Review by Karl Verhoven

Windmaker is one of four connected series by Roye Okupe looking at fictional African lands, but basing their legends on those of real countries, and a look at Atala and its legends was included in the first volume of Malika: Warrior Queen. Several centuries later Atala is a prosperous place with considerable tourism and a strong economy also based on technology and booming agriculture. Although set in 2025, the advances are considerably beyond the modern world, what with the presidential compound hovering above the city, although not everyone sees the President extending his term in the name of security being in the national interest.

Bo Abiola is a man caught between ideologies, serving the president as director of his security detail, the Red Knights, and seeing the good that’s done, but having friends who strongly support the democracy protests.

Unlike more idealistic portrayals of African nations in comics, Okupe acknowledges problems with leaders overstaying their welcome, and in President Balgun he’s created an amalgam. Once a freedom fighter, part of a group who overthrew the previous dictator, he’s now vehemently opposed to his former colleagues whom he views as terrorists, and to Bo his methods are beginning to merge with those of his predecessor. “I know what’s best for this country, not you”, is the President’s response, followed with the threat of “this is the last time I will tolerate you questioning me”. Why, it’s almost as if he wants to drive his security chief toward the rebels.

Sunkanmi Akinboye’s art is somewhat the anomaly, as his people look very stiff when standing still, but there’s a freedom of movement to his actions scenes. His art is focused on people, with any locations often filled in by colour, and fixtures kept to the minimum. It does the job, but there’s a lingering feeling that it could be done better.

The title perhaps suggests a superhero story, and Windmaker may yet become that in Volume Two, but in the meantime Okupe moves a political thriller along fast enough so questions of theme remain unasked. The broad direction plays out predictably, although within that Okupe has surprises to offer, including a big one regarding someone’s loyalties toward the end. He uses the natural chapter breaks to supply small amounts of background explanation, both relevant to the story and his sources, and like Okupe’s other titles strong consideration of background pays off.