Category: News
How Comics Inspired the Egyptian Revolution
Jesse Singal at The Boston Globe points to the Comics Alliance blog post connecting “The Montgomery Story,” a comic book that relates Martin Luther King Jr.’s philosophy of nonviolent civil disobedience (particularly as it pertained to the Montgomery bus strike) to the recent non-violent revolution in Egypt:
Dalia Ziada, Egypt Director of the American Islamic Congress, arranged to have the comic book translated into Arabic and distributed 2,000 copies across the Middle East. In a newsletter, Ziada described what happened when she tried to get the book printed in Egypt: When, at first, we went to print the comic book, a security officer blocked publication. So we called him and demanded a meeting. He agreed, and we read through the comic book over coffee to address his concerns. At the end, he granted permission to print and then asked: “Could I have a few extra copies for my kids?”
Of course, we aren’t surprised. We’ve known for a very long time that comic books promote truth, justice and the American Way… this is just a bit more than usual.
‘Comic Book Legends Revealed’ Hits #300

Congratulations to Brian Cronin on the 300th installment of Comic Book Legends Revealed, his ongoing series of examinations of comic book legends and whether they are true, false, or somewhere in between. Click here for an archive of the previous two hundred and ninety-nine, or buy the book he got out of it, Was Superman A Spy?
Now if he ever finds about that time with the thing in the men’s room at the Wizard World in… but I’ve probably said too much already.
Andrea Romano Discusses Casting ‘All-Star Superman’
To vocally craft the characters within the DC Universe Animated Original Movies, the production brain trust of DC Entertainment, Warner Premiere, Warner Home Video and Warner Bros. Animation is smart enough to employ the best in the business – on both sides of the microphone.
While winners of Oscars, Emmys and Tonys alike provide the voices behind some of the world’s best known comic book characters, it is the super hero of voice directors that guides these unique talents – Andrea Romano.
Arguably the top animation voiceover director in the business today, Romano has been instrumental in orchestrating the vocal tones behind the first 10 DCU animated films, including the highly anticipated February 22 release of All-Star Superman.
The eight-time Emmy® Award winner (not to mention 30+ Emmy nominations) has a voiceover casting/direction resume that spans more than a quarter century, covering the genre gamut from action (Batman: The Animated Series) and humor (Animaniacs) to contemporary (The Boondocks) and timeless (Smurfs). She will appear at both the sold-out New York and Los Angeles premieres of All-Star Superman next week, and will undoubtedly be greeted with a wild, lengthy cheer – an ovation she regularly receives at Cons around the globe.
For All-Star Superman, Grant Morrison’s beloved, Eisner Award-winning vision of Superman’s heroic final days on Earth, Romano has rounded up an intriguing lineup of stars to fill the comic book character roles. James Denton (Desperate Housewives) has donned the cape as Superman, Christina Hendricks (Mad Men) is Lois Lane, and Anthony LaPaglia (Without A Trace) voices Lex Luthor to form the core cast. They are joined by seven-time Emmy® Award winner Ed Asner (Up) as Perry White, Golden Globe® winner Frances Conroy (Six Feet Under) as Ma Kent, Matthew Gray Gubler (Criminal Minds) as Jimmy Olsen and Linda Cardellini (ER) as Nasty. Also amongst the voice cast is Arnold Vosloo (The Mummy), Catherine Cavadini (The Powerpuff Girls), Finola Hughes (General Hospital), Alexis Denisof (Angel), Obba Babatunde (That Thing You Do!), Michael Gough (Batman) and John DiMaggio (Futurama).
Romano paused between her many current projects – including a few upcoming DC Universe Animated Original Movies – to discuss the cast and recording of All-Star Superman. Listen up …
QUESTION: Are there certain writers’ scripts you find easier to direct or get an instant feel?
ANDREA ROMANO: There are several writers I’ve worked with over the years whose words I can recognize without even seeing a title page, like Stan Berkowitz, Alan Burnett, Bob Goodman and especially Dwayne McDuffie. And because I’ve worked with them for so long over so many different projects, and once they know I’m on a project, it’s almost as though they write for me – because they know exactly what information I need to know to give to the actors. So I love working with all those guys. Dwayne works so hard on being true to the source material, and yet translating it into something that can be acted. He’s really good at making that transition of honoring the material, but bringing the words off the page to make it actable and dramatically interesting.
GUEST REVIEW OF THE WEEK FROM JOSHUA REYNOLDS!
Yesteryear is on the Way! Tommy Hancock Interview
AP: Thanks for joining us, Tommy! Can you tell us a little about the genesis of Yesteryear and what it’s about?
