Chibi Deadpool Collection that I drew that’s running in the 2012 comics, for the Chibi Deadpool fans :)

Irene is the best—her Deadpools rule.


So I’m in the middle of gathering up my background material and recapping the Hannibal premiere, but even if I weren’t… I don’t think I’d be liveblogging the Oscars. (For those of y’all who didn’t really see my journal, I wrote complete narrative recaps of what was happening, as it happened, for…






This is an Anthony Misiano as the Joker post.

Keep moving along there.

Best cosplay in the history of cosplay

next level shit

Best Joker cosplayer.

Good God, this goes beyond cosplay. Hollywood is missing a bet here. Couldn’t you just see that last GIF as the final sequence for a Batman movie trailer? Coming soon to a theater near you….

The ability to do this sort of transformation with makeup and lighting goes right back to Lon Chaney (The Phantom of the Opera) and Conrad Veidt (The Cabinet of Dr Caligari) )and the transformation stays right there in front of the camera the whole time.







(via Cosplay - Captain Jack Sparrow by Slava-Grebenkin on deviantART)


this is cosplay








First there was Anthony Misiano’s Joker, and now there’s this. Both amazing.

If I understand cosplay correctly then Jack Sparrow is the better one, because I certainly can’t tell the difference (except for the Russian-language request for rum) between these images and stills from the PotC movies.

However, if I was a convention masquerade judge my vote would still go to the Joker interpretation rather than the Jack Sparrow imitation.

Misiano’s Joker isn’t trying to exactly match Ledger’s, Nicholson’s or Romero’s version; if anything it’s based on the Batman: The Animated Series Joker with a bit of Brian Bolland’s art from The Killing Joke. He hasn’t recreated a human actor, he’s given movement and expression to a cartoon grotesque.

Think of a Disneyland where Mickey & Co were as facially alive as the people dressed as Peter Pan and Snow White… Oh.

I think I just creeped myself out.



We ended up shifting the focus of my story a bit, since the original version with the frame of Rose telling her mother’s story was heading to Novella Town—which I think I’ll finish, actually. But for the anthology, we scaled down to just Josephine (and an appearance from Young Rose). Here’s the author’s note I turned in:

For the last ten years and counting, I’ve been working on a Victorian vampire, slightly-steampunk, slightly-alternate-history horror/suspense novel set in 1889 called The Black Ribbon, and as I get ever closer to finishing it (I swear), I’ve wanted to let people get to know some of the characters. So Rose Munro, the young girl at the beginning and end of this story, “The World to Come,” will grow up to become a London physician who has the misfortune to discover that vampires are real, let’s put it that way. And though her mother passed away when she was about thirteen years old, Josephine has been—and continues to be—an incredibly important influence on Rose. So this is a story that Josephine would have told Rose when she was younger: a ghost story, but also the story of how Rose’s father proposed to Josephine, and why she said yes. It’s a story that Rose will think back on years later when making choices of her own; it’s about things Josephine tried to teach her daughter, about courage and compassion and belief.

The story is really about four women—Josephine, her friend Polly, and the Ashley sisters, Ellen and Amy—and while I think you’d point to Josephine as being the Strong Female Character™, I wanted to approach strength as a choice that you make. You can run away or you can stand your ground; you can take responsibility for your actions, you can step forward even though you’re afraid, you can tell the truth, you can finally choose to live. And the reason that Josephine is the protagonist, to me, is that she is the one who leads the way with the strength of her choices—at one point, she looks at the massive fiasco this overnight visit to a haunted house has become and thinks to herself, I cannot walk away from pain. Someone has asked her for help, and she’s going to stay until she’s given it. I’ve also heard that a good way to think of a story is that the character makes a choice at the end that they would not—could not—have made at the beginning, and I think all four of these women do that.

So! Here’s a photoset of some of my reference images:

1) Agnes and Adrianna Pillsbury, mid 1850s. Honestly, I think of Polly as a sprightlier personage than the sister on the left, but the other one is about right for Josephine.

2) I can’t find a source for this picture that isn’t just other Tumblrs and Pinterest, but something about the directness of her expression seemed like Josephine to me.

3) Jennifer Jones in Madame Bovary, 1949 (Flaubert’s novel published in 1856) for Polly. “You’re charming and I’m not,” says Josephine. “See what you can do with Miss Ashley.”

