SUSANA ROMERO MEDINA

Susana L. Romero Medina grew up in a world full of Fantasy, soaked by the wave of shows that flooded Mexican TV in the 60’s and 70’s during the children’s programmes.

Back then, cartoons and shows such as Disneyland, Aventuras en el A√Īo 5000; varied programs from the far East like Cosmic Baton Girl, Astroboy, Ultraman, Sandy Bell, etc., and detective and philosophy shows: Kung Fu, The Big Valley, The Streets of San Francisco, High Chaparral, Columbo, etc, would leave their mark on her forever.

Even when she was very little, she had the gift of writing stories. It’s been told that she’d write her dialogues, and she’d act and answer to herself, representing two alternate characters. This gave something to talk about to her family, who during family chatter, found an artistic potential in the girl.

As a fun fact, the TV’s furniture piece they had at home (which, in that time, were huge and tough and had the TV incrusted in them) had a flap which was part of the furniture’s design. The girl sat on the flap and imagined she could play the piano. Generally, she spent her time dancing, singing and writing poems. During junior high, she helped set up the dances and several artistic school activities. It was during that time when she made her first theatre play for an inner contest where she’d first show her concern about social affairs. The play was meant mainly for youngsters of her own generation, and she won the first place. She directed her schoolmates, highlighting what she wanted to represent, but the day of the presentation, she was so nervous that she got ill, nevertheless, that didn’t stop her for being present at the play’s debut.

Her restlessness made her look for a way to promote values and family union, which was an important nucleus she had obtained during her natural formation.

One day, she met someone who’d become the love of her life and professional work-mate, Oscar Gonz√°lez Loyo, who invited her to participate in a comic book project: N√©mesis 2000, The Alliance. Without thinking it twice, she accepted.

This project was not fruitful at the moment, but she kept working on it with time, and today, it’s one of the most expected launchings of the ¬°Ka-Boom! publishing house. Now, it has a slight update in its name: N√©mesis 3000, The alliance.

So, the adventure began: she shared difficult moments with Oscar as the author of Karmatron y Los Transformables, and as his mate, she supported him on this crusade, going hand in hand with her actual husband to printers, distributors, shops, conventions and promoting this title at the stores, which created a movement, generated by her husband.

She’s always been concerned about the Mexican comic book media’s movement. Every step she takes she does it thinking and paying respect to Karmatron’s fans, as she says, since they are an important part of Oscar’s life (and therefore for the Studio). They’re already part of the family, and they’ve supported the movement unconditionally.

Taking part of the same philosophy of her husband, they created ¬°Ka-Boom! Estudio S.A. de C.V., along with her father-in-law, Oscar Gonz√°lez Guerrero. With this, they have the goal of reactivating this industry and to guide the new talents in the art of script writing. In order to achieve that, she generated a system in which the goal is to give shape and support to writers’ problems, and she perfected the way they worked. This was different from other publishing houses. They have the purpose of solving production processes and giving better caring to details of the structure and interpretation of scripts and achieving a better team work between artists: pencilers and script writers.

As part of this initiative, and deliberately intentioned, she creates UTOP√ćA, First International Encounter of the Ninth Art, Mexico. This idea was born since 1990, thanks to the videos Oscar showed her to share his experiences at the Comic Con in San Diego, Cal. (that kind of events weren’t even dreamed of in our dear Mexico). The event had the purpose of lighting up the wick that would help the movement to sand out.

Today, she’s Editorial Assistance Deputy Director, Contents and Scripts in ¬°Ka-Boom! Estudio¬† S.A. de C.V., and she leads the Contents and Script Department at the National Association of the Audiovisual, Multimedia, Entertainment and Digital Art Industry, A.C. (A.N.I.A.M.E.A.D.)