User talk:Egyioh
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And also:
Yours sincerely, CptViraj (📧) 13:58, 21 February 2020 (UTC)
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Patrick Rogel (talk) 17:10, 21 February 2020 (UTC)
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Patrick Rogel (talk) 15:59, 22 February 2020 (UTC)
ZEBRA COMICS
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Zebra Comicsis a start up comic book publisher made up of comic book writers, Illustrators and other professionals from Cameroon, in West Africa.
The company was founded in October 2016 by Ejob Nathanael Ejob (usually desginated
E.N. Ejob)
Their goal is to tell African stories through comics, educate and promote African cultures.
E.N. Ejob is quoted to have said "We believe in the richness of African stories and comics are the future of story telling in the continent.
With this young and vibrant industry, Zebra Comics stand to offer a lot to the contemporary African society and the way it views this medium of entertainment, information, education, employment and creativity.
Zebra Comics is one of the few major players in Africa creating and selling comics and cartoon animation.
Zebra Comics has a mobile app
through which their comics and those of other studios across Africa are sold.
It has been recorded by several online and traditional media to be a game changer in the literary industry in Africa.
Zebra Comics has published several comic book titles.
Some of their more popular titles include
Aliya
;
created by An Ninaand co-created by E.N. Ejob as well as M. Ispahani and Alone Legend.
Totem
created by Agogho Franklin (a published poet) and co-created by E.N. Ejob and Raymond Maxwell Pondy.
Tumbu
created by Ejob, and Jude A. Fonchenalla., a published poet.
Anaki
created by E.N. Ejob and illustrated by him as well. Anaki was funded via kickstarter in 2019. It explores popular themes like afrofuturism.
Njoku
created by Njoka Suyru
Mancraft created by Ejob Gaius and Raymond Maxwell Pondy
Okada
Kingdom of Kush, Bodid-Harma,Wrong Dial created by Fensou Miles and many more titles.
Zebra Comics has been part of several comic book festivals across Africa
, including the Lagos Comiccon as well as the MboaBD Festivals.
It is without doubt that when it comes to comics in Africa, amongst other names as Epoch comics, Comic Republic, Etan Comics, etc, Zebra Comics is a leading player.
Co-founder, Njoka Suyru is quoted to have said "The comic book industry in Africa is not a very strong and developed one,
and productions are very few, to satisfy the high demand for original content and home produced comic books.
The number of comic book producers on the continent can be counted on tips of the fingers.
This is because many artists feel it is not lucrative enough to pay their bills. They draw mostly for fun. Most have not thought of turning it into a business that generates income. And that is where Zebra Comics steps in.
She is filling that vacuum by producing original African comic book titles, and she hires artists who work at various stages of production. Zebra Comics is gradually gaining traction, and in a short while,
it would have contributed greatly to the development of the comic book industry and
created jobs for thousands of writers and artists."
Squid Magazine, a geek magazine in Ghana once interviewed another co-founded, Agogho Franklin about Zebra Comics and his story Totem.
"Besides Aya of Yop City (Ivory Coast) and Aurion: Legacy of the Kori-Odan (Cameroon),
we have done very little on French-speaking African nations in our coverage on African comics.
Let’s change that.
Franklin Agogho is the co-founder of Zebra Comics, a collective of comic book writers and artists in Cameroon on a mission to educate
and promote African cultures. Franklin and Zebra Comics believe in the richness of African stories and strongly hold that comics are the future of storytelling on the continent.
What follows is a conversation between Franklin and Mp Mbutoh of Rhythm Pulse interrogating Zebra Comics, the comic book market in Cameroon, identity and Totem, his own comic book. This interview originally appeared on Rhythm Pulse and has been edited for content, clarity and length with permission."
When asked about the Zebra Comics and her objectives, Frank had this to say
"Zebra Comics is the baby of Ejob Nathanael Ejob, a comic book illustrator so passionate about comic books that he created a company
to produce and sell comics in Cameroon and abroad. He assembled writers and artists to create stories which depict Africa in new and
interesting ways.
