving for sex can even be seen in how popular pornographic sites have become. Some of these sites have even become platforms where people make a lot of money while engaging in sexual activity. Well, we will talk about that some other time. Let’s focus on comics here.

So, like all other entertainment mediums, comics have also used sex to hook fans. In some cases, it is used casually as a plot device to push the story ahead. In this category, you will find comics like The Pro, Batman: Son of the Demon, Blankets, New X-men and Sky Doll. In other cases, it is literally used as the main element of the story. A good example here will be Sex Criminals. Others have gone farther to actually present things in a pornographic nature. These types of comics are popular online with Franco Belgian comics and Japanese Hentai at the forefront of this movement.

So, where does Africa fit in all this? Well, note that throughout history, African culture in general, has been very conservative when it comes to sex. Actually, until recent times, Africans have usually mythicized sex, making it look like something reserved only for the gods. And maybe it is a good thing that African culture presents sex as something sacred. The ease and looseness with which the activity is carried out is alarming. As a wise man once said, “We may all yearn for a free world, but we should also be ready for the consequences of this freedom.” Unwanted pregnancies, abortion, child trafficking, HIV AIDS and other sexually transmitted diseases, and outright suffering due to poverty and inability to care for newborns are some of the consequences of promoting a world where sex is as cheap as dust.

Ok, that’s enough for the moral lesson.

So, do African comics incorporate sex in their storytelling? Hell, Yes! Like it was stated above, you will find sex scenes in some comics from Africa. The following are some great examples.

1. LES DESSOUS DE POINTE-NOIRE by KHP

In Les dessous de Pointe-Noire, KHP (Koutawa Hamed Prisley) tells the story of two young women whose economic constraints lead them into prostitution. A curse that can also be a source of hope, that of finding the man who can get them out of the country. Yes, this is a story about prostitution, and so there is sex in it. However, it is nothing pornographic. It is just used to depict a disturbing context in Africa.

2. OUPS! by GEORGES PONDY

Set in a university hostel in Yaoundé, the capital of Cameroon, this comic strip by Cameroonian artist Georges Pondy focuses on the daily lives of attractive, funny and oblivious teenagers. Of course, when we talk of university students and hostels in this age, there will be sexual activity involved. However, Georges Pondy does not use this comic to put forth an explicit view of sex in this context. It is just used as a theme, which is used to explain the precarious context in which Cameroonian youths and students find themselves.

3. MULEMA by SHOWBIZ

Mulema is a young woman heavily involved in anomie. She has been courted by Ronet, for over two weeks, to no avail, because she only involves herself in lucrative relationships. He nevertheless manages to get her telephone number, and immediately seizes the opportunity to invite her out for a drink. However, Mulema is ignorant of what she is about to discover, when she goes on the date. In this comic, sex is not made obvious. Instead, it is just insinuated through the sexual energy that the characters carry around with them. It is a device that works well with the story and leaves readers wanting more.

4. CITY BLUES by E.N. EJOB AND MAITRE SHOW

City Blues presents a story that revolves around the lives of university students faced with hardships that university students usually go through. Most of these hardships are tied to lack and poverty, and as a result, these students usually find themselves involved with questionable things just to make ends meet. Sex for money is therefore one of the things that these students engage in and it is very present in this comic.

5. ANAKI by E.N. EJOB

This is probably one of the most unexpected comics on this list. Anaki is an afrofuturism African comic that tells the story of a young witch (Anaki) who struggles to survive in a world that seeks to annihilate her kind. Heavy on science fiction and fantasy elements, sex in ANAKI is used solely for plot development purposes.

6. PALABA by HUGHES BERTRAND BIBOUM

PALABA is a highly humorous and satirical take on contemporary Cameroonian and African societies. This story is published for free online, and has entertained readers from different corners of Africa and the world. PALABA in Cameroon pidgin loosely translates to “problems,” or “faults,” and presents some of the issues the common African goes through, on a daily basis. Sex is present in this comic, and it is depicted in a rather humorous way. It is used to show how Africans manage their sexual urges and desires in a world that constantly pushes them to have more of it.

