Video game producer donates classic back issues to the Smithsonian

I previously wrote about what I thought was a questionable article by one of the founders of Riot Games, producer of League of Legends. Now, it looks like there is something good he's done that should serve as vital example in this day and age, as the Smithsonian magazine's announced Brandon Beck donated some classic back issues to the museum's archives:

Before Superman and Captain America became global symbols of heroism, joined cinematic universes and inspired Halloween costumes, they were just ink on cheap newsprint—bold, bright and bursting with possibility. Now, the comic book debuts of two of the world’s most iconic superheroes have found a permanent home at the Smithsonian’s National Museum of American History.

In an extraordinary acquisition, gifted by Brandon Beck, co-founder of the video game developer Riot Games, the museum has added Action Comics No. 1 and Captain America Comics No. 1 to its collection. These comic books were the public’s introduction to characters whose influence today spans movies, television, toys and the imaginations of several generations.

This is what collectors doing it for the sake of the speculator market should really be doing: donating those brilliant treasures to museums, and thankfully, here we're seeing a far better example set. Predictably, however, this article can't evade certain political biases:

Superman first leapt onto the page in 1938’s Action Comics No. 1, widely considered the beginning of the superhero genre. Created by writer Jerry Siegel and artist Joe Shuster, Superman—a caped defender of humanity who came to Earth from the doomed planet Krypton—embodied Depression-era yearnings for justice. Nearly 90 years of storytelling were launched from that first issue.

Captain America arrived in December 1940, with the issue dated March 1941, as global conflict intensified. Created by writer Joe Simon and artist Jack Kirby, the star-spangled super soldier debuted with an unforgettable image: delivering a crushing right hook to Adolf Hitler’s jaw, before the United States officially entered World War II in December 1941. The cover was more than sensational art—it was a bold political statement. When a scrawny Brooklyn volunteer named Steve Rogers was transformed by science into a symbol of national resolve, comic books became a vehicle for wartime morale and democratic ideals.

In an era where such values as democracy and morale are being shredded, that's certainly saying something, isn't it? Interesting how they argue that Cap's Golden Age debut was a political statement, but today, when somebody wants to take on issues like Islamic terrorism, suddenly it's inappropriate, and not bold at all. And should it really be described as a political statement? Maybe that's running the gauntlet of hijacking somebody else's creation for their own propaganda goals, and not considering that issues like totalitarianism is a serious topic that transcends mere politics? As though they couldn't give more suggestions their own claim is political, a more recent form of propaganda comes up:

“We use objects from popular culture to reflect and learn about the past, and the comics provide incredible insight into the era from which they come, including the relationships between the books’ Jewish American creators and the beginning of the World War II era, fascination with technological and scientific advancements, and representations of sacrifice and heroism during challenging times,” says Jentsch.

Taken together, the comics reflect societal anxieties and aspirations alike—whether in Superman’s immigrant origins or in Captain America’s wartime ethos. “The pivotal creators of these comics—Jerry Siegel, Joe Shuster, Joe Simon and Jack Kirby—were all first-generation Jewish Americans, anxious to make their marks in a country that had welcomed their parents,” says Paul Levitz, president of DC Comics from 2002 to 2009 and writer of many comics, including Superman, via email. “As someone who had the pleasure of knowing them all, I can confidently say that this recognition of their work in the most significant comic book acquisition in decades, would have been a great affirmation of the groundbreaking genre that they created.”

Another article where they fall back on the angering cliche of describing the Man of Steel as an "immigrant" instead of an otherworldly refugee from a destroyed planet. Based on that, it's hard to believe the Smithsonian's really serious about respecting the goals of the Golden Age creators, let alone their ethnic heritage and backgrounds. Considering how disinterested leftist ideologues like the Smithsonian's are in learning and reflecting on the past, what's the use of their acquiring the classic oldies when they may not do justice for their history? And even now, Levitz may not be fully qualified to speak in their name, considering he sold out to Islamic propagandists nearly 2 decades ago, and even indicated he thought abortion was okay years later. As a result, Levitz for one isn't offering the best affirmation of the acquisition.

The timing is apt. In recent decades, superhero narratives have dominated box office returns and streaming platforms, generating expansive programming and reshaping Hollywood economics. Yet the origins of these billion-dollar franchises remain humble: Stapled pages sold for a dime at neighborhood newsstands. Today some of those rare pages are among the most valuable printed materials in existence. Four years ago, Captain America’s first adventure sold for more than $3 million at auction. Last year, a copy of Superman No. 1 was auctioned for more than $9 million. In January, a copy of Action Comics No. 1 sold privately for $15 million.

And it doesn't bother them that outside the donation of Beck's back issues to their archives, there's speculators out there who've sold these back issues round and round, yet never, not once, donated to museums, let alone bought themselves wall paintings of the same characters? What isn't discussed by extension is whether that suggests the speculators are actually ashamed of the products, their desire to own them notwithstanding.

That 2 of the most famous superheroes' premiere issues have been acquired by a museum is a positive example in itself, and Beck deserves credit for setting a good one. But beyond that, there's no telling if an institution that's been pretty left-leaning will do enough to convince they really support the messages Superman and Cap were built upon back in the day, or that they don't wish to exploit the material for the sake of leftist propaganda, as their description of Superman suggests. Do they even know Simon was conservative? Will they ever even put Simon's illustration of Cap smashing Osama bin Laden on display in their future exhibitions? If not, then this purchase amounts to little, and won't be respecting the visions of the original creators.