May We All Never Forget Where We Came From

My father, Carmine Gorga, turns 75 years old today.

First of all: That's amazing.

My father has somehow survived three-quarters of a century (mostly in the horrifying Twentieth Century no less): through the tail end of the Great Depression, World War II, the proliferation of nuclear weaponry, and the M.A.D.ness of the Cold War. After all that I have no doubt that the 9/11 terrorist attacks seemed rather tame. 'Someone else may or may not be trying to kill me and my family? Well, at least it's not the Nazi troops AND the American army AND Mussolini's government at the same time like it was when I was eight-years-old.'

He came to America, paid the bills, found love with an American girl and built a life with her, got married, had a kid, raised his foolish son somehow, and successfully centered his life around a noble cause: economic justice for all.

You know who else turned 75 this year? DC Comics. The company was formed in 1934, but the first comic they published "New Fun" #1 came out in 1935, the same year my dad was born.

Wow, right?

There was yet no Superman. When my dad was born, the superhero genre didn't exist. Comic-books barely existed. Comics were really only in the newspaper (both in America and in Italy) and in other sequential art forms they've always existed as: church ceilings, for example.

The Sistine Chapel ceiling looks pretty sequential to me.

My father's people had comics when most didn't because of things like Michelangelo's Sistine Chapel ceiling and the multiple-walled story-frescos of Giotto. As Paul Levitz is fond of saying: "Comic-book writers and artists are doing the same thing that story-tellers did drawing pictures on the caves at Lascaux, we're using story to create context for life."

The sequential story art commissioned by powerful people for the internal walls of Catholic churches are essentially huge, complicated comic-strips, make no mistake.

[Images from Wikipedia's "Sistine Chapel ceiling" entry.]

Both Josh and I have been shocked at the low-number of people who turn out to show appreciation to the older comics creators and have said so publicly on this blog and elsewhere. Inspired men who worked in bad conditions for little pay and worked their backs and hands and eyes and brains and don't get the respect they deserve.

People like Superman's creators: Jerry Siegel and Joe Shuster. Jack Kirby. Harvey Kurtzman. Bill Everett. Wally Wood. Al Williamson, Dick Giordano, Mike Esposito, and Harvey Pekar (all four gone this year). People both passed but, especially, those still with us.

People like Joe Simon. Co-creator of Spider-Man: Steve Ditko. John Romita, Sr. Marie Severin. Her brother, John Severin. Murphy Anderson. Gene Colan. Jack Davis. Joe Kubert. Mort Walker. Jim Steranko. Al Feldstein. Trina Robbins. Roy Thomas. Jean 'Moebius' Giraud. Al Jaffee. Kazuo Koike. Ramona Fradon. Albert Uderzo. The creator of the Joker, Alfred, and half of what makes Batman a great character: Jerry Robinson. Russ Heath. Jules Feiffer. And Carmine Infantino.

All those comics creators are just at, or over, three-quarters of a century old and still alive and capable of taking your admiration and appreciation. The Eisner Award Hall of Fame is great, but you should not pass-up a chance to speak with these people, shake their hand, tell them that something they made meant something to you. And the corporations still making money off the fruits of the genius of these ladies and gentlemen could do a little better by them, and their legacies as well.

My point is simple: Respect your elders. They have memories you never will. And hopefully, they've put them to good use.

Happy birthday, Dad.

I love you and I'm lucky to have you in my life.

~ @JonGorga

Update on Siegel/Shuster Superman Suit Story

(Sorry)

This post about the fight between DC and the Siegel and Shuster centered on who owns what parts of the Man of Steel over at Newsarama says pretty much the same thing that I said last week- but with actual evidence.

This Is What Happened to the Man of Tomorrow

Well this....

This is sort of fucked up.

Originally, I was going to write a long and winding thinkpiece on what it means that DC won't own all of Superman's powers and origin, the in-continuity consequences for the Big Blue Boy Scout and the implications of such a decision for property-based comics in general.

When I was researching for that piece (which may or may not still be in the offing), I began to wonder about some of the things mentioned in the above article.

Essentially the decision is that the estates of Siegel and Shuster own

depictions of Superman's origins from the planet Krypton, his parents Jor-El and Lora, Superman as the infant Kal-El, the launching of the infant Superman into space by his parents as Krypton explodes and his landing on Earth in a fiery crash.

While DC owns

Superman's ability to fly, the term kryptonite, the Lex Luthor and Jimmy Olsen characters, Superman's powers and expanded origins.

Variety being primarily entertainment magazine, it focused on the implications of the legal decision for a potential upcoming Superman movie, and closes with the following quote:

...the Siegels and Shusters will own the entire copyright to Action Comics No. 1. That will give them the chance to set up Superman pics, TV shows and other projects at another studio. If they want to get a new "Superman" or even "Justice League" pic featuring the superhero, Warner Bros. and DC will be forced to go into production by 2011.

Does this confuse anyone else?

I mean, first of all, does the character even make any sense split into two like this? What is Superman if the not the last scion of a dying world? Who is he without Lex Luthor? When was the last time he actually had to leap over a building in a single bound? Will anyone actually accept either half of the character as the character?

Furthermore, what do the estates of Siegel and Shuster really expect to gain from this ruling? Do they really expect to be able to package the rights into some sort of media deal?

The Superman from Action Comics #1 is not a superhero that a casual comics fan is going to recognize and I'm not sure that any movie that is made with that version of the hero is going to draw all that many people because, quite honestly, who cares?

Ultimately, I think the Siegel and Shuster estates are going to have to find some way to share the copyright to Action Comics #1 with DC, as I doubt there's any real marketability for what the creator's estates will gain control of in 2013.