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  • Moments in African History that are Great for Comics Creation

    Moments in African History that are Great for Comics Creation

    For as long as storytelling has existed, history has always been a mine from where storytellers can draw inspiration for their stories. From television to film passing through literature and music, history has always been a place of choice when it comes to creation of stories and entertainment. History recounts past events and these events are sometimes so far in the past that people get intrigued when they are put on the table. Who wouldn’t want to know how his or her great great great grandmother met their great great great grandfather? Who wouldn’t be intrigued to find out how their forebears actually fought against western imperialism or how medicine was discovered and managed back in the day? Many of these things exist today, but how did they happen in the past? This quest to know the past is always intriguing and this is what gives appeal to great entertainment based on history.

    Like other forms of entertainment mentioned above, comics have also explored history in a myriad of ways. American comics, Franco Belgian comics and Japanese manga have all made use of history to tell deep and entertaining stories. Even new artforms like webtoon feature stories which are based on historical events. Some of the greatest comics out there are even based on history. Great examples of comics or manga based on history include: Maus by Art Spiegelman which is a laureate of the prestigious Pulitzer Prize, They Called Us Enemy, Phantoms of the Louvre, Vagabond, American cult, 300, Vinland Saga, Asterix and the Roman Agent, Burma Chronicles, Persepolis, Tintin in Tibet, The Faithful Spy: Dietrich Bonhoeffer and the Plot to Kill Hitler, Demon Slayer: Kimetsu no Yaiba, Kingdom, and Emma. This list is the tip of the iceberg as far as comics and manga based on history are concerned. There is such a long list of them that one article will never be enough to list them all. This is a testament to the fact that history is a heavily prized spot from where great stories are mined.

    maus_covers on the zebra comics blog

    In Africa, history also plays a great role in storytelling. Movies, television shows, novels and even comics have been inspired by African historical events. Africa, like many parts of the works, has a history that is so diverse that it makes for a great resource for the production of entertainment products. However, it should be noted that, compared to the west, African entertainment producers haven’t made as much use of African history in their productions. Fingers can be pointed in several directions as the reasons for this slow use of African history in entertainment. Of these issues include; the domination of western media which has set a standard for historical fiction and made many feel like African history cannot be as entertaining, the shortage of research sources from where to get authentic information on a past which was mostly passed on generation to generation orally, regulations and laws which prevent creators from exploring certain periods in African history freely and a shortage of financial resources to be able to adequately adapt African history into different entertainment media.

    Despite all these shortcomings, however, African content producers like Nollywood have still gone ahead to produce entertainment products based on African history. Resources are usually in very low supply, but they have managed to use these limited supplies to create content which has been appreciated across the world.

    This is very true of African comics. Many African comics creators do not usually have resources for research like their counterparts from the west, but they have made use of what they have to create some very interesting comics. Some notable African comics based on history include Malika: Warrior Queen, SHAKA – Limited Series Comic, L’odyssée De Mongou, Les Dogues Noirs De L’empire, Totem and Sector. There are many more African comics based on African history, but these comics have not started scratching the surface of the potential of what African history offers them.

    totem african comics on the zebra comics app

    The question we should ask in the face of the above, therefore, is; what are these aspects of African history that African comics creators can explore to produce awesome and groundbreaking comics for the continent and for the international market? Well, we did some research and came up with the following.

    1. the pre-slave trade era

    For most of us who went to school and studied history, African history usually begins from the time of the Trans-Atlantic slave trade and moves on to our modern day. In other words, the African history which was written down and not transmitted orally starts at the time when European powers came in direct contact with Africans. Everything before that era is deep darkness to many Africans and people from the rest of the world. However, before the Europeans came, African lived, formed families, traded with each other and had established political systems. These alone should point to the fact there was African history before the Europeans initiated the slave trade. This history which was championed by powerful Kingdoms, Chiefdoms and Fondoms from across the continent need to be revisited. This will inevitably make for exciting pools from where to draw inspiration for stellar storytelling. Some examples that need to be explored include the story of Mansa Musa (the richest man who ever lived), the Moors and the countless tribal conflicts and wars which took place during this time. African comics creators therefore have a lot of work to do to capture this era.

    2. The Slave Trade Era

    So much has been written, staged and said about this era in African history. Mostly, African novelists, poets and playwrights have written about this painful moment in African history. However, much of what we have as entertainment products based on this era still comes from the west. Hollywood has determined the way the era is presented for so long that we have the impression that that is all there is to it. African comics creators can take this opportunity to create stories which are unique. Who were the Africans involved in the slave trade? How did African families survive the loss of a dear one sold into slavery? How did African freedom fighters navigate this tough time? There is still so much to explore about this era and African comics creators can take the lead in doing so.

