Posts Tagged ‘Michael Golden’

Esoteric Comics History part 666


Saturday, April 24, 2010

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Crystar #8, 1984, Michael Golden art

Hey True Believers, Frankie the Wop here with an installment of “Esoteric Comics History.” Today, we’re looking at Glenn Danzig‘s swipe file. This file is labeled “Michael Golden.” My friend and blood brother, Spahr Schmitt, has been telling his tale of encountering the Dark Son of rock ‘n roll for years. They talked comics, and about, uh, the anxiety of influence. Many of you may know about Danzig’s famous swipe, but I am surprised by how many folks do not. I love telling this story. I remember once telling this story in front of my publisher, Mr. Dan Nadel, and an assortment of comics folks. When I said “Crystar #8,” Dan shook his head and said, “I can’t believe I publish you. You have the most retarded stories, haha.” So this one is an old favorite. Try to imagine Danzig’s Elvis-like speaking voice when reading the tale below. Spahr would usually “do” Danzig’s voice, which always cracked me up.


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Marshall Rogers


Thursday, January 10, 2008

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I found this convention sketch in a box at my mom’s house the other day. I’d forgotten all about it. I paid 15 bucks for it back in ’87, and I remember thinking that was a fortune. Too bad I barely remember anything about my interaction with Marshall Rogers himself. I only remember watching in amazement as he made these little marks on the paper when he started, little dashes that I quickly realized were for figuring out proportion. As soon as he had those marks down he was off to the races, and the drawing came to life literally in a matter of minutes. When he tore it out of the pad and handed it over to me, I do remember feeling a little gypped — but looking at it now, I think, good grief, it’s awesome, how did he knock it out that fast?

I showed this drawing to my friend Jim Rugg and we started talking about the sort of stylized naturalism that Rogers was known for. And then Jim said, “Y’know, the hackiest hack who worked for Marvel in the early ’60s had a better sense of basic figure drawing and naturalism than almost any contemporary cartoonist.” We both wracked our brains trying to come up with a modern equivalent to, say, Don Heck. And we couldn’t! Who draws in a non-photo-referenced, natural, realistic style? Okay, Jaime Hernandez. But who else? Everyone we came up with didn’t seem to fit. Michael Golden? No, too stylized. Beto? No, too cartoony. Jason Lutes? No, too stiff. There isn’t this sort of basic non-photo-ref’d style that’s in widespread use anymore. I’m sure if I really thought about it I could find an artist and point to their work and say, “Here, this guy.” But the fact is styles change, tastes change, and so do abilities and schools of thought. Photo-referencing rules the roost these days in “realistic-looking” comics, and I hate it. Gimme Don Heck instead. Or Rogers. He might’ve used some photo-referencing here and there, but he had it down and didn’t have to take photo after photo of his friends posing and then thinly disguise it as comics. I mean, have you read Coyote? What? You haven’t? What are you waiting for?

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The Effort


Saturday, December 15, 2007

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I enjoyed Rich Kreiner’s review of Comics Comics. It was, as Tim noted, too kind. So this isn’t an argument, thank heavens. In a long parenthetical thought, Kreiner wonders about our criteria for coverage, and also about our seeming fascination with the fact of something existing, as though the effort alone was enough to qualify our interest. I can’t speak for Tim or Frank, but, as for me, well, Kreiner might be on to something.

Sometimes I see things so sublime or so ridiculous that I have to just wonder about them. It’s not that I like them, per se. I don’t like Dave Sim’s Collected Letters, but what drives a cartoonist to undertake such a project is interesting to me because (a) Sim is clearly a man with his own vision and (b) he’s a hugely important cartoonist, no matter what you might think of the quality of his work. And, on the other hand, there are artists like like Steve Gerber or Michael Golden, both beloved Comics Comics figures.

Let me digress for a moment: During the most recent SPX, me, Frank, and Tim went out to dinner with a large group that included Gary Groth, Gilbert Hernandez and Bill Griffith. Gary ribbed us about Steve Gerber, etc., and Frank, in a moment of comics euphoria confessed his love of Michael Golden’s work to the entire table. I don’t think Bill even knew who we were talking about, and Gary seemed duly horrified, while Gilbert smiled beatifically, as if to say, “I love that this guy loves Golden, but I’m not saying a word”. I mean, Gary’s fought for sophistication in comics for 30 years, and now he has to listen to three knuckleheads talk about Golden and Gerber. Oy vey. See, all three of us were formed, in a sense, by The Comics Journal, and to an extent, by Groth’s own sensibility as a publisher and editor. But we also came up at a time when we didn’t (and still don’t) have to choose between art and hackwork. We can like both, and enjoy both on their own merits, precisely because Gary won the battle for sophistication and seriousness. His efforts have allowed us to sit back a bit and examine the things that got passed over, shunted aside or simply spit at. That means that Frank can talk about Michael Golden because he’s fascinated by his figuration in the context of action comics. Frank wouldn’t, at least, not sober, make a case for Golden as an artist in the same way he does for Gilbert. But then again, he did just post about Nexus. I guess what I’m saying is that a central tenant of Comics Comics is a kind of enjoyment of something within its context. Steve Gerber is an interesting comic book writer. That is enough to make him worth examining for us. And, he, like Golden, like Rude, et al, is someone who has willingly labored in a field with few rewards and a lot of creative restrictions. Those “rules” that these guys bump up against make for an interesting friction and can produce, accidentally or intentionally, interesting work. And part of is also that, to an extent, we take the greatness of someone like Dan Clowes for granted. He’s been written about, been hashed over. For us, it’s perhaps more fun to dig through a body of work that has yet to be poured over, and to find artists whose visions carried them into strange places under odd restrictions.

So, Rich Kreiner, yes, we, or at least I, sometimes like things just because they exist in an odd space, and occupy a strange little niche. And while I’ve never been a proponent of confusing effort with merit (i.e. the praise for something like Persepolis is primarily because people were impressed enough that a comic could be about Iran that they ignored how slight the actual content was), sometimes noting the effort is worthwhile. And I thank Kreiner for making the effort to write about us. Now if we can just make enough time to do that next issue….

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