In terms of Star Wars storytelling, 2021 started off with an engaging, mutli-layered, and exciting new era, one of its most ambitious publishing initiatives yet: The High Republic. Spreading across books, comics, and more, the era brought new heroes, dastardly and scary villains, and a plethora of new designs and concepts in the galaxy far, far away. For the comics side of things, Marvel unleashed The High Republic, a comic series following Jedi Knight Keeve Trennis and her Master Sskeer, as well as other notable Jedi of the era like Avar Kriss, as they dealt with the ravenous Drengir. To help writer Cavan Scott bring the horrors of the Drengir, the righteousness of Keeve and Kriss, Sskeer’s mysterious struggles, and epic-sized action to the pages of the comic, Marvel tapped Ario Anindito…and our eyeballs have never been the same, in the best way possible! This masterful artist has brought scary panels and tender moments to vivid, detailed life, so I reached out to him to understand how he does it, the pressures of building up a new era, and so much more. Head below for our interview with Ario Anindito!
Ario Anindito is one of the main artists for Star Wars: The High Republic, written by Cavan Scott, and has thus been one of the first people who brought the new era to life beyond the page, after the glimpses of Phil Noto’s concept art when it first was announced. For us readers, it meant some of the most detailed, expressive, and packed panels yet for any Star Wars comic, as Ario brought a level of skill and meticulous craft which made it even easier to fall for and root for new Jedi like Keeve, Sskeer, Terec, Ceret, and more, but it also meant some cunning looks at some of the era’s creepiest villains, the carnivorous Drengir or the crafty Lourna Dee. Ario’s always been very kind and excited to interact with fans and he’s often thanked me for my reviews of the series, but all the thanks belongs to him, especially after he was gracious enough to accept an interview offer. I originally posed the questions for this interview about halfway through the run of the series, so you’ll see we only begin to mention issue #9 and Keeve’s undercover mission with the Nihil, it’s since been announced Ario is bringing to life a new Obi-Wan comic miniseries, and his work will be featured in the upcoming Art of Star Wars: The High Republic later this year, but my focus was always more on the how and why of his craft and his work alongside Scott, so consider these answers timeless. In fact, Phase I of the era closes in March, as Ario and Scott’s final issue of THR drops March 2, so what better time than now to hear from its stellar artist! Without further ado, check out the interview now!
Mynock Manor: Tell us a bit about yourself!
Ario Anindito: I was born and raised in Indonesia, I studied architecture in college, but I always loved to draw comics ever since I was little. My first introduction to comics was this European comic called {The Trigan Empire} by {artist} Don Lawrence. I’m an introverted person, I love to stay at home, watching movies (especially horror movies!), collecting action figures, and I love to eat delicious food and then take a long nap.
What was your path to becoming an artist like?
Well, I started drawing when I was around 6, then I kept drawing all the time.. I took architecture in college, and when I graduated I published my comic through an indie publisher. It’s never an easy road, as being a comic artist at that time is not considered as a good profession here in my country, but I am stubborn on doing my passion and chasing my goals (I even got into a big fight with my parent for the same reason), so I keep drawing and drawing. Eventually my work was spotted by an agency and they are the ones who connected me to big publishers, and I started to work for DC in 2012 and then Marvel in 2014.
Can you walk me through your process for drawing a comic issue? How does that vary when you do inking alongside your pencils vs when you do only pencils? Whose choice is it when you do both versus only pencils or is that a personal preference?
First is of course reading the script thoroughly. Then I make layouts, while watching movies or reading comics that I considered as a good reference for the project..
After approval, I start making the real artwork/pages. I will decide if this one is better to be done digitally or traditionally. As for inking or doing only pencils, that is up to the editors. I will follow their decision as I trust that they know which one is better for the project. The only difference is if I’m inking then I can just do scribbling on the penciling stage, because I will understand what the line art means, and I work faster that way. I always ink digitally now.
What’s your fandom history with Star Wars?
It was when I am still a lil’ kid, in my aunt’s house.. I see the droids duo in Sesame’s Street, and I was like.. whoa those robots are cool! Where’s that from? And then my older cousins were like.. you don’t know Star Wars?? And they immediately put Star Wars in the video player (VHS) and I was hooked in a blink! The rest is history, I guess.
Before we jump into The High Republic, let’s talk about your first Marvel Star Wars work: Star Wars Annual #4, where you drew the Sana Starros sections. What was it like getting to work on your first SW project? And what was it like making an issue with two other artists? What did you learn from the experience that you brought into your other projects and later The High Republic?
Well it’s like a dream come true, of course! I was hesitant on taking the job because as a fan, I am nervous and I don’t want to ruin Star Wars! But my wife insisted that I have to take it because she really loves R2-D2 and I think she will kill me if I ended up not doing it.
Making the issue with 2 other artist was like…hey it’s Marc Laming and Roland Boschi…and I have to make sure my artwork is on par with theirs…no pressure! XD I was so very nervous. I don’t want to be the ugly part on the book. So I tried my best. It was okay I think, in the end. From the project I learned how to draw spaceships and droids, and those skills have proven useful in my next project!