    3. The Colonial Era

    This is also another era which has been explored plentifully. However, there exist a plethora of stories which can be told about this time. Love, interracial children in this era, family bonds and sheer history of not so talked about places are areas which can be explored by African comics creators for stellar storytelling.

    4. The World Wars Era

    The world wars in Africa on the zebra comics blog

    The west has explored and still continues to explore the history of this era in film, TV and novels endlessly. The proliferation of these Western productions has made it seem like the two world wars were only fought in Europe and by Americans or Europeans only. However, there is a deep history of African involvement and contribution to first world war and second world war efforts. Africans fought in the war and lost as much or even more than the west. All of these need to revisited by African comics creators so as to create stellar stories.3

    5. The Independence Era

    Colonialism was bad, that’s a fact, and it took so much courage and engagement for Africans to fight for their freedom from western imperialists. This fight, inevitably, was not easy. Many great figures were murdered, many more lost their most precious belongings and entire countries even went to wars and coup d’etats before independence finally came knocking on their doors. These were dark times, but also interesting times as African nations finally gained their independence. This era, also, has been explored severally in other media, but there is still space for African comics creators to create comics based on the history of this time.

    6. The Post Independence Era

    Post Independent Africa on the zebra comics blog

    Independence was sweet. Many African nations now managed their affairs and were ‘free’ from western tyranny. Nevertheless, this did not usher in immediate peace and prosperity. Tyrannical leaders and governments stuck their heads out of water, civil unrest ensued, nations changed their systems of government, TV and radio came into play, liberalization followed suit and multiparty politics saw the light of day. These and many more form a plethora of historical events which happened across the content which should serve as inspiration for African comics creators to create stellar comics.

    History poses as the point where the present meets and communes with the past. It has been used severally by creators and entertainment producers across the world to produce stellar stories. Even today, the bulk of history that we watch on TV, read in books and enjoy in cinema halls come from the west, making it look like Africa has no interesting history to explore. African creators, especially African comics creators, therefore need to step up and take the responsibility of digging deep into Africa history and bringing out those historical gems which will not only entertain but will educate in ways which have not even been imagined before. And they can do all these despite the myriad of difficulties which inundated the creative process.

  • Children Characters as Role Models in African Comics

    Children Characters as Role Models in African Comics

    Comics are a popular form of entertainment and storytelling that appeal to people of all ages and backgrounds. Comics can also be a powerful medium for conveying messages and values that can inspire and motivate readers. We will explore how children characters in African comics can serve as role models for young audiences and promote positive social change. But first…

    What are African Comics?

    African comics are comics that are created by African artists or that feature African themes, settings, and characters. African comics can be found in various formats, such as print, digital, and webtoon. Some examples of African comics are:

    1. Zebra Comics: A Cameroonian comic publishing company that produces comics for all ages. They have a platform where they publish digital comics. Some of their titles include Kawana, Njoku, Wrong Dial, Beasts of Tazeti and Anaki, just to name a few.
    2. Kugali Media: A platform that showcases comics and animation from across Africa and the diaspora. Some of their titles include Ndaw, Kokou, Nani, and Razorman.
    3. YouNeek Studios: A comic studio that creates stories inspired by African history, culture, and mythology. Some of their titles include E.X.O., Malika, WindMaker, and Iyanu.
    4. Comic Republic: A Nigerian comic studio that aims to create diverse and inclusive superheroes for Africa and the world. Some of their titles include Avonome, Guardian Prime, Eru, and Hero Kekere.

    Why are Children Characters Important?

    Children characters are important because they can represent the hopes, dreams, and challenges of young readers. Children characters can also help readers to relate to the stories and empathize with the characters. Children characters can also serve as role models for young readers by demonstrating positive traits and behaviours, such as courage, kindness, creativity, and resilience.

    Role Models in African Comics

    Children characters in African comics can be role models in various ways:

    1. Showing diversity and representation

    African comics often prioritize diverse and inclusive storytelling, featuring characters from different ethnicities, backgrounds, and abilities. By showcasing the diversity and richness of African cultures and identities, these comics challenge stereotypes and prejudices. For example, Comics Republic’s Hero Generation introduces readers to a group of teenagers from different ethnic groups in Nigeria who use their powers to fight crime and corruption, highlighting the strength of unity and collaboration.