When Ejob called me about the project, I was immediately hooked as it represented something which animated my childhood and was an
opportunity to contribute significantly to the growing African comic book industry. The initiative started about a year ago and
we have published three titles so far. These are Aliya created by An Nina, Tumbu
created by Ejob Nathanael and written by Jude Fonchenalla and Totem created by yours truly.
These titles were published in one magazine called Zebra Comics Magazine and have sold four hundred copies so far. Zebra Comics
intends to continue publishing these titles regularly as well as newer ones. Some of these are Njorku created by Njoka Marvin Suyru,
The Wrong Dial created by Fensou Miles and ManCraft created by Ejob Gaius. Graphic novels such as Eden, In the Name of God and Lords of Thunder created by Mbutoh Divine which will tell lengthier and more elaborate stories, will equally grace bookshelves.
At the same time, other projects like exercise books, t-shirts, toys, a literary café, video games and animated series will be launched.
Taking these into consideration, Zebra Comics has an objective to tell African stories through comic books, build the reading culture in Cameroon, valorise Africa through our stories and provide employment for writers, artists and other professionals who work in the domain of the 9th art."
Also, Agogho Franklin was asked about the comic book atmosphere in Cameroon, to which he responded
"Encouraging! Some time ago, when I was a teenager in secondary school, the only comic books we found around were the imported Marvel
comics, DC Comics, French Comics and Manga from Japan. The only African comic book around was Kouakou which disappeared after some time.
But as time elapsed, the comic book landscape in Cameroon has witnessed a steady increase in publications from Cameroonian authors and artists.
Recently, during the last Mboa BD Festival, the only Cameroonian Comic book festival which took place in Douala and Yaounde in November
and December 2017, I saw dozens of high-quality comic books on exposition. Comic books like CATY and OUP by Georges Pondi, La Vie D’Ebene Duta by Elyons, Mulatako by Reine Dibussi, Android Night by Cedric Minlo and many others graced the shelves of the festival’s bookstore.
This proliferation of publications finds its raison d’etre in the rising interest in comic books and in the presence of serious publishers who are ready to accompany artists and authors in the struggle to put high-quality comic books on the market.
During this festival, there were at least three thousand visitors who visited exposition stands and actually bought copies of comic books on sale.
In the same light, publishers like Les Editions Akoma Mba, L’Harmattan and Ifrikiya have published dozens of Cameroonian comic books
which satisfy demand and encourage Cameroonians to produce more. It is true that there is still much to be done in terms of quantity
and education as far as consumption of comic books is concerned. But I think, with what is happening now, the comic book landscape in contemporary Cameroon is quite encouraging."
Furthermore, as concerns the market of comics in Cameroon;
"The comic book market is relatively new in Cameroon and as such, it is not yet well developed. There are a number of comic books already
present on the market but for consumers to feel the seriousness of the industry, there is a need to increase the number of comics on the
market. One of the reasons people do not know much about Cameroonian comic books is that they are hardly available.
Distribution channels are few and not strategically placed and copies are usually limited. This, coupled with the fact that there
isn’t enough marketing being done on these comic books makes it difficult for the comics to really excel on the Cameroonian market.
Out of Cameroon, especially in Europe, America and Japan, some of these Cameroonian comic books sell very well because the market is well structured and distribution channels are adequately designed and managed.
Despite all these shortcomings, a lot is being done to ameliorate the situation. At Zebra Comics,
we are doing everything to make sure readers have easy access to our books both physically and digitally."
Who’s your ideal audience?
Frank Agogho: "I know that I can’t say everybody, but I wish everyone could read the comic book because it digs deep into themes which relate to everyone; identity, class struggles, war, survival, power etc. But to be more specific, I’d say, teenagers, adults and even middle-aged individuals. The first edition of Zebra Comics Magazine packs three titles. What necessitated this, a mark of generosity?
Yes and No. Hahaha! Yes because our readers are close to our hearts and we have a responsibility to give them the best, and so the three in one magazine.
No, because the three in one magazine wasn’t the initial plan of Zebra Comics. When we started off, we wanted to publish three comic book titles with three distinctive stories and adventures to give readers three different facets of Africa.
