After 20 years of grinding, the Nigerian creator shows young Africans that faith, culture, and consistency can build global icons.
Dewunmi Roye Okupe has always been a dreamer. Long before Iyanu: Child of Wonder became a global phenomenon, he was a young boy in Lagos, glued to superhero cartoons and sketching characters that lived only in his imagination.
Two decades later, that imagination has taken center stage, Iyanu has leapt from comic book pages to a major animated movie, backed by some of the biggest studios in the world.
For Okupe, it’s more than a personal victory; it’s a milestone for African storytelling, proof that local myths and culture deserve a place on the global stage.
The big moment. IYANU: Child of Wonder is now a movie, how does it feel seeing your creation make the leap from comic book pages to the big screen?
Honestly, it feels surreal. I started this journey almost twenty years ago with a dream to tell African-inspired superhero stories.
To see Iyanu go from an idea in my head, to a graphic novel, to an animated series, and now to a full-length movie it’s nothing short of humbling.
I grew up glued to cartoons like Batman, X-Men, and Ninja Turtles, never imagining that one day I’d be the guy creating an animated film based on Yoruba culture for a global audience.
I’m grateful, excited, and honestly just in awe of what God has done.
Why is IYANU important for Nigeria? What do you think this story represents for the Nigerian creative industry and for young Nigerians watching?
Iyanu is important because it shows what’s possible. For Nigeria, it represents the idea that our stories, our culture, and our voices belong on the biggest stages in the world.
For young Nigerians, I hope it’s proof that you don’t have to change who you are or where you come from to tell meaningful stories that resonate globally.
I hope Iyanu proves to Africa creators that their heritage is valuable and their dreams are valid.
The themes of IYANU. What core themes are explored in the movie, and what message do you hope audiences both in Nigeria and globally take away from it
At its heart, Iyanu is a coming-of-age story about courage, empathy, and identity. We explore what it means to discover who you are and use that discovery to serve others.
One of the biggest themes is empathy. It runs through Iyanu’s powers, her mission, and her journey. And I think that’s something the world desperately needs more of today.
Whether you’re in Lagos, London, or Los Angeles, the message is the same: true strength is not just about power, it’s about compassion, responsibility, and community.
Cultural representation. How intentional were you about weaving Yoruba mythology, traditions, and Nigerian culture into the story, and how have global audiences responded to that?
Very intentional. From day one, authenticity was non-negotiable. As a Yoruba person, it was a privilege and also a delicate responsibility to bring these myths, traditions, and cultural elements to life in a way that felt real.
That meant working with Nigerian voice actors, designers, composers, even down to making sure a bowl of Jollof Rice looked authentic on screen.
But the magic is this: the more specific we got with culture, the more global the story became. Audiences everywhere have responded with excitement and curiosity. And to me, that’s a huge win!
Breaking barriers. What was it like securing a deal of this scale as a Nigerian creator based in the U.S.? Did you see it as validation or just the natural next step in your journey?
It was a mix of both. On one hand, yes, it was validating to know that studios like Cartoon Network, HBO Max, and Showmax saw the value in a story like Iyanu.
But honestly, I’ve been building toward this for nearly two decades, self-publishing comics, running Kickstarters, wearing every hat from writer to animator to marketer.
The truth is, nothing about this journey has been overnight. It’s been patience, persistence, and a whole lot of faith.
The American advantage. Do you think being in the U.S. made it easier to land such a deal compared to if you were based in Nigeria?
Living in the U.S. gave me proximity,I was closer to Hollywood, closer to the networks, and that made it easier to have certain meetings. But let me be clear: proximity isn’t the same as access.
Even in the U.S., it took me years of grinding, self-funding, and building credibility before doors opened.
If I had been in Nigeria, the path would have been different, maybe longer, but not impossible.
What matters most isn’t where you are physically, but how consistent, resourceful, and resilient you are.
Plus, with social media, the world has become a much smaller place. I always advice younger creators to use that to their advantage.
Advice to Nigerian creatives. Many young creatives in Nigeria wonder if they need to “japa” (move abroad) to find success. From your experience, what would you say to them
I’d say: run your own race. Don’t feel pressured to follow someone else’s path.
Yes, moving abroad can open certain doors but it’s not the only way. Technology has changed the game. Social media, streaming platforms, crowdfunding these tools mean you can build from anywhere.
What matters is starting small, being consistent, and creating and defining your own version of success.
Like I always tell young creators: what’s your “Mickey Mouse”? Find that first idea you can execute, no matter how small, and build from there.
Impact on the industry. How do you think the success of IYANU could open doors for other Nigerian and African comic creators?
I hope Iyanu is proof of concept that African stories told authentically can resonate with audiences worldwide.
My prayer is that this isn’t just about me or YouNeek Studios, but that it inspires studios, networks, and investors to look deeper into the wealth of talent and stories coming out of Nigeria and Africa.
If one person sees Iyanu and says, “I can do that too,” then we’ve succeeded.
Challenges behind the scenes. What were some of the biggest challenges you faced in adapting IYANU into a movie, and how did you overcome them?
Patience. Iyanu has been in development for almost five years, and my journey overall has been two decades long.
There were countless moments of doubt, wondering if people would ever see the work, if studios would take the risk, if the culture would be represented properly.
Wearing multiple hats also came with its own challenges, balancing creative, business, and leadership responsibilities.
What helped me overcome it was my team, my family, and my faith. I leaned on all three constantly. Especially the last one. God is good.
The future of African storytelling. Beyond IYANU, where do you see African comics, animation, and storytelling going in the next 5–10 years?
Honestly, who knows. I think the important thing to focus on is that with Iyanu, kids growing up in Africa will see themselves on screen in ways I never did as a child.
And that will create a ripple effect, new storytellers, new studios, and new IP born out of Lagos, Accra, Nairobi, and beyond.
As Iyanu: Child of Wonder lights up the big screen, Dewunmi Roye Okupe’s journey stands as a beacon of hope for African creatives.
His story reminds us that dreams are not built overnight they are carved out of years of faith, resilience, and relentless consistency.
More than just a film, Iyanu is a message to young Nigerians and Africans everywhere: your stories matter, your culture is powerful, and your voice belongs to the world.
Okupe may have started with a sketchbook and a dream, but today he’s opened a door for an entire generation of storytellers to walk through.