    2. Promoting social justice and activism

    Comics are powerful tools for advocating social justice and inspiring activism. Young readers can be encouraged to take action by reading about issues affecting African communities and the world at large. For instance, Kugali’s Lake of Tears is a story of captivity and redemption told through the eyes of three teenagers who meet on Lake Volta. It is an ode to the plight of many children who are trafficked and forced to work in Ghana’s hazardous inland fishing industry, emphasizing the importance of tackling all actions that violate the rights of children through individual and collective action.

    3. Creativity and innovation

    Young readers are often inspired to explore their own talents and passions by African comics which celebrate creativity and innovation. Creating opportunities, thinking out of the box, and solving problems are the things they inspire readers to do. In YouNeek Studios’ Iyanu: Child of Wonder, the story follows Iyanu, a teenage orphan girl with no recollection of her past who suddenly discovers that she has hidden powers that rival the Divine Ones themselves. The story is set in a world that is inspired by the history, culture, and folklore of the Yoruba people. This creates a world that is familiar to young readers, yet new in many ways. Without a doubt, such creativity and innovation will inspire them to do the same. Or raise the bar.

    4. Overcoming adversity and challenges

    Children can learn resilience and determination from African comics by seeing characters who face adversity and challenges head-on. These characters demonstrate the importance of perseverance and provide valuable lessons on coping with difficulties. These comic book characters embody resilience and determination, showing that setbacks and obstacles can be overcome. Through their stories, young readers learn the importance of resilience, courage, and perseverance. They see that it is okay to make mistakes, as long as they learn from them and grow stronger. Zebra Comics’s Beasts of Tazeti, a young boy goes through several challenges in order to redeem his father’s name, offering young readers a source of inspiration and guidance when navigating their own struggles.

    5. Promoting Education and Intellectual Curiosity

    African comics often integrate educational elements, imparting knowledge and fostering intellectual curiosity among young readers. Children characters in these comics engage in adventures that involve history, science, culture, and more. They inspire young readers to explore and learn about the world around them. By combining entertainment with education, African comics encourage a love for learning and expand young readers’ horizons.

    6. Building Strong Moral Values

    Children characters in African comics serve as moral compasses, teaching young readers important values and principles. They demonstrate honesty, integrity, respect, and compassion in their interactions with others. These characters make choices that align with their values, inspiring young readers to do the same. Through their actions, children characters in African comics help shape the moral compasses of young readers, guiding them towards becoming responsible and ethical individuals.

    Conclusion

    Children characters are important because they can represent the hopes, dreams, and challenges of young readers. Children characters can also help readers to relate to the stories and empathize with the characters. They can provide a sense of identification and inspiration, showing young readers that they, too, can be heroes and make a positive impact in the world.

    As the African comics industry continues to evolve, it is crucial to support and uplift the voices of African comic book creators. By doing so, we can foster a vibrant and diverse comic culture that reflects the rich tapestry of African experiences and inspires generations to come. African comics have the power to shape the future and tell stories that resonate with readers around the world.

  • What Makes African Comics Unique?

    What Makes African Comics Unique?

    If you are a fan of comics and graphic novels, you may have observed that there is a growing number of African comics on the market. These comics are not just adaptations of Western or superhero stories, but rather original creations that reflect the diverse cultures, histories and experiences of the African continent. African comics are a unique and vibrant art form that gives a new perspective on the world. Let’s see what makes them so special.

    1. African Tropes

    One of the most obvious features of African comics is the use of African tropes. Tropes are recurring themes, motifs or patterns common in a genre or a culture. For example, some common tropes in Western superhero comics are secret identities, origin stories, costumes and gadgets. African comics have reinvented most of these tropes. Let us delve into some of the tropes that give African comics their distinctive features.

    A. African mythology and folklore

    African comics draw from the rich oral traditions and folklore of various ethnic groups and communities, such as Bamileke, Mankon, Yoruba, Igbo, Zulu, Maasai and others. Some examples of comics that use African mythology and folklore are E.X.O. The Legend of Wale Williams by Roye Okupe, which is based on the Yoruba god Ogun; Karmzah by Farida Bedwei, which features a heroine with cerebral palsy who gains superpowers from her crutches that are inspired by Ghanaian Adinkra symbols; and Beasts of Tazeti which features 5 clans inspired by the different regions of Africa.

    B. History and Politics

    Many African comics deal with the realities and challenges of living in a post-colonial and developing continent, such as poverty, corruption, civil wars, ethnic conflicts and environmental issues. Some examples of comics that use African history and politics are Aya of Yop City by Marguerite Abouet and Clément Oubrerie, which depicts the everyday life of a young woman and her friends in Cote d’Ivoire during the 1970s; Lake of Tears by Setor Fiadzigbey and Kwabena Ofei, which sheds light on child trafficking and labour in Ghana; and BLACK by Kwanza Osajyefo and Tim Smith 3, which imagines a world where only black people have superpowers.

