“An extraordinary and surreal art book, this edition has been redesigned by the author and includes new illustrations. Ever since the Codex Seraphinianus was first published in 1981, the book has been recognized as one of the strangest and most beautiful art books ever made. This visual encyclopedia of an unknown world written in an unknown language has fueled much debate over its meaning. Written for the information age and addressing the import of coding and decoding in genetics, literary criticism, and computer science, the Codex confused, fascinated, and enchanted a generation.
While its message may be unclear, its appeal is obvious: it is a most exquisite artifact. Blurring the distinction between art book and art object, this anniversary edition—redesigned by the author and featuring new illustrations—presents this unique work in a new, unparalleled light. With the advent of new media and forms of communication and continuous streams of information, the Codex is now more relevant and timely than ever. A special limited and numbered deluxe edition that includes a signed print is also available.” [via]
This fourth collection of the Locke & Key series is clearly moving into the climax of the entire series arc. (There are two more volumes to go.) The pace is often much faster than in earlier parts of the series; chapter three (“February”) in particular barrels through a whole mess of events, often realizing a whole complicated day’s adventure in a single panel. Over the course of this collection, six new magic keys are introduced, a pace that more than doubles the rate of the earlier numbers. The graphic violence is probably more extreme than in any of the prior volumes as well.
The motivation of our prime villain Dodge becomes clearer to the reader in these stories, at the same time as his culpability starts to become evident to the Locke family. It appears that the stakes may be far higher than the well-being of the Lockes or Keyhouse. But not all the evil in these comics is supernatural. The commentary on homophobia that had been introduced earlier in the series is supplemented with some candid observations of/on racism. Some readers might find these a little preachy, but I thought they were handled artfully, and they speak to the tenor of the times.
In the first chapter of Keys to the Kingdom Hill and Rodriguez pay very overt tribute to Bill Watterson, with Bode Locke as an obvious stand-in for Calvin. And in “Casualties” (#22 of the original comic) Bode and Rufus Whedon populate another homage to earlier comics in the form of an invented Squadron Strange action adventure. The Locke & Key series has such beautiful art and rich storytelling that I’m sure it will someday be the object of such admirations and acknoweldgements from a younger generation of comics creators. [via]
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