Iyanu: A review of Roye Okupe’s animated series

Cartoon Network and Max’s Iyanu, an animated series which was released in April 2025, marks a bold step for African indigenous animation, bringing Nigerian creator Roye Okupe’s graphic novel Iyanu: Child of Wonder to life. Produced by Lion Forge Entertainment, this superhero tale is inspired by Yoruba mythology and follows Iyanu, a teenage orphaned girl who discovers divine powers to save her homeland, Yorubaland, from an ancient curse. With an all-Nigerian voice cast and a mission that centers on African storytelling, Iyanu is a cultural milestone in global entertainment.

However, after watching the first-four released episodes of season one, the question; does it live up to its ambitious promise grows in my mind? Hence, this piece is set to explore and critique its background, animation style, and voice cast, offering a balanced perspective on its strengths and shortcomings before rating the series.

Background of Iyanu

The animated series background is its greatest asset. Adapted from Okupe’s Dark Horse Comics/YouNeek Studios graphic novel, Iyanu is set in the magical kingdom of Yorubaland, drawing deeply from Nigerian culture, music, and mythology. Okupe, born and raised in Lagos, created Iyanu to blend the fantasy genre with Yoruba culture, inspired by his childhood love of superhero stories. The animated series begins with 500 years after the Age of Wonders, where divine powers once blessed humanity. Iyanu, an orphan studying history, unlocks god-like abilities to battle “The Corrupt” cursed animals that threatens her world while searching for the secrets about her past and what she truly is.

The series’ background adopts cultural elements like ancestral wisdom and spiritual lore, which resonate authentically thanks to Okupe’s vision and a writers’ room led by Brandon Easton. Backed by Lion Forge, a Black-owned studio known for Hair Love, Iyanu represents a push for diverse representation, with a 26-episode, two-season order and distribution across Cartoon Network, Max, and Showmax (Africa). Its global reach released in 44 African countries and the US shows a growing desire for African stories.

However, the background is not without flaws. The heavy reliance on Yoruba mythology can feel dense for audiences that are not familiar with the culture, and the first episode’s exposition risks overwhelming younger audiences. While the series aims for universal appeal, its narrative seems to focus on just building the story from one event to the next with little exposure of emotions, the story does not give depth to the emotional aspect of the characters. Take for example a visual flashback of Toye and his father reminiscing about his mother could draw out some emotions and make the series relatable to the audience both younger and older. Still, its commitment to originality and representing the Yoruba culture is impressive, setting a new standard for African indigenous animation.

Iyanu’s animation style

The 2D animation style, handled by Lion Forge and supervised by Saxton Moore, is both the series strength and weak point. Visually, Iyanu bursts with color and texture, evoking Yorubaland’s lush landscapes like the vibrant jungles, the clear skies, and close village designs of the Riverland settlement and workers district of Elu kingdom. The art direction, influenced by illustrations from the graphic novel, captures an Afro-centric aesthetic that feels fresh compared to Western cartoons. Action scenes, like Iyanu stopping a charging rhino with her powers, are dynamic, with fluid motion and magical effects.

Yet, the animation style falters in execution. Some viewers, including animators on X, have pointed out issues with the animation lips not synchronized with the voice, noting that the visuals don’t always match the Nigerian accents’, disrupting cohesion. Character designs, although expressive, still varies in smoothness, main characters like Iyanu and Biyi shine with detailed expressions, but secondary figures like the people in the workers district and some members of the Elu Mesi can look flat, just simple or generic. A clear difference when compared to other animations with similar style like The Prince of Egypt or Avatar: The Last Airbender which has a cohesive design for all characters whether they are major or minor.

However, Iyanu’s animation feels like to reach such peak requires a deeper pocket as against their modest budget. The ambition is clear, but some technical drawbacks like occasional stiffness in movement as seen in the scene where viewers were introduced to the people of the Riverland just prevent it from rivaling top-tier animated epics. For a series aiming to be a “game-changer,” these inconsistencies are noticeable, though they don’t fully derail the experience.

The voice casting in Iyanu

Now, this is what just makes the animated series amazing to watch. The all-Nigerian voice cast shows the depth of originality, featuring a mix of rising stars and Nollywood veterans. Serah Johnson leads as Iyanu, bringing quiet strength and emotional depth to the heroine. Johnson infuses Iyanu with a relatable combination of courage and vulnerability, something common in young individuals especially in scenes where she struggles with her powers. Okey Jude (Biyi) and Samuel Kugbiyi (Toye) complement her as Iyanu’s friends, with Jude’s carefree energy balancing Kugbiyi’s solid, bookish wisdom. Their trio’s chemistry adds humor and emotions, something similar to classic adventure teams like the Gaang in Avatar: The Last Airbender.

Stars like Adesua Etomi-Wellington (Olori), Stella Damasus (Sewa), Blossom Chukwujekwu (Kanfo), Shaffy Bello (Emi), and Ike Ononye (Elder Alapani) elevate the cast. Etomi-Wellington’s regal Olori commands every scene, while Damasus’ maternal Sewa offers emotional weight, providing support for Iyanu. Chukwujekwu’s Kanfo is amazing, though his role feels underutilized in episodes one and two. Ononye’s Elder Alapani adds wisdom, but his limited screen time could make viewers to demand more of his character on the screen.

Critically, the cast’s authenticity is impressive with every voice carrying the rhythm of Nigerian storytelling, fulfilling Okupe’s vision of cultural originality. However, some performances feel constrained by unnecessary dialogue. Side characters, like the guards at Olori’s prison room, lack vocal distinction, and the script does not always give these characters a way to add to the story’s depth. While the cast is a highlight, tighter writing could have maximized their impact, especially compared to voice work in Spider-Man: Into the Spider-Verse, where every role contributes to the depth of the story.

Analysis and rating of Iyanu

Iyanu is a groundbreaking series that delivers on its promise of cultural representation, not something as wack like Turtle Taido. Combining Yoruba mythology into a superhero saga makes it feel both epic and personal. Its background is rich, rooted in Nigerian heritage, and its all-Nigerian cast makes it authentic, a beacon for Black and African audience. Johnson’s Iyanu is a compelling heroine, and the animated series’ themes of peace, heritage, self-discovery, and conflict resonate deeply.

However, like bed of roses, it has its own thorns. The animation, while vibrant, suffers from technical inconsistencies and the voice not accurately synchronizing with the movement of the lips. The pacing can drag under heavy exposition, and the script occasionally hampers the cast’s potential. Compared to The Prince of Egypt’s artistry or Avatar’s narrative clarity, Iyanu feels like a budding project rather than a fully realized masterpiece. For more younger audiences and fans of mythology, it is a fresh, fun adventure, but adults and more experienced viewers like myself may notice its growing inconsistencies.

I rate Iyanu 7.5/10. It is a vibrant, necessary addition to animation, celebrating Nigerian culture with heart and ambition. With tighter execution, its next season could soar even higher, proving African stories belong on the global stage.

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