“From Lwanda Magere to the cosmos, Oscar Oswe is redefining African fantasy and proving that Kenya’s stories belong on the global stage.”
In the vibrant heart of Kenya’s creative renaissance, few names shine as brightly as Oscar Oswe — the visionary storyteller and creator of Lwanda Magere: God of Stone. A fusion of African mythology, fantasy, and modern imagination, Oscar’s work captures the essence of what it means to dream boldly while staying rooted in cultural heritage. As both an IT expert and a comic creator, he bridges science and storytelling in ways that challenge how we see African heroes and their place in the global narrative. In this conversation, we journey into Oscar’s world — to explore Kenya’s evolving comic scene, the power of myth in modern times, and the limitless potential of African storytelling.
Q: Oscar, can you start by introducing yourself to our audience? How did your journey into storytelling and comics begin — and what drew you to merge myth, science, and fantasy in your work?
First of all, I’m deeply honored to be part of this interview, and I’m grateful that Comicpanel recognized me as an African comic creator. My full name is Oscar Oswe, though many of my fans call me Ozed — and I’m perfectly fine with either name.
My journey as a comic artist and storyteller began with the first novel I ever read: The Da Vinci Code by Dan Brown. That book opened my eyes to the power of mystery and thriller storytelling — how a narrative can grip readers with intelligence, symbolism, and suspense. It inspired me to tell my own stories similarly, but within the context of Africa.
I also drew inspiration from other forms of media, particularly Japanese manga. Series like Bleach by Tite Kubo and Jujutsu Kaisen by Gege Akutami showed me how art and emotion can coexist in action-driven storytelling. By blending these influences, I’ve always aimed to create work that reflects where I come from — stories rooted in African mythology and culture, reimagined through a modern lens.
I was drawn to mythology because so much of it remains unexplored. Africa has a vast treasure of myths and legends that have been overlooked for generations, and I wanted to bring those ancient stories to life — to build a blueprint that future African animators and filmmakers could draw inspiration from. Honestly, I realized there’s a massive gap: both the East and the West are far ahead of us in comics, film, and animation. I wanted to help close that gap.
Beyond art, I’ve always been fascinated by science. After graduating with a Bachelor of Arts from the University of Nairobi, I enrolled in a physics course because I wanted to broaden my understanding of the world. That’s when it hit me — I could fuse art and science into one medium: storytelling. Through this fusion, I could explore complex ideas while still captivating audiences with visuals and emotion.
I’ve also always been drawn to mystery — partly because of the films and games that shaped my imagination, such as Wrath of the Titans and God of War. These works, rooted in mythology, adventure, and symbolism, pushed me to envision how African myths could receive the same grand, cinematic treatment.
Q: Lwanda Magere: God of Stone” has quickly become a standout title in African comics. What inspired you to reimagine this legendary tale, and how did you approach blending myth with modern storytelling?
Well, like I said before, I noticed a huge gap in African storytelling, especially when it comes to folklore. There are very few African comics or animations being aired on TV today. Most of what we see is dominated by Western titles, particularly in animation. That realization pushed me to create stories that could give African audiences something they could truly see themselves in.
One of the first stories I wanted to reimagine was that of Lwanda Magere. To be honest, the traditional version always felt a bit underwhelming to me. I mean, here’s this legendary hero whose strength was tied to his shadow — and yet he dies miserably when his second wife from the Nandi clan betrays him. It just didn’t sit right with me that such a powerful warrior would fall in such a simple, almost anticlimactic way. I wanted to add some energy and modern flavor to the story — to make it more thrilling and memorable for younger audiences.
So I started rethinking it through the lens of science and imagination. Since I’m a lover of science and technology, I designed a concept around time travel — a device called the Takyon Machine. In my story, it’s a scientific invention that allows a narrator’s mind or consciousness to travel back in time and witness the legend of Lwanda Magere firsthand. It may sound like pure science fiction, but it’s actually inspired by real scientific theory. Even Albert Einstein speculated that if a particle could travel faster than light, it might one day make it possible to send signals to the past.
That’s where I got the name “Takyon” — derived from the theoretical particle tachyon, which is said to move faster than light. I took that idea and turned it into the foundation of my story. Through the Takyon Helmet, my characters can experience the past — reliving ancient myths and connecting them to the modern world.
For me, Takyon isn’t just about time travel — it’s about reconnecting Africa’s lost stories with today’s generation through creativity, science, and imagination.
Q: Kenya’s comic scene is gaining more visibility across Africa. How would you describe the state of the comic and creative industry in Kenya right now? What makes it unique?
Regarding the state of the comic and creative industry in Kenya — over the past five years, I’ve witnessed a massive transformation. There’s been an incredible wave of new creatives emerging seemingly out of nowhere, while others who had been quiet for years have resurfaced with fresh energy and ideas. Honestly, the industry is growing faster than it ever has, certainly more rapidly than it was 10 or even 15 years ago.
