Is African animation a big deal? Do creators even know what they’re doing, or have they truly been underestimated?
Gabriel Ugbodaga, director of the acclaimed short Vainglorious, says Nigeria is brimming with talent what the industry needs most is proper training and global exposure to reach its full potential.
Nigerian animator and filmmaker Gabriel Oshiomati Ugbodaga has highlighted the immense creative potential of Nigeria’s animation industry, noting that while talent is abundant, formal training and global exposure remain key challenges.
Speaking in an interview with ARISE News on Thursday, Ugbodaga, the writer and director of the acclaimed animated short Vainglorious, said the success of his student project demonstrates that Nigerian animators are capable of competing on the global stage.
Vainglorious started as a student thesis, but its journey to international festivals in Atlanta, Los Angeles, New York, Long Island, and London shows the promise Nigeria has in animation,” he said.
The film, inspired by Nigeria’s traditional combat sport Dambe, tells the story of a young boxer, Haruna, navigating identity, ambition, and family pressures.
I’ve always been drawn to action animation,” Ugbodaga explained. “Finding a story rooted in my own country gave me the push to tell it authentically.”
A graduate of the Savannah College of Art and Design (SCAD) in the United States, Ugbodaga described himself as partially self-taught.
Before SCAD, I learned animation on my own because it was a passion it never felt like work,” he said.
His independent learning and formal education have now led to freelance opportunities with studios in the US, Japan, and London.
Despite the achievements of individuals like Ugbodaga, he noted that many Nigerian animators struggle with visibility and access to formal training.
When it comes to 2D hand-drawn animation, there’s a lot of talent in Nigeria. Many young creators are posting online, which helps get noticed globally,” he said.
Yet he lamented the scarcity of animation schools and facilities in Nigeria compared to countries like the US, UK, and France.
On gaining wider recognition for African animation, Ugbodaga highlighted emerging partnerships between major studios like Disney and African content creators.
The steps are there there just needs to be more focus on training,” he added.
Reflecting on Vainglorious’ success, he expressed pride in its international reception.
We’ve had screenings in several cities and received numerous accolades. It started as a student project, but I made it with the intention of reaching a global audience.” The film is now available to watch on YouTube under STL Productions, a studio founded by a close friend in the US.
Ugbodaga’s creative influences range from Japanese and Korean action animation to traditional 2D Western styles, though he continues to favor hand-drawn 2D animation in a landscape increasingly dominated by 3D and hybrid formats.
Looking ahead, he is drawing inspiration from his grandfather, Dimas Moko, an artist, artisan, and architect, for his next project.
“I’m exploring ideas from my grandfather that will shape my next film. I want to learn all aspects of production so I can be a well-rounded director,” he said.
What do you think? With talent thriving but exposure limited, is Nigeria’s animation industry ready for the global spotlight, or are structural changes needed to help animators reach their full potential?