AN ANALYSIS OF MADDTIMES CARTOON ON POLITICAL CONFLICT: A STUDY

OF THE WIKE-FUBARA FEUD

Okezie, Wisdom Iheanyichukwu

NTA Television College, Jos

Abstract

Political cartoons use imagery and text to comment on a contemporary social issue. They may
contain a caricature of a well-known person or an illusion to a contemporary event or trend.
Political cartoons serve as a powerful communicative weapon and form an integral part of
Political Communication. Many studies have been carried on iconographic analysis of certain
political cartoons. However, this work focuses on a particular cartoon by MaddTimes that was
laced with irony, having no text, which depicts the Wike-Fubara feud which attracted so much
media attention within across the country. The cartoon which served as primary data, was
obtained from the official Facebook page of the magazine. This cartoon was chosen as it was the
only made about the Wike-Fubara Feud available to this researcher. It was particularly chosen
as it generated hundreds of likes, comments and shares, due to its relevant sociopolitical theme,
visual imagery, no-text nature, and as it was keen to the study. The Connotative Meaning Theory,
Framing Theory and Visual Rhetoric Theory were theories on which the study was anchored.
Findings revealed that through cartoons, intense political developments can be explained in the
simplest of terms, while also presenting the true picture of occurrences.

Key words: Political Cartoon, MaddTimes, Wike-Fubara, Godfatherism.

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Introduction
Effective Communication is only deemed as being effective when the targeted audience finds it
easier to understand. As such, Cartoons come in handy as a form of communication which many,
especially the uneducated can more readily relate to. Cartoon is one of the satirical methods of
transmitting ideas, emotions, feelings, thoughts, information and messages to others through
illustrated visual arts of drawing or painting for caricature or humour with scanty or no words.

According to Ekpe, (2016), It is usually more serious in tone and commonly uses irony. Passing
messages to others is at the heart of communication and in cartoons this takes the form of a
caricature and humorous drawing to illustrate a point of view on current social or political issues.
Since it appeals to all strata of the society, the uneducated, or in this case, those who have no prior
knowledge of the incident being cartooned will form an opinion which will more often than not
tally with that of the educated.

They (the educated) leverage on their prior knowledge of the subject matter to draw a full picture
in their mind, which guides them in better understanding the pictorial illustration, further
enhancing humour. Cartoons and humour are media reserves that have immemorially maintained
an undeniable presence and influence in the communication of the age-old social institution known
as politics. Based on this communicative role played by cartoons and humour, the two have
preserved a symbiotic relationship with politics; thus, they are known as political cartoons and
political humour in extant literature. Political cartoons have been avowed to be powerful
communicative weapons used to satirise governments without incurring the wrath of the affected
persons and institutions. (Oluremi, 2019).

Among the genre of visual art that proofs potent in putting checks on the political class in the
contemporary society is the art of political cartooning. Cartoonists are like traditional palace jesters
who lampoon the political class using satire as tools (Akinloye, 2014). Cartoons are a unique form
of journalism which contrast with conventional forms of communication. The images can cast a
powerful interpretation on the day’s news. They explain and explore stories in manners that
articles cannot. More effective than writing or video, they capture the imitable human nature of
their subjects in order to humanise the topic they depict.

According to Rt. Hon. George Osborne, a former British Politician and Newspaper Editor, "The
great thing about a political cartoon is that it sums up the state of play at any moment in politics.

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It’s clever, funny, amusing, it informs and entertains us. It does all the things in one drawing that
a newspaper does throughout all of its pages."

The satirical character of this form of journalism adds to its appeal. By combining humour with
the latest political news, cartoonists can reinforce their messaging, focusing on the frequently
ridiculous nature of stories. Nevertheless, rather than despise this cross-examination, politicians
regularly defend them, using their depictions as indications of their relevance in public life.

Cartoons do not only act as news sources, but they can translate into a historical record of the
political climate. In a time when journalism is constantly evolving, political cartoons have
remained a timeless method of political commentary. Particularly in a time of tremendous volumes
of media output, the ability of cartoons to communicate a compelling and comprehensive message
has undisputedly stood the test of time.

This work centers on a particular cartoon by MaddTimes, a magazine centre on socio-political

cartoon on trending issues of national conversation. The cartoon which depicts former Rivers State
Governor and Minister of the FCT, Nyesom Wike, and current Governor, Sim Fubara is a classic
case of political conflict. Therefore, this work seems to give an in-depth analysis into that piece of
Journalistic work which happens to be an irony of some sort.

