Animation, which could be said to be the missing half of the broader Nollywood film industry, has been growing underground and quietly emerging through solo interest amongst Nigerian media entrepreneurs. The industry has been undeterred by the harsh environment and non-existent funding structures and has ultimately broken through to the international networking scene for collaboration with local storylines. This study examines how Nigerian cultural representation operates as a form of policy within the Nigerian animation industry, using Dawn of Thunder: Origins of Sango and Ajaka: Lost in Rome as case studies. As Nigerian animators increasingly engage with indigenous mythology and historical narratives in their stories, their creative choices serve not only as artistic expression but also as cultural policy, shaping identity, heritage preservation, and global perception. Through the films' textual analysis and contextual interpretation, this paper examines how these two animations reimagine Yoruba deities and historical figures, incorporating cultural values, aesthetics, and political subtexts into their narratives and visual styles. The analysis highlights how the deliberate inclusion of traditional motifs, languages, and mythologies in these films serves as both a form of cultural reclamation and as a means of exerting soft power on the global stage, situating animation as the dwarfed half of a healthy Nollywood film industry. This complementary half of the industry also adequately situates animated films as a tool for nation-building and international cultural diplomacy. The findings suggest that in the absence of robust state-led cultural frameworks, Nigerian animators are assuming the role of cultural policymakers, asserting control over representation and narrative ownership in the digital age.