gotham fatale


“I know what you think of me. You think I’m just a doll. A doll that’s pink and light. A doll you can arrange anyway you like. You’re wrong. Very wrong.” - Gotham City Sirens


pamela isley / poison ivy

“   men, the most absurd of god’s creatures. we give you life… and we can take it away just as easily.  ”

femme fatales / catwoman

(please do not repost, remove my caption, or claim as your own!)

I actually kind of hate this character, always have, but she was super fun to draw. I did the line art last summer but didn’t get around to coloring it until now. It was meant to originally just be a bust along with Cat Woman and Poison Ivy (the femme fatales of Gotham) but I never finished it. Then I decided it would be busts of her and Joker, since Joker is ultra fun to draw, but now it just ended up being a picture by its lonesome with more of the body present because I wanted something to throw up online.

I guess I didn’t always HATE Harley Quinn. She was OK in the animated series, but I always found her pretty obnoxious and bratty. The thing I hate most of all is a chunk of her fanbase and the way she is regarded these days. I’ve met so many women who idolize this wacko, and DC is even promoting her as a hero/role model these days. A serial killer, psycho-path, Stockholm Syndrome-suffering, manipulated clown is not a good role model for women (she’s even being promoted as a character for little girls now…). I feel like she just showed up super late in the game for Batman and just took over the whole franchise. Her character alone completely rewrote a massive chunk of the Joker too, forcing her to always be a major part of his character, forever killing the classic villain. Any person who jokes “f@#$ Romeo and Juliet, I want a relationship like Joker and Harley” is a really stupid or really sick individual, or they just clearly don’t actually know anything about Batman, they’re just saying that to be trendy. But, yeah, Harley Quinn - terrible role model for women and promoter of domestic abuse, and just fan service.

But, yeah, again, she was super fun to draw. There’s no denying that her design is really likable and sexy, so I had to draw her. Not to discredit Margot Robbie, she’s a beautiful girl, but she’s really not my type and I personally didn’t find her sexy, but the outfit was noice. I do find it odd that Harley has become known as THE sex symbol of Batman, though, since it’s a FACT - Poison Ivy’s the hottest :D

These Foolish Things, Remind Me of You


Originally posted by backwardabyss

In which Edward visits a strip club to forget his troubles, but his troubles haven’t forgotten him.

Based on events in Gotham s03ep15.

Content warnings: explicit, strippers/strip clubs, lap dance, hallucination!Oswald, drugs, masturbation, quasi-necrophilia, alternate history, tripping balls while draining them

Obligatory notice that this is unofficial, fan-made fiction for a franchise owned by DC and Warner Brothers, and created by Bob Kane and Bill Finger. The song which lends its name is performed by Bryan Ferry.

Special thanks to @millicentcordelia for beta reading and the title suggestion; and to @mrgoldsdearie for the advice and resources.


“Oh, will you never let me be?

Oh, will you never set me free?

The ties that bound us

Are still around us

There’s no escape that I can see

And still those little things remain

That bring me happiness or pain…”

Edward Nygma sighed, shifting uncomfortably in his seat and bouncing one long leg. Watching the dancers in their sequins and feathers parade across the stage did nothing to improve his mood, but leaving now would be an insult to the increasingly volatile Queen of Gotham, with likely fatal results.

Two days earlier, an “invitation” had been extended to meet Barbara at The Sirens. The invitation was, needless to say, polite but mandatory.

“I held up my end of the bargain,” he’d said. “I thought we made it clear that after Penguin was out, we’d go our separate ways.”

“Oh, this has nothing to do with business.” Barbara shot an apologetic look towards her lover. “Well, actually, Tabby and I thought you could use some R&R.”

“… What?”

Tabitha, by contrast, was as blunt as ever. “You’re bringing the mood down, Nygma.”

“So,” Barbara chirped, “we know just the place to bring back your joie de vivre! What with the tragic loss of your librarian and all.”

Keep reading

A comiXologist Recommends:
Harris Smith recommends The Fade Out #1

From Criminal to Gotham Central to Fatale, there’s no disputing that Ed Brubaker is one of the modern masters of crime fiction.  The strength of his work derives from a keen synthesis of his influences, particularly 30’s-60’s hardboiled crime novels and film noir, combined with a streak of imaginative originality.  In Gotham Central, for example, he crafted an expertly written Ed McBain-styled police procedural and grafted it into the ongoing continuity of the DC superhero universe.  Fatale began like a Dashiell Hammet-influenced detective story, combined with an element of Lovecraftian  horror, then spun both ideas off in a variety of unexpected directions.  A significant factor in Brubaker’s appeal is that his influences are primarily stylistic, he doesn’t bog the reader down with excessive references or in-jokes, but rather uses his understanding of genre to capture its spirit, in the service of some often highly original storytelling.

In his latest, The Fade Out, from Image, Brubaker recalls the Hollywood-set noir of Billy Wilder’s Sunset Boulevard, In a Lonely Place (originally a novel by Dorothy Hughes, later a film by Nicholas Ray, starring Humphrey Bogart) and The Big Knife (originally a Clifford Odets play, later a film by Robert Aldrich), as well as the non-crime desperation of Tinseltown-themed stories like The Day of the Locust (both Nathaniel West’s novel and John Schlesinger’s film, one of my personal all-time favorites) and Kenneth Anger’s salacious non-fiction Hollywood Babylon.  Like these classics, Brubaker casts a cynical eye on the glamor of the movie world and focuses on the corruption and decadence underneath.  Taking place in 1948, The Fade Out focuses on Charlie Parish, a seemingly burnt out screenwriter who awakens from a night of blackout drinking to discover he may or may not be implicated in a murder.  Along the way, Brubaker evokes Pearl Harbor, the Hollywood blacklist and other heady elements that ground the story in historical reality.  Tonally, The Fade Out expertly builds, in just the first issue, from uneasiness to dread to suspense and ends satisfyingly on a low-key cliffhanger that left me anxious to find out what could possibly come next.

If you’re a fan of Brubaker, you already know what kind of magic there is to be found here.  If you’re new to his work, this fresh, smart, exciting new series is a great opportunity to get onboard. 

[Read The Fade Out #1 on comiXology]

Harris Smith is a Brooklyn-based comics and media professional. In addition to his role as a Senior Production Coordinator at comiXology, he edits several comics anthologies, including Jeans and Felony Comics, under the banner of Negative Pleasure Publications. He’s also the host of the weekly radio show Neagtive Pleasure on Newtown Radio.


So after Supanova, I went to see Comic Strip, this burlesque show presented by Gallery Burlesque and Gotham Fatale and IT BLEW MY FRIGGING MIND AHHHH.

I mean, looking at these photos of them, you can tell they are stunning (I look like a hot mess compared to them, my oh my), but that’s nothing compared to seeing them dance! Oh my god! I wish I had gotten to talk to the dancer playing Wonder Woman, she impressed the hell outta me. I wish I knew how to work fans like they do! I wish I knew how to twirl nipple tassles like them too, lordy lou. It was lovely and wonderful, and I dearly hope they come out with another show like this soon.