Statement of the problem

Cartoons are a unique form of journalism which contrast with conventional forms of
communication. The images can cast a powerful interpretation on the day’s news. They explain
and explore stories in manners that articles cannot. More effective than writing or video, they
capture the imitable human nature of their subjects in order to humanise the topic they depict.

Political cartoons are an integral component in the framework of political journalism. They offer
a brightly coloured alternative to formal news reporting, providing light relief from the ever-
increasingly gloomy political discourse. With the ability to distil news and opinion into a
caricature, cartoons present accessible and instant commentary and analysis of current affairs.
Cartoonists use several methods, or techniques, to get their point across. Not every cartoon
includes all of these techniques, but most political cartoons include at least a few. Some of the
techniques cartoonists use the most are symbolism, exaggeration, labeling, analogy, and irony.

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In this case, this paper looks at the use of irony in a cartoon depicting political conflict in the Wike-
Fubara Feud. It further takes an in-depth look at the underlying meaning of the cartoon, in the light
of the intrigues of the case, going beyond the surface.

Objectives of the study

 To show how cartoonists take advantage of irony to pass political messages in an
understandable way.
 Analyse the contextual background of the MaddTimes political cartoon on the Wike-Fubara
Feud, going beyond the irony of the illustration.
 To emphasise how political cartoons appeal to all strata of the society, irrespective of
exposure to prior hard news.

Political Conflicts and Cartoons in Political Communication

Using imagery, metaphor, symbolism and other rhetorical devices, a cartoonist defines political
situations, and attempts to interpret them visually in a way that is both amusing, and thought-
provoking.

Politics strives at building a stable nation, not a nation of instability. Therefore, the political
reporter is supposed to play an ombudsman (middle man or mediator) role between the major
players in the political field and conflict. He is also expected to play the role of a “go-between”
between the political class and the entire society in his political coverage and reporting
(Umechukwu, 2001). He is never expected to be biased and subjective, although he could be
objectively opinionated; he should play down on advocacy journalism and only strives to give the
society the facts the way it is and allow them to take their individual positions (Galadima & Enighe,
2001).

In political conflict reporting, the reporter should never be a player or combatant no matter the
level of provocation or involvement of his personal values. In fact, the political reporter in
reporting conflicts, especially in a pluralistic society like Nigeria, must remain aloof so that the
players can see him as being in the center and consequently listen and heed to his call.

Political cartoons, according to Jimoh in Onyike, Okoye & Labo (2022) are primary ingredients
in political communication, as they foster political reflection, which can serve as a basis for social

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action. They are viable means of criticising, reflecting and supporting political views through satire
and wit.

Political cartoons are effective means cartoonists use to express their thoughts and ideas about
political issues, events or personalities in a particular period in a playful manner (Becker, 1959;
cited in Sani et al 2012). They are openly and discreetly used to make compelling statement and
provide specific knowledge on contemporary socio-political issues.

The goal of political cartoon is to raise public consciousness using figurative tone and graphical
imageries to address crucial issues and criticize political leaders and their contemptible practices.
In other words, the genre serves as a medium of political reporting, articulating a particular
message from a particular point of view using language and imageries as prime tools (Ogbo, 2016).

Political cartoons are visual images, with or without captions that comment on political
occurrences in the society which are usually published on the pages of newspapers or on the social
media platforms. Cartoons go alongside satirical caricature and comic art and have line as their
principal element. They are forms of visual satire in mass media intended to entertain and to
educate the audience on sociopolitical issues.

However, in recent times, political cartoons need not to be published in newspapers or magazine,
as there are online platforms through which cartoonists disseminate their expressions (Kurfi,
Maradun & Msughter, 2022). Political events such as elections are occasions for cartoonists to
flourish and become extraordinarily active and creative. In political cartoons, cartoonists not only
criticize the status quo but also attempt to highlight hidden discourses and sociopolitical stances
in a humorous way.

Thus, the humor in cartoons should not be considered merely comical because political cartoons
are meant to express the views, attitudes, and ideologies not only of the cartoonist but also of
his/her society. The humor created by exaggerations and caricatures and by analogies are only one
aspect of cartoons. They function as attention-getters that are designed to invite the viewer to study
the cartoon and uncover the hidden messages.