There’s a strong sense of hope and momentum in the scene now — not just among artists but also among consumers. Readers are showing genuine interest and support for local content, and I’ve experienced this firsthand through the success of my own comic. Since publishing it in 2023, I’ve gone through three reprints. The first print run of 200 copies sold out quickly, so I printed another 200, and now I’m preparing for my third printing of 1,000 copies. That kind of response tells me the demand is real and growing.
Another positive sign is what’s happening in Nairobi’s reading culture. Over the last five years, there’s been a noticeable rise in the number of bookstores and literary spaces being opened. People are reading more — not just comics, but books in general — and that’s incredibly encouraging. It shows that Kenya’s creative landscape is evolving and that storytelling, art, and literature are becoming integral parts of our culture again. The industry is definitely undergoing a massive and exciting change.
Q: Every creative ecosystem faces its own challenges. What are some of the biggest obstacles Kenyan comic creators encounter — from publishing and funding to audience reach — and how are artists navigating them?
One of the biggest challenges I’ve faced — and something many other comic artists in Kenya often mention — is funding the printing of comic books. The truth is, there are very few printing companies in Kenya that specialize in comics. Most of the established publishers, like East African Educational Publishers, Longhorn, and others, primarily focus on academic materials for schools.
There are, however, a few emerging publishers starting to change the landscape — such as eKitabu and Mvua Press, which are more open to printing novels and general literature. Still, comics are often met with skepticism from mainstream publishers who don’t yet see their potential. But I believe that will change in the next few years as independent creators and small publishers continue to grow their audiences and, eventually, outsell traditional publishers in creativity and cultural relevance.
When it comes to financing my own projects, I rely mostly on funds from my personal business. For example, when I published my first comic, I invested about KSh 80,000 (around USD 600) to print 200 copies — and those copies sold out completely. That was both a risk and a learning experience.
I’m not entirely sure how every other creator manages to fund their projects, but some have told me they apply for grants from NGOs. The problem is that most NGOs have very strict guidelines, and they often only support comics that align with their specific agendas — such as health, education, or social awareness campaigns. While there’s nothing wrong with that, I personally wanted to maintain full creative control over my work. That meant taking the financial risk myself and funding my art independently.
It wasn’t easy, but I believe creative freedom is worth it. By taking that leap, I not only kept ownership of my story but also proved that Kenyan comics can be self-sustaining through pure creativity, passion, and smart business strategy.
Q: Your comic explores deep African mythologies and folklore. Why do you think it’s important for modern African creators to keep drawing from these roots, especially in today’s digital and globalized world?
The idea of drawing stories from African mythology is, at its core, about preserving our history and culture. For too long, our stories have been silenced or distorted. When colonizers came, they did not just take our land and resources — they came with the intent to erase our identity, dismantle our traditions, and destroy the systems that once gave our societies meaning. They exploited our minerals, violated our people, and left us disconnected from much of our heritage. And even today, in many ways, the exploitation continues — just in different forms.
That’s why I believe it’s not only right but necessary to protect and preserve what remains of our culture through authentic, memorable storytelling. Comics and animation give us the power to reclaim our narratives, to tell our history from our own perspective, and to ensure that future generations grow up knowing the heroes, gods, and legends of Africa — not just those from the West or East.
In the modern world, the best way to do that is by embracing the digital space. Today, more than five billion people are online, and that global audience presents a powerful opportunity. Digital publishing allows us to share our stories widely, instantly, and at a much lower cost than traditional printing. For independent creators like me, it’s a game changer — it removes the barriers that once held us back.
By taking African mythology into digital formats — webcomics, online platforms, or even animated shorts — we’re not only keeping our culture alive but also projecting it into the future. Our stories deserve to travel as far and as fast as technology allows.
Q: How has the audience response been so far — both in Kenya and internationally — to Lwanda Magere: God of Stone? Did anything about their reactions surprise you?
To be honest, I was pleasantly surprised by how the audience reacted to my comic Lwanda Magere. I didn’t expect such a huge and passionate response — not only from readers here in Kenya but also from audiences abroad through Amazon, where I publish for the international market. What began as a simple passion project, driven by curiosity and creativity, has turned into something far greater than I imagined.
The feedback has been overwhelmingly positive. Many readers have praised both the artwork and the storytelling, and that kind of appreciation means everything to me as a creator. I’ll never forget one fan who actually called me directly to express how much they loved the book and to ask when the next volume would be released. That moment really stayed with me — it was both humbling and motivating.
In fact, almost everyone who has read Lwanda Magere has asked for a continuation of the story, and that enthusiasm is what inspired me to start working on the second volume. It’s proof that audiences are hungry for more African stories — authentic, imaginative, and told from our own perspective.
Q: You’re also an IT expert and a science lover. How do those disciplines influence your approach to world-building, storytelling, or even the way you think about technology and mythology in your comics?
Being both an IT expert and a lover of science has given me the ability to blend mythology and science in a fascinating way, creating a new style of storytelling that feels both imaginative and grounded. For me, it’s a way of breathing fresh energy and life into the medium of comics — transforming traditional tales into something modern, thought-provoking, and visually compelling.
