Bill Masuku on ‘Children of Captain Africa’ and Beyond

As a huge movie and comic book fan, I was really excited to hear about Children of Captain Africa, and it’s now available on DStv Catch Up! This fascinating 53-minute documentary, made by Xavier Fournier and Frédéric Ralière, takes you on a journey across Nigeria, South Africa, Zimbabwe, and other countries to meet the talented people – the writers, artists, and publishers – who are building a whole new world of comics right here in Africa. It’s amazing to see how they’re reimagining the superhero genre and shaping the future of the continent’s comic book scene.

The film includes contributions from talented creators like Bill Masuku, an award-winning Zimbabwean comic book artist and writer known for ‘Captain South Africa.’ He says the documentary offers an important glimpse into the past, present, and future of the creative community.

Bill Masuku is quickly becoming a major force in the world of comics and animation. He’s known for creating his own characters, like ‘Captain South Africa’ and ‘Tokoloshe Hunters,’ and for working on big projects like ‘Runeless’ for Disney Hyperion through Kugali Ink. Masuku is a leading voice in African storytelling.

Masuku’s experience includes working as a storyboard artist on the Emmy-nominated Netflix/Disney+ series Iwájú, created in collaboration with Kugali, and being recognized on the 2022 Forbes Africa Under 30 list. We recently spoke with him about his career and how he brings uniquely African stories to a global audience.

Can you share what initially inspired you to blend the superhero genre with a distinctly African narrative lens?

For over ten years, social media has been filled with angry debates about whether popular culture is genuinely inclusive. People often discuss concerns about token representation, forced diversity, and the rewriting of stories to include Black characters. Historically, Black and African characters have been largely absent or overlooked in movies, comics, and science fiction/fantasy books. As a child who loved superheroes but rarely saw anyone who looked like me, I realized I needed to create the representation I wanted to see myself.

What was the most challenging or surprising aspect about sharing your personal creative process in Children of Captain Africa?

Most interviews with comic creators are pretty shallow, likely because news sites are always rushing to publish new content and meet tight deadlines. This interview felt different – it was surprisingly thoughtful and thorough. I was genuinely impressed by how well Xavier remembered details from earlier in my career, especially moments that felt personally meaningful.

How has the African comics industry evolved during your career, and what specific hurdles have you had to overcome?

Around 2015, I started noticing other creators emerging across the continent. It was fascinating to witness the early stages of this industry’s growth. In the beginning, those of us self-publishing often created stories heavily inspired by popular American superhero comics, simply changing the characters’ appearances to be African. This contrasted with characters like ‘Captain Africa,’ who weren’t authentically rooted in African culture but at least told a unique story, even if it had flaws. Finding a balance – creating original speculative fiction that was both African and authentically African – has been a journey of experimentation, as there was no established model to follow. We’re pioneers in this space, and with dedication, we can ensure we won’t be the last.

Beyond action, what deeper thematic messages do you infuse with Captain South Africa’s powers and challenges?

I first thought of adrenaline as a real superpower when I learned about Angela Cavallo, who lifted a car off her son in a moment of crisis. This incredible feat is often called “hysterical strength,” but I hesitate to use that term. Historically, “hysteria” was a misdiagnosis used to dismiss women’s mental health concerns, and it has a painful past.

Although she’s the strongest physically, she relies on her intelligence and compassion instead. Rather than directly confronting criminals, she focuses on tackling the root causes of crime – issues like poverty, joblessness, and unfairness within her community.

As an independent creator, how do you balance staying true to your artistic vision and the expectations of a growing readership?

Honestly, I never expected any of this! It’s always been tricky for me, trying to balance creating art and then offering it as something people can buy. I think, as creators, we really shape what people end up liking – sometimes they don’t even realize what they want until they see it. I admit, the name ‘Captain South Africa’ wasn’t the most original, but the idea of a superhero inspired by South African culture – a Xhosa-inspired suit, the traditional doek, and referencing those powerful ‘must fall’ movements from 2015? It just clicked. I was completely blown away when the book sold out at Comic Con Africa! I’m going to keep creating what I love, and for those who connect with it, well, it looks like we’re in this for the long haul.

Did you have any mentors or established figures who significantly guided your transition from aspiring artist to professional comic creator? If so, what was their most valuable piece of advice?

My mother always told me, “Don’t let a degree hold you back,” especially when I switched from studying business to pursuing art.

Do you have a favourite place you like to create or a proven way of getting
into the zone when it comes to your work?

Taking a shower often sparks creative ideas, and I like to quickly jot them down on the foggy glass while I’m in there.

How do you approach the creation and distribution strategy for your comics in this age of digital and print?

I have a Bachelor of Commerce degree, and what I learned in my business studies now applies to my actual work. I create products to sell directly to customers at events like Comic Con Africa, Comic Cape Town, Afrogeek Fest, and AVIJozi. This experience has helped me understand how much to print and what my yearly budget should be. I try to sell physical copies of my books through The Readers’ Den whenever I can. Online, I prefer to support independent stores that focus on creators from Africa.

Looking to the future, what are you most excited to potentially explore within the superhero genre?

I’m developing ‘Captain South Africa’ as a Netflix series. While the story is set in modern Cape Town and would work well with live actors against the backdrop of Table Mountain, I envision it as an animated show. Having worked on animation and storyboards for Netflix and Disney, I’m passionate about bringing this story to life through animation. I’ve even started thinking about the perfect voice cast, and I imagine the series could eventually expand into action figures and clothing lines, much like the popular ‘Ben 10’ franchise.

Which African comic book artists do you admire or see as pushing boundaries with their work?

Clyde Beech and Loyiso Mkize have had an incredible career journey. Starting with their work on Super Strikaz, then creating Kwezi, they’ve now blossomed into highly successful artists contributing to projects like Yasuke, Super Scientists, DC Comics, and numerous films – a truly inspiring story.

Over the course of your career, what tangible shifts have you seen when it comes to the importance and viability of African-created superheroes?

I’ve noticed a really important change lately: how much kids are reading is directly impacting adult literacy. When stories capture children’s imaginations and make them want to read, it builds the foundation for a stronger society. It leads to better performance in school, helps kids understand each other better, and preserves the power of sharing stories – something we’re losing as we get most of our entertainment from other countries. It’s about inspiring a love of reading early on, and I truly believe it makes a huge difference.

If you had to start over, what message would you give to yourself as an emerging African comic book artist?

It’s worth switching to Clip Studio Paint – it’s specifically designed for creating comics. Don’t hesitate to try it!

2025-10-28 22:43