Afrofuturism vs Afrofantasy: The Best Path for African Comics

African comics have undergone a powerful evolution over the last decade. Creators across the continent are blending culture, history, and imagination in bold new ways—yet one debate keeps surfacing: Should African comics lean more toward Afrofuturism or Afrofantasy?

To answer this, it’s important to understand what each genre represents and how both can shape the future of African storytelling.

What Is Afrofuturism?

Afrofuturism is a genre that merges African cultures with advanced science, technology, speculative futures, and cosmic possibilities.

It asks: What does the future look like when Africans are at the center of innovation, power, and progress?

Key Features of Afrofuturism

Futuristic cities and technology

Space exploration or alternate futures

African cultural aesthetics fused with sci-fi

Themes of liberation, innovation, and identity

Practical Examples

“Wakanda” (Marvel’s Black Panther) – Though produced by Marvel, it remains the most globally recognized Afrofuturistic world.

YouNeek Studios' Malika: Warrior Queen – Legacy of the Windriders – Blends ancient African kingdoms with future-tech elements.

Kugali Media’s Iwaju (with Disney+) – A futuristic Lagos shaped by tech, class struggles, and vibrant African futurism.

What Is Afrofantasy?

Afrofantasy is fantasy rooted in African mythology, folklore, cosmology, and spiritual traditions.

It asks: What if our ancestral stories, gods, spirits, and legends were real—and shaped our world?

Key Features of Afrofantasy

Mythical creatures

Divine beings and gods from African traditions

Magical kingdoms

Spiritual battles and folklore-inspired quests

Practical Examples

Roye Okupe’s Iyanu: Child of Wonder (YouNeek Studios) – Inspired by Yoruba mythology and magical heritage.

Kalamandahi Comics' Kisembo – Uses East African spiritual lore and mythical beings.

Peda Comics’ Spirit Wars – A Nigerian fantasy series based on spirits, realms, and ancestral magic.

African Comics Companies Exploring These Paths

1. YouNeek Studios (Nigeria/USA)

Known for seamlessly combining Afrofuturism (E.X.O., WindMaker) and Afrofantasy (Iyanu). They are a leading example of hybrid storytelling.

2. Kugali Media (Pan-African)

Leans heavily into Afrofuturism, with futuristic African cities and advanced technologies. Their Disney project Iwaju is a landmark achievement.

3. Peda Comics (Nigeria)

More aligned with Afrofantasy, drawing from spirits, magical realms, and culturally grounded fantasy elements.

4. Comic Republic (Nigeria)

Blends superhero elements with African mythology. Titles like Ireti (mythology) and Guardian Prime (superhero futurism) sit between both worlds.

5. Ubuntu Comics (South Africa)

Uses folklore and ancestral storytelling to build Afrofantasy-inspired worlds rooted in local myths.

Which Is the Best Path for African Comics?

The truth is that both genres offer unique strengths:

Why Afrofuturism Works

Gives Africa a global image of innovation and possibility

Appeals to sci-fi audiences

Promotes themes of empowerment, progress, and modern identity

Why Afrofantasy Works

Preserves cultural heritage

Feels authentic and deeply African

Connects younger audiences to folklore and mythology

Both genres help reshape African identity—one by looking forward, the other by embracing the past. And many creators are discovering that the most powerful stories emerge where the two meet.

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Conclusion: The Best Path Depends on the Writer and the Story

There is no single “best” path for African comics.

What truly matters is the story the creator wants to tell.

If your narrative thrives on tech, cities of tomorrow, and speculative futures, Afrofuturism is your world.

If your story grows from myth, ancestors, spirits, and magical traditions, Afrofantasy is the perfect fit.

And if your creativity pulls from both ends of the spectrum—embrace the fusion.

In the end, the power of African comics lies in the freedom to imagine Africa in every possible dimension—past, present, and future.

TRIBE: A MISSING INGREDIENT IN AFRICAN COMICS.

African comics are experiencing a renaissance. From animation studios in Lagos to graphic novel collectives in Nairobi, creators are tapping into mythology, folklore, and modern social realities to build stories that feel fresh and culturally rooted. Yet, despite this growth, one essential narrative ingredient remains underused—tribe.

In Africa, and especially in Nigeria, tribe is more than an ethnic identifier. It represents language, worldview, spirituality, aesthetics, history, governance systems, and storytelling patterns. Ignoring tribe in African comics often leads to stories that feel “African-ish” rather than authentically African. Understanding how tribal identity shapes narrative can help creators build richer worlds and characters that truly reflect the continent.

This article explores why tribe is the missing ingredient in African comics, what Nigeria teaches us about the power of tribal storytelling, and how creators can respectfully use tribal elements without promoting division.

A. Why Tribe Matters in African Storytelling

1. Tribe is Cultural DNA

Every tribe holds centuries of stories—creation myths, heroes, monsters, rituals, and ancestral wisdom. These are ready-made worldbuilding treasures.

For example: The Yoruba have a fully developed cosmology of gods (Orishas), realms, and spiritual laws.