Sex has always been present in entertainment, and it will not stop being in it any time soon. The issue, however, is that the proliferation of sex has reached alarming heights, and has fostered a culture of promiscuity, which has been frowned upon for as long as mankind has existed. This proliferation of sex is seen in different media, among which we have comics. American, European and Asian comics creators and publishers have explored sex in their works to the extent that they have included heavily pornographic content in their productions. Africa is not left out in this trend. However, given the conservative nature of African cultures, when it comes to sex, many African creatives have not dared to go beyond mere insinuation or depiction when talking about sex. Some artists, like Georges Pondy and Maitre Show, have dared to wander a little more in this sphere, but they haven’t gone too far. Sex comics are therefore all around us. Nevertheless, it may just be good that Africa is taking a conservative position on this issue: when all sense of decency escapes the world, Africa may be the one place where we can find it.

June 9, 2023

African Comics Creators in the Diaspora whose Works Honor Africa

African comics are becoming more and more popular. In the last decade, the sheer amount of quality in African comics creation and the attention that it has garnered is mindblowing. From big publishers like Dark Horse adding African comics to their catalogue, to mega production houses like Universal studios buying adaptation rights to adapt African comics into other media like animation and movies, the growth that this artform is witnessing on the mother continent is unprecedented.

With all this success, however, the question people still ask is, who is an African creator? In a globalised world where anybody can identify as anything, the answers to this question may raise eyebrows higher than they should normally go. However, for the sake of this article, we will focus on comics creators who originate from Africa, whose works are based on events or characters from Africa and who live out of the African continent.

African comics creators in the diaspora are a growing force in the comics industry. They are very important to Africa and to the world because they use their work to explore a wide range of topics, including African history, culture, and identity. They are also challenging stereotypes and representations of Africans in mainstream comics. These topics do not only help promote Africa to the world, but they also help change mindsets about what the continent is all about.

Here are some other notable African comics creators in the diaspora whose works honour the African continent in great ways:

1. NNEDI OKORAFOR

One of the most prominent African comics creators in the diaspora, Nnedimma Nkemdili “Nnedi” Okorafor (formerly Okorafor-Mbachu) is a Nigerian-American writer of science fiction and fantasy for both children and adults. 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.

2. ROYE OKUPE

Born in Lagos, Nigeria, Roye Okupe is an award-winning filmmaker, author, speaker and entrepreneur whose passion for comics and animation led him to found YouNeek Studios in 2012. Under that umbrella, Roye wrote, produced and directed several animated productions including, but not limited to, the award-winning and critically acclaimed Malika – Warrior Queen Animated Short. These productions have allowed Roye to attain many prestigious recognitions such as being #5 on Ventures Africa’s list of 40 African innovators to watch (2016) as well as being part of NewAfrican Magazines’ 100 most influential Africans two years in a row (2016 & 2017). In August 2015, Roye’s debut graphic novel: E.X.O. The Legend of Wale Williams Part One was received with critical acclaim and has since been featured on CNN, Forbes, The New York Times, NBC, The Guardian, ABC7, BBC, The Huffington Post, Mashable and more!y.

3. MARGUERITE ABOUET

Abouet was born in 1971 in Abidjan, Côte d’Ivoire, and at the age of 12 she and her brother moved to France to their 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. She worked as a legal assistant in Paris while writing her first graphic novel, Aya. Abouet had tried to write novels for young people, but she gave up in frustration with what she perceived to be the constraints put on the genre by the publishers. She left her job as a legal assistant to concentrate on writing full-time, including her two follow-up graphic novels to Aya (Aya of Yop City and Aya: The Secrets Come Out)

4. JUNI BA

Juni is an illustrator and writer who hails from Senegal and France. His current works include the Kayin and Abeni mini series and the Monkey Meat stories both published by Kugali. He is also the author of DJELIYA, a comic book published by TKO. He’s also a cover artist with works for Skybound and IDW. His artistic fuel is mostly based on orange juice.