Humor in political cartoons is used as an instrument to highlight solely current political situation
and social issues in society. Thus, humor is seen a tool capable of exposing social and political
absurdities of a moment (Kulkarni 2004).
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Moreover, it is a weapon used to ridicule humanity specifically political leaders in order to address
their follies and irrational behaviors for the betterment of society. Thus, humor constitutes a
significant element of the cartoon genre within the realm of wider political discourse.

Humor as one of the predominant rhetoric of the cartoons genre plays vital role in conveying
messages in the cartoons’ depictions; it is therefore regarded as one of the essential hallmark of
Nigerian cartooning art. Therefore, it is important to note that cartoon humor results not only from
the text embodied in it or the interaction of text and image, but also from the pictorial
representation even if no text is added in the cartoon panel. (Sani et al, 2012).

Cartoonists use five main elements to convey their point of view.

 Symbolism - using an object to stand for an idea
 Captioning and labels - used for clarity and emphasis
 Analogy - a comparison between two unlike things that share some characteristics
 Irony - the difference between the way things are and the way things should be or the way
things are expected to be
 Exaggeration - overstating or magnifying a problem or a physical feature or habit: big nose,
bushy eyebrows, large ears, baldness.

MaddTimes: Incorporating 'Madness' into Political Cartoons

Cartoons have over the years been a significant feature of newspapers and magazine content in
Nigeria. Many newspapers and magazines published have segments which feature various
cartoons and comic strips covering issues on social, political, and economic affairs of the country.
MaddTimes unlike any other, is a full cartoon publication initiated by a remarkable cartoonist,
Joseph Edgar (Duke of Shomolu).

The maiden edition debuted in June, 2023, and is an all-cartoon newspaper that takes a look at
socio-political issues bothering the nation, presented in a funny, yet true comic depiction of such
events. Accompanying such Cartoons, are articles written in a humourous, 'mad' yet factual
manner. Interestingly, the 6-man team boasts of foremost newspaper cartoonists who have made
their mark and left their prints in the sands of time, as far as the issue of cartooning is concerned.

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They are Business Day's Mike Asukwo. Albert Ohams of Sun Newspaper, who has been the
cartoon editor of The Sun since 2003. Others include Joseph Edgar, Charles Ezirinne, Ifeanyi
Eziukwu and Chidi Nebo.

Theoretical Framework
Connotative Meaning Theory
This is a theory of semiotics as it relates to the study of political cartoons. The connotative meaning
theory suggests that the meaning of a cartoon is not fixed, but rather is dependent on the context
in which it is interpreted. According to this theory, the meaning of a cartoon is created by the
interaction between the image and the viewer, and is influenced by the viewer's background,
knowledge, and experience.

This theory was developed by Roland Barthes, a French theorist who is considered to be one of
the founders of semiotics. According to Barthes, the denotative meaning of a cartoon is the literal
meaning that can be derived from the image. The connotative meaning, on the other hand, is the
meaning that is created by the viewer's interpretation of the image. This interpretation is influenced
by the viewer's culture, experiences, and biases.

This theory is a strong anchor for this Study, as the meaning of the cartoon is dependent on the
viewer's interpretation, which is explained by taking a look at the factors and occurrences
necessitating that image.

Visual Rhetoric Theory

This study used Visual Rhetoric Theory postulated by George Campbell in the 18th century. The
basic assumption of the theory is that images or cartoons are used to communicate issues in the
public domain. The theory encompasses the skill of visual literacy and the ability to analyze images
for their form and meaning.

Within the theoretical lens, the use of image to communicate is fundamental as these images help
in forming the case or arguing the point that the writer formulates. Visual rhetoric encompasses
how people arrange segments of visual text on electronic media to comment on sensitive issues
(Aondover, Oyeleye & Aondover, 2022).

Gwandu (2019) and Msughter, et al. (2022) believe that in the application of visual rhetoric, the
meaning should be deeper than the literal sense that a visual text holds. In this direction, there is a
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need to dissect a visual text to understand the meaning behind an image or text. As such, analyzing
a text that includes a photo, painting or even cartoon of the bold eagle with additional written
words would bring to minds the conceptions of strength and freedom rather than merely a
conception of a bird.

