The second edition of Kolkata Comic Con 2026 brought with it a riot of cosplay, collectables, and comic book culture, alongside an opportunity for fans to come face-to-face with some of the most exciting names in the global comics industry. Among these was Brazilian artist Roge Antonio — best known for his work with Marvel Comics — who found himself in India for the first time to headline this year’s edition of Kolkata Comic Con. In a brief chat with t2, Antonio described India as “a whole different culture”, adding that he was thoroughly enjoying his time in Calcutta by discovering its many “cool places” while also engaging with an entirely new audience.
For an artist whose days are largely spent at the drawing table, working in relative solitude, the experience of meeting fans in person offers rare and meaningful insight. “My favourite thing is to hear their feedback,” Antonio tells us, emphasising how these interactions allow him to connect better with readers. While he struggled to single out one defining piece of feedback, he admitted that hearing fans say that his work inspires them gives him “a sense of purpose”, a reminder of the impact his art has beyond the page.
Currently working on Cyclops, one of the central figures in the X-Men universe, Antonio spoke briefly about his approach to the character, noting that he hopes audiences connect with this iteration. Fans, in fact, have already begun responding to a more vulnerable and human portrayal of Scott Summers, something Antônio acknowledges, even if with typical characteristic restraint.
His work process, however, is anything but casual. Antonio described to us a disciplined, step-by-step workflow: reading the script multiple times to fully absorb its nuances, moving on to layout design, where he maps out visual storytelling and panel composition, before submitting it for editorial approval. This is followed by pencilling and then inking, each stage requiring clearance before moving forward. A single issue takes him roughly 35 days to complete, a timeline he admits he wishes could be longer. “I’d love to have more time,” he tells us, even as he reaffirms that he cannot imagine doing anything else with his life.
Interestingly, while many artists relish the detailing stage, Antonio’s favourite part of the process is the layout. “Because it’s where the story is told,” he explained, highlighting the importance of visual sequencing in comics as a narrative form. In contrast, he was candid — almost humorous — in his dislike for inking, calling it the least enjoyable part since “the panels are already there”.
Despite his work reaching readers across age groups and geographies, Antônio maintains a grounded perspective on his global popularity. “I just see it as a job,” he tells us simply, adding that it is one he loves and hopes to continue doing for the rest of his life. Looking ahead, his focus remains firmly on experimentation, pushing artistic boundaries, working with new characters, and trying out different visual styles, rather than merely scaling up the scope of his projects.
Over the years, Antônio has worked on a range of beloved characters, including Deadpool, Spider-Man, and She-Hulk. While he described Deadpool as a particularly enjoyable experience, She-Hulk posed a creative challenge due to its tonal differences from his usual work. His personal favourite, however, remains his work on Carnage, which allowed him to delve into horror storytelling, a genre he tells us he enjoyed exploring.
