🌍 Young artists in Zimbabwe who taught themselves manga by studying Japanese comics are now challenging the Japanese publishing world — powered by NFT sales and crowdfunding. From a Forbes "30 Under 30" honoree to an 18-year-old student, this unprecedented project is rewriting how international creators can break into Japan's manga industry.
From Africa to Japan — A Dream That Crosses Continents Through Manga
In Zimbabwe, a landlocked country in Southern Africa, Japanese manga and anime have become a cultural phenomenon among young people. In the capital Harare, a subculture event called "OTAKUKON" regularly draws hundreds to over a thousand attendees who gather for cosplay, manga, and anime. Even Japan's JICA (Japan International Cooperation Agency) volunteers have participated, making it a genuine grassroots cultural exchange between the two nations.
Among Zimbabwe's manga-loving youth, a handful of dedicated creators have been independently honing their craft, teaching themselves to draw manga inspired by the Japanese works they love. Their shared dream: to debut as manga artists in Japan. Now, a first-of-its-kind project launched in January 2026 — the "NFT Manga Project in Africa" — is turning that dream into a real possibility.
The Project — An Unlikely Alliance of Publishing and Blockchain
The project is a collaboration between Jitsugyo no Nihon Sha (a 128-year-old Japanese publishing house, through its Rights & Business Development Division), Jitsugyo no Nihon Digital, and CAICA Financial Holdings, which operates "Zaif INO," a curated NFT marketplace. The Embassy of Zimbabwe in Japan also played a coordinating role, making this a public-private international cultural exchange initiative.
What makes this model unique is how it combines traditional publishing expertise with blockchain technology. Rather than the conventional publisher-driven process, funding comes directly from supporters through NFT purchases and crowdfunding. If the funding targets are met, publication in Japan becomes official — a reader-participatory publishing model where fans have a direct stake in making these manga a reality.
Meet the Three Artists and Their Stories
The three creators were selected from 12 applicants through an open call held at the OTAKUKON event in Zimbabwe. Each brings a distinct voice rooted in African mythology, personal experience, and Japanese manga influence.
1. Bill Masuku — The Internationally Recognized Creator
A Zimbabwean comic artist and writer with an impressive global resume. He served as a storyboard artist on Disney and Kugali's Emmy-nominated animated series Iwájú, was selected for Forbes Africa's "30 Under 30," and previously achieved 485% of his funding goal on Kickstarter for his work Tokoloshe Hunters.
His project work, Beanstalkking!! — Faith is a weapon!, is a sci-fi mecha action story drawing from myths across Africa. The Zimbabwean mythological fish-serpent deity "Nyami Nyami" appears as a giant mech in a world powered by "FAITH" as an energy source, following a boy without faith who must fight to survive.
2. wimpy nine — The Emotional Storyteller
A young Zimbabwean manga creator and storyteller who discovered Japanese manga and anime in childhood and began drawing short comics for friends in high school. While he has no commercial publishing experience, he has developed a unique artistic voice shaped by African folklore and mythology.
His work Ngano — Dead Shaman is a dark fantasy set in a world where the boundary between the living and dead is clearly defined. The protagonist sacrifices his life to protect his wife, then faces the choice of returning as an immortal shaman — a story exploring themes of love, sacrifice, and the cost of second chances.
3. Tash — The 18-Year-Old Who Finds Hope in Darkness
An 18-year-old student artist from Harare, Zimbabwe, also active under the name "Artslayer." His strengths lie in cool, detailed artwork with a dark aesthetic that still manages to inspire. His creative philosophy centers on showing that strength can be found within oneself, even in the darkest circumstances.
His work Nightslasher is a battle fantasy set in a neon-lit metropolis. An orphan raised in harsh conditions discovers hidden powers within himself and confronts destined rivals as he grows — carrying the message that "true strength lives inside you."
Two Ways to Support — NFT and Crowdfunding
The project offers supporters two distinct paths to contribute, each with different rewards and appeal.
CAMPFIRE (Crowdfunding Plan) offers familiar rewards like advance reading access, name credits in the published manga's end pages, and exclusive illustrations. It uses a "step-up" system: the first milestone targets digital publication across approximately 200 online stores, with print publication as a potential next stage depending on results.