5. ALAIN MATA MAMENGI aka AL’MATA

Alain Mata Mamengi (his artist name is Al’Mata), born in Kinshasa on 28 March 1970, is a graduate in graphic arts from the Acédemie des beaux arts in Kinshasa. He started out as a cartoonist in 1991 at the newspaper l’Observateur before becoming its artistic director. He produced booklets for The world food programme and Unicef, and at the same time contributed to the newspapers Les Palmarès, Vite-vu, Les stars de la BD and Mark BD4,1.

Al’Mata’s drawings are described as subversive, which has led to persecution in his native country. In 1994, one of his drawings about President Maréchal Mobutu in the newspaper Le Palmarès was deemed humiliating, and the paper was forced to close down. In the meantime, Al’Mata was forced to go underground. Political regime after political regime, Al’Mata was arrested this time by President Laurent Désiré Kabila towards the end of 1998 and released in February 1999 under media pressure. Following the publication of his comic strip Kadogo (child soldiers), still considered subversive, he was interrogated in 2001 and arrested in July 2001. Living in hiding since December 2001, Al’Mata left the country when he was invited to take part in the La Bulle comic strip festival in Nevers in February 2002. Al’Mata lives in Bourgogne, France. Some of his notable works include Le Retour Au Pays D’alphonse Madiba Dit Daudet, and Les tribulations d’Alphonse Madiba dit Daudet.

6. ANNICK KAMGANG

Annick Kamgang, alias Kam, a press cartoonist born in Yaoundé, lives and works in Paris. The daughter of a Cameroonian pan-African politician who suffered repression in the 1990s, she took up press cartooning to carry on the family torch in her own way.

She has worked for L’Express, L’Opinion, Peuples Solidaires, Jeune Afrique, Le Monde, the Africa France foundation and the Institut Français. Lucha is her first comic book and her first collaboration with a journalist. Her most notable work is titled Lucha : chronique d’une révolution sans armes au Congo.

7. PETER CHIZOBA DANIEL

Peter Daniel is the lead illustrator, concept designer and creator of the “NEWBORN SAGA”. He’s also the creator of the “AMAZING TEKKIDS” a comic book that teaches kids values and how to plan for the future. He is an experienced IT consultant, a big time geek and loves video games. He is the founder of Peda Comics, a Nigerian comics production and publishing company whose titles like CHAYOMA: CURSE OF THE JANGURA which has taken African comics to higher heights.

8. MARCELO D’SALETE

Marcelo D’Salete (born 1979) is a Brazilian comic book writer, illustrator and professor. He holds a master’s degree in art history from the University of São Paulo.During his adolescence, he studied graphic design at Carlos de Campos College and worked as an illustrator for publishers. He premiered as a comic book artist in 2001, publishing in the magazines Quadreca and Front. His first graphic novel, Noite Luz, was published in 2008. In 2011, he published the comic book Encruzilhada. His most acclaimed works deal with the history of resistance to slavery in Brazil from the perspective of the Afro-Brazilian peoples: Cumbe, from 2014, and Angola Janga from 2017. Angola Janga, a story about the Palmares quilombo, took eleven years of research and work by the author. D’Salete was nominated for the HQ Mix Trophy in 2012 and 2015. Cumbe was published in English in 2017 by Fantagraphics as Run for It: Stories of Slaves Who Fought for Their Freedom. It was nominated for and won the 2018 Eisner Awards, in the Best U.S. Edition of International Material category.

9. MARTIN OKONKWO

Martin Okonkwo is a Nigerian artist and comic book creator who has created so many amazing African comics. Based in the UK, this artist founded the comics production house, Epoch Comics. The company’s vision, like many others, is to valorize African cultures and traditions through stellar storytelling. And they have been doing this through wonderful comics like REMNANTS, AEGIS, MOON DUST and BARIKISU.