    C. African aesthetics and styles

    African comics showcase the diversity and beauty of African art, architecture, fashion and design in their illustrations and layouts. Some examples of comics that use African aesthetics and styles are Kwezi by Loyiso Mkize, which features a modern South African superhero who wears traditional beadwork and patterns on his costume; Captain Africa by Andy Akman, which was one of the first African comics to go global in the 1980s and had a distinctive Afrofuturistic look; and Anaki which borrows from African designs to create a unique sci-fi universe.

    2. African Languages

    Another feature that makes African comics unique is the use of African languages and dialects. Many African comics incorporate words, phrases or expressions from different African languages or dialects into their dialogue or narration. This adds authenticity and flavour to the stories and characters, as well as showcases the linguistic diversity of the continent. Some examples of comics that use African languages or dialects are Beasts of Tazeti by The Ejob Brothers where the different fictional clans are named in Amharic, Avonome by Ibrahim Ganiyu and Stanley Obende, which uses Hausa words to name some characters and places; Hero Kekere by Jide Martin, which uses Nigerian pidgin English to create humour; and Metalla the 13th by Akintoba Kalejaye and Samuel Iwunje, which uses Igbo proverbs to convey wisdom.

    3. African Platforms

    Many African comics are created by independent artists or small studios who use online platforms such as websites, blogs, social media or crowdfunding to distribute their work to local and global audiences. Some examples of online platforms that host African comics are Zebra Comics, Comic Republic, YouNeek Studios, Kugali Media, etc. Some African comics are also published by local or regional publishers who specialize in comics or graphic novels.

    Conclusion

    In conclusion, African comics are unique because they use various features such as tropes, languages, aesthetics and platforms to tell stories that reflect the diversity and richness of the African continent. These comics offer a different perspective on Africa than those usually portrayed in mainstream media or Western comics. They also provide entertainment, education and empowerment for readers who want to learn more about Africa or see themselves represented in comics. If you are interested in reading some African comics, you can check out some of the examples mentioned above or explore other titles online.

  • New Trends in the Comic Book Industry

    New Trends in the Comic Book Industry

    The comic book industry is an ever-evolving landscape, and comic book illustration techniques are no exception. In recent years, several new trends have emerged in the comic book industry, including the widespread use of digital tools, a focus on digital publishing, the incorporation of 3D modelling, innovative techniques for inking and colouring, and a growing interest in African comics. The advent of all these innovations has contributed to reducing the time and effort required to produce comic books while maintaining the quality of the products. Here are a few trends that have emerged in recent years.

    Digital Tools

    One of the most significant trends in comic book illustration is the adoption of digital tools. While traditional tools like pencils, inks, and brushes were previously commonplace, digital tools such as tablets and software programs have gained popularity. Digital art allows comic book artists to create more dynamic and realistic illustrations. Digital tools offer numerous advantages, including the ability to produce highly detailed illustrations, experiment with different styles, and easily edit and adjust artwork. Artists can use digital art to craft intricate backgrounds, design complex characters, and create realistic special effects.

    Another notable trend in comic book illustration is the integration of 3D modelling. This technique enables artists to develop three-dimensional characters and environments, which can be utilised in comic books. Additionally, 3D modelling facilitates the creation of realistic special effects, such as explosions and flying objects.

    Alongside the use of digital tools and 3D modelling, comic book artists have explored innovative techniques for inking and colouring their illustrations. These new approaches have empowered artists to produce more expressive and visually captivating artwork.

    Digital publishing

    Digital publishing has emerged as a prominent distribution method for comic books and graphic novels. Readers can access digital comics on various devices, such as computers, tablets, and smartphones. Digital publishing offers several advantages, including the convenience of reading comics on any device, the ability to zoom in and out of pages, and the option to read comics in multiple languages. Furthermore, digital publishing is often a more affordable option for readers, as digital comics are typically priced lower than their physical counterparts.

    webtoon logo on the zebra comics blog

    Digital publishing presents numerous benefits for comic book creators, including the potential to reach a wider audience on a global scale, reduced costs compared to traditional print publishing, and greater control over the creative process. Creators who self-publish digitally can dictate the formatting, pricing, and distribution of their comics.

    Despite its advantages, digital publishing also poses some challenges. The digital comic book market is highly competitive, making it challenging for new creators to stand out. Additionally, digital comics are more susceptible to piracy, and creators must navigate the constantly evolving technology used to read digital comics.

