Dan Walsh, who runs the Garfield Minus Garfield site, has chipped in to my previous entry to correct some misconceptions about the new GMG book. On August 2 he created a FAQ for the site, including:
Q. How did you come up with the idea for Garfield Minus Garfield?
A. I wasn’t the first person to come up with the premise for Garfield Minus Garfield but I think it’s fair to say I did champion and popularise it. The idea had been floating around on message boards for a couple years before I started posting them.
As far I know, I was the first person to create a site devoted to it.
I’ve said this to every interviewer who has asked me but it’s rarely published. And it’s pretty much impossible to find who did it first, believe me, I’ve tried.
“I didn’t invent this” doesn’t make for good copy, it’s true. For a publicist trying to sell a new Garfield book to suburban housewives, it makes sense to play down that angle. But exploring the issue does lead to a fascinating debate about the future of content creation and the growing pains as traditional business practices clash with new ways of interacting with art. Some of which I tried to address in the original post.
In any case, I did unfairly tar Walsh with the same brush that I attacked the endlessly-irritating Cheezburger guys with, which I gladly retract.
On some level I really get where he’s coming from. I’ve daydreamed from time to time about writing a serious analysis of /b/ and why it’s important in far more ways than anyone’s articulated so far. It’s interesting — in the process of recommending John Darnielle’s brilliant book Master of Reality to a friend, I said:
Given the nature of metal’s core demographic appeal (young, working class, outsider, etc), it’s frustratingly rare to find articulate writers who genuinely “get” the genre. I identify closely with Darnielle; I think we both discovered that appeal despite being outside that demographic, which leads to a delicate balancing act between wanting to serve as ambassadors to the outside world, encouraging the sophistication of a relatively infantile artform, and trying not to patronize the existing fanbase. As somebody who has repeatedly found myself fascinated with various forms of “low” culture, I think about this kind of thing a lot.
There’s always that dance when you discover something cool and edgy and feel like it deserves more exposure. There’s a temptation to serve as curator or even translator, sanding off the rough edges or repackaging it in a way that helps new people understand it — without taking credit for something that isn’t yours or destroying what made it great in the first place. Like any task, it can be done well or poorly. It’s something that every publisher does, but it seems especially central to Top Shelf’s mission: treading that boundary between artsy and populist.
For instance, though I had no role whatsoever in its creation, I’m pleased to say that Cave Adventure is the most “mainstream” thing I’ve ever seen Michael Deforge do, and for that reason my favorite. I’m happy that he’s able to use his insane imagination to tell a coherent and hilarious story, and I think it actually fits in really well with Top Shelf’s aesthetic. I’m looking forward to more involved editorial relationships in the future (when I find the time — ha); when it’s done right, everybody wins.
Art by Ainsley Seago
Picture Poetry 
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