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Here we have Leatherface as depicted in Tsutomu Nihei’s Biomega (vol. 2, the color bits in the beginning), surrounded by a Jason X corps of armed enforcers. I’d always thought the villains in Biomega had a Clive Barker feel, but I hadn’t realized until this episode that they were possibly referencing specific characters—or just plugging characters in, as it seems here. This isn’t at all ill-fitting in Nihei’s world, already visually indebted to illustrators like Zdzislaw Beksinski, or the Biomega iteration of such in particular, much more of a seat-of-the-pants action spectacle than Nihei’s longer, earlier, weirder, transhumanism-scented action series Blame!—it’s pretty much Kamen Rider plopped down into a zombie movie to start off with, and there’s something fitting about distinguishing the evolution-minded villains from the rabble by dressing them like hard-to-kill horror movie icons, easily villainous superhuman ‘types’ fit for looping in. Long live the new flesh?

Other icons set to mix ‘n match:

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Here I am in Switzerland lecturing about Art in Time. Are you tired of hearing about Art in Time yet? I’m flogging it hard. Anyhow, listen below to hear me flail about as a I try to explain things to foreigners! Allow the intro music to vibe with you, man.

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Also! Yet another book release event: Come join me at Desert Island in Brooklyn on Friday, May 21st, 7 – 9 pm.

Desert Island
540 Metropolitan ave
Brooklyn NY 11211
(718) 388-5087

I will be signing books and the esteemed critic Richard Gehr will be grilling me about all things Art In Time! All of this beginning at 7 pm.

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Last Sunday at TCAF (aka the best comics festival in North America) I had the pleasure of moderating a panel with Jeet Heer, Seth and Evan Dorkin on the ins and outs of editing/designing/publishing/consuming comics history. It begins with Evan lamenting the lack of proper old radio fandom. Note: I forgot to ask one crucial question: Complete editions vs. “Best of” editions. Not to late to chime in, gents. Anyhow, audio is below. Enjoy.

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Pulphope versus Darth Shaw.

Robin McConnell as Emperor, er, moderator. From TCAF 2010.

Listen to all the pulse pounding action over at Inkstuds.

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 Earlier this year, Geoff Pevere wrote a fine article on his Frazetta fetish for the Toronto Star. (Pevere is a Canadian cultural journalist. He was recruited for the Doug Wright Awards jury this year, and at the awards ceremony spoke very eloquently about Seth’s work). When I told Geoff how much I liked his Frazetta article, he informed me he had a slightly longer version. This was shortly before the sad news came of Frazetta’s death. So in honour of the great barbarian artist, here is Geoff Pevere’s full tribute:

If love makes us do things common sense says we shouldn’t, I have loved the art of Frank Frazetta. Briefly, it made me a criminal.

I can’t remember when I first laid eyes on a Frazetta, but it was probably on the cover of Creepy or Eerie in the late 1960s. These were comic magazines for people verging on growing too old for comics, black and white horror anthology collections that happened to have some of the best art and writing in the field.

Not at all coincidentally, much of this art and writing was perpetrated by the same generation that had been instrumental in the rise and censorious crash of the industry during the 1950s. On these pages, these EC Comic-vets were free to let their imaginations run to places Comics Code-approved kids comics could not.

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Always a favorite, due to the hand:

From Baby, you’re really something!, a 1990 Fantagraphics-published collection of adult paperback illustrations by Frank Frazetta (1928-2010).

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Well, a little bit of news and some bragging.

First of all, please join me and Chip Kidd at The Strand (NYC) on Wednesday, May 12 at 7 pm for a lively discussion, slide show and signing for Art in Time.

And, I’ve received some very nice reviews from Entertainment Weekly (A-!), The Onion A.V. Club, and The Jewish Daily Forward, and have managed not to embarrass myself too badly in an interview with Publishers Weekly.

Ok, now go about your business. But don’t forget to come to The Strand!

UPDATE 5/15/10: New interview at Robot 6, where I really gab “deep nerd” with Chris Mautner, and book excerpts at the LA Times.

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Recently I presented my dear mother with gifts and purchased some comics from many nations: Belgium, Japan, Wolverine. Let me share them with you.

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The new issue of The Believer is out and is chock-full of comics goodness. First up, the fifth installment of Alvin Buenaventura’s “Comics” column. Some great work by Jonathan Bennett, Lilli Carré, Tom Gauld, and others. And Charles Burns ruins eggs for all time.

“Spiritual Dad,” a story by Jesse Moynihan and Dash Shaw, is tucked in the back of the issue. They’ve printed it vertically on a long section of folded paper, so it reads kind of like a scroll.

Gabrielle Bell’s done a strip (in glorious color!) that adapts a poem by Russian writer Sasha Chernyi about springtime and seasonal affective disorder in gnomes.

And finally, my interview with Dan Clowes, which covers a lot of his comics work—including his new book, Wilson, which really is phenomenally good—and his film projects, including the sad demise of his Raiders of the Lost Ark script. Burns, The Believer‘s resident cover artist, asked Clowes’s permission to make him look horrible for the cover image. It worked. His face frightened my kid. Somehow it manages simultanteously to be quintessential Burns and Clowes.

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Since I’m procrastinating a bit here on another rainy day in Lucerne, getting ready to pack up and head out to Toronto tomorrow, I thought I’d add a few more thoughts on Fumetto and the festival.

Ben Jones opened a very fine exhibition last week, consisting of large cardboard sculptures, some paintings, and a couple of wall drawings. It’s a good way to see what Jones is up to these days. We did a talk together on Saturday afternoon, walking through the show and tossing around arguments about form and hierarchies. I’ll post it when I’m back. Ben took off for Athens yesterday for yet another art show. Busy boy.

Anyhow, Kirby:

What has struck me about the current show is how much can be told even without displaying some of his “iconic” pieces, as has been noted elsewhere. For this, and for any audience really, it’s almost more important to see the work as work, rather than as propping up iconic properties. It’s easier to take in as comics qua comics, or in the case of his collage and pencil drawings: as highly personal mark-making.
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