Grand Admiral Thrawn remains one of the most formidable and complex figures in the Star Wars galaxy. Adapting Timothy Zahn’s dense, character-driven prose into the visual language of manga is an immense undertaking, requiring not just artistic skill, but a deep respect for the established lore of the franchise. Artist Man Tsang has taken on this challenge, delivering a striking visual retelling that translates the high-stakes political and military drama of the 2017 Thrawn novel into dynamic manga panels. We sat down with Man Tsang to discuss the pressures of working within such a massive franchise, his artistic process, his influences, and the journey of bringing the Grand Admiral to life.
FT: How did you land the opportunity to adapt the Thrawn novel, and what was your reaction to getting the gig?
MT: I was incredibly excited the moment I heard the news! But just a second later, I felt this massive pressure on my shoulders — after all, Star Wars is one of the biggest IPs in the world.
FT: Were you a fan of Star Wars before working on this project, and what does the franchise mean to you personally?
MT: In the 80s, I think almost everyone loved Star Wars. The epic story felt like actual history, and it made me constantly daydream about that vast universe.
FT: Can you talk about the editorial process involved in this project; how closely did you work with the Lucasfilm team and Panini to ensure the accuracy of the ships, uniforms, and lore?
MT: I’m working very closely with Lucasfilm on this project. I get access to the complete data of every Star Wars materials. I’m really grateful that the Lucasfilm and Disney teams have given me a lot of creative freedom to make it my own. I don’t contact Panini directly though — they mainly handle the publishing side.
FT: What has been the biggest challenge you have faced while adapting Timothy Zahn’s prose into manga form?
MT: The biggest challenge for me in turning Timothy Zahn’s novel into a manga is how amazing and detailed the story is. Every character has deep thoughts and desires, so there’s a lot of dialogue. With page limits, it’s really tight. Also, since the main characters don’t have the Force or superpowers and fight like normal people, it’s quite challenging — especially because action scenes are what most manga readers love.
FT: How long does it take you to draw and complete one full volume?
MT: I need around 9 – 10 months to finish one full volume.
FT: Have you had a chance to meet or talk with Timothy Zahn about your adaptation?
MT: I haven’t discussed the adaptation with Timothy, but hopefully one day we can meet in person and talk about the Manga version.
FT: What is your typical working method when taking on a project like this?
MT: When taking on a project like this, I will create a thorough plan and schedule while rereading the original novel over and over.
FT: How did you approach the visual design of the Chiss species? Was it difficult to keep Thawn recognizable in black and white manga drawings without his typical red eyes and blue skin tone?
MT: First of all, I designed him to look a bit younger for the manga audience. It’s actually not that hard to keep Thrawn recognizable in black and white, since we can use grey tones to bring out his iconic look.
FT: How do you find the balance between your own creative freedom and working within the constraints of a pre-existing story and such an iconic character as Thrawn?
MT: I would submit my own first draft to Lucasfilm and Disney. Once I receive their feedback, I keep refining and revising the draft. By going through this back-and-forth process, the final output would preserve both the original style and my own creative touch.
FT: We noticed some stylistic influences reminiscent of Leiji Matsumoto in your designs; were there specific artists or works that inspired your visual approach to this project?
MT: It’s awesome that the Manga reminds you of Master Leiji Matsumoto, but the specific artist who inspired me a lot for this project is Master Yoshikazu Yasuhiko. I love his epic work, Mobile Suit Gundam: The Origin.
FT: Is this intended to be an ongoing project for you, and do you hope to cover both of Thrawn’s canon trilogies?
MT: The entire project will consist of four books. I also hope to cover both of Thrawn’s canon trilogies because the original novels are so great.
FT: Many artists have a specific “dream project” they hope to work on someday; is there a particular story or character, Star Wars or otherwise, that you are dying to draw?
MT: My dream project is to create an ancient swordsman story. I love stories where characters must face problems with their own blades. I also want to adapt Dragon Ball someday, because Master Akira Toriyama is my mentor.
FT: For the readers hungry for more of your works, what else should we be on the lookout for from you?
Aside from the Thrawn project currently in production, my own Manga series, The Zeros (零課特工), is also a four-volume series. Additionally, my new manga work, Z.K.: The Nekro-Blade (斬魔君鍾馗), will be released at the end of this year.
FT: If you could give one piece of advice to other aspiring artists in Hong Kong who want to break into the international comic or manga industry, what would it be?
MT: Keep your eyes on the global stage, don’t limit yourself to the Hong Kong market. Stay creative, work hard, and push forward every day!
FT: Thank you so much for your time! It’s been a real pleasure to get to know you and to experience your masterful retelling of Thrawn.
