In the lead-up to the inaugural edition of the Ibadan Fan Expo in July, Ayodele Elegba, convener of the event and CEO of Spoof! Animations ignited widespread debate within Nigeria’s comic book industry. In a now-viral Facebook post, Elegba posed a provocative question about the issue of a two-million-naira contract offer for a year and whether comic artists are willing to accept it.

The post sparked a sharp split of opinion across the community. Some comments, such as Blackwolf Sisu and Ghene Fegor, defended the offer, citing benefits such as professional growth, exposure, and experience. Others, including Mamode Ogbewele and Kelechi John, firmly disagreed, raising concerns about personal expenses, restrictive contract clauses, and broader structural issues. As the debate intensified, individuals across the industry aligned themselves with the perspective that best resonated with their realities.

The conversation gained further traction during the Ibadan Fan Expo, particularly during a panel on the future of the Nigerian comic book space. Sunkanmi Akinboye, Creative Director at Linebug Studios, offered a more nuanced perspective informed by his experience as both a studio director and a freelancer.

“I have been in the studio situation and I have been in the freelancer situation. What was missing was context,” he stated.

Akinboye argued that the appropriateness of the offer depended heavily on the nature of the contract. He noted that a two-million-naira offer would be inadequate for an exclusive agreement where the artist is barred from undertaking any external work. However, he maintained that if the contract were flexible, allowing for side gigs that do not impede productivity, it could be a worthwhile opportunity. He referenced his own experience working with YouNeek Studios, the creators of Iyanu, as a positive example of such an arrangement.

Victor Kiss, lead comic artist at Spoof! Comics took a more critical stance, describing many young artists as “entitled.” He argued that a deeper understanding of the comic production pipeline would help freelancers appreciate the rationale behind offers like the two-million-naira contract. He encouraged independent artists to work within structured studio environments at least once in their careers to gain valuable insight into the demands and economics of professional comic book production.

From the studio perspective, Henrietta Olayinka, Founder and CEO of Etta Studios, highlighted challenges related to professionalism among freelancers. “Some people think that because they can draw, they are now an artist,” she remarked. Recounting her experience of having to replace an unreliable artist during the production of her studio’s second comic issue, she emphasised that personality and discipline were often more critical than talent alone. “In the end, it all comes down to the freelancer’s personality,” she concluded.

The panel also explored broader industry trends, including digitisation and profitability. Ayodele Bayonle, Brand Manager at SM Comics, dismissed fears that digital formats threaten the print medium. He argued that digitisation should be seen as a complement rather than a disruption, and that significant change is unlikely in the immediate future.