Zaif INO (NFT Plan) lets supporters own digital illustrations as blockchain-verified NFTs, join NFT-holder-only communities, and — if publication is achieved — receive royalty distributions based on manga sales. It functions as both patronage and investment. Importantly, credit card payment is supported, so no cryptocurrency wallet is required to participate.
Africa's Growing Manga Culture
This project reflects a broader trend: manga and anime culture is booming across Africa. Beyond Zimbabwe, countries including Ghana, Nigeria, Cameroon, and South Africa are developing their own comic cultures influenced by Japanese manga.
In Zimbabwe specifically, a creator collective called "Afro Tokyo" produces a manga anthology called Kalabash — essentially Zimbabwe's answer to Shonen Jump. A volunteer-run "Afro Tokyo Japan" team has formed to introduce these African manga to Japanese audiences. The Kyoto International Manga Museum hosted an African Manga Exhibition in 2023, and Japan's Ministry of Foreign Affairs-organized International Manga Award has received submissions and winners from African nations.
The cultural exchange is becoming circular: Japanese manga planted seeds in Africa, those seeds grew into unique creative expressions, and now those expressions are returning to Japan. This cycle demonstrates that cultural influence is not one-directional but mutually enriching.
NFT as a New Tool for Creator Support
Traditionally, overseas creators attempting to publish manga in Japan faced enormous barriers: language differences, unfamiliar business practices, and difficulty securing funding. This project uses NFT technology and crowdfunding as practical tools to overcome those obstacles.
While the NFT Manga Project existed previously for supporting domestic Japanese manga artists, the expansion to African creators is a first. The model transforms readers from passive consumers into active participants who directly influence whether publication happens — creating a fundamentally new relationship between creators and their audience.
Looking Ahead — Manga's Power Knows No Borders
Young Zimbabweans, separated from Japan by thousands of miles and vastly different circumstances, picked up pens again and again because Japanese manga spoke to them. Now, that passion is being channeled through technology and publishing expertise toward the Japanese market itself.
Opinions on NFTs and crowdfunding vary widely, but what this project demonstrates is the potential for technology to serve as a bridge for cross-border creator support. How Japanese readers will receive stories built on African mythology and cultural perspectives remains to be seen — the answer will come when these works are published, targeted for summer 2026 and beyond.
In your country, what systems exist to help international creators publish their work? What do you think about using NFTs and crowdfunding to support artists across borders? We'd love to hear your thoughts.
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Reactions in Japan
Zimbabwean manga artists aiming to publish in Japan — unimaginable just ten years ago. Witnessing manga's influence spread this far makes me proud as Japanese, but I also feel it tests how open-minded we are as a receiving culture.
I tense up just hearing 'NFT'... the 2022 bubble crash left too strong an impression. I want to support the project itself, but honestly wish they'd skipped the NFT part so it could be simpler to back.
Jitsugyo no Nihon Sha is established but not exactly a major publisher. I don't dislike how they're doing things the big publishers won't. But whether foreign manga artists can actually sell in the Japanese market is unknown territory.
I've been to OTAKUKON in Zimbabwe and the energy was incredible. Cosplay quality was high and so many young people were drawing manga. This project could finally put the spotlight on them.
Speaking as someone in manga editing — polishing overseas artists' manuscripts for Japanese readers is harder than you'd think. Panel layout, sound effects, dialogue pacing... bridging the cultural gap is the key to success. Rooting for them though.
The Zimbabwean mythological fish-serpent deity Nyami Nyami becoming a giant mech? I genuinely want to read that. Japanese myth-based mecha is saturated already, so African mythology mecha action sounds refreshingly new.
NFTs with royalty distribution is an interesting scheme. With returns linked to publishing success rather than just digital images, it could work as 'investment-type fan activity' rather than speculation. Offering both CAMPFIRE and NFT paths is smart for accessibility.
As someone who knows how hard it is to win serialization among tens of thousands of aspiring manga artists in Japan, I have mixed feelings about an overseas-to-publication fast track. But that's jealousy speaking — I won't deny their challenge itself.
