Nina Zejjari signs the comic that accompanies the new EP by 22simba We interviewed her

Born in 2002, 22simba is a rapper from the province of Varese. After his first freestyles, he officially debuted in 2021 with tracks like "Ventidue" and "Per i Roiz." In 2022 he released "Spoiler" with Niky Savage, followed by a series of singles and collaborations. In 2024, he dropped his first official EP, "Isolamento di gruppo," and continued releasing new music up to “V per Ventidue” (May 2025). La Cura now arrives as a new chapter: personal, visual, collectible. With nine tracks, the album marks the clearest point in 22simba’s journey, both musically and visually.

The visual design was entrusted to artist Nina Zejjari, whom we interviewed. Her illustrations expand the narrative, and for the physical editions, there’s even the option to include an exclusive comic in bundle. Within this illustrated world come to life the three symbolic elements of 22simba’s universe: the cat as hope, a sign of positivity and trust that accompanies the artist; the female figure as love, a luminous and ambivalent force that can either guide or distract; and the cloud of smoke, embodying negative thoughts: ever-present, yet destined to fade when hope and love prevail. Music and imagery intertwine in a parallel story.

Interview with the artist Nina Zejjari

What was your visual starting point for your work on La Cura? Did you receive stylistic direction from 22simba, or did you have full creative freedom in defining the comic’s aesthetic?

My starting point was actually cinema. I always draw inspiration from films for my visuals: the blue color palette of movies like Donnie Darko or 8 Mile, and for the characters, the magical worlds of Tim Burton and Miyazaki. The project was truly a collaboration. For me, co-creation is essential - brainstorming, exchanging ideas - I don’t like working in isolation. Of course, I already have a very defined aesthetic and visual world of my own, and I think Andrea knew that when he saw my work. That was the idea: to merge our two creative worlds into something that contains both.

How did the relationship between music and imagery evolve in the project? In what ways did the album tracks inspire your characters, settings, or visual narrative choices?

I’ve always felt a deep connection between music and drawing, and 22Simba’s music spoke to me right away. I remember I had already made an illustration with trains in the background for Primo Tour, and that’s how Andrea discovered my work. Listening to La Cura, I felt the intertwining of pain, love that confuses everything, and above all, hope. So, together with Andrea, Luca Perrone, and Giordano Mattar, we tried to create something that could truly be read and listened to in symbiosis.

Is there a character or scene from the comic that you feel particularly attached to? What was your process (sketches, revisions, coloring) in reaching the final version?

I’m attached to all of them, honestly! But I’ve always had a soft spot for the cat, it feels like home. The first part of the comic, from Il Primo to Cornici, is especially dear to me: that’s where I started. We were in the studio while I was sketching on my iPad, then I cleaned everything up once I got home. It’s all digital, but I like to treat it as if it were paper.

Did you face any particular challenges in translating musical themes - emotions, atmosphere, lyrics - into the comic format? How did you overcome them?

Honestly, I didn’t encounter major obstacles, because for me comics are a limitless art form: no budget constraints, no rules. With a pencil, you can build entire universes. The real challenge was probably translating the rhythm of the music onto the page, since comics are read much more quickly. But by listening deeply to the tracks and immersing myself in them, it became more of a joy than a difficulty.

Working on a comic tied to an album implies a synergy between different media. How did you collaborate with 22Simba (lyrics, music, timing) to ensure that the illustrations and music spoke to each other coherently?

It all happened very fast - we talked on the phone, and a few days later I flew to Milan. We spent two weeks working together with the team. I think the true synergy came from the bond we built. We were in the studio; I was following the music’s progress closely while sitting there like an iPad kid, drawing. The lyrics spoke to me so clearly that it almost felt like the characters were already there, waiting. Plus, I’ve always been drawn to different art forms - in my free time, I sing and write - so that world wasn’t foreign to me at all.

Looking ahead, would you like to develop other projects that combine music and comics? Do you already have ideas in the works or styles you’d like to explore in similar collaborations?

Absolutely. I’ve never wanted to put myself in a box. For me, the goal is simply to tell stories. Mixing artistic mediums is the most powerful thing you can do. I want to keep pushing that further: whether it’s comics, animation, or anything else and explore as many media as possible. I really hope to keep working with artists open to that kind of creative synergy.