The city of Enugu quietly entered Nigeria’s comic-conversation last weekend, not through a major studio announcement or a heavily funded pop-culture showcase, but through the determination of a small anime fan community seeking something bigger. What began as Shibuya Fest, a modest gathering of otakus, evolved this year into an experimental comic con, the first of its kind in the eastern region of Nigeria.

The event, held at Magic Garden by the Fire Service in Enugu, was spearheaded by Animewonderous, a brand founded by an anime enthusiast known simply as Wonder. Until now, Shibuya Fest had been a niche meet-up for anime lovers to hang out, game, and connect. But, according to the organisers, the goal for this edition was different: open the doors to all lovers of fiction, comics, animation, films, games, and firmly place Enugu on Nigeria’s growing comic con map.

“We wanted to widen the reach and also discover creatives in the industry who might be into comics,” the team explained. “And also, to bring the comic con to the East since none existed before now.”

For many attendees, including artist David Bolt and fans from across the city, the event was a welcome surprise precisely because of its low-key publicity. One of the creators interviewed admitted to stumbling upon the information through a friend’s post. Despite the limited awareness, the programme was packed with activities that mirrored the energy of more established conventions: PlayStation tournaments, voice acting sessions, Call of Duty challenges, a Marvel-versus-DC fan battle, and a live recreation of the “Red Light, Green Light” game from Squid Game.

Animewonderous was the primary brand on the ground, selling limited anime merchandise, though the event also drew local cultural supporters. Viva Cinema served as the sole supporting company, offering branded banners and cinema tickets as prizes for game winners. Indomie and Keystone Bank were expected sponsors but pulled out at the last minute. Nevertheless, the presence of Afia TV and John Uche, creator of the award-winning Celestial Eyes (and representing The Machine), added industry credibility to the gathering.

Unlike major comic cons in Lagos, Ibadan, or Port Harcourt, events backed by media houses, creative studios, and multinational sponsors, Enugu’s attempt was entirely grassroots. No large studios were present, and most attendees were simply fans hoping for a space to belong. Nonetheless, the small beginning mirrors how many African conventions started: as tight communities defining their identity before becoming industry platforms.

The quiet success of this experimental edition raises important questions for the wider Nigerian and African creative economy. As cities like Lagos, Algiers, Nairobi, and Johannesburg build stronger ecosystems for comics, animation, and pop-culture events, attracting tens of thousands and major corporate sponsors, smaller cities are beginning to step forward, signalling a decentralisation of the continent’s geek culture. The Enugu experiment demonstrates that demand is no longer confined to the big hubs. Fans are everywhere; all they need is a gathering point.