writing horror | Frisson Comics

Week 7 of our creator spotlights celebrating 3 years of our horror zine Knock Knock! Previously we’ve interviewed Kevin T. Rogers, Michela Cicconi, Erika Price, Allan MacRitchie and Clare Thompson!

This week we’ve spoken to prolific comic creator Matt Smith. Matt has been a regular contributor to our zines since our Summer of Love issue (where he teamed up with the amazing Nate Bennett) and since then has regularly written and lettered several awesome comics for our zines and worked alongside many talented artists.

What got you into creating comics?

My background is in film, but making movies requires a lot of time, money, expensive equipment and a large team of people… and I don’t always have access to those resources.

So, in college, I started making comics. I submitted my autobiographical Smith vs Smith series to the University of Victoria’s Martlet student newspaper and put those strips online and when I had enough, I collected, printed and sold them as my first comic book!

*Smith vs Smith: Trust*, by Matt Smith, published in the University of Victoria’s *Martlet* newspaper, *Sliced Quarterly Vol #3* and *There’s Plenty of Emmas in the World: A Smith vs Smith Collection.*

Are there any creators who influence your work and how?

When I write dialogue I try to emulate Brian Michael Bendis’ ear for natural speech.

I really admire how Alan Moore is constantly breaking apart the structure of comics and pushing the limits of what this art form is capable of. I’ve tried a few different formal experiments in Knock Knock, like Survival (illustrated by Nate Bennett) which consists of three one-page splash pages.

*Survival*, script by Matt Smith, art by Nate Bennett, originally published in *Knock Knock: Tech Noir* by *Frisson Comics.*

Do you have a favourite piece of horror media?
I’m a huge fan of horror films. The original Halloween scared the crap out of me and is still one of my favourite movies of all time. I love George A Romero’s original Dead trilogy, especially Dawn of the Dead. The idea that you can use an over-the-top horror film to comment on society was revelatory.

Do you have any projects coming up?

Currently, I’m working with Frisson Comics artists James Francis and Jake Hainey on two stories for a Kraken Komiks anthology. As soon as we finish In the Valley of Stone, James will begin drawing our submission for Frisson’s Myths issue, about the curse of King Tut’s tomb.

I’m also working with Canadian artist Justin Shauf on three short vignettes about my Last Woman on Earth character surviving a zombie-apocalypse in Victoria, British Columbia. This story will be included in the third issue of Monsterella by Hangman Comics.

Cover for *Monsterella Issue 3* by Sun Khamunaki (look for it on Kickstarter this summer!)

Even outside of Knock Knock you collaborate with a wide range of artists, how do you go about finding creators to bring your stories to life?

I’ve been VERY lucky to work with a wide range of amazing artists on a number of stories over the past few years. I’ve met them in different ways. Some I’ve met in person, like Nate Bennett whom I attended college with, or Kuwaiti artist Bader Al-Ramadan who is a friend-of-a-friend, or Jake Hainey, whom I met at the Glasgow ComicCon.

A panel from *Comforting Thoughts*, script by Matt Smith, art by Bader Al-Ramadan, originally published in *Knock Knock: Tech Noir* by *Frisson Comics.*

There are two artists I’ve worked with more than anyone else: James Francis and Jhonesbas Craneo and I’ve never met either of them in person! We met in a Facebook group and have only texted and e-mailed. Two fantastic artistic relationships that could only exist in the 21st century!

Side note: If you are an artist looking to collaborate, please e-mail me at matt@smithvssmith.com. I’m always looking for new artists to work with!

*Uncle Lucky*, script by Matt Smith, art by James Francis, originally published in *Knock Knock: Gourmet Edition* by *Frisson Comics*

Your role as a comic creator is extremely varied, not only do you write your own comics but you sometimes you draw and letter your work as well. What aspect of making comics do you enjoy the most and which do you find the most challenging?I believe the art style should serve the story. My art style is very cartoony, so that limits the types of stories I can tell as an artist.

I enjoy teaming up with other artists because that opens up so many more storytelling possibilities. And my writing process is still very visual. I think in terms of images and often sketch and thumbnail while I write. Not often, but sometimes, I will share the sketches with an artist, but I am always blown away when an artist sends back art that is infinitely better than anything I could have drawn or even imagined in my mind! These collaborations are my favourite method of creating comics.

Original sketch and final page of *Containment*, sketch & script by Matt Smith, final art by Jhonesbas Craneo, originally published in *Knock Knock: Tech Noir* by *Frisson Comics*

I enjoy lettering my own stories because it gives me one last chance to re-write and the power of lettering is often overlooked. You have so much control over the reading experience and great lettering can enhance the storytelling.

What scares you the most?

I don’t find supernatural things scary. I’m really scared of real threats. The hurt that regular people can inflict on others, without warning. I think the scariest piece I’ve ever written is Home Late, which really shows what scares me.

*Home Late*, script by Matt Smith, art by Xin, published in *Gruesome Comics*

What’s your favourite piece that you’ve submitted to Knock Knock?

With Containment, Jhonesbas and I achieved something that could only be achieved in comics. We have one central image, but the panels jump back and forward in time. The image works as a whole, but it keeps your eye moving from one piece of information to the next. Jhonesbas did FANTASTIC work with Containment. And that’s why I keep teaming up with Jhonesbas again and again.