We couldn’t because it was financially impossible for us to produce reasonable amounts of copies of the three independent stories. Plus, we didn’t have a publisher and the majority of staff at Zebra Comics are still students and unemployed youths.
We had no choice but to put all three titles in one magazine for our readers who were growing impatient. Interestingly, it has been very well received. Many are already waiting for the next issue. Talk of a disappointment becoming a blessing."
What are the three published titles about? "Aliya tells the story of a young and beautiful African translator, chronicling her experiences and struggles in the African corporate world, which puts the concept of African feminism at the forefront.
Tumbu, on the other hand, is a parody of a modern African family and its experiences vis-à-vis day to day struggles in modern-day Cameroon. It could be likened to The Simpsons.
Totem tells the story of an albino who lived in 14th Century Africa and shows his struggle for survival in a context which was unapologetic in its non-recognition of albinos as normal human beings.
What motivated Totem?
Identity and the place of the African man in this world vis-à-vis the plan of God. Recently there has been a proliferation of wars, political unrest, underdevelopment, corruption and poverty in our African countries and I was wondering why Africa was witnessing all these despite the fact that we are greatly blessed in resources. And the answer was identity.
Cover of the first issue of Totem by Agogho Franklin and EN Ejob for Zebra Comics
Africa is going through a very deep identity crisis. Most of our countries keep turning to the west for a way out when most of our solutions are right in front of us. People still see America and Europe and even Asia as the Promised Land as home, when home is right in front of us. So I decided to create something which could reunite us with our roots. And which better way than to do so through comic books?
Comic books have the power of images which stick in our minds and spirits longer than words can, and targeting youths ensures that the future of Africa finally grasps the reality of who they are and propel Africa to the grandeur which it deserves.
A totem is an animal, plant, statue or any artefact which embodies the spiritual essence or incarnation of a person, group of persons or a family and serves as protection for the incarnated individual. Totemic cultures exist in different parts of the world and are usually used as spiritual connections between man and nature.
It is religious practice in some parts of the world and I found it to be an interesting place from where to draw inspiration to create the Comic book title “Totem.” By the way, the totemic liaison in the comic book is quite peculiar. I encourage readers to grab a copy and discover more."
Would you agree that Totem suffers a lot from an identity crisis?
"I guess you mean Akam, the protagonist in the story. Yes, Akam obviously suffers a lot from an identity crisis. As an albino who lives with his supposed mother in a mountain cave, he has no idea that the existence of his kind is a taboo to the outside world.
When he comes face to face with that reality, it becomes a shock to him as his life changes from normal to scary. I really do not want to go very deep into how and why he suffers from an identity crisis, because I will spoil the story. But it is clear that Akam suffers from an identity crisis in Totem.
Totem’s narrative language is moving and has a lush sombre effect on the setting. Tell us about the choice and time of the setting.
"Thank you! The story begins in a small village in central Africa, in today’s North West region of Cameroon. But Totem will explore other settings across Africa. Readers will see Akam, the protagonist move to different places across the continent and come face to face with different cultures.
As far as time is concerned, Totem is set around the 14th century, before trans-Atlantic slave trade came into play. This time was chosen because it is the closest to our time when the African culture hadn’t yet been subjected to foreign influence. This takes us closest to our roots by depicting African culture in its purest forms."
What is your plan for Totem?
"Totem is going to take readers on an unforgettable adventure. They will experience the struggles of Akam and see him go from one trial to another in different parts of Africa. At the same time, they will come face to face with African traditions, rites, politics, love and religion.
I think the scope and depth of Totem will make it go for well over fifty issues or publications before the story is exhausted.
It is a story which can also do well as an animated series, so there are many directions in which Totem can go.
Readers should, therefore, expect a lot of exciting stuff from Totem.
What are your last words on Cameroonian comics?
"First of all, let’s believe in our comic book industry. I am talking to both creators and readers. Creators should invest more time
in the creation process and offer more quality works that can truly entertain and educate Cameroonian readers, and which can compete
on the international market. Readers should read more of our comics and get involved in the growth of the industry because it is
currently witnessing a steady growth.
