The next time the amazing Ms Simone crops up is with her ongoing column for Comic Book Resources called, ”You'll All Be Sorry”, or YABS in the common Internet parlance. With “You'll All Be Sorry,” Gail got the opportunity to prove that not only did she have a master's grasp of impressionistic writing, but that she also had some remarkably professional comedic chops. YABS became an Internet darling and proved implicitly that Gail Simone could competently skewer every writer, artist, journalist, and fan on the planet, from her dead accurate parodies of icons like Frank Miller and Mark Millar, to easier targets like Dave Sim and John Byrne.

My personal favorite is her spot-on parody of Planetary, wherein the three major players unearth the remnants of a certain modern stone-age family. It's written in near perfect Warren Ellis style, and it's absolutely hilarious. The “You'll All Be Sorry” archives are located on Comic Book Resources, and they're well worth a read or two, or three, or 20.

At the gentle urging of Scott Shaw (I suspect something involving a flamethrower, wet spaghetti noodles, and a rusty ice pick), Gail submitted a script to Bongo Comics. The script in question was for their Simpsons line, and a writing career was born. Gail's work for Bongo Comics is a testament to just how strong her writing skills really are. The most difficult aspect of writing a comic based on a popular cartoon is that you do it without the benefit of the voice actors.

The readers come to the comic with a pre-set notion of how the characters sound. This requires letter-perfect dialogue from the writer and plotting that doesn't seem out of character to the audience. Gail succeeded admirably well with both these aspects, while still remaining consistently funny. Stand-outs from Gail's tenure at Bongo include: "Maximum Bart!" from Bart Simpson #2, "Battle of the Boy Bands" from Bart Simpson #3, and "Tales From The Kwik-E-Mart" from Bart Simpson's Treehouse of Horror #8 (which will make you think twice about your beloved breakfast cereal mascot. *shudder*)

Her next project was a three-issue mini-series for Oni Comics called Killer Princesses. Coupled with the phenomenal writer/artist Lea Hernandez, it was a perfect match. The synergy between these two creators is obvious on every page of this comic. To this day, there has yet to be an artist that Gail has worked with that has complimented her writing style as well as Ms Hernandez. Killer Princesses is a wild action movie on paper that oozes with black humor. If you think of the Charlie's Angels movies (if they had a creative production team), then smack yourself upside the head with a gold brick wrapped in a slice of X-Men, you've about got it.

One of Gail's fans from her YABS days happened to be Joe Quesada, who obviously knows talent when he sees it. As Marvel Comics editor in chief, he extended her the offer of taking over their floundering Deadpool title. Gail jumped in with both feet, bringing Deadpool a relevant hipness and a return to black humor not seen since his Joe Kelley days. Five issues into her run, Deadpool was cancelled out from under her and she was asked to re-imagine the book from scratch. The result was Agent X, which was fun, but it wasn't the same Deadpool goodness. Gail left the series after seven issues over "creative differences" with the editor of the series.