What’s it been like working alongside writer and High Republic era architect Cavan Scott? Do you ever get as mad at him as the fans do for making you draw heartbreaking stuff (or are you two in cahoots on the heartbreak)? How has the collaborative process been, like have you added to the story beyond Scott’s scripts?
It’s like riding in a roller coaster. We both are the same person, we love horror stuff, and we are cruel in a way, hence I never got mad at him for doing sadistic stuff in THR. But I never in cahoots on the heartbreak stuff…it’s all on him! XD
Yes as a fan I find some scenes are difficult to draw, but I totally understand why it has to be there. As for the collaborative process, well, we’re like this old couple who knows each other well, so I know exactly what he has in mind when he wrote things, and sometimes it comes to the point where we are debating and bickering over small things, but it’s for the greater good, we both want it to be perfect. There are some small elements that I added to the story, yes, but mostly my biggest role in terms of adding something that isn’t there is more into visuals, not story related.
And what’s it like working alongside the rest of the art team, from Mark Morales on inks, Annalisa Leoni as colorist, and Ariana Maher for lettering?
I know Mark’s work since I was a kid, so it’s a huge honor to work with him.. a legend. He’s very easy to work with, very collaborative and super humble, very kind, and I am very lucky to know him in person. He’s the best! Anna is very kind and artistic, she knows what she’s doing and she does magic with her colors. We were in the same agency so we’re like brother and sister back then, hahahaha. When she left the team, I was very sad, but then Carlos came and it fixed my broken heart…I would love to collaborate with Anna again in future projects, of course! Ariana, I don’t communicate often with her, unfortunately, but with her amazing ability she’s able to know how I pictured where the word balloons or SFX are! She is really good, she made the flow even better with the perfect placement! {Editor’s Note: We interviewed Ariana regarding her lettering work for the series!}
Is it daunting to be creating and building out this new era or freeing because you can make it your own far easier? Any favorites out of what you created or are they all favs?
It’s both. But none of them meant that it was easier. I have the pressure to create something new and yet old, and people have to feel that all of them belong to Star Wars universe… but on the other hand, I don’t have the pressure of having to draw something that is already very well established and there are strict rules that we need to follow for that.
It’s always fun to create and explore something new. But it’s also super fun to get to draw characters that you grew up with.. that’s how I feel with Obi-Wan!
When drawing characters we haven’t seen yet from other parts of the era, do you have to consult with the larger High Republic era teams, be it the other Luminous authors and/or The High Republic Adventures artists like Harvey Tolibao? How often do you have to adhere to the concept art originally drawn up for the era by artists like Phil Noto?
Of course. Every time I design something it has to be approved by the Lucasfilm team. I also consult with Cavan.
Harvey is my teacher in comics (he taught me many things!), but in this project, we don’t really consult each other as we are already busy working on our own comics. But it’s something out of this world to see Harvey draw the characters and elements that I designed! He even made a tribute cover, taken from a scene I drew in THR #1! It was such an honor for me. Phil’s concept art is very useful, some of the main Jedi in THR are taken from that very drawing! I paid tribute to one of his concept art when I was tasked to design Keeve’s new hair when she’s in disguise.
What’s something you’ve enjoyed reviewers/fans picking up on from your art? What’s something you think reviewers/fans often overlook?
All the details I’ve placed and put on the pages. The reviewers/readers spotted everything. Even the subliminal ones, they can tell what I meant by those lines. The reviewers are amazing, they write very detailed and thorough review and analysis. And all of it boosted my power to do better. It’s like the reviewers are sending me the Force to keep going! I can say nothing is being overlooked. They see everything!
Have you brought in any influences from Indonesian culture to THR or your other works? Is there a part of your culture you would like to see in media and/or Star Wars more?
I did take an inspiration for a Sith mask that appeared in one of the THR issues from a Balinese mask. 🙂
And yes! I’d love to see a Jedi with Malays ethnicity. Indonesia is Malays ethnicity, and it’s still Asian but there are many different part of Asia and the look+culture differs too.
What have you connected with in the series so far? Have you been able to enjoy the story while working on it? Do you read other parts of the High Republic era’s story?
All the characters that I draw. I’m genuinely in love with them. I spent almost 1.5 years with them, I watch them grow, from nobody to what they are right now…characters that are loved by many many people. I am proud and happy that they got the appreciation they deserved, they are great characters…and it’s not because I draw them, I speak here as a fan, who genuinely is in love with them!
I truly enjoyed the story. You should see my face every time I got to read new script from Cavan. Unfortunately, I didn’t get the chance to read all the other parts of the High Republic era’s story as I need to use all my time to work on the comic, but I do know what’s happening, and what is around.
What do you bring into your art to capture heartbreaking moments, like when Keeve cradles Sskeer at the end of issue #5?
I imagined all of my favorite teachers, and how it feels to lose them, or to say goodbye to them. Teachers are heroes, and I do respect them a lot! I also recalled many many sad and heartbreaking moments from every movie that I’ve seen. It really helps.