Also, comic books can play a great role in promoting Cameroon’s brand internationally through memorable and popular characters and
stories, so it should be taken seriously. I would have called on the government to help comic book authors to excel but I think
the encouragement should be geared towards creators. If we do great work, we will be recognized, one way or another.
Zebra Comics is a collective of artists on a mission to tell African stories through comics and to educate and promote African cultures. Their goal is to tell African stories through comics and to educate and promote African cultures."
In June 2018, a popular culture magainze, Inspire Afrika discovered Zebra comics and said;
"Spider-Man, Wonder Woman, Batman and a protracted list of fictional superheroes, have all left an imprint in our lives, especially during our early years. Thanks to companies like Marvel and DC Comics, the alluring charm of these characters displayed and reinforced in heroic plots, continue to captivate and entertain both young and old admirers worldwide. Apart from the highly acclaimed fictional superhero known as Black panther, comic fans of African descent have had to settle for characters and storylines, which unfortunately, fail to represent the people and their heritage.
This identity and cultural lapse in the comic industry has left many of such fans yearning for similar, but much more inclusive and relatable narratives. Instead of waiting for the gurus of the industry to quench this identity thirst, start-up companies like Zebra Comics Inc. have taken the bull by the horns in a bid to contribute to transforming this industry into an African jewel.
Before getting to know more about Zebra Comics it’s important to have an idea of how well the industry has been performing on the continent so far. Despite the financial backlash and limited support, the African comic industry has taken a big leap. Nigeria for instance is gradually gaining popularity as a haven for upcoming superheroes. In 2015, the Nigerian comic artist Roye Okupe released his first comic book known as: E X O – The Legend of Wale Williams, featuring an iron power-suited hero, set in a near-future Lagos of 2025. This marvellous creation didn’t fail to catch the eyes of the international media such as CNN, Forbes and Mashable.
South Africa is equally very active in this area. Kwezi created by Lyiso Mkize, who also worked on the Supa Strikas comic series, narrates the adventurous life of an egoistic teenage boy who fuelled his new found superhuman abilities. Bayou-Aya created by an Ivorian writer who goes by the name Marguerite Abouet, might not be the typical superhero comic book with characters possessing supernatural powers, but it is acclaimed for its ability to draw out the superhero in ‘normal’ people by narrating reality tales of daily life in her home country Ivory Coast. Aya was created out of her desire to showcase Africans in a different and better light other than the negative images painted by the international media. The story has won several awards, and has also been adapted into a film. This earned Marguerite Abouet a place in the Top Black 25 Comic Book Writers ranked by CBR in 2016.
The African comic industry goes beyond books! The game developer Eyram Tawia and Commercial software developer Wesley Kirinya from Ghana and Kenya, respectively, went further in their contribution to rebranding the comic industry by creating the digital games True Ananse and Africa’s Legends, as well as mobile apps. Their technological ingenuity makes access to their content on Android, Windows Phone, Nokia and JAVA most convenient. Furthermore, the Cameroonian start-up Kiro’o Games, has been taking the industry by storm with its action role-playing video game known as: Aurion: Legacy of the Kori-Odan. Bringing in an entirely new and intriguing perspective of the what is generally known. Kiro’ Games contrary to mainstream fantasy games, ushers in the African hero Enzo Kori-Odan, ruler of Zama.
Zama is a multicultural society that is suddenly being threatened by a coup, after successfully escaping the predatory claws of imperialism. Enzo Kori-Odan’s supernatural force known as the Aurion, comes from the collective energy of his ancestors. Speaking to CNN in 2016, its founder Madiba Olivier recalls, “At first, the idea was to make games about ninjas,” “But then I realized many gamers were bored of the same story and the same heroes. That’s how the idea to create an African fantasy came out. I wanted to break what I call ‘the exotic world’ image of Africa.” With the help of a Kickstarter crowdfunded campaign, Kiro’o Games has generated over $50,000 to create Cameroon’s first role-play game.
