Sunday, 8 April 2018
Our last interview was with Agogho Franklin, the author of Totem, published by Zebra Comics. We are delighted this month to have been granted another interview by Jude Achiageonzoh Fonchenalla one of the hands behind Zebra Comics’ title Tumbu.
As a quick reminder, Zebra Comics is a start-up company geared toward the mass production of Cameroonian and African stories through comics. They are now in their second issue, and the great news is that they have been signed by……publishing. So, on this month’s Art Interview Table, we have JAF, the author of Tumbu.
RP: There we go with our prosaic question again…Who is Jude Achiageonzoh Fonchenalla?
Jude Achiageonzoh Fonchenalla, abbreviate as JAF, is my name. I hail from the South West in a small village called Nwametaw, my birth place, in Alou Sub Division – Lebialem Division. I am a trained teacher from ENS Yaounde but I work now as cadre d’etude at the Ministry of Secondary Education. Apart from the DIPES 2, I hold what is referred in the French System of Education as Master 1, waiting for defence to wear the full academic robe! Hahahahaha. Professionally, although I work in the public sector, most of my life is grounded in the Civil Society. I got into that sphere since 2007 as a strategist and communicator in Vision in Action and today I am a board member in the same structure and also I coordinate the communication and media team of Afrika Youth Movement, the biggest Pan African Youth Movement founded by Aya Chebbi. I also founded Joss Magazine with my dear friend Agogho Franklin, with whom we have worked on a lot of projects together, including writing movie scripts, winning writing competitions, invested, work on the projects of others, trekking round Yaoundé to hustle and soaking garri. Before I forget I am a poet, and my first release might be at the end of this year or early next year, by God’s willing, and I have just been selected as one of the 17 Cameroonians of the Mandela Washington Fellowship in the public management tract at the University of Minnesota, USA and of course I am part of Zebra Comic INC. I script TUMBU.
RP: Listen to this…Tumbu! How does it sound in your ears?
Weird! Naughty and maybe nasty but that’s just what it sounds. What it actually is can be measured by those sound thought. Tumbu is much more, Tumbu is life, intelligence, satire and one of the best things to have happened to the Cameroon and Africa literature, you can also contact and look at the cultural uniqueness of Totem and the African accepted version of super woman in Aliya. These three are not different from the three wise men in the bible. They will lead you to the literary “Jesus”
RP: Tell us about the whole concept of Tumbu.
Tumbu, one of the series of Zebra Comics INC. trinity is a comic by all standards. The characters are by themselves funny, Tumbu himself looks like a human distortion and you can’t help but laugh at the branded drools (pants) of Njanga and Mukenge.
The events, stories, narrated are all fun story, though it treats very realistic and serious themes that plague our society. Despite this heart-breaking happenings narrated in Tumbu, like the falsehood of churches and native doctors, cheating, hypocrisy, corruption and others, we still make people to smile over them. We add a pinch of sugar to the awkward happenings. The narrative style keeps readers in smiles as the achievements of Tumbu and other characters are told in simply and comically, reducing stress.
The adventures of Tumbu gyrate around Tumbu, the title character, who is a caricature of the downtrodden, yet who achieves so much and amplifies the societal ills so loudly that makes it hard for these ills to escape the notice of readers. The story itself is a satire which obviously recommends a model society, though in a subtle manner.
Tumbu is multi-faceted in his tasks; at one point, he is the eye through which the readers see and understand the society. At another time, he is a child facing childhood challenges, but to crown it all, the comic book Tumbu always proposes a solution through Tumbu, the character, even when the outcomes aren’t always one hundred percent favourable.
RP: Is it co-authored? Who are or is the other person(s) involved?
Of course there is a co-author. Tumbu is a comic book and I am no way the artist. Every comic book is co-authored – the writer who creates the story and the artist who brings the story to life. Ejob Nathanael is the magic pencil behind Tumbu and besides creating those characters and narrating the story through picture; we have extra panels in Tumbu that he independently created. Remember he too is a published author so he is a writer with credit. And before I forget, all the projects of Zebra comics INC are “we” projects. What I mean is, the stories have to be satisfactory to more than one person in the team before it is pencilled. So ideas come from a lot of places though I might be the frontline man of the brand Tumbu. So in a nutshell, Tumbu is written by Jude and pencilled by Nate; those are the authors of Tumbu.