These are just a few of the many African comics creators in the diaspora. These creators are all working to create comics that are both entertaining and thought-provoking, using their work to tell stories that are important to Africa and to the world. They are also helping to change the face of comics, challenging stereotypes and representations of Africans in mainstream comics, rendering the industry more inclusive.

June 7, 2023

The Place of Religious Comics in the Comic Book Market

Religious comics have been around for decades, but they have yet to find a wide market. Some Christians, Muslims and Buddhists question whether comics are appropriate for religious content, while others shy away from the genre because they think “graphic novel” means adult material. Additionally, some mainstream stores are reluctant to carry comics appealing to what they view as a small niche.

Nevertheless, religious comics are becoming increasingly popular, as more people are looking for stories that reflect their faith or spiritual beliefs. These stories often focus on themes such as self-discovery, morality, and justice—all ideas that can be found within many religions around the world. Religious comics also offer unique perspectives on traditional religious subjects; some may depict Bible stories through modern eyes while others might use fantasy elements to explore spiritual concepts like karma or reincarnation in an exciting way

Many publishers now recognize the potential of religious comics by offering titles specifically tailored towards different faiths or denominations (e.g., Christian Comics). There is also increasing demand from comic book fans who want to find titles with characters they can relate to spiritually – something which has previously been lacking within mainstream superhero genres dominated by white male protagonists! Additionally, digital platforms such as ComiXology have made it easier than ever before for independent creators to publish their own works without needing industry backing – meaning there is plenty more room for growth when it comes to finding high-quality content related directly toward religion/spirituality topics too!

There are a number of religious comics that have been successful. One example is the series “ArchAngels,” which tells the story of a group of angels who are sent to Earth to protect humanity. The series has been praised for its strong characters, its engaging story, and its positive messages about faith and hope.

Another example of a successful religious comic is “Promethea,” which tells the story of a young woman who gains powers from reading a comic book. The series has been praised for its complex and thought-provoking exploration of faith, mythology, and the nature of reality.

Other great examples of successful religious comics include:

These examples demonstrate that religious comics can be just as engaging and entertaining as secular comics. However, they also highlight the challenges that religious comics face in the marketplace. In order to be successful, religious comics need to be well-written, well-illustrated, and relevant to their target audience. Additionally, they need to be marketed in a way that reaches potential readers.

Despite the challenges, there is a growing market for religious comics. As more and more people are looking for ways to explore their faith, religious comics are becoming a more popular option. With the continued growth of the market, it is likely that we will see even more successful religious comics in the years to come.

In addition to the challenges mentioned above, religious comics also face the challenge of being perceived as being too preachy or didactic. This can be a turn-off for some readers, who may not want to be lectured to about their faith. However, there are a number of ways to avoid this trap. One way is to focus on telling a good story, with strong characters and engaging plot lines. Another way is to use humor and satire to make the religious content more palatable. By using these techniques, religious comics can be both entertaining and thought-provoking, without being preachy or didactic.

The market for religious comics is growing, and there is a demand for well-written and well-illustrated comics that explore faith and spirituality. In this light, Zebra Comics PLC is also working on some religious comics which they will be releasing on their digital platforms soon. With the continued growth of the market, it is likely that we will see even more successful religious comics in the years to come.

June 1, 2023

Africa and the Manga Craze: What African Creators Need to Learn from Japan

Let’s make this clear; Japanese manga is the most popular comic book style in the world. Any human being who has interest in comics should be aware by now that there is no other comic book variation that has more following today than the Japanese version of the artform. From Akira, passing through Dragon ball and One Piece to Attack on Titan, Japanese manga has continued to take the world by storm, telling stories which have entertained many in very deep ways. It is even more interesting to note that there are a ton of mangas out there, with new publications hitting the market every year. From Japan, the culture has become so popular that it has been fully adopted by geeks in North America and Europe. During comic book conventions across the world, it is impossible for cosplays, games, animation and merchandise created from Japanese manga to be absent. The manga market has grown so widely that in 2022, its global market value was at 12.13 billion dollars and it is projected to grow to 42.2 billion dollars by the year 2030. Ultimately, Japan even used manga characters like Son Goku from the DragonBall series as ambassadors for the Tokyo Olympic games, evidence that manga has become so popular that they contribute to country branding.