Lived in Zimbabwe for 3 years — kids wearing Japanese anime T-shirts everywhere in the streets. Kids reading manga on phones even when electricity was unreliable. Having their talent reach Japan makes me genuinely happy.
This Bill Masuku guy has Forbes recognition and Disney work but still aims for Japan? Publishing in the West would be easier, no? Choosing Japan anyway speaks to manga's homeland pulling power.
Tash, aiming for publication in Japan at 18... same age as my son. The youth and drive to chase such a dream is dazzling. Maybe I'll support a small amount through CAMPFIRE.
This is essentially a business model that transfers publisher risk externally through crowdfunding and NFTs. If it works, it'll be praised as a new publishing paradigm. If not, it'll be called just a publicity stunt. Results are everything.
wimpy nine's 'Ngano' — 'protagonist who died protecting his wife resurrects as a shaman' — that setup is totally my thing. Dark fantasy infused with African views on life and death is a genre Japan doesn't have. Going to check the preview.
The government's International Manga Award only accepts submissions without ongoing support. This private-sector project goes further by providing guidance all the way to publication. I'm watching how public-private cooperation develops from here.
I just hope this doesn't get consumed as a feel-good story and forgotten. Japanese social media loves the 'supporting African manga artists!' hype but then doesn't actually buy the published books. I want them to think about sustainable sales structures.
Let me speak as a Zimbabwean. That talents like Bill Masuku and Tash are finally getting a chance to be recognized in Japan is historic. For young manga artists in Harare, this is proof that dreams really can come true.
France has a bande dessinée tradition, but even African BD artists struggle to publish in Paris. Japan trying to break down these walls with NFTs and crowdfunding is a fascinating experiment.
Nigeria has plenty of amazing comic artists too. I hope Japan expands this program beyond Zimbabwe to all of Africa. Nigerian mythology would make incredible manga material.
Honestly, any project involving NFTs makes me cautious — too many people lost big money before. But I'll admit royalty-backed NFTs with credit card support is a different approach from the usual NFT projects.
Young people drawing manga are increasing in Senegal too. BD influence is strong in francophone Africa, but younger generations choosing Japanese manga style are definitely growing. I hope this project becomes a role model.
From the Korean webtoon industry perspective, Japanese publishers using NFTs and crowdfunding to attract overseas artists is an interesting strategy. Korea is platform-centric, but Japan competes on the brand value of 'publication.'
The American comic industry still has high barriers for African artists. If Japan opens its doors to African creators, it would be a stimulus to the US comic industry from a diversity standpoint too.
African diaspora kids in Australia grew up on Japanese manga too. When they learn about this project, some will surely think 'I could have a chance too.' Hope it becomes a catalyst for broader creative diversity.
Manga-style comic artists are growing in India too, but the idea of publishing in Japan hadn't occurred to us. The success or failure of this project will significantly impact India's creator community as well.
Russia's manga community is shrinking under political constraints. I envy that African manga artists can freely cross borders to create. Private initiatives like this are the most effective form of cultural exchange.
Piracy is manga's biggest enemy in Mexico, but a direct support model via NFTs could potentially eliminate middleman exploitation. Blockchain might be a viable tool for developing-country creators to receive fair compensation.
German manga fan here. I saw the African Manga Exhibition at the Kyoto Manga Museum. Africa's unique visual expression is truly one-of-a-kind, and I'm excited for the day I can read it as a Japanese publication.
As a fellow Zimbabwean manga artist, I have mixed feelings about this project. The three selected are amazing, but 9 out of 12 applicants weren't chosen. I hope paths open for the talents that weren't selected too.
Japanese-Brazilian here. Japanese manga is hugely popular in Brazil too, but Brazilian manga artists publishing in Japan is virtually unheard of. If this Africa-origin project succeeds, someone from South America might follow the same path.
As a UK comic magazine editor, I'm surprised a Japanese publisher is doing such deep international creator support. Honestly, Western publishers haven't done this much for African creators. Feels like Japan beat us to it.