A group of cosplayers brings iconic characters to life on stage at NAICCON, showcasing a wide range of costumes and poses during the convention’s cosplay competition.
When Ann Ndanu and her co-founders launched Nairobi Comic Con (NAICCON) in 2014, they couldn’t have imagined how quickly it would become a staple in Kenya’s pop culture landscape.
“NAICCON was born out of a shared dream,” Ndanu tells OkayAfrica. Ndanu and her friends, Thomas Muganda and the late Brian Barasa, felt frustrated by the lack of accessible spaces for local creators and fans of comics and gaming. And the idea of traveling to world-renowned comic cons in San Diego and New York was out of the question due to the cost.
“So we thought, why not create that experience here in Nairobi?” she remembers. And they did just that. What began as a small gathering of like-minded fans has since grown into East Africa’s largest comic convention, drawing thousands from across the region. Over 3,000 fans are expected to attend this year’s 10th-anniversary celebration on November 16, a milestone that Ndanu sees as proof of Africa’s demand for creative spaces.
To her, NAICCON’s growth reflects the rising global interest in comics and gaming, while redefining what it means to be a fan of these subcultures in Kenya. NAICCON has turned these interests from niche hobbies into vibrant cultural movements with economic potential.
Ann Ndanu, founder of the Nairobi Comic Con (NAICCON), speaks on a panel at a NAICCON event.
Photo courtesy of NAICCON.
A platform for emerging creatives
The first comic book convention was held in New York City in 1964, marking the beginning of a global movement. San Diego Comic-Con, now regarded as the industry’s flagship event, launched in 1970 as a gathering spot for comic book enthusiasts. Today, hundreds of comic conventions and festivals are held around the world, with several in Africa. Over the years, these events have expanded beyond comics to include gaming and esports, technology, animation, film and broader pop culture, reflecting the evolving interests of fans.
From its inception, NAICCON has been more than an event; it has become a platform empowering African creators with the tools and visibility they need to succeed. This shows up in three ways: enhancing the skills of creatives through workshops and masterclasses; helping them fund and showcase their work; and creating opportunities for regional and international collaboration.
“We’ve seen so many projects come to life because of the support we’ve been able to offer,” says Ndanu. “From comic books being published to animation pitches getting funded, these opportunities have allowed creatives to keep their dreams alive and build viable careers.”
A number of comic books have been spawned from the artists’ participation at NAICCON, including Boku by Shin Kyouketsuki, Homeguard by PointBlank Evumbi and Shadow Walkers by Mutendei Writes.
Players compete in an intense mobile gaming tournament at NAICCON, fully focused on their screens as the game action unfolds on a large display behind them.
Photo courtesy of NAICCON.
Shifting perceptions of comic-con culture
Normalizing these subcultures hasn’t been easy. In fact, Ndanu says this has been one of the convention’s biggest challenges over the past decade. “At first, it was tough to get people to take us seriously,” she admits, noting early skepticism from the public and brands. “But as we kept going, we started seeing a shift.” When they first started out, Ndanu recalls getting questions like, “Why are you getting into kids stuff or games? Isn’t that a waste of time?”
However, the rapid growth of industries like esports — valued at $1.39 billion in 2022 — proves these subcultures are more than just entertainment; they’re valuable contributors to the creative economy. “People now see the opportunities here, and even parents support young people studying animation and game development — something that would have been unheard of years ago,” Ndanu says.
This shift is also evident in NAICCON's expansion to include two additional major events: the Mombasa Comic Convention (MobCon), launched earlier this year in Kenya’s second-largest city, and the annual Kids Convention (KidsCon), introduced in 2023.
While securing funding remains a challenge, Ndanu is hopeful that the event will continue to expand with growing recognition. “For a very long time, we went flat broke. We did things on the side to be able to feed on a dream and a vision that we had for NAICCON. And finally, it is starting to look a bit stable.”
A competitive gamer participates in a heated match during the Swahili Esports Championships at NAICCON, as spectators watch the action unfold on a large screen behind her.
Photo courtesy of NAICCON.
This year, NAICCON will feature an immersive lineup of events, spanning film, art, technology, live performances and interactive experiences. Attendees can enjoy an animation and film festival featuring local and international talent, thrilling esports championships and a high-energy cosplay competition. The Fandom Zone will provide spaces for anime, Marvel Comics, DC Comic and K-pop lovers to connect.
“Whether you’re into comics, anime, or gaming, NAICCON has become a place where everyone can feel they belong,” Ndanu explains. “We’ve created a community where Kenyan creators can thrive, and we’re helping to normalize these subcultures within society.”
“Whether you’re into comics, anime, or gaming, NAICCON has become a place where everyone can feel they belong” - Ann Ndanu.
Photo courtesy of NAICCON.
Looking ahead, Ndanu envisions NAICCON playing an even larger role in Africa’s creative economy, with goals to expand into more countries and cities, and build deeper connections into international industries.
“The ultimate goal is for African content and creators to be able to gain equitable recognition and have access to global markets in transforming Africa’s place in the creative economy,” she says. “We are really calling to partners and sponsors who are able to fund and who are able to believe in the heart of what we're doing and why we are doing it as we continue to impact the African creative sector.”