Indeed manga has grown tremendously, moving from Japan to the west and entertaining so many people in deep ways. This movement did not miss Africa too. The love for manga in Africa today is greater than it ever was. Africans have read manga, enjoyed anime and even formed Otaku groups which swear by nothing else than their love for Japanese creativity in comics. This love has even grown to the extent where many African Otakus literally swear that they prefer to become Japanese in soul and nationality, than to renounce their love for manga. This, more than anything, shows how much comics can contribute to brain drain and rid a culture of the recognition it deserves in its own backyard.

This huge love for Japanese manga in Africa has contributed its quota in making it difficult for African comics to get the recognition that it deserves. Even though the problems plaguing the sector have nothing to do with the influence of Japanese manga directly, there is no denying that the huge popularity of manga have swayed Africans away from their own products so much that they are beginning to resist creations based on their own cultures.

That said, it will be wise to stop whining about what Japanese manga has or hasn’t done to make life difficult for African creators. As a wise man once said, to be the greatest, learn from the greatest. African comics have great value, as we can clearly see in recent interest from global production houses. So, what African creators should be doing is to identify what Japanese manga is doing to make it the most popular comic book form in the world. African comics creators can learn a lot from their Japanese counterparts so as to position themselves in a market which is constantly demanding for more and which is in constant evolution. In this light, therefore, African creators and publishers can learn the following from Japanese manga.

Unique Art Style

One of the things that makes manga stand out from other forms of comics is its unique art style. Manga characters often have large eyes, exaggerated expressions, and dynamic poses. This art style is both visually appealing and expressive, and it helps to set manga apart from other forms of comics. African comics creators can learn from this by developing their own unique art styles that reflect their own cultures and traditions. Standing out with their unique art styles will inevitably position African comics very favorably on the international market.

Wide Range of Genres

Another reason why manga is so popular is its wide range of genres. Manga covers everything from action to romance to comedy to horror. This means that there is something for everyone, regardless of their interests. African comics creators can learn from this by creating comics that appeal to a wide range of audiences. This is even very possible given the deep well of untold cultures and traditions from different parts of Africa. The possibilities for African creators today are practically endless.

Captivating Stories

Manga stories are often very captivating and well-written. They can be funny, exciting, heartwarming, or thought-provoking. This makes them a great way to escape from reality and explore new worlds and ideas. African comics creators can learn from this by creating stories that are both entertaining and thought-provoking. No one can ignore the storytelling genius of manga like Attack on Titan, Death Note or Naruto. African creators should work on this seriously because the very primal reason why people consume comics is to experience awesome stories.

Strong Sense of Community

The manga community is very strong and supportive. Manga creators often collaborate with each other, and they share their work with each other online. This sense of community can be very helpful for African comics creators, as it can provide them with support and feedback. African comics lovers, Otakus included, should also show love for local content because this does not only promote the comics themselves, but they also contribute in promoting entire nations.

LToday, the African comics market is growing. Publishers like Zebra Comics PLC, Comic Republic, YouNeek Studios, Etan Comics, Peda Comics and Epoch Comics are doing great work in growing the industry. The results of this work can already be seen in the adaptation deals which they are garnering from big places. Nevertheless, compared to Japanese manga, African comics still have a long way to go to be as popular as Japanese manga. African comics creators can therefore learn a lot from their Japanese counterparts. By developing their own unique art styles, creating comics that appeal to a wide range of audiences, and creating stories that are both entertaining and thought-provoking, African comics creators can help to make African comics more popular and accessible to a wider audience.

May 31, 2023

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

Category: Pensive