Writing Back at the Colonial Empire
It could be argued that art in Africa is at the point of not only writing back at its colonial centre, but of deconstructing Western ideas of what they should be. One thing postcolonial literature has been doing is wrestling the agency of representation away from western canons and re-ascribing it to those who should speak about themselves. It is in this vein that one could say African comics are postcolonial literatures.
The desire to create superhero characters that Africans can relate to has always been the driving force behind comics in Africa. Ayodele Elegba, the founder of Lagos Comic Con, reinforced this when he said he wanted “every… fan and creative to boast of a comic convention they can call their own.”
Following that path, a whole new set of African superheroes are coming up. We have Wale Williams in E.X.O., T’Challa in Black Panther, and now Alex Laguda in Trinity: Red October.
History as Malleable Material
The first issue of Trinity: Red October is themed “Our Father.” It is the first in a series of eight episodes. It mines Nigerian political history, condensing about three centuries of events, from the country’s precolonial era, to its colonial and early postcolonial periods, and its present political turmoil, for its resources.
The comic keeps a safe distance in its representations of true events, creatively changing real names and known personalities. However, this subtle distortion reveals enough for the reader to follow. For instance, historical figures like Jubo Jubogha (the Jaja of Opobo), and former governor Donald Duke are represented as Jumbo Jumbosa and Dariye Duke, respectively.The Boko Haram terrorist organization is renamed as the Sons of the Sandstorm (Easifat Ramalia).
However, to fully appreciate this issue, a reader’s knowledge of Nigerian history will be useful. The timelines in this comic correspond to dates of events that actually happened in Nigeria. One example is on page six where the phrase “boiling cannons,” in one of the preludes to the series’ events, alludes to the Occupation of Lagos in 1851. The infamous British invasion of the city is known to the local Yorubas as Ogun Agidingbi.
“In 1851, the HMS Bloodhood pounded Lagos and Kosoko’s ambitions into submission in the war of boiling cannons.” (pg. 6)
History can be an endless spectrum of alternate narratives, as the truth at any point in time depends on whose agency is given precedence. Trinity’s “Our Father” knows this, and spins history to present interesting alternatives. For instance, the events surrounding the Jaja of Opobo’s death is played from an absorbing angle. No one really knows for sure how the Jaja died. What if he didn’t? What if he came to Lagos after his exile to create a revolutionary movement that would later topple the British colonialist emipre?
“Jumbo Jumbosa, after faking his own death, decided not to return to Opobo. He arrived in Lagos and struck a friendship with an impressive young man named Herbert Macaulay. Together they formed the secret society of the Virtuosi… They swore to kick the British out of their country.” (pg. 7)
The prologue to this issue is a thorough portrayal of the rich history of Nigeria, and how the country came to find itself in its present predicament. First was the invasion of the city of Lagos. Then the disruption of traditions and traditional personalities such as Kosoko, the Oba of Lagos, and the Jaja of Opobo, and the founding of the Nigerian seat of power, Aso Rock.
The most interesting thing Trinity does with history is how it asserts the civilizations of precolonial Africa through the mention of the Dahomey Empire in modern-day Benin Republic. A well-organised empire, Dahomey was a strong argument against the Western narrative of Africa as lacking in political organization prior to colonisation.
Comics’ Elevated Imagery
With the use of graphic arts, characters and events can be fleshed out for better comprehension. For instance, when the character Kadara complains about Sir James’ grumpiness, the scowl on her face says it all.
This issue of Trinity also uses creative cartoons to help the reader connect the dots in places where flashbacks or backstories are most needed. One can only hope that subsequent episodes continue to provide these. So questions like the pre-prison life of the vigilante Alex Laguda, or the consequences of the theft in the prologue and the kidnap of Da Costa, which would be reasons you would want to read subsequent episodes, are covered by captivating images that elevate the reader’s imagination.
What Trinity does differently from other comics like it is that it uses language to a mesmerizing effect. You will find engaging descriptions like this throughout the book:
“…Snake Island has dictated the destiny of this nation for over a century, wielding unprecedented power behind its walls of concrete, steel and secrets.” (pg. 5)
Trafficking in Paradoxes
The art that appeals to us are often the ones with counter-intuitive outcomes. Trinity’s “Our Father” is filled with interesting paradoxes that keep the reader pining for more. This is a quality of a good page-turner. Issue 1 of Trinity: Red October is as political as it is entertaining. I want to see what happens next. You should too.
