In 2025, mentioning AI in comics felt like lighting a match in a dry forest. The resistance cut across generations. Younger creators feared being dismissed as illegitimate. Older artists worried that decades of hard-earned craft were being reduced to disposable prompts. In both cases, the use of AI in comics was treated as taboo, an […]
AI Didn’t Kill Comics. Fear Did. And 2026 Will Prove It. Read More »
Let me admit something as a heavy webtoon reader: When I’m about to start a new series, the first thing I check isn’t the art. It’s not the synopsis.It’s the episode count. And the moment I see 150, 200, or more episodes, I pause. Not because long stories are bad. But because my brain immediately
Can a Webtoon Be Too Long to Attract New Readers? Read More »
A Year Defined by Progress, Not Noise 2025 was not a year of shortcuts or sudden miracles for Zebra Comics. It was a year of deliberate progress, steady expansion, and strategic positioning. While many creative initiatives struggle to survive beyond their early momentum, Zebra Comics focused on building something durable: a platform, an ecosystem, and
Zebra Comics in 2025: A Year That Reshaped African Comics Read More »
African Comics, Webcomics, and the Future of Entertainment Introduction: A Quiet Crisis in African Comics and Entertainment As the year draws to a close, it feels important to pause—not to celebrate growth metrics or creative milestones—but to reflect on something far more fragile: the survival of African comics, webcomics, and creative entertainment, and by extension,
Who Will Buy Us, If We Don’t Buy Ourselves? Read More »
The Misunderstood Place of Comics in Africa’s Creative Landscape Anyone who has ever attended a comic book fair or geek convention in Africa knows the familiar rhythm. You display a beautifully crafted comic, and before the reader even finishes flipping through it, the questions begin: “Why don’t you turn this into an animation?” “Have you
Why Ignoring Comics Is Dangerous for the African Cultural and Creative Industries Read More »
How “Free” Becomes the Most Expensive Choice in Africa If manga piracy were truly the cheapest path to reading, Africa would already be home to several dominant comic industries — studios buzzing with creation, artists earning sustainable incomes, and digital platforms flourishing like their Japanese and Korean counterparts. But for something that feels “free,” piracy
Is Manga Piracy Really Cheap? Read More »
Il fut un temps où les histoires ne vivaient qu’entre les pages. L’odeur de l’encre fraîche, les doigts tachés, le poids obstiné d’un roman dans un sac à dos, voilà les rituels sacrés de la lecture. J’ai grandi dans cet univers. Qu’il s’agisse de bandes dessinées, de romans ou de lourds livres académiques, tout se
GUERRE DES BDs: IMPRIMÉ OU NUMÉRIQUE ? Read More »
There was a time when stories lived on paper and nowhere else. Ink on fingers, the smell of fresh print, the stubborn weight of a novel in your backpack—these were the sacred rituals of reading. I grew up inside that world. Whether it was comics, novels, or the thick academic books from Lycée days, everything
COMIC WARS: PRINT OR DIGITAL COMICS? Read More »
Auriez-vous imaginé qu’une grande partie de la Gen Z africaine s’identifierait davantage à Naruto qu’à des icônes comme Mansa Musa, Um Nyobé, le Sultan Ibrahim Njoya, Chaka Zoulou ou même Soundiata Keïta ? Et pourtant, traversez aujourd’hui un lycée, une faculté, un taxi ou un marché animé du continent, et vous verrez des bandeaux de
LA FOLIE MANGA ET L’IMPACT DU PIRATAGE SUR LA BANDE DESSINÉE AFRICAINE Read More »
Did you ever imagine that Gen Z across Africa would relate more with Naruto than with African icons like Mansa Musa, Um Nyobé, Sultan Ibrahim Njoya, Shaka Zulu, or even Sundiata Keita? It sounds unimaginable, but wander into any school corridor, university campus, bus stop, or WhatsApp group today and you’ll find orange headbands, anime
THE MANGA CRAZE AND THE IMPACT OF PIRACY ON AFRICAN COMICS Read More »
