From Accra to the Global Page

Currents is our new interview series spotlighting contemporary creatives shaping today’s visual and cultural landscape. Each conversation explores their background, inspirations, challenges, and lessons, an honest look at creativity in motion. The name Currents reflects movement and connection: the flow of ideas and energy that defines the present.

In a medium long shaped by Japanese and Western traditions, a new manga voice is emerging from Ghana. For Xaeviaire and his Accra based team at STUDIO SUAVEMENTE, storytelling extends beyond the page. It also means rethinking how creative work is published, paid for, and protected.

Their latest titles, The Book of Sena and Black Star: Africa’s Finest, are both written by Xaeviaire and illustrated by Romeo Asamoah and Stephen Asante. Fully conceived and produced by African talent, the books merge the visual language of manga with distinctly African perspectives and themes. Both properties are owned by STUDIO SUAVEMENTE.

Their release coincides with the launch of Silk, a new publishing platform built for African creators and audiences. It integrates mobile money, enabling writers and artists to publish independently, earn directly, retain ownership of their work, and offer preorders to readers.

We spoke with Xaeviaire about the discipline, influences, and long-term vision behind building manga from Ghana.

Which cultural, artistic, or personal influences have most shaped your work? My biggest inspirations are the manga Bleach, Trigun, and Full Metal Alchemist. I also pull heavily from the wit and sarcasm of British and American sitcoms. Personally, the clever, sarcastic dynamic I have with my siblings directly fuels my character interactions.

“Honestly, my primary goal is local relevance, creating representation for an audience that has none in this genre.”

How did you learn your craft as a writer? My process is built on discipline. I commit to writing 10-20 page chunks in a single sitting. I learned by doing, and a major breakthrough was realizing I had to draw from real life—like my siblings' banter—to make the writing feel natural.

How did you approach this project, and what were the main influences behind your work? The approach was to blend the shonen manga themes I love, teamwork, hard work, comedy, with a uniquely African perspective. The influences are a direct mix of those manga and the comedic timing from sitcoms like Friends and The Catherine Tate Show.

Can you walk us through the creative process for this project? It's an auditory process. I talk to myself, act out scenes, and even record dialogue with friends to test the back-and-forth. My core principle is that if a line doesn't sound right when spoken, it won't read right on the page.

“It's woven into the DNA.

We've even developed our own writing system using Adinkra and Amharic as inspiration.”

What has been the most rewarding and most challenging part? The most rewarding is seeing a thought from my head become a tangible book and being amazed by the illustrators' visual interpretations. The most challenging is the waiting—the long gap between writing and finished art—and the lack of a formal industry in Ghana, which makes financing and distribution a major hurdle.

What tools or techniques do you rely on most? My most crucial technique is performance: acting out dialogue and testing it aloud. The primary tool is discipline, committing to those 10-20 page writing sessions.

What aspect of this manga feels the most uniquely African? It's woven into the DNA. You see it instantly on the cover with a character holding a suya-kebab. It's in the fashion, which modernizes traditional elements, and in the names, which are created by morphing African words. We've even developed our own writing system using Adinkra and Amharic as inspiration.

What are the main challenges you face as an artist from Ghana? The main challenge is a lack of understanding and infrastructure. The immense effort and cost are underestimated, and there's no system for financing a "manga" business. We've had to build our own distribution channel from scratch to protect our IP.

What makes this project globally relevant? Honestly, my primary goal is local relevance—creating representation for an audience that has none in this genre. However, I believe its global relevance comes from offering a fresh, authentic perspective. Africa has a wealth of untold stories that can resonate with a worldwide audience looking for something new.

Do you believe we’ll see more manga from outside Japan? Absolutely. Manga is now global. The key for new creators, especially in Africa, is to tap into our rich cultures to tell the unique stories the world hasn't seen, offering a fresh take on the medium.

Who or what makes up your support system? My small, trusted group of friends. They provide harsh, valuable feedback. I keep the circle small because too many cooks spoil the broth. If they crack a smile at our work, I know we're on the right track.

What’s the worst or most surprising advice you’ve received? None, and that's the surprise. I'd be shocked to get negative advice because this hasn't been done on this scale in Ghana before. There's no precedent, so we're writing the rulebook ourselves.

“A job done right is a successful job. Success is a byproduct of the work, not the goal itself.”

How do you handle creative disagreements? Fortunately, we have strong alignment with the illustrators. We resolve most potential issues in the script stage to avoid wasting time later. It's a collaborative trust where I focus on story and emotion, and they have freedom on visual design.

How do you handle creative burnout? We prioritize health. If anyone on the team feels burnt out, we simply stop and take a break. The rule is fair: you can take time for mental health, but you are responsible for catching up on the work to meet our deadlines.

What’s one thing you wish you had known before starting? How intensely time-consuming and patient the process is. It's not a hobby. After writing, you must wait months, sometimes a year, for illustrations. If you lack patience, don't start.

What does professional success mean to you? I focus on doing a good job, not on achieving 'success.' A job done right is a successful job. Success is a byproduct of the work, not the goal itself.

What boundaries do you set to protect your creativity? A simple but crucial one: 'Do Not Disturb' on all my devices. When I need to focus or decompress, I create that digital space.

How do you approach and respond to feedback? I listen to all feedback but don't stress over it. I'm in control of the final product, so I thank people for their input, implement what resonates with the vision, and disregard what doesn't.

What advice would you like to share with aspiring writers? First, never accept your first draft. Scrutinize it and be ready to rewrite or scrap it entirely if it doesn't feel authentic. Second, in the age of AI, get comfortable with pen and paper. A handwritten story demonstrates original thought and effort, making your IP more valuable and truly your own.

The Book of Sena: Act 1 – Escape from Kavu Betrayed by blood and left for dead, Prince Ozoma awakens seven years after the fall of his kingdom. To the world he is Sena, just another survivor—but he carries the rare ability to master all three Oras: Cosmic, Elemental, and Material. To reclaim his birthright, he must hide his name, survive brutal training, and outwit the uncle who destroyed his family. Secure your own copy here.

Black Star: Africa’s Finest In a future where Africa defies global powers, two rogue scientists create the continent’s first Omega-level weapon: Betty Bedeako, a disgraced naval admiral turned unstoppable force. As old betrayals resurface and global tensions rise, Africa’s fate rests on a weapon born from trauma, rebellion, and lightning. Secure your own copy here.

All images are courtesy of Studio Suavemente.