RP: Who is (are) your ideal audience(s)?
My ideal audience is any one that breathes. So long as you live Tumbu is for you. So long as you think laughter is a therapy, Tumbu is your doctor; so long as you think that they are issues that have to be redressed, Tumbu is your voice; so long as you once had a childhood, you once lived the life of Tumbu. Tumbu is an enactment of life so unless you aren’t living then can you exempt yourself from this piece. But I am aware that reading can be a barrier to some people which might seem like they are out of our target, no that isn’t the case for the pictures themselves will make you laugh and they a story.
RP: Tell us something about the Cameroonian community…what is the reality with Tumbu?
The Cameroon community is the worst version of the American community of 1920. While the American youths were deprived by the wars, our youths are depriving themselves with a mental wall. For example the American war broke families; we are breaking our own families and ourselves because of falsehood. We need to know ourselves and make our own dreams, or better still, continue with the dreams that existed before colonialism. The American dream isn’t our dream, let us dream our own like what we are doing with Tumbu in Zebra Comics, and globalization should not always put us at the receiving end. As for politics, I won’t say a word so that you don’t go to jail and so that others will be opportune to have their own interviews. All in all, we need to work for the purpose of achieving real results that affect our environment positively – spending your life to be known is really stupid and that is our youth major pre-occupation. I thank our ancestors that some of them are waking up and doing things that matter, not placing six packs and nude pictures on social media and calling others to “support our own”. I am hopeful after all.
RP: Without Zooma there would be no Tumbu, do you agree?
And without Tumbu, there would be NO??? hahahahaha, you can’t say that nah…. It is true that Zooma, not Zuma don’t get Jacob Zuma angry, is an important character in Tumbu but Tumbu remains the main man and that is why the story is titled Tumbu. Zooma is a dog and as an animal it is a pet and a pet to the Mololo’s family and Tumbu in particular and although he adds a lot to the story it doesn’t mean he is the Haile Selassie of the piece. I won’t say further because I might reveal the subsequent episodes. Just get the next ones and see how exciting other characters are developed. On the final note, if there is no Zebra comics INC. then there is no Tumbu. Not even me, Jude can say there is no Tumbu. Apart from Zebra comics INC. the huddles of life are the trusted witches that can stop Tumbu, hahahahahahha.
|Zebra Titles with Agogho Franklin at Libraries de People Noir, during the launch of the Episodes|
RP: I love the dialogue in the story, and the daily realities… can you tell us more about the choice and time of the setting?
As I earlier said, Tumbu is life and the story is inspired by everyday reality though modified before being presented. Sometimes it is all about what ought to be. For the language, we try so hard to break it down for simple comprehension but there are times when we choose to use the original street language which seems hard to those who have never tasted the street but again it makes them get touch with absolute realities. Tumbu is a simple story and narrate is in a simple manner.
RP: Can you say something about the place of parents in the reading of Tumbu?
Parents, especially in our society have never understood the value of comics and may not know the value of Tumbu. I’d like to answer this for comics in general, not just for Tumbu. Studies in the United States prove that over 80% of children who grew up reading comic books were more creative, more intelligent and more open minded. Comics apart from being light reading, they develop a child’s vocabulary, they educate, they entertain, they develop a reading attitude in children etc. Comics are also a very great line of work of creative people. So, I think a lot of parents who are not aware of this need to know that comics are a huge part of the future of entertainment and literature in Africa, entrepreneurship and job creation.
Tumbu will definitely be a part of this. I therefore encourage parents to see the value and read the comics of Zebra Comics Inc. (and other African creators) as well. They can be consumed by all.
RP: What is your plan for Tumbu…any plan for maybe future TV animation?
It’s like you are spying into the future of Tumbu. Absolutely Tumbu is going to be animated once we reach a particle number of issues, the studio too will be ready by then but for the details that are going to wrap up this production, Zebra comic INC considers it a classified information and which will only be unclassified to the public in the animation itself. Apart from Tumbu, Zebra comics INC has also designed projects for Totem and Aliya respectively. Readers with deep minds can figure these out. Hahahahahahaha.
