This year’s interviewees included:
Joe Casey, Karl Stevens, Matt Seneca, Matt Bors, Dustin Harbin, Peggy Burns, Zunar, Kiel Phegley, Jason T. Miles, Dylan Horrocks, Daren White, David Brothers, Andrew Farago, Kelly Sue DeConnick, Matt Gagnon, Dirk Deppey, James Sturm, Brigid Alverson, Daniel Clowes and Jaime Hernandez.

Check them out. Quite worth your time.

Tintin is the most well-known comic character worldwide, comparable in popularity only to Mickey Mouse. Tintin’s adventures lead him and his readers to such places as China, the Congo, America, and even the moon! But through time and history, Tintin and his Belgian creator Herg’e have not been spared by controversy. Accused of such a serious charge as racism, Herg’e was forced by history to review some of the depictions of the places Tintin visits. So how has Tintin changed over time? And what explains the enduring popularity of Tintin?

Here’s the link to the MP3.

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What’s your working process like?

Half of the day is thinking of jokes and the other half is drawing them. I sit with a piece of paper and start thinking and drawing. So, when people ask, ‘Do I get writers block?’ I say ‘no’! I just say one word, like giraffe, and I start drawing little things until I find something silly.

Tom has also introduced a bi-monthly news segment where he and I banter about the comic headlines.

Happy 100, Tom!

Q: Ten years after he passed, are you still learning new things about your husband?

A: Absolutely. I was always doing my own things. He liked encouragement and support, but not someone meddling in details. Now I’m condemned to relive all these things over and over again, because I didn’t learn it the first time. When he was alive, we were taking it all for granted – you saw a funny strip and you knew another one was coming out tomorrow. And you didn’t pay attention to how today’s might fit into his body of work. Now we go back and find things, and I read strips and it’s like I’ve never seen them.

I don’t want to say the last 10 years have been an awakening, because I always felt that he was a genius. But the last 10 years have been a really wonderful experience for me. And without me realizing it, this museum has been the forum for me to explore all these things.

This is a rare creative animal who has thrived in roles both creative and corporate, even if he met the latter challenge kicking and screaming all the way home each day.

Kitchen-and his company, Kitchen Sink Press-were present at the birth of the underground comix movement in the 1960s and ’70s. He is responsibly for boosting the careers of talents as extremely different as Robert Crumb and Will Eisner-and everyone in-between.

Over the last year, Kitchen has been more productive than he has been in decades, co-authoring a retrospective of Harvey Kurtzman, the first editor of Mad magazine, called The Art of Harvey Kurtzman: The Mad Genius of Comics, with Paul Buhle; a history of underground comix called Underground Classics: The Transformation of Comics into Comix, with James Danky; and producing a look back at his own career, The Oddly Compelling Art of Denis Kitchen, with text by Charles Brownstein.

And just yesterday, I saw a press release for an even newer collection of his work, Denis Kitchen’s Chipboard Sketchbook.

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