Comics | Johan Palme talks to Nathan Hamelberg of The Betweenship Group about the continuing controversy over a Swedish library’s decision to re-shelve some Tintin comics because of racist caricatures and colonialist attitudes. The books were put back following an uproar, but the move has sparked a larger conversation, and it even has its own hashtag, #tintingate. [The Guardian]
Conventions | Heidi MacDonald and the Publishers Weekly team (including Robot 6 contributor Brigid Alverson) post a comprehensive report on New York Comic Con, including debuts, new-title announcements, and a quick look at logistics. [Publishers Weekly Comics World]
Conventions | Dave Smith looks at one of the most vexing problems of New York Comic Con: the lack of decent wireless access, a situation troubling exhibitors and media alike. [International Business Times]
Creators | Alan Moore will make a rare convention appearance in September — his first in 25 years, according to this article — at the inaugural Northants International Comics Expo in Northamptonshire, England. To attend Moore’s hour-long talk on writing comics or the hour-long question-and-answer session, convention-goers are required to donate graphic novels to the Northamptonshire Libraries, which will have a table at the event. [Stumptown Trade Review]
Creators | Mark Waid gets the NPR treatment, as Noah J. Nelson interviews him about his digital comics initiatives. “I got news for you: I’ve been doing this for 25 years, and this is the hardest writing I’ve ever had to do,” Waid says of creating digital comics. [NPR]
Publishing | Abrams ComicArts editorial director Charles Kochman discusses the publisher’s spring lineup, which will include William Stout’s Legends of the Blues, Darryl Cunningham’s What the Frack, a history of Bazooka Joe comics, and a Will Eisner artbook written by Paul Levitz. [ICv2]
Matt Kindt is a writer/artist who is on the eve of being a monthly frequent occupant of retailers shelves after years of increasing recognition for his graphic novels. First up, on April 18, Dark Horse releases 3 Story: Secret Files of the Giant Man (Kindt’s follow-up to his 2009 graphic novel, 3 Story: The Secret History of the Giant Man)–a set of three stories collected in one book that originally appeared in MySpace Dark Horse Presents. That April 18 release also features a preview of his new monthly Dark Horse espionage ongoing, Mind MGMT, which officially launches on May 23. I was interested in email interviewing Kindt to find out how it feels to be meeting the monthly deadline (as opposed to his creative process when working on standalone graphic novels). And, of course, I took the opportunity to find out more about his other major ongoing project, assuming the writing reins from Jeff Lemire on DC’s Frankenstein, Agent of S.H.A.D.E. (his first issue on that high profile assignment goes on sale June 13 with the release of issue #10). My thanks to Kindt for his time and thoughts. I particularly appreciated his belief that the “art-form of a good monthly comic has sort of been lost”–and his resulting aim to regain some of what’s been seemingly lost. Once you finish this interview, be sure to also read CBR’s Jeffrey Renaud’s late January 2012 interview with Kindt in which they detail the upcoming Frankenstein, Agent of S.H.A.D.E. work.
Tim O’Shea: How hard is it to decide to take on the monthly grind with Mind MGMT? Have you had to make adjustments to your creative process, or has the demand on you increased on you (as opposed as to when you were doing standalone graphic novels)?
Matt Kindt: It wasn’t a hard decision at all really. I’ve always wanted to do a monthly book. That’s the format I grew up reading and so it’s always been kind of a dream of mine to eventually work in that format. I’ve been spoiled my whole career, starting out doing OGN’s — which is something I know a lot of monthly guys aspire to so I’m just coming at it from the other side. I still love the OGN and it’s my favorite way to create but I think you get a different experience with a monthly book. When you read a monthly, you’re growing and changing and aging along with the characters. And you’re thinking about the story and the characters month after month instead of just reading 300 pages in one sitting and then moving on. I think you begin to actually care a little more about what’s going on.
Broadway | As of last night’s preview performance, Spider-Man: Turn Off the Dark is officially “frozen,” meaning there will be no more script rewrites, new lyrics or altered choreography before the $70-million musical opens on Tuesday. In fact, the producers are confident enough to invite critics to attend previews over the next three nights, with their reviews to be published after the opening. “The show, in my opinion, is bulletproof at this point,” Reeve Carney, who stars as Peter Parker, told The New York Times. “I mean, as bulletproof as anything can be. And we want to do right by the people who stood by us, to help this show be seen for what it is.”
However, it’s not all good news for opening night. The New York Post reports that producers hoped the Empire State Building would be lit in red and blue on Tuesday, but the landmark’s owners would do it only if a change were made to the show: specifically, that the climactic battle between Spider-Man and Green Goblin be moved from the Chrysler Building to … the Empire State Building. [The New York Times]
Retailing | Najafi Cos., a Los Angeles-based private equity firm, is reportedly interested in buying at least half of the 405 bookstores operated by the bankrupt Borders Group. [Bloomberg]
With this interview, Jason Little threw me a great curveball with the manner in which he answered the questions. In addition to his text replies, he supplied me with a wealth of graphics to accompany his answers. This approach appeals to me and I hope it clicks with other folks as well as proves to be an approach that interest others to try (be sure to click on the thumbnails for larger versions of the graphics). This email interview was in the wake of the December 15 release of Motel Art Improvement Service (Dark Horse), described by the publisher as “Eighteen–year–old Bee has finally saved up enough to embark on her long–planned cross–country bicycle trip. However, she doesn’t make it very far before disaster leaves her stranded at a motel. Her hormones surge when she meets a misunderstood young artist on a mission to ‘upgrade’ the banal “artwork” that hangs on the walls of every motel room. Taking a job there as a housekeeper, Bee snoops around in the motel’s dirty laundry and finds herself entangled in a scary drug deal gone dangerously wrong.” My thanks to Dark Horse’s Jim Gibbons for introducing me to the storyteller, as well as Little himself for the interview.
Tim O’Shea: Out of the gates, let me reveal a bit of ignorance on my part. Could you define “bubblegum noir”?
Jason Little: “Bubblegum noir” came from a comment in a reader mail. This is the second time I’ve lost track of his name, I will go through my email archives and find it! Bubblegum rock is a genre from the late 60s and early 70s with an emphasis on hooks, danceable beat, and enough mention of sugar in the lyrics to cause tooth decay. I suppose in the same way Bee is “bubblegum” because of the bright colors and clear cartooning, but noir because of the suspense, and flashes of darker content.