The Igbo have duality lore (Ala vs. Amadioha), age-grade structures, masquerades, and moral philosophies.

The Hausa-Fulani possess rich epics (like the Bayajidda legend), caliphate politics, warrior culture, and prophetic traditions.

No Western comic universe—Marvel, DC, Manga—has access to such an ancient, unified cultural foundation.

2. Tribe Grounds Characters in Reality

Characters with tribal roots feel more believable.

Imagine this, A superhero raised in Yoruba culture will think differently from one raised in Tiv or Jukun culture—language, moral codes, fashion, spiritual beliefs, and problem-solving methods all change.

This variety makes African comics stand out.

3. Tribe Solves the Problem of Generic African Settings

A common flaw in African-themed comics is that the setting feels vague—“somewhere in Africa.”

Using tribe eliminates this. It gives a concrete geography, architecture, music, naming conventions, and social systems.

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B. Nigerian Tribe: A Storytelling Goldmine

Nigeria has over 250 ethnic groups—each with its own heroes, symbols, monsters, and artistic styles. For comic creators, this is unmatched raw material.

Here’s how tribal identity works as a creative fuel:

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I. Yoruba: Spiritual Multiverse Storytelling

The Yoruba worldview is already structured like a comic universe:

Orun (spirit realm) and Aye (physical realm)

A pantheon of over 400 Orishas, each with powers, colors, symbols, and domains

Complex moral lessons and supernatural conflicts. Divination systems (Ifa) that resemble prophecy arcs in fantasy comics

Marvel’s Black Panther borrowed heavily from Yoruba spirituality—yet African creators often ignore it.

Imagine a Yoruba comic series where:

A young priest-in-training becomes a vessel for an Orisha. The Orishas battle cosmic entities threatening the balance between Aye and Orun

Each arc introduces different Orishas with their unique aesthetics.This is richer than many imported superhero stories.

II. Igbo: Politics, Morality & Ancestral Power

Igbo culture offers: Democratic village systems, Age grades that function like guilds or factions, Masquerades (Mmanwu) that can be reimagined as spirit guardians, Myths of deities like Ala, Ekwensu, and Amadioha and A strong theme of personal destiny (Chi)

An Igbo-focused comic can explore:

A hero guided by their Chi. Conflicts between moral laws (Ala) and justice (Amadioha). Secret societies acting as protectors of the land. Masquerades as supernatural warriors. This gives room for political thrillers, fantasy epics, or historical adventures.

III. Hausa-Fulani: Empires, Warriors, and Prophecy

Northern Nigeria is rich in: Caliphate history, Horse-riding warriors, Legendary queens and princes, Hausa epics and poetic traditions, Djinn, desert spirits, and Islamic mysticism (Sufism)

A Hausa-inspired comic universe could feature:

Warrior princes defending caravans in the Sahara Djinn-powered magic mixed with real historical settings Political intrigue inside ancient emirate courts

These narratives can compete with Arabian fantasy or Persian myth-based comics.

IV. Small Tribes, Massive Potential

Many Nigerian minority ethnic groups—like Tiv, Kanuri, Ibibio, Jukun, Gbagyi, Jju, Nupe, Itsekiri, Ijaw—have untapped storytelling value.

For example:

Tiv myth of Kwagh-hir provides puppets and masks perfect for visually striking characters. Jju legends (from Kaduna) include warrior spirits, clan leadership lore, and forest creatures worthy of dark fantasy. The Ibibio have Ekpo masquerades and ancient burial rituals ripe for supernatural storytelling.

Minority tribal stories give fresh angles outside mainstream Yoruba/Igbo/Hausa narratives.

C. Reasons why Comics Avoid Tribe (and Why They Shouldn’t)

Reason 1: Fear of Promoting Tribalism

Many creators worry that using tribal identity may be seen as promoting ethnic rivalry.

However, representation is not tribalism.

The key is: Celebrate culture, Avoid stereotypes, Show inter-ethnic collaboration and Focus on themes, not hate

Reason 2: Lack of Research

Some creators simply don’t know the stories and are afraid of misrepresentation But tribes are open to collaboration—elders, cultural associations, historians, and traditional custodians love sharing knowledge.

Reason 3: Western Influence

Many African comics imitate Marvel, DC, or anime. This leads to characters with African names but Western backstories.

Authenticity wins readers.

D. How Tribe Can Transform African Comics

1. Tribal Heroes

A Benin warrior with bronze-armored magic.

A Fulani nomad who can control desert winds.

An Igala princess with ancestral spirit protectors.

2. Tribal Aesthetics

Comic art can draw from: Traditional fabrics, Body markings, Masks, Architecture, Festivals, Drums and musical patterns. This creates a unique visual identity.

3. Tribal Superpowers

Powers can emerge from: Totems, Ancestral spirits, Proverbs (as magical codes), Rites of passage, Divination and Sacred animals

4. Tribal Conflicts and Alliances

Instead of generic villains: Clashing kingdoms, Spiritual wars, Cultural diplomacy and Pan-African alliances.