Now let’s talk Zebra Comics Inc.! This is a start-up specialized in the creation and commercialization of comic books. It was created in October 2014 in Buea (Cameroon), but operates today in the capital city of Cameroon (Yaoundé). This start-up is made up of a youthful team (21- 31 years) of eight Cameroonian writers and artists, who create and tell African stories with the use of illustrations in comic book format. “Given growing competition in the culture sector where western cultures dominate,
we think it is necessary for Africans to know their own stories, to place more value on their culture and to develop a certain pride in their true identities. In this light, our stories are well researched and, even though they are fiction, they carry accurate representations of our African cultures. We intend to build a sense of pride in Africans and make them believe that they have value and they can do great things too”
IAM: How did it all begin?
The brain behind Zebra Comics Inc. is a Cameroonian writer, comic book artist and illustrator called EJOB Nathanael EJOB. As an avid lover of comic books, he was disturbed by the fact that there were very few comic books in Cameroon and those that existed where always from America, Europe or Asia. He also realized, that the African culture seemed to be losing value in African communities and so there was a need to reaffirm our uniqueness and the values of our culture. With this, he decided to create Zebra Comics Inc. to enable even the youngest readers to appreciate African culture and take full possession of their identities. And what better way to do so than to use images which stick in the mind for posterity?
IAM: Rebranding the comic industry is a daring and challenging task, that requires you to restructure the entire system from its innermost core which is, the story itself. Tell us more about the conception and processing of your stories?
Since we are dealing with fiction and in view of our strong cultural fundament, the writers are tasked with creating very interesting concepts and plots, but these concepts and plots need to be based on the African culture and need to pass across messages which educate deeply. Having said that, the stories must display high cultural relevance and uniqueness. After editing the script,
it is forwarded to the artist for illustrations, who works in synergy with the writers. The graphic artists are also expected to illustrate in a way that accurately depicts the African culture. The characters, settings and even objects which they illustrate are indicative of what is or was found on the continent at the time in which the stories are set. If the story and illustrations meet up to these expectations, it is qualified for printing and eventual distribution. Although our stories are Afrocentric, we create interesting stories for comics book lovers of all ages in all countries around the world.
IAM: How many comic books have you published so far? and what type of fictional figures characterize Zebra Comics?
Zebra Comics Inc. has published three comic book titles so far namely ALIYA, TUMBU and TOTEM. Our comic books portray characters who come from the African continent and who represent our cultures, myths and ideals in a unique way which gives great value to the African people. Our main characters may possess certain qualities which differentiate them from regular characters, but our stories are not the typical superhero stories which you find in mainstream media. We try as much as possible to be realistic and inclusive,
for example, our comic book titled ALIYA treats the strength of the African woman, as she struggles to assert herself as a valuable woman in a male dominated corporate world. Through her, we aim to inspire young girls and women to believe in themselves and strive to contribute at the same level as men to the development of our communities. TOTEM treats the theme of albinism which is still a kind of taboo in some parts of Africa. Through the journey and adventures of Akam an albino boy, the African religion, identity,
culture, history and fantasy between the 11th and 14th century AD are rejuvenated once again. TUMBU (like the maggot) on the other hand, is a parody of the Cameroonian society (our day-to-day experiences in Cameroon). It can be likened to The Simpsons,
the popular American animated series. Furthermore, we publish in English and French and the first issue of these individual comic book series will be published in March 2018. Sequels will follow quarterly. We have sold over 500 copies of our comic book magazine to readers in Yaoundé, Douala, Buea and Bamenda, Cameroon. Internationally, we have had reactions from people in the diaspora who have bought several digital copies of our comics on Amazon. The feedback has been good so far, with foreign artists requesting to work with us.
IAM: What does the future look like for Zebra Comics Inc.?
Zebra Comics Inc. will be getting into ventures like 2D and 3D animation, advertising, movies, video games, toys and exercise books. These are domains which are directly linked to the comic book industry, and which can help in rebranding Cameroon and Africa. Later this year, three graphic novels: NJOKU, EDEN and VIK will be released. Moreover, we hope to collaborate with other publishers from Nigeria.
Nevertheless, we have had the chance to work with foreign publishers in the United States on comic books titles and graphic novels which will be released soon. We plan to set up a literary café in Yaoundé, Cameroon where people can visit, read comic books and play video games.