This theory is deemed appropriate for the study as visual rhetoric was employed in analysing the
cartoon on the Wike-Fubara Feud. The meaning of the cartoon went beyond what was depicted,
or better still, gave an in-depth explanation of the cartoon.

Framing Theory
The Framing Theory suggests that the media can influence how people think about and understand
issues by framing them in a certain way. This is done through the use of language, images (could
also apply to cartoons as in this case) and other storytelling techniques. In the context of political
communication, framing can be used to influence people's opinions on political issues and
candidates.

The “frame” denotes how something is presented to and impacts the choices people make about
how to process that information. Framing is related to the agenda-setting theory but expands the
research by focusing on the essence of the issues rather than on a particular topic. In other words,
political cartoons put events within a field of meaning (Mateus, 2016).

In like manner, this theory tallies with the cartoon, in the sense that though it depicts Wike and
Fubara smiling as they shake hands, the portrayal of a dagger and matchete behind them clearly
conveys a message that the war is not yet over.

Review of Related Literature

Ifechelobi & Nwachukwu (2021) carried out a study that analysed the semiotic perspective of
selected political cartoons by Mike Asukwo. The study sought to explore the inherent meaning
potentials contained in the political cartoons; analyse their symbolic representations; categorise
them into specific conceptual and source domains; investigate the multimodal resources deployed
in creating such cartoons and finally, align the findings with the shared vision of the cartoonist for
Nigeria. After analysing 6 cartoons, they found out that the cartoonist creatively harnessed the text
and cartoon media to humorously communicate serious socio-political issues. The findings of the

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study demonstrate how cartoons are used in the media discourse to comment on current socio-
political issues in order to transform people, keep them informed and abreast of topical issues
that affect their lives.

Omolabi & Abiodun (2020) in their research on some selected political cartoons in Nigerian
Newspaper found out that cartoons enable readers to be conscious of every detail and element,
with each element in the cartoon contributing to the intended meaning of the cartoonist. It enables
the readers develop critical thinking, making them able to decode the image not from the surface
level alone but also at the phase level.

Kurfi, Maradun & Msughter (2023) carried out an iconographic analysis on Femi Fani-Kayode's
visual genre of cartoons and political Communication. The study discovered that political cartoons
in the Nigerian newspapers are such a strategic editorial piece, which cartoonists use to uncover
social ills and satirise them for public enlightenment. Therefore, political cartoons are
indispensable features of editorial pages and they influence public opinion and serve as a rhetorical
object in lampooning the excesses of the political class.

Ochulor, Okereafor & Okocha (2023) on their part carried out an iconographic analysis of Bola
Tinubu's visual genre of cartoons and political Communication. They reviewed political and
editorial cartoons on the ambition of Bola Tinubu to be President. As was noted, editorial cartoons
possess universal appeal in expressing deep political thoughts subtly and humorously. Any
seeming misrepresentation may have grave consequences.

Methodology
This paper is qualitative research with descriptive and textual analysis. It relied on secondary data
sources. One cartoon used as a cover in an October edition of MaddTimes magazine was reviewed
as the primary data. The study also reviewed research works, academic papers, newspapers reports,
personal account, television interview and newspaper columns on the Wike-Fubara Feud, which
served as secondary data. The study employed the Analytical Method through which a researcher
uses facts or information that are already available and analyses these facts to make a critical
evaluation (Patowary, 2014).

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Data collection
The study population comprised the MaddTimes political cartoons on the Wike-Fubara Feud
published in October 2023, during the heat of the moment. The cartoon which served as primary
data, was obtained from the official Facebook page of the magazine.

This cartoon was chosen as it was the only made about the Wike-Fubara Feud available to this
researcher. It was particularly chosen as it generated hundreds of likes, comments and shares, due
to its relevant sociopolitical theme, visual imagery, no-text nature, and as it was keen to the study.

Data analysis
An iconographic analysis is an interpretation of the content of images: the subjects depicted the
particular compositions and details used, including other elements that are distinct from artistic
style (Ochulor, Okereafor & Okocha, 2023).

In analysing political cartoons, the National Park Service (NPS, 2022), in its Teacher’s Guide:
Analyzing Political Cartoons, suggested five key questions to ask when analysing a political
cartoon. They are:
 What was happening when this cartoon was made?
 Who do you think was the audience for this cartoon?
 What issue do you think this cartoon is about?
 What do you think the cartoonist's opinion on this issue is?
 What methods does the cartoonist use to persuade the audience?

