http://forums.jazmaonline.com/topic.asp?TOPIC_ID=4023
Read on! In our Special SPOTLIGHT on Matt Triano.
--Renee
Matt Triano
Comic Book Artist
Published by: Moonstone, DC, Atomic Press, Zenescope
Interviewed by: Richard Vasseur/Jazma VP
Posted: 14/01/2012
Rich: Action Boy is the backup story in "Captain Action" how do these heroes compare to each other?
Matt: Captain Action has two iterations, the original Cold War hero and the modern adventurer; Sean Barret/Action Boy was partner of the first Captain Action, but the stories we told about him in the CA Second Feature took place before his days as a costumed adventurer. Each character struggles against the unknown: the alien without and the alien within. Sean Barrett's adolescence brought strange powers and painful memories to the fore, exposing secrets of his childhood that would lead him on the path to becoming Action Boy. The characters relate to the reader as a metaphor for accepting change. Fun stuff to work on as an artist.
Rich: What other characters besides Action Boy do you get to draw in the comic?
Matt: I drew Sean and his family in flashback, as well as his schoolmates and teachers at the academy, Captain Action among them.
Rich: Would you like to draw an entire issue of "Captain Action"?
Matt: Captain Action is a content-rich character with a strong multimedia following; it would be a lot of fun to contribute to that legacy, and why stop at just one!
Rich: You worked on DC's "Halloween Special '09" did you have fun doing Red Robin, how did you make him stand out?
Matt: At the time that story was published, Bruce Wayne/Batman had been 'killed' by Darkseid in the last issue of Final Crisis. Tim Drake/Red Robin was the only member of the Bat Family to actively search for his mentor and surrogate father, refusing to accept the loss. The Halloween story was a piece about dealing with grief. From a process standpoint, my style and storytelling has changed considerably since I did that work; I wonder what choices I would make differently were i to do it now. I was happy to be part of that project.
Rich: Do you like to do non super-hero comics as much as super-hero ones and why?
Matt: I love cogent narratives, regardless of genre. Superhero stories are sometimes devoid of logic, and justifiably dismissed. Form must match function, and world-building is a challenge because once a path of logic has been taken any divergence of that logic becomes commentary on the story, exposing it as farce. For example, I can't say for certain that a baby born under the Red Sun of Krypton would not develop powers beyond mortal men when exposed to the Yellow Sun of Earth; science hasn't enough data to refute that premise, and as a vehicle for drama, I can accept it categorically. Superman's adventures can therefore be fantastic. yet character motivations must be reasonable, psychologically vetted, and logically consistent within the framework of that narrative. Batman is equally as compelling but for different reasons, and demands a different approach, smaller in scope; if he ventures to Outer Space or to another dimension, the story strains under its previously established credibility. Everything is relative, and in any story there must be Truth.
Rich: What mythical characters did you draw in "Grimm Fairy Tales Myths & Legends" and what did you learn from it?
Matt: In my work for Zenescope I've drawn some fairly familiar characters: the little Mermaid in her struggle against the Sea Witch, the Beauty and her Beast. The archetypes are intact, all else is re-imagined; I'm constantly discovering new ways to approach my work, and tell better stories with that ethos in mind.
Rich: Why do you love creating comics so much?
Matt: I love to draw, and I love to tell stories; cartooning is a language, the synthesis of word and image. It demands dedication to understand and devotion to master. I'm excited by the infinite potential of the blank page and the myriad decisions that can and will be made in order to tell a specific story; there are no incorrect answers, but there are absolutely effective and ineffective decisions. I love laying out a page, exploring the possibilities within the framework of the script, and actively describing moments in a world that is and isn't mine, and that did not exist before I created it. I seek to be clear, economic, and as entertaining as possible. Comics from a production standpoint are amazingly democratic: nearly anyone can physically make the work and execute it quickly. It's relatively cheap to print and free to put online, with new avenues opening all the time to distribute the material; this makes comics a viable form of expression for the single auteur who's self-publishing minis, as well as the multinational corporation publishing hundreds, even thousands of units per month. As Commercial Artists, comics creators are unique in that they enjoy a direct relationship with the reader through their efforts; what you see is what I've made, and the work is fairly accredited to the authors. For these and other reasons, I love making and reading comic books.
Rich: What super-hero comic would you most like to work on that you have not and why?
Matt: I would love to draw Batman, Daredevil, and Spider-Man among others. I would *love* to work with Neil Gaiman on a Sandman story. Sometime in the future when I'm a better cartoonist, I would love to write and draw a long Superman adventure. He's the hero that speaks to me most, and I would like nothing better in the superhero genre than to tell his stories for a while.
Rich: What creator owned projects do you have?
Matt: . I've begun early work on a few stories that could (if I find the time) become original graphic novels, but they're a long way from seeing print; I'm keeping busy as a freelancer at the moment.
Rich: What do you think of DC's New 52?
Matt: I think the DCU is a fascinating experiment that seems to be, if sales are the measure of success, an overwhelmingly fruitful venture. I'm fascinated by the work I've read, and look forward to seeing more.
Rich: What do you have planned next for your career?
Matt: I plan to get better at my job and fulfill certain personal and professional goals; in 2012 I'd like my work to reach more people, and to tell stories that make us all happier. If there's a greater power inherent to the medium, I don't know it.
Rich: Are you a fan of movies and which kind?
Matt: I love movies. Film, which is ephemeral and passive, differs from comics, which are physical objects that demand active participation to experience. Some compare comics directly to film as sister media, but I think this is problematic; comics are inherently devoid of both motion and sound, whereas film is defined by them. It's fascinating to see what decisions are made in film to achieve results that, in comics, would require a different approach. If Superman: The Movie (1978), The Terminator (1984), or Animal House (1979) are on, I have to sit and watch til' the end.
Rich: How can someone contact you?
Matt: Any business-related correspondence should be directed to my agent, Renee Witterstteater, at evaink@aol.com I joined Eva Ink Artist Group last year, and have been working with Renee on projects, commissions and convention appearances. So, I'm up for any of that. Just let her know. Her blog is:
http://witterstaetterwrites.blogspot.com/
I know she posts all of our press releases there. Eva Ink Artist Group also have a Facebook page that is open to the public.
Rich: Any words for those that enjoy seeing your art?
Matt: Thanks for reading!
ABOUT MATT TRIANO:
Matt Triano has written and drawn comics for collections and anthologies by publishers such as Moonstone, DC Entertainment and Atomic Press. He is also known for his storyboard work, motion comic work, and artwork for various ad agency projects developing custom comics for high profile clients. His art can currently be seen in works for Robin Hood Charities in New York as well as comic projects for Moonstone (Captain Action), Zenescope (Grimm's Myths and Legends), The Discovery Channel and Marvel Trading cards (Marvel Characters).
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