RP: Your last words…how does one get to you?
We have heard a lot of advice, let’s work on those first then, together, we would figure what next later. If you know your talent doesn’t appease God, seek Him again but remember it is never too late so long as you live.
And to get to Zebra comics INC., the easiest means is through our Facebook page or email firstname.lastname@example.org.
|J. A. F. of Zebra Comics|
Wednesday, 28 February 2018
It is difficult to say if the media actually exist in developing countries like ours, or it is a mere setup to print pamphlets in the name of newspapers to make some money. It is disheartening to have observed the media flow with the anger and contradicting views of the people since the crisis began in North and South west of Cameroon in 2016. Anger took precedence over objectivity, and sentiment overshadowed professionalism. After watching with dismay the brutal and repressive way the state handled the situation from day one, including the beating of the lawyers brandishing placards that bore the messages of their grievances, I summarized the dire situation into the words of William Butler Yeats; "the falcon cannot hear the falconer" for things have fallen apart and "the centre cannot hold"
Politicians, who have contributed 70 per cent to the escalation of the crisis went further to provoke the already embittered population by denying the existence of the legitimate problem, rightly documented in history. Those who denied it from the beginning surely found themselves in one or more of the following situations;
a) they lost track and consciousness of 1990 uprising in Bamenda
b) they deliberately "forgot" it like some forgot in 1994, in Rwanda.
c) they cared more about their portfolio than the people's lives, who voted them
If we were in a society that takes stock of events, and equally worries about its development and well being, such politicians should be put where they belong in the various elections this year, 2018.
On the other hand, a good number of the media failed the people they served to save their hides! Yet they expected this same people to buy their papers, watch them, and listen to their frequencies. Today the loud cry is that the state media has lost credibility, well, it is reflexive of the image the state has before the people! In a society where one part suffers and the other part goes about its activities as if nothing is happening, it is easy to be complacent of state and individual atrocities! This has been the case since the outbreak of the crisis in Cameroon. The grieving population backs the angry youth who go on rampage destroying public and private properties, and the state that becomes brutal by opening fire with live bullets (citing the case of Sunday September 1st, 2017), backed by the majority of the French speaking population, especially those who do not understand what actually is going on in the other side of the beloved country.
AFTER THE SHOW OF BARBARISM, WHAT NEXT?
Violence has never solved any problem, though scholars like Raymond Aron will say war is a continuation of diplomacy in another form. Violence is condemned from both warring parties, especially when the innocent are the ones paying the price. After more than one year of atrocities from both parties, starting with the brutal response the state reacted with in November 2016, voices are beginning to cry for DIALOGUE, and this is another place where the media in Cameroon has FAILED! It is the role of the media to educate the people in times of crisis like the one we have in North and South west of Cameroon. But we have watched journalists from 'well established' media houses, especially in the French speaking zone insult and ignite hatred among the people, and gone unpunished! There has been a lot of impunity, on both sides!
HOW HAS THE MEDIA FAILED IN THE LIGHT OF DIALOGUE?
The media has failed by not educating the public objectively on what constitutes "dialogue" in conflict situation like the one in South and North west. Media platforms host debates on the crisis on daily basis and they invite politicians to come and defend their individual interests and "beg" for post from hierarchy in their "centralized" speeches, when actually the world is talking about "decentralizing"
HOW SHOULD THE MEDIA HELP?
The media should host training workshops on ethics and war reporting and oblige all their personnel to take part in them, like the way some are doing in the North and South west.
Invite experts in the different fields of peace study, peacekeeping, conflict resolutions, etc to come and educate the people on their platforms, debates, and talkshows. The people need to be educated on what it means to call dialogue, the stakes and challenges, the procedures, the circumstances, parties involved, how to choose those parties, etc. If this is done, "dialogue" in the air will have some weight to weight it down on the negotiating table.
Monday, 12 February 2018
Chapelle Obili last night,
Dark stockings over two
English speaking heads...
I heard them...I heard the
Fear in their voices,
"We don do weti!"
Two uniform thugs clamping
Iron fingers over their heads,
Smoothing the black stocking masks
Over their heads...