Studio Ghibli does this with Japanese folklore.

Africa can do the same with tribal heritage.

E. Building Comics That Respect Tribe (Without Stereotyping)

Here’s how creators can use tribe responsibly: Research before writing, Consult elders, historians, and cultural custodians, Use real language elements (phrases, greetings), Avoid mockery of sacred traditions, Show shared humanity across tribes, Add fictional twists without insulting real beliefs and When done well, tribe adds depth—not division.

Conclusion

Tribe Is the Superpower Africa Has Been Ignoring

African comics are rising, but their full potential lies not in copying Western tropes, but in embracing the continent’s unique tribal diversity.

Nigeria proves that:

Each tribe offers a complete storytelling system

Heroes, villains, gods, spirits, and symbols already exist, Cultural worldbuilding is richer than invented universes. Authenticity attracts both African and global audiences

Tribe is not a barrier—it is the missing ingredient that can transform African comics into global masterpieces. African creators don’t need to manufacture magic. It is already in our languages, masks, shrines, drums, and ancestral stories.

All we must do is tell them BOLDLY.

THANK YOU.

VIDEO GAMING IN NIGERIA

A game can be seen as any activity guided by a set of rules channeled towards particular goal either as a competition or entertainment. There are a lot of indigenous games in Nigeria like Ayo, ludo and whot cards. For this blog post, we will focus on video games.

HISTORY OF VIDEO GAMES

Video game is at $140 billion dollar global industry. Now nearly two-thirds of the developed world household have a member who is a video gamer. It may come to a shock to some Nigerian that video game started in a academic settings. 

British Professor A.S Douglas created tic-tac-toe as part of his doctoral dissertation at the University of Cambridge in 1962. Steve Russell from MIT invented Spacewar for PDP-1 (A state of the art computer mostly found at universities that time). It became the first video game that could be played on multiple computer installations. Then finally in 1967, Ralph baer, who is regarded as the father of video games, led a team of developers at sanders associates inc. to invent a video game system that play on tv known as Brown Box. He licensed the device to Magnavox, which sold the video game system as odyssey in 1972 making it the first video game console. It's success lead to other investor picking an interest in it. 

BENEFITS OF VIDEO GAMES 

Research over the years has shown that video game play a beneficial role in the development of the brain and human well beings.

Below are some of the importance of video games.

1. Video games improves hand and eye coordination.

2. It improves problem solving skills.

3. It enhance memory.

4. It improves attention and concentration.

5. It is a great source of learning.

6. It improves brain speed.

7. It improves and aids social skills.

8. It may slow down aging.

9. It makes one a better decisions maker.

10. It may help treat depression.

11. It could be a good pain killer.

12. it helps curb cravings in recovering addicts.

VIDEO GAMING IN NIGERIA.

One of the major setbacks to video gaming in Nigeria is lack of proper recognition as a revenue generating sector even though it has proven globally that it out earns a lot industries. It's other problems includes negative stereotypes like gamer being immature and lazy in Nigerian society, video gamer are often seen as gamblers which lead to some police clamp down on video game centres, this also dent the image in the Nigerian society making it difficult for young ones who could advance it's cause to abandon that route. Another problem is that there is no Nigerian made game console, poor electricity and internet services.

These problem never stopped gamer from accessing games, in Nigeria, there are three main source of gaming and they are PC, consoles and mobile phone games. Due to the electricity and internet issues in Nigeria, only hard core gamers have them at home. Due to the easy accessibility and affordability of mobile phone coupled with user friendly data plans. Mobile phones have become the breeding ground for Nigeria gamers of all types. This attitude towards gaming lead to the emergence of game developers like maliyo games, Gamesole, Tonielrosoft who have graced us with games like Aboki run, Gidi and Naija whot. Which are all remarkable efforts. The revenue from mobile games comes from selling the game on app store, in app purchase etc.

Another problem is lack of funding, this limit the progress of ambitious companies looking to do bigger and better projects.

CONCLUSION 

POSTIVE

Nigeria has a young population with more than 60% of the population being under 25 years old. Not only that 83% of the population has a mobile phone. Although internet penetration is 42%. The advantage coupled with the novelty of gaming on mobile phone and it's potential revenue coming into the light in Nigeria. It will only be a matter of time before professional and people with genuine interest in it start picking it up. There is still a lot to do.

NEGATIVE 

All in an attempt to meet global standard . Most game developers are neglecting Nigeria content and making 'rip off" games. The ones based on Nigeria content lacks appeal. More research, effort and funds are needed to make it better.

TBH

Nigeria gaming sector will grow, if developers can find a way to move their mobile consumer to a Nigerian made game console. For this to be done, if developers start learning their basic gaming genres and intentionally make an effort to produce quality games not quick cash grabs.

Another thing is that we need more innovative and dogged people in the industry. Innovative in the sense of creating something and worthwhile with Nigeria originality, dogged in the sense even if this thing will take ten years for it to be created the person is willing to take the journey. This will help them create masterpieces to encourage other to do the same.

Thank you for reading.

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