IAM: Starting up a company especially in a quite new industry in Africa is not easy. What challenges does Zebra Comics Inc. face? And what can be done to make the industry more appealing to the African audience?
The shortage of quality human resource! Creating comic books entails a lot of work, especially in terms of art and graphic design. Presently, given the work load we have, there is a huge shortage of quality human resource. Also, several young people lack the patience to learn, the resilience to persevere, the humility to accept criticism as well as the artistic quality needed to compete on an international scale. However, we hope to recruit the right talents through a recruitment campaign for comic book artists.
We need more education and sensitization! Comic books is a tool which can educate deeply since it makes use of images which cannot be easily forgotten. Zebra Comics Inc. plans to organize school tours to meet students and explain to them why comic books are important. Also, governments, local councils and other organizations should be able to create more libraries and reading opportunities for
young people to acquire and read African comic books often. Many more festivals around books in general and comic books in particular, should be organised in Cameroon and on the African continent. These festivals give visibility to comic books and create interest through experiences, in ways which regular communication media cannot. Nevertheless, the public has been very receptive vis-à-vis our work and the people are beginning to gain more interest in the comic industry. On our social media platforms for instance, our followers are increasing every day.
Despite the efforts made so far, according to the online platform known as Medium, an industry expert survey in Nigeria places the percentage level of local content in awareness at 15–20%. This equally implies that only the percentage of Nigerians in the age group of 15-20 are aware of local comics, and tend to patronize them. The rest of the population are more familiar with foreign comic contents or do not recognize some of the local ones as such.
Nonetheless, already existing Start-ups like Zebra Comics Inc. continue to use African folklore and mythology to create a more relatable and enjoyable world for comic lovers around the world. The question of whether or not, the continent will continue to witness the birth and growth of such companies remains uncertain due to financial challenges, insufficient support and strong competition from comic moguls like Marvel, DC Comics etc. Notwithstanding these practicalities, there is a bright light on the horizon. In the words of Madiba Olivier to CNN, “We have spent the past ten years running from poverty. So, the next ten years? We’ll spend it running towards prosperity.” In other words, running towards the goal of transforming the comic industry into an African dream." — Preceding unsigned comment added by Egyioh (talk • contribs) 18:50, 25 February 2020 (UTC)
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Wikimedia Commons does not accept fair use content.
We do this because Commons is a shared media repository. Downstream wikis have different policies based on local laws. Uses that are acceptable under US law, for example, may not be acceptable in many other countries with more restrictive rules. In addition, fair use is not compatible with our aim as a collection of freely distributable media files. Therefore, Commons cannot legally rely on fair use provisions. Non-free content that may be used with reference to fair use may be uploaded locally if your project allows this.
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Patrick Rogel (talk) 21:14, 25 February 2020 (UTC)
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Wikimedia Commons does not accept fair use content.
We do this because Commons is a shared media repository. Downstream wikis have different policies based on local laws. Uses that are acceptable under US law, for example, may not be acceptable in many other countries with more restrictive rules. In addition, fair use is not compatible with our aim as a collection of freely distributable media files. Therefore, Commons cannot legally rely on fair use provisions. Non-free content that may be used with reference to fair use may be uploaded locally if your project allows this.
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And also:
- File:Njoku1.jpg
- File:Anaki sample page.jpg
- File:Anaki1.jpg
- File:Anaki.jpg
- File:ZEBRA COMICS.jpg
- File:Tumbu 2.jpg
- File:Tumbu 1.jpg
- File:Totem comic 2.jpg
- File:Totem comic 1.jpg
- File:The Zebra Artists at work.jpg
- File:THE ARTIST.png
- File:OKADA is a new weekly series.jpg
- File:Aliya.jpg
- File:Old sample interface of the Zebra Comics app.jpg
- File:Page from Anaki, a comic book of Zebra Comics.png
- File:A Page from Anaki, a comic book of Zebra Comics.png
- File:ZEBRA COMICS .jpg
Yours sincerely, Patrick Rogel (talk) 21:15, 25 February 2020 (UTC)
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Patrick Rogel (talk) 21:17, 25 February 2020 (UTC)
Copyright violations
[edit]
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Hello Egyioh.
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