They were two lads, possibly university
Lads who've crossed the Mongolo like
Ngwe to come drink book in Besaadi,
I saw them stolen into police pick up!
Don't ask me why, where, how, who, what,
Since,...palm birds don't stay on the same
Spot for long to see what the serpent will
Do to the ignorant nda'a bird that wakes up ears.
Monday, 8 January 2018
The lustre of vile powerful lies in the fire
It emits to galvanize sheep to trace
The strides of sheperds in grace.
Fire and fury_ a dismay my people
Danced, in its rhythm yesterday when
All eyes were tilted towards the East.
How could they do it? A fool asked.
Have you heard, they've chopped up
The head of the adder ere taking its eggs!
Fire and fury have no humane eyes.
There was a story told with furious joy
By heads barely hanging from the womb
Of rushing waters_ after years of exile,
We'll be going to the promised land_
This magic held hope up like drowning
Noses hang above thick volcanoes.
But the fire and fury of ruthless power
Vomited scorpions of eight tails into joyful
Village ground whence gods were at feast.
The machineries of human wickedness
Is void of tears, but grow in furious leaps
And bounds_hope of ravished wives bashed
Fire and fury aren't the lustre of powerful
Men but the seed on which tyranny grow
Fury makes its bed in meek dirty hearts
Fire buttresses shrubs into the routes
Of the populace's aspirations and licks
Bits of pubic hope ever nursed_ furious fire.
Wednesday, 3 January 2018
We are honoured to be talking about comics for the first time. Comic books, though started decades ago in the US as a tool for political propaganda, have drastically moved from the political realm to a full-fledged body of art in its own rights. Comics have gained international recognition in the western world with top companies like Marvel and DC Comics through productions like Captain America, Spiderman, The Avengers, Batman, the Justice League etc. In Africa, the industry is still waking up timidly to follow the train, just like in many other domains. In the process of this wake, Nigeria is taking the lead with productions like Guardian Prime from Comic Republic, Strike Guard from Vortex Comics and E.X.O and Malika from YOUNEEK Studios. In the race for storytelling through comics, Cameroon is not left out. There have been a number of productions like “CATY,” “Laf dAfrik,” “Mulatako,” “Afro Shonen,” “Blacktrek Magazine” and the latest production, Zebra Comics.
Zebra Comics is a start-up company geared toward the mass production of Cameroonian and African stories through comics. Their first release was done in November 2017, and they have so far sold more than 400 copies. This is laudable, especially taking into consideration the fact that the Cameroonian public is not very much exposed to comics. It is usually said in Cameroon that “comics are for children” or “Tintin are for children.” This maiden production of Zebra Comics contains three titles: Aliya, Tumbu and Totem. On this month’s Art Interview Table, we have Franklin Agogho, the author of Totem and co-founder of Zebra Comics.
|ZEBRA COMICS, Issue1: Three Titles; Totem, Tumbu and Aliya.|
RP: We know this is archaic, but we will start with it anyway! Who is Franklin Agogho?
Hahaha! Yeah, it is truly archaic. Well, Agogho Franklin (as I like to put it) is a thirty year old Cameroonian who originates from Ngie, a village in Momo Division of the North West region of Cameroon. I studied English Modern Letters in the University of Yaounde 1 and graduated with a Bachelor’s degree. I then moved to the International Relations Institute of Cameroon (IRIC) where I graduated with a Master’s Degree in International Relations, Specializing in International Marketing. Though professionally, I work in the domain of marketing, I have always been a story teller. I started writing stories way back in primary school and it became a true passion for me. I write short stories, poetry, movie scripts, comic book scripts and I am currently working on a Novel. Recently, in 2016, my work was recognized by the Ministry of Arts and Culture of the Republic of Cameroon when I won first prize in the National short story writing contest. Also, my short stories have won a few other prizes from international organizations. I am passionate about sports (football), books, tourism, movies, cartoons, video games and family. Agogho Franklin is not married, but hopes to be in the near future.
RP: Tell us something about Zebra Comics and its objectives.
