TheACE recently had an interview with Richard and learned a lot about his journey from humble beginnings as a young artist photocopying and selling comics to classmates to becoming a creative director and storyteller.

Growing up in a culturally rich environment, Richard’s storytelling is deeply influenced by his Yoruba heritage. Though his parents discouraged him from speaking Yoruba as a child, he found solace in telling stories rooted in African traditions. “Drawing was my escape,” Richard reflects. His first professional venture, Erinle, co-written with his father, marked the beginning of a career that seamlessly blends tradition and creativity.

Erinle and Lakaaye are two standout works in Richard’s portfolio, showcasing his dedication to African narratives. While Erinle was a heartfelt tribute to his father, developed through extensive research and travels across Yoruba landmarks, Lakaaye emerged from Richard’s determination to present fresh stories in the comic landscape. “Staying true to tradition has always been my focus,” he emphasizes, as he continues to incorporate cultural elements into his works.

Beyond writing, Richard excels as a comic letterer, a discipline often overlooked yet crucial to storytelling. He believes in making letters tell their own story, complementing the art and script. "Bringing cinema to comics" is his mantra, a vision he brought to life in Jogunomi, a collaborative project with Erivic Adedayo. The experience of blending old-world Nigeria with modern comic techniques marked a creative milestone in his career.

Richard co-founded The Comic Arena alongside Segun Baba Wale, creating a hub for authentic African storytelling. As a writer, letterer, and director, Richard plays a pivotal role in fostering talent and pushing boundaries. “We aim to promote African stories that resonate globally,” he shares. Upcoming projects like Fusion Issue 2 promise to keep fans excited.

While the African comic scene is brimming with potential, challenges like high production costs and limited funding hinder its growth. In this interview, Richard advocates for greater investment in content creation and promotion. He sees a global audience increasingly drawn to African narratives and hopes for a future where traditional African stories shine brighter on the world stage.

For aspiring comic creators, Richard offers simple yet profound advice: “Stay true to your journey and don’t rush the process.” He envisions a legacy where his stories bring joy, peace, and learning to readers, establishing him as the creative force who brought a cinematic experience to African comics.

With dreams of game development and filmmaking also on the horizon, Richard’s impact on storytelling is bound to transcend mediums, leaving an indelible mark on African pop culture.

Below is the full interview with Richard Kennery:

Q: Can you tell us a bit about yourself and your journey into the comic world?
A: My full name is Bello Richard OluwaKennery. My journey into comics started when I began drawing, photocopying, and selling my creations to classmates and seniors. My first professional work was Erinle, which I co-wrote with my dad. That experience marked the beginning of my career in comics.

Q: What’s it like being a comic book writer and creative director?
A: Being a comic book writer is hectic, but there's immense joy in bringing stories to life. As a creative director, there's an elated feeling of being in charge of the storytelling process and watching it unfold.

Q: How did growing up influence your storytelling style?
A: Growing up was smooth, though some might say I was privileged. Drawing became my escape, especially with the pressure to achieve a lot. Interestingly, my parents hardly allowed me to speak Yoruba, yet most of my titles are Yoruba-based. I want to tell stories in an authentically African way.

Q: What inspired Erinle and Lakaaye?
A: Erinle was a tribute to my dad, Mr Babatunde Bello. Together, we conducted extensive research, travelling across Oyo, Abeokuta, and Iwo to learn about Ifa incantations and panegyrics. Lakaaye, on the other hand, stemmed from my desire to explore fresh narratives and move beyond repetitive storylines.

Q: What challenges did you face in creating these works?
A: The challenges weren’t overwhelming, though some people called me “local” when I started. The main task is staying true to tradition, a principle I uphold even in my upcoming projects.

Q: Are there unique techniques you use in your storytelling?
A: My narrations often reflect my personal experiences or mindset at the time of writing. I start with a synopsis of the entire story before dividing it into pages for a structured flow.

Q: How do you approach comic lettering?
A: As a letterer, my priority is readability. I ensure that the letters enhance the story, adding layers of meaning to the captions, sound effects, and speech. I often say, "Let’s bring cinema to comics" by making the letters as immersive as the art and script.

Q: How do you balance text and visuals in comics?
A: I use clear and visible fonts, relying on tools like Adobe and Ibis Paint X. Watching movies helps me understand pacing and sound effects better, which I then incorporate into my lettering.

Q: What was your experience working on Jogunomi?
A: Jogunomi felt different. The project gave me a sense of Nigeria’s past with its unique art and lettering style. I had full creative freedom, which was refreshing.

Q: What advice do you have for aspiring comic letterers?
A: Be true to yourself and your craft. Lettering is foundational to a comic’s success, alongside the art and story.

Q: What is The Comic Arena, and what role do you play?
A: The Comic Arena is a studio I co-founded with Segun Baba Wale. I serve as a writer, letterer, and director, working to bring relatable African stories to our audience.

Q: How does The Comic Arena support African creatives?
A: We create opportunities for local talent by focusing on authentic African narratives. Most of our creators stay true to their roots, telling stories in the right way.

Q: Are there any upcoming projects or events?
A: Yes, we have new titles, short projects, and mini-series on the way. I’m particularly excited about Fusion Issue 2, which builds on the success of the first.

Q: What are your thoughts on the African comic industry?
A: The industry has potential, but we need more investment in content creation and promotion. Cost of production is a major hurdle, and I think grants or support systems could help.

Q: How do you think global audiences respond to African narratives?
A: There’s growing interest in authentic African stories. Staying true to our traditions—not just focusing on mythical beings—can lead to the breakthrough we’ve been waiting for.

Q: Which African creators or titles do you admire?
A: I admire Celestial Eyes by John Uche, Our Land by Samcil, and You Have Ten Years by Mamode Ogbewele.

Q: What’s your creative process like?
A: My ideas often come randomly—sometimes while I’m on the toilet seat! (LOL) I draw inspiration from movies, life events, and video games.

Q: How do you stay motivated during challenging times?
A: I’ve adopted healthier habits, like going to the gym. But honestly, the smell of mint cash keeps me going!

Q: What advice do you have for aspiring comic creators in Africa?
A: Stay true to your stories and don’t rush the process. For instance, Erinle was initially submitted as a storybook before I found the right publisher.

Q: What do you hope readers take away from your stories?
A: I want readers to find peace, joy, and learning in my work.

Q: What legacy do you hope to leave?
A: I’d like to be remembered as the failed comic artist who became a letterer and brought cinema into African comics.

For front row seats to more content like this, subscribe to our newsletter.