Nigerian Comics: What Happened After Growth

Nigerian comics, back in 2018, these were a pretty hot topic. Thanks to YouNeek Studios, a few people got to see the beginnings of a part of the world people miss. Which thanks to other publishers working on their own projects around the same time, notice skyrockets. Combining this with Nollywood movies and Afrobeats, everybody saw the Giant of Africa.

Nowadays, everything Nigerian is less public. For comics especially, the most you can find is YouNeek’s content getting on TV or the Comic Republic. And these superstars aren’t even the first comics of the country. Looks like it’s time to go over what we’ve been missing.

Nigerian Comics: Lash Out

Like many comics, Nigeria’s start in newspaper strips. It’s just that the only paper people want to bring up is the West African Pilot. Mostly because Akinola “Lash” Lasekan made some of the best anti-colonial political cartoons.

Considering the British tried to publish Powerman in the 70s, who can blame them? …No I’m not talking about Luke Cage.

Nigerian Comics created Nollywood!

Unlike Cage, Powerbolt was made to promote literacy with a hero who looks Nigerian. Apparently the local ad agency who requested this never heard of African Film. It’s a…”look book”? …Oh that’s what they call the South African photo comic magazines. This one set up shop in Nigeria.

Honestly, these are pretty good reflections. “The Spear” combines the best of British pop culture like spies and detectives with a Nigerian cultural identity. Thanks mostly to the performance of Jore Mkwanazi, in turn inspiring modern Nollywood. Unlike English artists’ awkward attempts at trying to appeal to Nigeria. Not the best look after the (Nigerian) Civil War.

Tumultuous Period

Which is partly why Nigeria didn’t make more comics. Anyone who tries just copies how Western comics do it without really understanding the infrastructure needed to keep it going. Plus, the 80s had a lot of economic instability thanks to the military influence and officials of the time. And of course, the ever familiar imports from the US and Japan. Besides when filming technology advances enough to start “Nollywood” what’s the point of investing in comics?

Ci gaba, Mmepe, Ilọsiwaju

But as the national motto states “Unity and Faith, Peace and Progress”. By the 2010s, Nigeria became the largest economy in Africa and a stable democracy. Thanks to the country’s petroleum supply, investments in more modern technology helped close the gaps. At this point, several creators are working to put themselves out there to the biggest crowd possible.

Lightning In The Bottle

Let me ask you: how many Nigerian characters are in the media? Chances are, most of them are extensions of more popular franchises like the X-Men or Overwatch. A fair number of them are played by the actor Adewale Akinnuoye-Agbaje.

Enter (arguably) the most recognizable Nigerian creators Roye Okupe, Jide Martin, Somto Ajuluchukwu, and several others. These creators have dreams and plans, it’s just that local investors don’t have much faith in them. So they either go to crowds for hype and funding.

Lagos Comic-Con in 2012 and beyond provided the perfect place to get an audience. Frankly a lot of people stop there; but not any of these wizards!

Okupe marketed his Kickstarter while pitching to as many news outlets as possible. This caused massive support for E.X.O. The Legend of Wale Williams and his brand in general. So successful, his other projects like Malika make the crowds even bigger.

As for Jide and company, Comic Republic used a freemium digital-first model to reach a wide audience. Being one of the first in line definitely helps generate interest. Not to mention show off a profile as artists-for-hire to fund most of their projects. As well as making compelling characters in different walks of life like Guardian Prime. Eventually there was enough demand for endorsements and partnerships with different corporations.

And they never let the success go to their heads. Martin and the rest of Comic Republic once stepped out of a Panel Reward during 2016 Lagos Comic Con. Why? Because they’re already successful and want other, less open publishers to be in the limelight.

All The Others

Like Vortex Comics founded by Somto Ajuluchukwu. This publisher seems to focus on the more spiritual aspects of Nigerian culture. But how do you face some steep competition? By making the most out of one marketing experience. The online reading service issuu provides the perfect place to better grasp an audience. All so that they can create their own service to lure news fans over.

There are several other publishers like the educational Panaramic. As well as the Nigerian influenced publishers in Epoch and Peda Entertainment.

After the Nigerian Comics Wave

So with all of these highs, where did all of the hype go? To be frank, a few places besides the comic landscape.

For one, YouNeek doesn’t stop at a Free Comic Book Day issue and an animated pilot. The studio continues to live up to its name with bigger prospects. Starting with a Dark Horse partnership, Okupe and company manage to get a TV series out. Naturally being a producer on a show with corporate television takes a lot of time. Not much for anything else.

As for Comic Republic, its business partnerships and strategies make it a very recognizable name. And they never stop trying to reach out to people and make their work accessible. Like their progressive web app for any device using Safari.

That’s also what went into Vortex247 shines to deliver webtoon-like experiences. Granted Vortex had to take a few different directions after their first tries didn’t pan out. But hey, whatever keeps the momentum.

Because even the smaller publishers are trying to really get out there and change as they go. Including some more recent players like Afriwood’s comics division and the street-aimed FourSeven Studios.

Even today there are projects that support the spread of Nigerian comics to a broader audience. Kugali for example is an anthology for all to see and enjoy Africa’s finest. Then there’s Raptures featuring a global team of creatives in Nigeria, Ghana, the US, and the Arab region.

Nigerian Comics: Does Ambition Have A Limit?

Nigerian comics are reflections of the people who make them. Each one that I find is full of ambition to show what their home offers. So many of them overcome the odds by prioritizing accessibility, strategic marketing, and knowing the value of time and money. Even better, they’re ready to make improvements where they can and find audiences where everyone else isn’t looking.

I had to admit, when some publishers were practically vanishing, I thought the worst. That comics even in this part of the world are just stepping stones to animation or game design. Only to find that these creatives found a better direction! It wouldn’t surprise me if Nigeria’s success pushes its neighbors like Cameroon to act.

But the ink’s not dry yet, so there’s more to come. Thanks for coming and remember to look between the panels.