I’ve never really seen science and mythology as opposites. To me, they’re simply two different languages describing the same mysteries of existence. Our ancestors used rituals, symbolism, and what we might now call “magic” to explain the unknown. In many ways, that’s not so different from what science does today. In fact, many of the ideas that once lived in myth — such as multiple dimensions or invisible forces — are now explored in quantum physics, a field that deeply fascinates me.
My background in information technology has also been a huge advantage. It’s allowed me to navigate the digital space with confidence and use it effectively to share my work with the world. Understanding online systems, algorithms, and digital marketing helped me promote my comics globally, reach new audiences, and manage my publishing presence across multiple platforms.
In short, combining art, science, and technology has given me a storytelling framework that bridges the past and the future — a space where African mythology can evolve within the context of modern science and digital innovation.
Q: Many Kenyan and African creators struggle with monetizing their work locally. From your experience, what do you think needs to change in the ecosystem to make African comics more financially sustainable?
The issue of monetizing comics locally is one that requires strong business skills, which, unfortunately, many creatives still lack. A good number of artists I’ve met are incredibly talented when it comes to illustration and storytelling, but very few have a background in business or entrepreneurship.
I believe that creatives need to educate themselves about the business side of their craft — not just focus on creating beautiful products. The market out there is harsh and competitive, and talent alone is not enough. You have to think like an entrepreneur, identify opportunities, understand how to sell and distribute your work, and learn to position your brand effectively. At the end of the day, your comic is a product, and for it to make sense — both creatively and economically — you have to find ways to sell it and sustain yourself.
Marketing plays a crucial role in that process. Fortunately, there are now numerous digital platforms that make it easier to monetize comics. Locally, platforms like Zebra Comics are providing African creators with opportunities to publish and earn from their work. Internationally, services such as Amazon KDP, IngramSpark, and Webtoon have opened the doors for global distribution and visibility.
However, one major challenge that still affects African creators is the issue of currency and financial infrastructure. Africa has so many different currencies that even simple transactions between countries can become complicated. For instance, I once needed to pay a Nigerian artist for a service, but because direct payments weren’t possible, I had to send money to my director in New Jersey, who then made the payment through PayPal on my behalf. It was a long, inefficient process.
What Africa really needs is a unified and reliable fintech system that makes cross-border payments easier for creatives and businesses. We already have successful models like M-Pesa, which works perfectly across East Africa, but similar systems are still lacking in West Africa and other regions. If we can build a pan-African digital payment network, it would revolutionize how artists, publishers, and entrepreneurs collaborate across the continent.
Q: In your opinion, what does the future hold for African comics — and how can Kenyan stories like yours contribute to shaping the continent’s identity in global pop culture?
Like I’ve said before, the future of African storytelling looks incredibly promising, and I’m genuinely optimistic about where it’s headed. The growth we’re witnessing — from sales to reader engagement — is proof that the momentum is already building. Based on my own experiences and interactions with readers, it’s clear that there’s a hungry and passionate audience out there.
People are craving stories that reflect their own cultures, heroes, and identities. Many have grown tired of consuming endless Western narratives and are now searching for something that truly represents them — something rooted in African history, mythology, and imagination.
That’s why I believe the future is bright for African creators. Stories like mine are not just about entertainment; they’re about cultural preservation. They help ensure that our myths, traditions, and values continue to live on, reshaped for new generations. In doing so, they’ll play a massive role in shaping the continent’s identity within global pop culture.
And that, I believe, is guaranteed. The world is finally ready to listen to Africa’s stories — told by Africans, for everyone.
Q: Finally, what’s next for you and the Lwanda Magere universe? Should fans expect sequels, spin-offs, or new myth-inspired stories on the horizon?
Regarding my story Lwanda Magere, I can confidently say that a lot is in the works, and fans should expect numerous sequels in the coming years. This project is not just about entertainment — it’s part of my ongoing research into African mythology and the broader history of the continent.
In developing this story, I’ve drawn heavily from historical and cultural scholarship, particularly the works of Cheikh Anta Diop, whose writings have greatly influenced my understanding of Africa’s origins, civilizations, and spiritual heritage. His ideas have helped me frame African mythology not merely as folklore, but as a sophisticated historical and philosophical system that deserves to be studied, respected, and reimagined through modern art forms like comics.
I plan to integrate several of Diop’s concepts and historical insights into upcoming volumes, allowing readers to experience a deeper connection between mythology, science, and African identity. So yes — fans can definitely expect a lot more from Lwanda Magere, potentially five to eight volumes, each expanding on the legend and exploring new dimensions of Africa’s ancient wisdom.
This is only the beginning of a much larger universe — one that seeks to reclaim and celebrate the intellectual and spiritual legacy of Africa through powerful, visual storytelling.
As our conversation wraps up, one thing becomes clear — Oscar Oswe isn’t just telling stories; he’s preserving legacies, reimagining myth, and shaping the next generation’s understanding of what African heroes can be. His work stands as proof that the continent’s stories are not relics of the past but blueprints for the future — powerful, universal, and deeply human. In Oscar’s words: “Africa doesn’t need to imitate anyone; our myths already hold galaxies waiting to be explored.”