While the world stood still during the Covid-19 lockdown of 2020, Lydia Mwangi found herself immersed in her favourite fantasy shows like Merlin and Game of Thrones.
But between episodes, a disturbing pattern emerged that would spark an unexpected creative journey for the 26-year-old: the tragic fate that seemed to await every black female character she saw on screen.
"I realised that all my favourite characters, especially the black female characters, always had horrible, horrible endings," Ms Mwangi says.
Rather than simply lament this reality, she decided to pick up her pen and create something different - a story where black characters could find joy and adventure without being burdened by historical trauma.
What began as a simple web comic posted on social media soon blossomed into something bigger.
The Ebony Witch tells the story of Bonnie, a young witch with a beautiful afro, who lives in the woods with her magical companions — including a teacher who happens to be a cat and a best friend who's a teddy bear.
The story deliberately steers away from heavy themes, instead offering a magical adventure that celebrates black girlhood in all its wonder and joy.
In Africa, if someone calls you a witch, it's not a light thing to say.
Bonnie, is the lead female character in The Ebony Witch animation series.
Ms Mwangi defended the “witch” theme: "I've got that comment a lot. People say, 'That's witchcraft,' and I say, 'That's just a cartoon. Magic isn't real. If it were, our lives would be a lot easier’.”
The journey hasn't been without its challenges.
Early attempts at crowd funding taught valuable lessons about marketing and community building.
"Friends, yes. Family, no," she says of her initial support system, noting that her parents, while now supportive, were initially sceptical.
"The best way to explain what I do is to say I make cartoons. That's what they understand [what this career path is about]".
Ms Mwangi's journey into animation began with an unlikely pair of influences: Disney's Treasure Planet and a Kenyan music video featuring three lions dancing to Kikuyu music.
The music video is by Kayamba Africa and is called Ngukinyukia O Kahora.
"That one is actually a stronger motivator because I thought, oh, people can do that here," she says.
This realisation that animation could be both a global art form and distinctly Kenyan shaped her approach to The Ebony Witch, which weaves local cultural elements such as traditional face painting designs into its magical world.
Her persistence paid off in December 2024 when the project's Kickstarter campaign reached its $10,000 (Sh1,291,000) goal.
Kenyan animator based in Los Angeles Lydia Mugure Mwangi during an interview at Nation Centre in Nairobi on December 19, 2024.
The success represents more than just funding— it's a validation of Ms Mwangi's vision and the growing demand for diverse storytelling in animation.
The money will help her set up her own studio, Poppinhin, in California, where production will begin in January.
"It wasn't even a side hustle because I wasn't making any money from it," says Ms Mwangi. "It's more like, I have time on a Thursday, let me work on this."
But as her online following grew, so did her ambitions. The creative arts graduate from Kenyatta University soon found herself juggling multiple jobs - her day job in advertising and games, plus two side gigs - to fund the development of the project into an animated series.
The journey to crowd funding success wasn't linear for Ms Mwangi and her team.
Kenyan animator based in Los Angeles Lydia Mugure Mwangi during an interview at Nation Centre in Nairobi on December 19, 2024.
Their first attempt was modest, reaching out to friends for both financial support and volunteer hours.
The second campaign aimed higher, launching on Kickstarter with a goal of $2,000 (Sh 258200), but faced challenges due to their inexperience with marketing.
Speaking about the journey to a successful online campaign, Ms Mwangi said, “I didn't know how to market it. I didn't know how to essentially make people believe in the project. That was a very good learning experience because even if it didn't work out, people liked how we presented ourselves enough that they were like, okay, if you ever do something again, please reach out and we shall help you fund the project.”
The promise wasn't empty – many of those early supporters returned to back their successful campaign, which surpassed its initial $10,000 (Sh1,291,000) goal, reaching $10,728 (Sh1,386,594) with the support of 206 backers.
Despite facing criticism from right-wing commentators who objected to the project's portrayal of black characters, the supportive community that had formed around The Ebony Witch proved to be her best defence.
"They are loud and they are abrasive," Mwangi says of the critics, "but the community rallied around them and kind of shooed them away. We didn't really have to do much.
Looking ahead, Ms Mwangi plans to produce a 30-45 minute pilot episode in 2025, with the hope of expanding into a limited series. While larger studios have shown interest, she remains focused on maintaining creative control and ensuring the content remains accessible to African audiences. Her dream is to follow the model of successful internet cartoons, which have both a YouTube presence and streaming partnerships.
Success has even won over her initially sceptical family. Mwangi is the first born of nine siblings.
"Now my mother is thrilled," says Ms Mwangi. "My sisters really like Bonnie."
As she processes her achievement, "I'm still in shock. As if it worked. A year of marketing, four years of scripting, hours of animation, it worked" - she offers simple but powerful advice to other aspiring creators: "Just start. People care, and they care a lot... There's nothing worse than not trying.
In a world increasingly shaped by artificial intelligence, Ms Mwangi is a firm believer in traditional artistry.
"We don't use AI," she says proudly, pointing out that every background in her work is hand-painted in acrylic. "I like the artistic process. It's part of who I am."
