Once upon a time in Nigeria, comics weren’t just stories they were childhood companions.
From the laughter that came with flipping through Ikebe Super to the thrill of Supa Strikas and the sharp wit of Pacesetter magazines.
Nigerian kids once lived in a world where home-grown comics sat proudly on newsstands and in classrooms.
But today, ask most Nigerian kids about comics and they’ll probably mention Naruto, Spider-Man, or Black Panther long before they ever say Guardian Prime or Vanguards.
So what happened? Did Nigerian comic creators lose touch with their audience, or did the audience simply move on?
Comics Were Once for the Streets
In the 1980s and ’90s, comics were everywhere. You could buy them at roadside kiosks, borrow from friends or find them tucked inside a cousin’s school bag.
Publications like Ikebe Super (by the legendary Wale Adenuga) and Papa Ajasco offered humor, while pioneers like Ibrahim Ganiyu’s Dark Edge pushed Nigeria into the superhero space long before the Marvel Cinematic Universe became global religion.
But somewhere along the way, Nigerian comics became niche. As Nollywood boomed and Afrobeats went global, local comics quietly slipped from daily life into collector territory.
Kids Are Still Reading: Just Not Nigerian Comics
Let’s be honest: kids haven’t stopped reading comics. They’re consuming Japanese manga on apps, streaming anime and saving superhero fan-art on TikTok.
According to a 2023 report, comics and graphic novels reading remains steady in youth culture.
But Nigerian comics? They often don’t make it into the spaces where kids already are.
Walk into a Lagos bookshop and you’ll spot imported Marvel or DC titles, but the shelf dedicated to local superheroes might be missing.
It’s not that kids don’t want Nigerian comics it’s that they can’t always find them, and when they do, they’re often priced out of reach.
Are Nigerian Comics Missing the Fun Kids Want?
Another critique among the creative circles: some Nigerian comic studios appear to be making content for adults, not for children.
The stories lean heavy complex political themes, afro-futurism, dystopian sci-fi. They may wow investors and critics, but do they entertain the kid who just wants to act out the hero in the playground?
Studios like Comic Republic (showing titles like Guardian Prime) and others are telling powerful African-superhero tales, but the target audience often feels closer to teens or young adults.
Meanwhile imported manga and manhwa strike the balance: action + humor + teen-relatable life. The very audience Nigerian creators might be missing.
Digital vs. Print: Who’s Winning?
Here is the twist: many Nigerian creators are finding more success digitally than in print. Apps, Instagram comics, webtoon-style platforms are gaining ground.
Studios like Panaramic Entertainment have also tapped digital + print hybrid models.
But even online, competition is fierce. Kids are already used to free or inexpensive digital content. Without strong marketing and discoverability, Nigerian comics risk being drowned out by global players.
Did We Price Kids Out of the Market?
Back in the day, comics cost the equivalent of pocket change. Today, some local print comic issues sell significantly higher, making them less accessible for children.
Compare that to subscriptions or free apps offering manga and webtoons.
This isn’t just a business issue, it’s an accessibility crisis. If Nigerian comics want to win back the younger audience, they may need to rethink affordability, distribution, and visibility.
Honoring the Pioneers And Asking What’s Next
We can’t gloss over the trailblazers: Wale Adenuga (Ikebe Super, Papa Ajasco), Morak Oguntade (Tempo Magazine), Ibrahim Ganiyu (Dark Edge) they got it right for their time.
The real question now: who’s cracking it now? Which creators and studios are reconnecting with kids, building stories children can find, buy, read and replay in their imaginations?
So… Who’s to Blame?
Is it the creators, for shifting focus away from the core audience of kids? Is it distribution, for making local comics harder to find than a leaked manga scan?
Or is it economics where printing, marketing and sustaining a comic studio in Nigeria raises the cost barrier? The truth likely lies somewhere in between.
The Final Panel: Over to You
So, have Nigerian comic creators truly forgotten their audience or have the kids simply moved on with global trends?
Maybe it’s time the industry had a deeper conversation about accessibility, affordability, and stories that connect with all generations.