• Review: For The Savage Critics, Sean T. Collins says The Last Lonely Saturday by Jordan Crane is "pretty much the best love story in comics form I've ever come across... It's an intelligent, moving, beautiful, terrific little comic."
• Review: Rob Clough says that Beasts! Book 2 "mingles myths, warnings, fairy tales, correctives, and genuinely unexplained phenomena and allows its artists to run with them. The end result is a consistently beautiful, lovingly assembled book that forms a kind of metacommentary on the entire notion of the fantastic."
• Review: The SF Site's "Nexus Graphica" says R. Crumb & David Zane Mairowitz's Kafka is "a terrific guide to Kafka's life and work — Mairowitz deftly sums up Franz' family/Jewish/pre-Holocaust European experiences and influences, and Crumb's heavy inkings lend the exact tones of darkness to recreations of both Kafka's life — and work." (See sidebar)
• Preview: The First Post presents a slideshow of images from Humbug, saying "the short-lived Humbug [was] an exquisite satirical work that, over its 11 issues, routinely equalled MAD in its displays of creative genius... providing a level of trenchant satire that was almost unheard of at the time."
• Preview: Bryan Munn, in "hyping" The Complete Peanuts 1971-1972, states "Now that two whole decades of Peanuts have been reprinted in the deluxe hardcover format published by Fantagraphics and designed by Seth, we can really get a sense of what a huge achievement this project is and will continue to be for a generation."
• Review: Bookforum says of the two volumes of Beasts!: "Covey’s brave band of 180 artists... put these mythological and folkloric beings on vivid display. The distinct and varied styles of the cartoonists, illustrators, and graphic artists give further evidence of each creature’s unique characteristics... The enthusiastically detailed evocations in these books give us all reason to believe."
• Review: Dear Stranger reads The End #1 by Anders Nilsen and declaims "It’s sad. In that way that things are only ever sad when they’re really honest, so it’s beautiful, but you feel a bit guilty for thinking so -- because under the beauty, it’s still sad, honestly so."
• Review: The Star Clipper Blog says "[Esther Pearl Watson's] Unlovable spares no degrading detail, but still remains an ironically loving tribute to the awkward protagonist... these monstrous depictions of early puberty could be found in just about anyone's high school yearbook... perhaps the perfect teenage girl experience."
• Review/profile: The Oregonian says that Most Outrageous by Bob Levin is "The most challenging and thought-provoking book I read last year... unforgettable... among the great essays on human frailty," and discusses how the commercial success of The Complete Peanuts enables us to publish more challenging work
• Review: Brick Weekly says of The Lagoon by Lilli Carré, "Carré’s cartooning is purely excellent, evolving nicely from her earlier work and pulling you into a world of vividly drawn characters and lush environments" (scroll past the video game review)
The current issue of The Believer features 14 small drawings I did from items in my collection of broken and discarded toys. The drawings are scattered throughout the magazine in the margins. They also printed three different inside covers, each featuring a different painting of mine.
Monologues for Calculating the Density of Black Holes takes up where the artist’s first volume, Monologues for the Coming Plague, left off. Like Coming Plague, Density of Black Holes is a creatively experimental laboratory, comprising a collection of free flowing stream-of-consciousness gags, strips, and drawings that slowly coalesce into an unexpectedly compelling and complex narrative. The hints of story that came together in Coming Plague are extrapolated and expanded upon and grow to incorporate some of Nilsen's other outré strips from the anthology MOME, two of which are reprinted here in expanded form. The book is an audacious investigation into the rhythms of storytelling, the blurring of media, and an exercise in reconciling contrasts. It is playful, provocative and serious all at once — another tour de force by Anders Nilsen, impeccably and uniquely designed, in monochrome and full color.