The illustration, Lara from Voo (see Figure 18) depicts a middle aged young African American wearing a half-dress-like garment over her trousers. The ochre colour, shape, design and cut-patterns on the ends of the half-dress-like garment and its extension from the belt, has close resembles to skin loincloth which are usually associated with ancient African tribes specifically that of the Himba tribe (see figure 19) in Namibia, were women wear few clothes apart “from loin cloth or goat skinned miniskirts” (Yalon 2007).
In addition, she wears bangles and has the mark of Ayizan on her left leg. In both Figure 17 and 18, Freeman revives African Voodoo symbols. However, he draws from the African Diasporic version of Voodoo and not the African, seeing that he is closer to the diasporic one in terms of geographic location.
In illustration, Adze the Sorcerer (see figure 20) depicts a man with a painted face, Voodoo symbols across his chest, a half-cut cape and a loin cloth across his waist, quite similar to that of the Warriors (see figure 21).
In both Figure 18 and 20, Freeman makes use of face painting, an imitation of the Karo (figure 22), a tribe in Lower Omo Valley area of southern Ethiopia (Afritorial, 2014). The Karo tribe excel in body and face painting as a form of differentiation from other neighbouring tribes (Afritorial, 2014). Freeman has also craftily employed this tactic, as none of the marks are similar in each character.