I really loved the sense of atmosphere aboard the abandoned ship in issue #2, from the constant smoke making the large ship feel claustrophobic to the sense of dread after seeing the slain Hutt, while the unraveling Sskeer, as he chops away at the Nihil, was an intense, frightening series of panels. How do you go about creating that atmosphere and capturing the fiery, animalistic anger on the scaly face of Sskeer?
I’m clearly heavily influenced by Alien when I drew that issue. I imagine the scenes of Alien in Star Wars world, and how scary it is to explore a ruined abandoned ship where we can see dead bodies everywhere! As for drawing Sskeer…I love drawing monsters. Let’s just leave it at that. And I channel all my anger that I have at the time, on Sskeer’s face. I guess I look like him, minus the scale and height.
After you read Cavan’s script for issue #8, were you daunted about penciling it, the scale and epic nature of the final clash of the Jedi & Hutts against the Drengir? How do you balance drawing the bigger aspect of an issue like that while also highlight the personal, character moments like Avar and Keeve’s connection as they rally the Jedi together?
Funnily, no. Somehow I love drawing all the mess, even though I know it will torture me. But come on, it’s an epic battle! We all play with our action figures when we’re a kid and we always do epic battles where we take every single toy we have and do an epic face off! And to balance it off, I switched mode to my melancholic, mellow character, changed the music I listened while I draw the pages. The music I listen to when I draw THR is the Highwaymen, the Cranberries, classical music, and of course Star Wars theme songs by the great John Williams.
As much as I don’t want to talk about it, I have to: in issue #4, there’s the panel where the Drengir bursts out of the Hutt’s body like something out of Alien, and as I said in my review, it almost made me throw up my breakfast. What was the process for designing that, one of the series’ many horror-like moments, and what did you like about the panel after the rest of the team added to it?
Ha! Gotcha!
As I said, it’s Star Wars’ Alien burst moment. But this one is more brutal, as there’s a lot of Drengir veins or tentacles bursting out all at once and attacking the Jedi. The process is all about channeling that John Hurt Alien moment. What I like after the rest of the team added to it is that in the end, it’s exactly like how I pictured it to be. The tone, manner, atmosphere. Everything clicks!
In the preview for issue #9 we see Keeve Trennis and Terec in full Nihil garb, and while I won’t ask why, I will ask, how was it designing these characters in the villainous outfits? How did you capture what makes them recognizable despite the new look?
Well by this time you already know why! hahahaha. It was fun. Phil actually drew Keeve in the Nihil armor for the cover already, so I followed the design and added the rest of it. I used the mohawk haircut from his initial sketch of Keeve to honor his design. And then I designed Terec’s armor with the similar style. As for making them recognizable, well, Terec is easy to recognize LOL. As for Keeve, I have this face in my head on how Keeve looks like, so I always use it as a guide every time I draw her.. and I think it helps to make her recognizable.
What’s it like handing off the series to pencil/inker team Georges Jeanty and Karl Story for a few issues?
Not easy, as I see it as my baby. But then again, Georges and Karl are veterans in the industry, and they definitely know what they’re doing. So it’s in good hands, and I feel much better. 😀
I was checking out some other interviews you did and in your Clashing Sabers one you mentioned your wife would kill you if you messed this up, since she’s also a big Star Wars fan…how’s her reaction been? It must be good since you’re still alive!
Yes! She’s very proud of me. She let me buy more toys, and she let me live! Thanks to THR! 😀
To send this off, tell us where fans can connect with you and what else you’re working on!
Well, I am always reachable @arioanin with my Instagram and Twitter.
And I’m also on Facebook, just search for Ario Anindito.
As for what else I’m working on…well, now I’m working on statue design with XM Studios, a digital Marvel game, designing characters for Star Wars, some local projects, appearing in workshops and online sharing, making some illustrations for novels, drawing some covers for Star Wars and BOOM! studios…
…oh and drawing a comic about this Jedi turned into an old hermit. ;D
I’d like to use this chance to thank everyone who supported and appreciated us the High Republic team, it truly means a lot for me and the team. For Light and Life.. May the Force be with you, always!! 😀
Thanks so much for taking the time to chat with the Manor!
{This interview was edited for clarity}
As you can tell, Ario Anindito is a simple man trying to make his way through a comic universe, one masterful, gorgeous panel at a time. He’s far too humble for his talents but it’s what makes him such a joy to interact with and help boost up, as he says, with our reviews. I’m glad he’ll be back for more Star Wars comics with the upcoming Obi-Wan series and hopefully he’ll return for more High Republic adventures in the future, be it during the era’s jump to the past this October for Phase II or when it returns to the ‘present’ for Phase III. Either way, he’s going to be busy, as he pointed out at the end of our interview, and it’s clearly well-deserved. Make sure to check out the final issue of the series, and our review, March 2!
Ryan is Mynock Manor’s Head Butler. You can follow him on Twitter @BrushYourTeeth. You can follow the website on Twitter @MynockManor and Instagram @mynockmanor.