TH: Thanks, it’s cool to be sitting on this side of the interview again. The genesis of YESTERYEAR is rooted way back in my fan fiction days. I was making a decent name for myself writing Golden Age inspired Fan Fiction on the internet in the late 1990s and up into the early 2000s, but, like so many writers of said stuff, realized it was simply what its name implied, fiction written by a fan. So, I started putting my thoughts toward original work and several great ideas came out of that period. Most of those ideas ended up populating one particular story line, one universe in my imagination. I started looking at what the impact of super types would be on our world if they simply just started on one day in history. What would they make their costumes out of? Why would they even wear costumes? And what about history, would heroes and villains impact history as dramatically as we think they would or would history have rolled on pretty much the same as it has? Out of that came the concept of public perception versus private realities. That’s the genesis of YESTERYEAR and mostly what its about.
The plot of YESTERYEAR is different, also. There are really three stories going on here. There is a modern tale being told about a manuscript that was written by a former Hero in 1955, but the author and said book both vanished. The unfinished manuscript and all the research accompanying it show up at a publisher’s office in the modern era. What ensues from there is a chase tale combined with a mystery. Who all wants this book and why? What does it contain that could be so dangerous to so many people? Where is the author of this explosive tome? And why did THIS publisher get it?
Included within YESTERYEAR along with the modern tale are excerpts from the fabled manuscript. Some of these are finished pieces by the missing writer, others are letters, notes on napkins, etc. that he gathered for research. Within this manuscript, there are two storylines going on, one showing how the public viewed their first heroes and villains and the truth behind that view. There’s a lot packed into this, but hopefully it all unravels into one great story.
AP: Who are the major characters in the novel and are they based on any pre-existing pulp/superhero archetypes?
TH: Major characters, yeah, there’s a handful. Based on pulp/hero archetypes? You bet. The Hero is my take on Superman, except he’s a human who has these powers thrust on him. The Night, one of my personal favorites, is Batman, The Shadow, and The Spirit all mixed together. The archetype discussion could go on forever and many of them will be obvious, but will also have a twist to them. The real main character of this novel is the book that stirs the whole controversy. It may not be the key to the meaning of life, but its definitely a pot stirrer in this particular universe.
AP: Yesteryear is your first full-length novel — how do you find writing in longer-former to be different than the short story and novellas you’re known for?
Well, that’s not really a question I can answer yet because YESTERYEAR, although it’s a full length novel, is like writing short stories and novellas and even short shorts because it’s a big tapestry sewn together with a central storyline. It’s not a linear novel in several respects. One thing, though, that I think is like other novels, is that you have to insure the story is intriguing and engaging from the first to the last word. I hope I’ve achieved this with YESTERYEAR and not just made something that comes off as gimmicky.
AP: Are there sequels in the works involving these characters?
TH: Oh, most definitely. YESTERYEAR tells a complete story in one way, but intentionally leaves so many questions to be answered. There are at least two direct sequels to this book that are possible, but there are tons of other directions to go as well. Each character could have at least their own collection or novel or series of novels and every one of them would fit into the mosaic that makes up this universe. Can YESTERYEAR be the only novel and readers be satisfied. Yes, I think so. Are there many, many more pieces that should be seen and add to the whole shebang. You bet.
AP: I’ve heard that the book is being featured in an Arkansas-based literacy campaign? Can you tell us about that?
Yeah, this is the coolest part. A literacy organization that covers a large part of Northern Arkansas has seen the cover done by Jay Piscopo, a cover featuring three heroes reading a book, and want to use it as a part of a reading campaign. This is in the works and will be announced very shortly formally, but its really exciting that a pulp/hero novel gets the opportunity to encourage people to read more. Yes, its publicity for the book, but its more about being a part of what this is all about…getting people to read what we write.
AP: The cover by Jay Piscopo is gorgeous — how much direction did you give him on that?
TH: Jay requires little to no direction, he is such an awesome talent. I did give him the three characters I wanted in it (From left to right, The Hero, The Freelancer, and The Night) and the fact that a book should be featured in some way. As far as design goes, though, that’s all Jay. The way he blended the characters, colors, and overall theme into a single image….wow. That cover says it all and sets the tone for the novel it fronts very well.
AP: Where and how will people be able to buy the book?
TH: Pro Se is making the move from Lulu to Createspace and this novel may be the first after that transition. But we’re also not sure how long this will take, so I’ll stay in touch to let you know exactly how to get it.
AP: Thanks for joining us and good luck with the novel!
Welcome A New Addition To The ComicMix Extended Family!
And we’re not just talking about the new site here…
We’d like to welcome Caleigh Elizabeth, daughter of ComicMix colorist and flatter Shannon Weaver (Jon Sable Freelance: Ashes Of Eden, Munden’s Bar) and her husband Tom.
Baby Caleigh was born at 8:47am on Wednesday, weighing 7lbs, 6oz and measuring 19 inches long. Baby is doing very well, mom was sending out updates from her phone mere hours later.
Our warmest congratulations to the happy family.