For this study, the above criteria were categorised into two subheadings and use. The categories
are: (i) Background and (ii) Iconographic Analysis.

Background:
This reviews what motivated the publication and the prevailing circumstances that may have
informed the cartoon. Questions like: “what was happening when the cartoon was made?", "Who
do you think was the audience?", and “What issue do you think this cartoon is about?” are
answered in this heading.

Analysis:
This heading analyses the images and symbols utilised by the cartoonist, existing environmental
background and cultural milieu. Questions like, “What do you think the cartoonist's opinion on
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this issue is?" and “What method does the cartoonist use to persuade the audience?” are reviewed
in this heading.

Figure 1.1

Source: MaddTimes magazine.

Background
Understanding the Wike-Fubara Feud: When A Godson Turns Against The Godfather
A Godfather could refer to a person who sponsors or provides care of support for a person or
project. In the words of Akinola (2009) ‘a godfather is a kingmaker, boss, mentor, and principal,
while a godson is the beneficiary and recipient of the legacy of a godfather. He further states that
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“a godfather is someone who has built unimaginable respect…that secures victory for candidates
of his choice”. He continued by saying that the politics of godfatherism involves the anointing of
a godson who is expected to win an election by using the influence, wealth, political structure and
political experience of godfather.

Godfathers are powerful individuals who determine who, what, when and how things operate and
are usually in the corridors of power. Many godfathers in the present day Nigeria operate like the
mafia by displaying similar violent scheming and aggressive ‘politicking’ coupled with
manipulating devices of having their way by any means. They rely on Machiavelli’s slogan, “the
ends justify the means”. Following from the above, it is glaring that godfathers’ role is sponsoring
and bankrolling of bills. This is what gives them the power over their godsons and the penchant to
wrench their powers at all cost if their will is not obeyed.

Further, Uyi (2010) opines that it is obvious that godfatherism involves, two parties, (godfather
and godson), whose relationship is symbiotic in nature. Both parties need each other to survive
and achieve their aim. The godfather bankrolls the campaign of the godson while the godson
reciprocates by paying huge interest and awarding contracts to the godfather. Nigeria is not left
out in this process, as most politicians rose to power with the help of a powerful godfather.

As the second term of Governor Nyesom Wike winds up, it was time to find a replacement.
“Fubara is my boy, this one won’t give me any trouble,” Wike was quoted to have told some of
his confidants after the deal to present a newbie to the Rivers political landscape - Siminalayi
Fubara. In an April interview with Channels Television in Port Harcourt, then Governor Wike was
quoted as saying, "I will not be worried if Fubara turns against me."

To many, Fubara's emergence was synonymous to a third term for Wike, who has now become a
Godfather as it were. Following Fubara's taking over Government on May 29, the first set of
commissioners and aides were said to have been single-handedly picked by Wike. However, things
took a drastic turn, as 5 months into his administration, Fubara fell apart with this Godfather.

There was no known serious indication of misunderstanding between both actors before then, other
than some muffled rumours of disenchantment by Fubara on the overbearing control and influence
of the immediate past governor, Wike on his (Fubara’s) running of the state.

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The raging political conflict between Chief Nyesom Wike, Minister of the Federal Capital
Territory (FCT) and Governor Siminalayi Fubara, Governor of Rivers State blew open in the early
hours of October 23, with the State Assembly Complex providing the main battle ground.

The Assembly was blown up in an incident that was preceded by a reported fire outbreak at the
main chamber of the complex said to have been caused by yet-to-be identified assailants. But as
the day wore on and further events began to unfold, it was clear that the state was being led into a
period of political turmoil with the main gladiators being the two most recent political benefactor
(Wike) and his beneficiary (Fubara). The crisis was like a bolt from the blues as there was no
known serious indication of misunderstanding between both actors before then, other than some
muffled rumours of disenchantment by Fubara on the overbearing control and influence of the
immediate past governor, Wike on his (Fubara’s) running of the state.

