Continued from page 8 ter holding several conversations with Paco Jimenez. Unfortunately, my stint as an assistant editor on the Batman and Superman titles lasted only a couple of months. Personal disagreements with the administrative staff and the low pay forced me to leave the position. My credit as a translator and editor did not appear in the two full-size specials that reprinted the “Death in the Family” storyline. The editor argued, “He no longer works for the company.” However, from Novaro to Vid, I managed to hide signatures on my work. Several of the drawings enlarged in Vid´s publications have hidden initials that escaped the scrutiny of the publisher. The initials to my name “G M G” can be seen between the cross-hatch details of the art. Similarly, on page 13 of the first volume of Vid´s “Death in the Family”, there, in the first panel of an illustration of “The Gotham Gazette” Continued from page 9 ing and we sleep peacefully when our home is in flames! D999. You are absolutely correct Vasilis! You cannot ignore the interweaving of politics and comics. Especially when a funny book is being exported out of its country of origin to be defined, reworked, and translated by another nations citizens. There has to be a political element to comics because quite simply they are time capsules of culture which in turn represents a specific nation or peoples at any given time. But I digress, not wanting to devote to many precious words to foreign policy/politics discussion because I would rather discuss the “god is dead guy” and comics! LOL So my friend, I am definitely no philosopher though what person in their youth didn’t find an attraction to some of Nietzsche’s ideas? I have heard about the theory that Superman and early superheroes in general were based on the concept of “Übermensch”(superman theory). Never have I studied it in great depth, and your explanation seems perfectly reasonable. But, like you said “contradictory”, and its my understanding that Nietzsche’s con- Page 10 you may find my initials as Drop caps of the texts that accompany the news article, right next to Jim Aparo´s depiction of The Joker. Emulating and, in many aspects, surpassing the achievements of Novaro, Vid grew by leaps and bounds in the following years and began distributing in Spain just like their predecessor had done decades before. Their decision to eventually respect the American format and size of the text was commendable. It was only in late 2012 that poor management forced them to stop publication and sell the rights to Editorial Televisa. In general, leaving aside the obvious translation and format deficiencies, Spanish speakers owe a lot to all those publishers that gave a home in Latin America to the mythological figures of the late twentieth and early twenty-first centuries. cept could be warped and shaped by many different movements and ideologies for their own purposes. How ironic that for some citizens of Greece at least, what I would say is Americas greatest pop culture invention (comic books), could be exported out into the world and those very superheroes would be used philosophically, symbolically, and ideologically against us in some fashion. Though I might not agree at times with the antiAmerican sentiment some of your fellow Greek compatriots might feel towards America I am also not naïve enough to say that I don’t understand the impetus of it. The junta had to have been terrible, and nothing compares to a lack of freedom and liberty to sour ones attitude towards anything. So you were a rebel, one of a few amongst your peers that chose to go against the grain, who understood, and loved the Marvel vision. You then moved on to underground adult-type comics and creating. Lets fast forward a bit to the beginning of your journey within the comic industry of Greece. How did you start? Were you an illustrator as well or only a writer? What was your first comic creation? Oh, and also I have to address this. Disney books could share a shelf with porn mags?