Coincidence?
Both Bookslut and Cup of Chicha link to a Guardian piece about the McSweeney's/Believer constellation.

There was an elaborate chart tracing the international provenance of magic realism. (Many McSweeney's regulars - Lydia Davis, Ben Marcus, William Vollmann, Jonathan Safran Foer, George Saunders - made it on to this list). Small ink drawings of animal skulls were dropped randomly into the text.

As recently as five years ago, such a winsome, even kittenish, tone, and such graphic and typographic interventions were rare in mainstreams novels. Now they are so common almost to have become a convention; signs of a highbrow endeavour whose (possibly off-putting) serious tone is cut with doodling examples of author-graffiti and liberal doses of high irony. It could be argued that, in this way, Eggers's influence on young writers coming out of the creative writing departments of the universities (and posting things on the McSweeney's website in their hundreds) is as pervasive as Raymond Carver's was in the austere, cut-to-the-marrow, sackcloth-and-ashes, "dirty realist" years of the 1980s.

When McSweeney's first came out, the old-timey design and cutesy graphics dispersed within the serious prose immediately reminded me of The Baffler. The Baffler first appeared in the early 90s and the look was created by Daniel Raeburn, The Baffler's Typographer who happens to have a brilliant piece on H.L. Mencken in the current issue. Mencken is sort of the Patron Saint of the Baffler crowd, gruff and cranky yet funny as hell. (If The Baffler were a Bad News Bear, it'd be scrappy Tanner). In his piece, Raeburn acknowledges he stole the Baffler's look from the Mencken-era magazines the Smart Set and The American Mercury.

I don't know if Eggers pilfered from The Baffler, but he has blurbed Baffler editor Tom Frank and has given readings with him.