The events at the state assembly complex clearly showed the reasons for the fight. It was a clear
demonstration that Wike and Fubara, his political son, were no longer agreeing. The governor was
beginning to feel frustrated at his inability to act with little independence as events in the state
indicated. Twenty-six members of the house led by the Speaker, Honourable Martin Amaewhule,
despite the fire at the main chamber the previous night, held plenary that morning and the main
item on the order paper was to serve impeachment notice on Governor Siminalayi Fubara. At the
unusual sitting, which took place between 7am and 9am, the members stated that the governor’s
sin was “misconduct unbecoming of the person of the governor,” without any further details.
Before the announcement of the decision of the house on the impeachment proceedings, the
lawmakers had suspended Majority Leader of the assembly, Honourable Edison Ehie and five
other members of the assembly (Nigerian Tribune, November 29).

However, in a swift turn of events, the faction loyal to Fubara led by Ehie sat and voted Ehie the
new speaker and sacked Amaewhule and suspended the 25. It now became a case of 25 versus 8,
just like the case of 27 (for Amaechi) and 5 for Wike in 2014. The new ‘speaker’ and his group
allegedly issued an order against the state’s chief judge and asked the governor to appoint an acting
one. Ehie was the House Leader until he was suspended on Monday. But he told reporters at the
Government House, Port Harcourt later that 26 members of the House sat and elected him Speaker.

13
He said, “As you can see, the House just rose from plenary and with all humility I must thank my
colleagues, 26 Assembly members who have just elected me as the new Speaker of the 10th Rivers
State House of Assembly."

Wike, who later gave his own account of the development in the now famous statement on political
structure, declared that he would not allow anybody to take away his political structure saying he
would do all it would take to maintain it. He bore his mind after meeting with some governors
elected on the platform of the Peoples Democratic Party (PDP) in Abuja.

The immediate past governor of the state, who said he could not be “intimidated” by anyone,
explained that impeachment was not a coup, making reference to the planned impeachment of
Fubara by his pro-24 legislators. “Nobody can take away the political structure in Rivers,” Wike
declared. “Nobody can intimidate me. If I want to do something, I will do it. The impeachment is
not a military coup, it is provided under the constitution,” he added.

Analysis
This image pictures the Govenor of Rivers State, Siminalayi Fubara and former Governor, Nyesom
Wike standing on a green grass. They shake hands with smiling faces, but behind them are sharp
drawn weapons, insinuating that the smiles on their faces is not from the heart.

To resolve their dispute, President Bola Tinubu on Tuesday, 31st October 2023, at the Aso Rock
Villa intervened to reconcile Rivers State Governor, Simi Fubara, and his estranged predecessor
and Minister of Federal Capital Territory (FCT), Nyesom Wike, both of the Peoples Democratic
Party (PDP).

Fubara and Wike, who had been embroiled in battle of political wits over control of the State,
however, met and exchanged pleasantries at the State House, Abuja where they both attended the
meeting of the Nigeria Police Council, which is chaired by the President. It was from this meeting
that a cartoon by MaddTimes was drawn to show the handshake, while also depicting that the battle
is not yet over.

To buttress this fact, a number of occurrences are to be analysed. Despite reconcilation moves by
the President, the battle still rages on.

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In a November 1, 2023 report on Daily Post, former Governor Wike was quoted as saying that he
will not back down. Wike said, “You know I will not agree. If heaven will come down, let heaven
come down so that everybody will be at rest. Anybody who knows me knows too well: what I’ll
never take is threat. You know I will not agree. If heaven will come down, let heaven come down
so that everybody will be at rest."

Further, the battle over who presides over the Rivers State House of Assembly is still on, between
the loyalist of Wike and Fubara. Martin Amaewhule is the speaker of the faction backed by Mr
Wike while Edison Ehie, a former leader of the assembly who was removed for not supporting
Governor Fubara’s impeachment is the speaker of the faction loyal to the governor.

Premium Times had reported how on November 21, 2023, the two factions held parallel sittings.
The faction supporting Mr Wike reportedly held a plenary at the partly damaged House of
Assembly Complex, a development that triggered the redeployment of the clerk of the assembly
and his deputy by the state government.

In a November 17 media chat with a private Television station, Africa Independent Television
(AIT), former Governor Wike described Governor Siminalayi Fubara as an "ingrate." He said,
“Let me tell you, I don’t like ingrates; I don’t like it. What is happening now is what Odili said in
his book; ‘Give a man power and money, that’s when you will know the person’. If you have not
given a man power and money, do not say you know the person."