    Overall, digital publishing is a growing market with a lot of potential for comic book creators.

    African Comics

    In recent years, African comics have experienced a notable surge in popularity. These comics often exhibit unique styles and perspectives, frequently addressing social, political and cultural issues. African comics have gained traction worldwide and are contributing to the promotion of African culture and perspectives.

    Zebra Comics app flyer

    The growing popularity of African comics can be attributed to several factors. Firstly, an increasing number of talented African comic book creators are bringing their unique perspectives to the medium, fostering a more diverse and inclusive comics industry. Secondly, the expanding African middle class has created a larger audience for comics, as disposable incomes increase and entertainment spending rises. Lastly, digital publishing has played a significant role in facilitating the publication of African comics, breaking down barriers to entry and enabling more creators to share their work with a global audience.

    The growing trend of African comics is a positive development. These comics are helping promote African culture and perspectives. Through digital platforms such as Zebra Comics and Raptures, African authors and artists can showcase their work to the world. As the African comics industry continues to grow, it will be interesting to see how these comics continue to evolve and impact the world.

    Independent Comics

    Indie comics have experienced a surge in popularity in recent years, driven by creators exploring non-traditional publishing avenues outside of the dominant Marvel and DC publishers. Several factors have contributed to this trend, including the emergence of digital comics, the growing prevalence of crowdfunding, and the increased availability of resources for independent creators.

    Digital comics have revolutionized the distribution of independent works, making it more accessible for creators to share their content. Platforms like Comixology and Image Comics have made online comic reading widely available, and the ubiquity of mobile devices has further facilitated on-the-go access to comics.

    Crowdfunding has played a pivotal role in the rise of independent comics. Platforms such as Kickstarter and Indiegogo have empowered creators to secure funding directly from their fans, enabling the publication of many independent comics that would otherwise have been unfeasible.

    Moreover, the expansion of resources available to independent creators has bolstered the trend. Numerous organizations and websites now provide invaluable guidance, support, and marketing assistance to independent creators, facilitating greater visibility for their work.

    Consequently, independent comics have reached unprecedented levels of popularity, transcending their niche status to compete with major publishers for readership and attention. This trajectory is expected to persist as an increasing number of creators opt for the independent path, driving further growth in the coming years.

    Conclusion

    The comic book industry is in a constant state of evolution, and the trends discussed in this article represent just a few of the many factors shaping the future of comic book illustration. As technology advances and new perspectives continue to emerge, it will be fascinating to observe how these trends develop and influence the medium in the years to come.

  • Sex In African Comics

    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

    LES DESSOUS DE POINTE-NOIRE by KHP African comics on the zebra comics blog

    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

    Oups! By Georges Pondy African Comics on the Zebra Comics Blog

    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 Legend Arts African comics on the Zebra Comics blog

    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 African Comics on the Zebra Comics Blog (1)

    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

    Anaki African comics on the Zebra Comics Blog

    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 African comics on the Zebra Comics Blog

    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.

  • African Comics Creators in the Diaspora whose Works Honor Africa

    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

    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.

    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

    Roye Okupe African comics creator on the zebra comics blog

    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

    Marguerite Abouet African comics creator on the zebra comics blog

    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 Ba African comics creator on the zebra comics blog

    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 african comics creator on the zebra comics blog

    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 African Comics Artist on the Zebra comics blog

    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 Chizoba Daniel African comics creator on the Zebra Comics blog

    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 African comics creator on the zebra comics blog

    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 African comics creator on the zebra comics blog

    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.

  • The Place of Religious Comics in the Comic Book Market

    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

    The Action Bible Religious Comics and African Comics on the Zebra Comics Blog

    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.

    Promethea Religious Comics and African comics on the zebra comics blog

    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.

    the-many-deaths-of-laila-starr-religious comics and african comics on the zebra comics blog

    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.

    New Testament Religious Comics and African Comics on the Zebra Comics Blog

    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.

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

    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.

    tokyo olympics manga characters and African comics on the zebra comics blog

    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

    Berserk manga art style and African comics on the zebra comics blog

    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

    Death Note manga and African comics on the Zebra comics blog

    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.

  • What African Comics Companies Should Learn from 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.

    Webtoon ideas for African comics on the zebra comics blog

    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.

    Cameroonian and African culture for African comics on the zebra comics blog

    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.

    Genres in webtoon and African comics on the Zebra comics blog

    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

    Webtoon free coins and African comics on the zebra comics blog

    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.

  • The Comic Book Landscape in Cameroon

    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.

    Visions-dafrique-African-comics-on-the-zebra-comics-blog

    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.

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