In 2019 Lagos, where oil money has long since
dried up and the streets hum with restless
ambition, Oluwafemi Adeyemi is a man haunted by
the night he left the Ijebu River behind. He was
once a high priest of the Ifa cult, but after a
ritual gone wrong, he fled the spiritual world
for the concrete jungle, trading incantations
for internet startups. His new life as a tech
bro is fragile—his app, a dating platform for
diaspora returnees, is on the verge of collapse.
The city itself seems to pulse with a different
rhythm now. A new generation of spiritual
warriors has risen from the shadows, wielding
smartphones and sacred texts alike. They call
themselves the New Orisha, and they believe the
old gods are waking. Oluwafemi’s exgirlfriend,
Funmilayo, now a pastor’s daughter and leader of
a Pentecostal church, is among them. She accuses
him of betraying the bloodline, of selling their
ancestors’ power for a WiFi signal.
One evening, a message arrives on his phone:
“You took what was not yours. Return it.”
Attached is a photo of his late father’s grave,
freshly disturbed. The cult demands restitution—
not in money, but in blood.
Oluwafemi’s startup collapses when investors
pull out, suspecting fraud. His apartment is
ransacked, and a vial of his father’s ashes is
missing. He returns to the riverbank, where the
old rituals were performed, and finds the Ifa
shrine still standing, untouched by time. The
air is thick with the scent of kola nut and palm
oil.
He is given a choice: join the New Orisha and
become a weapon against the forces he once
worshipped, or face the wrath of the spirits
himself. The river whispers promises of
redemption, but at a cost.
The final act plays out beneath the neon lights
of Lagos’s cybercafé district. Oluwafemi stands
before a screen displaying his app’s last user
login—a ghostly avatar named Ifa. He deletes the
account, erasing the link between his past and
present. The river stills. The shrine burns.
The city moves on. The cult fades. And Oluwafemi
walks away, no longer a man of gods or men, but
of his own making.