Zebra Comics is the baby of a young artist and comic book illustrator called Ejob Nathanael Ejob who was so passionate about Comic books that he decided to create a company which will produce and sell comics in Cameroon and abroad. To make this happen, he brought together writers and artists who were going to create and illustrate stories which depict Africa in new and interesting ways. When Ejob called me and presented the project, I was immediately drawn into it as it represented something which animated my childhood and it was an opportunity to contribute significantly to the growing African comic book industry. The initiative started about one year ago and so far, Zebra Comics has published three comic book titles which are Aliya created by An Nina, Tumbu created by Ejob Nathanael and scripted by Jude Fonchenalla and Totem created by yours truly. 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,” a popular American animated series. 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. These titles, for a start, were published in one magazine called Zebra Comics Magazine and so far, four hundred copies have been sold.
Zebra Comics intends to continue publishing the aforementioned titles on a regular basis. But also, Zebra Comics will publish other comic book titles like “Njorku” created by Njoka Marvin Suyru, “The wrong Dial” created by Fensou Miles and “ManCraft” created by Ejob Gaius.” Graphic novels like “Eden,” “In the name of God” and “Lords of Thunder” created by Mbutoh Divine which will tell more elaborate and lengthy stories, will equally grace book shelves. At the same time, other projects like exercise books, t-shirts, toys, a literary café, video games and animated series will be launched. So, with all these taken into consideration, Zebra Comics has as objectives 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.
|Agogho Franklin, author of Totem and Co-founder of Zebra Comics.|
RP: How does the comic topography in Cameroon look like?
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 “OUPS” 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 find 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.
RP: Tell us about the market and distribution channels.
The comic book market is relatively new in Cameroon and as such, it is not yet well developed. As earlier mentioned, there are a number of comic books already present on the market but for consumers to feel the seriousness of the industry, there is need for an increase in the quantity of comics on the Cameroonian market. One of the reasons why people do not know much about comic books produced in Cameroon 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. But despite all these shortcomings, much 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.
RP: in the first edition of ZC, I see that you have three titles in one production/publication, 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 which were going to give readers three different facets of Africa. But since we didn’t have a publisher, coupled with the fact that a majority of staff at Zebra Comics are still students and unemployed youths, it became financially impossible for us to produce reasonable amounts of copies of the three independent stories. So, we had no choice but to put all three titles in one magazine and make it available to our readers who were already becoming impatient to read our comics which they knew about six months before release date. Interestingly, it has been very well received. Many are already waiting for the next issue. Talk of a disappointment becoming a blessing.
RP: You are the author of one of the three titles, Totem. I’ll like us to talk about Totem. Listen to this and make any comment: TOTEM!
Hahaha! Ok. Ehmm, 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.
|Totem, written by Agogho Franklin, designed by E. Nathaniel Ejob|
RP: Who is (are) your ideal audience(s)?
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 since, to be ‘reasonable’ I need to choose an audience, I will say teenagers, adults and even middle aged individuals.
RP: what were you thinking when you came up with this story, in other words, what were your motivations?
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.’ 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.
RP: Would you agree that Totem suffers a lot from identity crisis?
I guess you mean Akam, the protagonist in the story. Yes, Akam obviously suffers a lot from 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 identity crisis, because I will spoil the story. But it is clear that Akam suffers from identity crisis in “Totem.”
RP: I love the narrative language in the story, it is moving and has a lush sombre effect on the setting… can you tell me 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 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.
RP: Can you say something about the costume vis-à-vis identity fluidity that we have in Totem?
The costumes of the characters reveal how Africans dressed at that time. Commoners dressed differently from the middle class, and the middle class dressed differently from royalty. All these are depicted in Totem and helps readers identify different classes of people and even people of different professions. So, readers will easily identify a soldier when they see one, and so forth.
RP: 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.
RP: When is the next release and what should the readers of Totem expect in the next sequel?
The next release of Zebra Comics Magazine will be in January 2018. Readers should expect a longer story where much more will be revealed to them. Unlike the first issue where they had just a few pages of story, the next release will give them much more. They will discover new characters, settings and plot twists.
RP: Your last words about 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. And I must mention that comic books can play a great role in promoting Cameroon’s country 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.
Leave us your comments, suggestions, queries, inquiries and criticisms below or you write to: email@example.com.
Rhythm Pulse © January 2018