Further, on Friday, November 24, the National Working Committee of the ruling All Progressives
Congress inaugurated members of the caretaker committee for the Rivers State chapter of the party,
headed by Chief Tony Okocha, a long-time ally of Governor Wike. Given the latest scenario, the
supremacy tussle between the camp of Wike and the governor seems to have assumed a more
curious dimension. The battle for the soul of the state could be a long-drawn battle,
notwithstanding the intervention by President Tinubu for ceasefire by the belligerent forces.

To many political commentators, this is a strategy to hand over the party to Wike, and undermine
former Governor Rotimi Amaechi. A Port-Harcourt-based Political Journalist and veteran,
Ignatius Chukwu, in a Business Day article titled Rivers' Political Turmoil and The Thorny Path
Ahead, gives the implication of this new CTC Ctee and how it further deepens the Wike-Fubara
Feud.

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In his analysis, he posits that the new group will serve as an anti-Fubara group in due time.

The first move was to swiftly remove Fubara like a fly, but it failed.
Ceasefire was called. He seems to have used the opportunity to rework his
strategies, but it is not clear if Fubara also used the period to rearm. Now,
Wike seems to launch his most famous left hook, which is to capture
structure with which to capture all other things. Now, the NEC of APC has
dissolved the Rivers State Executive Committee that was loyal to Amaechi
and appointed Okocha with six others to repopulate the party. After this, the
new caretaker will organize congresses into the LGAs and State, during
which Wike/Tinubu men are expected to take over. Amaechi and Abe have
been run out. Amaechi men are said to consider legal action, but they are
said to be advised to pursue more of political action than legal, except to
use some lightweights for legal and heavyweights for political action. Many
may wonder who would populate the new APC. The first plan may be to
isolate Fubara in the PDP. This would be done by moving all the PDP
members into the new APC. They could also use the 25 loyal lawmakers
and the 23 LGA bosses to move grassroots membership from PDP to the
new APC. If it is true that almost all the commissioners are Wike nominees,
it would also mean that they may resign and move en mass. Fubara may
become lonely. Then, the Amaechi APC and the Atiku PDP may be courted
into the empty PDP shell. It is clear if this would create a balance of power.
One other strategy the Wike team may spring as surprise to Fubara is to
obtain a court order any moment soon to stop sack of the LGA bosses, the
fighting force of anybody who controls them. The order may also block the
governor from freezing their accounts based on a motion the 25 lawmakers
loyal to Wike may issue. With this, Wike would control half of the state
while Fubara would control half, but the Wike half with federal might may
be very powerful with LGA cash and security agencies on their side. Most
of the new friends Fubara would attract would be spent forces that do may
not control funds or forces but strong voices that have more value in the
media than elsewhere. Wike is believed to have bigger financial fortress
than Fubara and has bigger spending appetite for whatever he wants, far

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 more than Fubara, who may be husbanding state financial resources like
most accountants would do. Warfare may not be Fubara’s area of advantage.
In this scenario, it is a matter of where the ‘boys’ would want to align. Who
would Tinubu support? Who would Abdulahi Umar Ganduge support? Who
would the police obey? Who would the jungle boys support? Answers to
these questions would determine how the war would be prosecuted. Wike
defeated Amaechi in this jungle political war, and Fubara watched it live,
Now, Wike may be up against Fubara. Would he (Fubara) also sit and
watch?

Conclusion
The political cartoon on the Wike-Fubara examined in this study showcase features that goes to
show that the battle is not yet over. The study discovered that Political cartoons are strategic and
important to keep the people abreast of political happenings. Through cartooning, the Visual
Rhetoric Theory can be performed effectively while the media still create humour to amuse the
audience. The reviewed cartoon also confirms the introduction of irony in political cartooning, and
how this adds a unique meaning to the visual imagery.

The artists were able to shape people's understanding by employing the Framing Theory into the
cartoons to present the political events in their own opinion, which coincidentally is the true state
of affairs. As seen, political cartoons of this nature, even though without a single text possess
universal appeal in expressing deep political thoughts subtly and humorously.

Cartoons are also increasingly becoming an essential part of political communication requiring
specialised study and research. In light of this, cartoons should be used more frequently to explain
key political issues that have a bearing on the lives of Nigerians in comic, yet easy-to-understand
modes. Even as MaddTimes continues in its operations, cautioned should not be thrown to the
wind, so the 'madness' would not be taken too far to escalate the already-heated polity.

17
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