Reviews from the 86th Floor: Barry Reese Reviews Captain Action Winter Special # 1

Captain Action Winter Special
Moonstone Books
Written by Beau Smith, Matthew Baugh, Joe Gentile and Tony Lee
Art by Eduardo Barreto, Reno Maniquis and Giovanni Carlini
I must confess up front that I know little about Captain Action. I am familiar with the toy though I’ve never actually seen one in person and I did read the Captain Action # 0 that came out a few years back. That’s the extent of my Captain Action knowledge so I went into this issue not really sure how well I’d be able to follow the action.
The cover proudly proclaims that in this issue Captain Action meets the Green Hornet — and that titanic team-up does occur, though it’s in the form of a prose story and not a comic tale. The story is by Matthew Baugh and hits most of the right notes. I appreciate that Moonstone is trying to mix prose and comics but I sometimes think that they’re not clear enough in the solicitations or covers about what you’re actually getting when you buy a book. I assumed this would be a comic book tale and was looking forward to seeing the heroes illustrated together. I did enjoy the story, however.
The opening comic strip in the issue is by Smith and Barreto — and it lives up to both creator’s past works. Beau Smith always delivers action-oriented tales and Barreto has long been one of my favorite underrated artists. There’s nothing earth-shakingly new in this story and parts of it (the ending, in particular) seemed very much out of a James Bond story, which I suppose was the intent.
The Lady Action tale follows that one. I have to say that I chuckle every time I say Lady Action. “There’s nothing I like better than some Lady Action!” This story is entitled “The Spy Who Snowballed Me” and that made laugh, too. The art is really nice and I enjoyed the story a good bit. I’m curious about having more Lady Action in the future. Hah! Sorry, I couldn’t resist.
The final comic story is an Action Boy tale — it shows how little I know about the Captain Action universe because I didn’t know there was an Action Boy. The story follows the trend of the first two, putting the hero into a wintry setting and proceeding to tell an action-oriented story. The art was nice but seemed a little too sketchy for my tastes.
Overall, I enjoyed the issue enough to check out upcoming releases. I’m especially interested in Honey West getting some Lady Action in that team-up they teased in the ads!
I give 3.5 out of 5 stars.
‘Spider-Man’ Producer: Turn Off Your Mouth
As I’ve stated before, I have serious issues with what I’ve heard about Spider-Man: Turn Off The Dark as well as what people I know and trust have said about it. My previous article was based primarily on news reports as well as a Wikipedia entry for the musical. Some have taken me to task for what they assumed was my perspective—which they assumed was based on the staggering cost of this musical and hearsay—and while I said otherwise in the comments, the issue still stands as one of note in recent reviews. I will say this again: I genuinely don’t care how much it costs. If it can be done well for any amount, it’s money well spent.
However, recent comments that Spider-Man: Turn Off The Dark producer Michael Cohl allegedly made in an interview with Entertainment Weeklylead me to question Mr. Cohl’s understanding of what has happened, both under his watch as a producer and as a witness to the torrential waves of negative press. Is it bad form to review and judge a work before it is finished? Yes. Anything I have ever read about this has been under the explicit understanding that it is still in previews. Issues have been raised about just how unfinished it is, given when it’s supposed to open. Issues have been raised about how many people have been seriously injured, as well as in-performance delays that occurred due to technical difficulties. Yet these were all prefaced by the fact that it is still in previews and not judged as a final product.
Health Care Reform To Be Explained in Comic Book
According to a contemptuously written article from the Associated Press, Jonathan Gruber, an economic adviser to President Obama, will be scripting a comic book that explains and advocates for health care reform.
The article goes on to say that Health Care Reform: What It Is, Why It’s Necessary, How it Works was pitched to Gruber by Macmillan imprint Hill & Wang, which plans to publish the book this fall.
The AP reporter, one Steve LeBlanc, makes haste to reassure people that despite the “pulpy panache” of comic books and their usual association with “superheroes in tights,” the use of the format for a serious subject isn’t “as unusual as it sounds.” And then there’s the usual allusion to Maus
. Yes, it’s very nice that Maus won the Pulitzer in 1992, but surely we can bring up more recent examples. Hello, Persepolis
? Epileptic
? The oeuvre of Joe Sacco
? Spiegelman’s later work, In the Shadow of No Towers
? World War 3 Illustrated
?
To his credit, Le Blanc does mention that that the 9/11 Commission report was also adapted graphically, but he somehow misses that it
was also published by Hill & Wang, which one would think would be an important point.
Breaking down this complex subject in this way sounds like a good idea to me, although how riveting it will be remains to be seen. I just wish that news like this could be reported straight, instead of through a fog of incredulity. It reminds me of that flood of trendy fiber arts articles from 10 years ago that all began “Knitting…it’s not just for grandmothers anymore!”








