Talking With Iron Pinky

In the vibrant world where comics, video games, and illustration collide, few names resonate with as much style and precision as Edwin Huang, better known to fans as Iron Pinky. A leading force at UDON Entertainment, Huang has spent years shaping the visual legacy of Street Fighter, Mega Man X, and countless other pop-culture staples through his kinetic linework and unmistakable Capcom-inspired energy. His work pulses with movement and attitude — a blend of anime dynamism and comic-book storytelling honed through years of passion and reinvention. In this exclusive conversation with Anthony Andujar Jr., Iron Pinky opens up about his influences, creative evolution, the challenges of maintaining authenticity in a post-A.I. world, and why balance — not perfection — remains his ultimate artistic goal.

Interviewee: Edwin Huang AKA Iron Pinky

Interviewer: Anthony Andujar Jr 

Q1 Who were your influences from various media, films, shows, and music that impacted your journey as an illustrator? 

EH: 1- My influences vary depending on genre. For comics, it’s always been Stuart Immonen and Phil Jimenez. They are always an example of storytelling greatness. For style and dynamic figures, I’m highly influenced by Bengus, Akiman, Shinkiro, and basically all of the Capcom gods. My favorite films include Akira, Tekkonkinkreet, Up, Dead Leaves, and Fallen Angels. Music varies depending on mood, but a few on my list are Pusha-T, the Pillows, Scars on Broadway, and Noel Gallagher’s High Flying Birds.

Q2 You’ve been a major illustrator within the Street Fighter mythos at Udon for many years. What were the challenges with developing your style, work, and reinvention from decade to decade? 

EH: Finding my own voice and style was the hardest part. Trying to follow up after legends like Arnold Tsang and Alvin Lee was a bit intimidating. I eventually found my groove when I realized that simplifying my art style helped me fine-tune my work. Focusing on big shapes and a clean style felt more Capcom-esque than my initial process, which tended to over-detail everything.

Q3 As an illustrator, what are your concerns that you have in a post-A.I. world, and how does it impact you as an illustrator who’s made iconic imagery from blood, sweat, and tears in the same fashion as the very street fighter characters you’ve illustrated?

EH: Luckily, a lot of customers and readers want to support artists as much as they can. I’m very thankful that when I table at comic conventions, people want to absorb as much human-made art as possible. 

Q4 Are there any projects that you have currently that you’ve been devoting time to? 

EH: I just wrapped up my time on UDON Entertainment’s Mega Man X Timelines comic. Although I won’t have time to work on their ongoing X title, it’ll be in good hands. I’ve seen a few pages from Hanzo Steinbach, and they’re killer! I’ll be working on the covers for it as well.

Q5. If there is one project that you can recall that you feel might be the best work you’ve made throughout the duration of your time at UDON, what would you say is the book that best represents your work? 

EH: I think my time working on Street Fighter vs Darkstalkers is when I finally got into the groove and flow of comic storytelling. I don’t have any favorite projects I’ve worked on with them, but it is always an honor to collab with such talented folks at UDON. Shout out to Espen Grudentjern, Hanzo, Genzoman, and Josh Perez for fixing my art and always having my back.

Q6 Outside of working on comics, you often do commissions. What are the challenges that come with working on commissions? How do you balance time between that, professional work, and personal projects?

EH: Commissions are always fun because they are usually done traditionally. I love busting out the Copic Markers and readjusting to traditional work. I have yet to find the balance between professional work and personal, and I think that’s okay. I think finding the balance between life and work is even more important. Making sure you find that balance is key to a healthy relationship with art.

Q7 When working on projects, is there a particular soundtrack or playlist that you arrange and listen to? If so, why do you listen to it and how does it impact the tone and mood of the work that you illustrate?

EH: If I’m penciling or thumbnailing work, I usually play music in the background so I can concentrate. If I’m inking or coloring, I’ll run YouTube and Netflix in the background. I usually watch my anime dubbed, so I don’t need to take my eyes off my canvas.

Q8 Are there any projects that you have in the pipeline that readers should keep an eye out for? And where can they stay up to date with your work? 

EH: There will always be a constant stream of statues coming out through Premium Collectibles Studios that I have a slight hand in designing. My latest UDON project is the cover illustration for the Shovel Knight Ultimate Design Work artbook. You can follow my personal work at ironpinky.com

Thanks!