4) The Eve of Saint Agnes, John Everett Millais, 1863 (an illustration to John Keats’ poem of the same name). Quoth Wikipedia, “A Scottish version of the ritual would involve young women meeting together on St. Agnes’s Eve at midnight, they would go one by one, into a remote field and throw in some grain, after which they repeated the following rhyme in a prayer to St. Agnes: 'Agnes sweet, and Agnes fair, / Hither, hither, now repair; / Bonny Agnes, let me see / The lad who is to marry me.'” It’s the atmosphere of the dark bedroom that I like, and the girl has red hair—I’ve also used it as a reference for Rose, Josephine’s daughter—but “let me see the lad who is to marry me” has a certain resonance with the story, you could say.

The Ghost’s Petition, Emma Florence Harrison, 1910 (an illustration to Christina Rossetti’s poem of the same name). A ghost, a redhead, a window, and a wing chair. Not exactly how it happens in the story, but I’m pretty sure this is where I got the idea for those four elements.

Unidentified woman; I don’t think it’s dated, either. This looks more 1850s (or even ’60s) to me than ’40s, but the wistful look is right for Amy, as are the curls.

Yes, John Everett Millais, 1877. Since I had this in my reference file for Josephine already for the red hair, I think this may have been what gave me the idea to make the story about the proposal as well as the Ashley haunting. That said, Rose gets her height from Josephine, not Walter; in the original draft of the story, I had Polly wailing, “He’s shorter than you and he’s not even handsome!” 

Upcoming anthology with one of Cleolinda’s short stories, set in the Black Ribbon world!

I entered Disney’s Frozen Norway Getaway for a chance to win a Frozen inspired trip for 4 to Norway!

I entered Disney’s Frozen Norway Getaway for a chance to win a Frozen inspired trip for 4 to Norway!

Just saw the tweet about you being a token female comic writer. You forget the point that you're too talented to only be a token writer.


I appreciate that, but…hmmm.

Well, the truth is, people will TRY to tokenize almost anyone from any marginalized or under-represented group. They can make it very difficult. If the culture is so hugely dominant of one gender or race or sexuality, or as is most likely, all three of those, then even unintentionally, there’re going to be people who feel discomfort at your simple existence in that space, and they pass it on to you.

Maybe they don’t even know they’re doing it.

And while I am female and definitely in the minority, there are at least a few other females writing monthly ongoing titles at the bigger publishers. I’m told there are NO black writers doing so at this moment (I would love to be wrong on this, tell me if I am). Let alone trans writers, just as another example (I only know of one recent monthly by a trans writer and I think that’s finished).

People can tokenize you in ways they think are positive, even, making a big fuss in news stories that you are from a marginalized group. It can give the impression that you are there to tick a box on some checklist, and there are people in the audience who are all-too-willing to believe that, even though that’s not how publishers work.

So people will try to stereotype, try to make you a token. You have to resist that, you have to stand up to it every time, you have to shine the floodlights in those shadows. You have to stand up.

Because they can CALL you a token, but they can’t actually MAKE you a token without your consent and participation.

So you work hard, you do good work, you gravitate towards people who value you for your accomplishments and skills, and the people who do not? You drop them from your orbit entirely.

You can compromise a lot in most creative fields, people ask you to compromise every day. You should not have to compromise who you are. 


A very nice and articulate tumblr is taking me to task for having a lot of mentally ill villains in the first twenty issues of Batgirl.

It’s a fair point, one I’ve given quite a bit of thought to, but it made me start thinking.

Which major villains in the the Batbooks of the past couple decades…

It’s really good to be aware/ask the question. Then again, I tend to think Gotham itself is kind of a breeding ground for mental illness. With Arkham Asylum right around the corner, and The Joker being such a prominent villain, surrounded by all these other villains with clear issues… Whether intentional or not, over the years it almost seems to have become the norm for Gotham bad guys (and it’s even been argued that Batman is mentally ill…)

Then again, that’s as good a reason as any to try to break the mold. Although, really, when it comes to villains, at least a little off-ness usually makes them more interesting and believable. If they were well-adjusted members of society, why would they be villains? Hmm…

You've said how much you loved writing Bane and Scandal's relationship. Do you think after they were carted off that they kept in contact? Like, does Scandal get random postcards from wherever Bane has ended up? Or do they write to each other and just never send the letters?


Well, I think I have to leave that to peoeple’s imaginations, actually.

We do know that Bane deliberately cut himself off from everyone he cared about in the Six, even Scandal, because he felt that they were keeping him from being the ruthless leader of Gotham he was meant to be. So he swore off of them.

Of course, he’d sworn off of VENOM, as well…

In a related note to the questions about mental illness in your comics: while reading Batgirl I was under the impression that Batgirl was suffering from PTSD as a result of being shot. Was I imagining the symptoms or did you intentionally write her that way?


It is very intentional, she’s been suffering from PTSD-like symptoms and also some depression. I’ve been consulting with experts quite a bit on this to match her symptoms to her situation.