We wrote episode 409 "The Cult of Celebrity" in Season 4, then joined the writing staff for Seasons 5 & 6.  We wrote episode 503 "I Get Involved,"  episode 509 "When Opportunity Knocks," episode 606 "Like No Business I Know" and episode 607 "Of Cabbages And Kings." We also did a substantial rework of episode 508 "Honoring Our Past" and earned a credit on that one too.  And of course, we were part of the staff of the show, helping on all episodes to differing degrees.

These were our first professional credits. An opportunity that came because Christina did the hard work of being a writer's assistant and script coordinator. And the job that started us as writing partners.

We will forever be grateful to Robert Wuhl for starting our careers. But we were young and did not know then what we know now. Like when we needed to speak more, and when Nunzio needed to shut up.

This was just Nunzio, and it was the first comic credit for either of us. Christina wasn't sure yet if she wanted to write comics.

Nunzio wrote one issue of the "Office Down" crossover story, and structured that issue as an homage to one of his favorite TV episodes, "Three Men and Adeena" from HOMICIDE: LIFE ON THE STREETS.

The issue was well reviewed, but one prominent DC figure openly complained about Nunzio's hiring, because we are friends with Greg Rucka, and this person felt having written on ARLI$$ for an audience of millions qualified Nunzio to write Batman to an audience of hundreds of thousands.

With Batman under Nunzio's belt, we both turned our attention to a new story idea that Greg Rucka felt would also be a great comic story. Christina finally decided to work in comics, too.

Skinwalker is a story we're proud of, but may have been better written by a native writer. Also, we may have overwritten it, because the font size on the dialogue had to be shrunk during lettering. It ended up so small that Nunzio's parents never were able to read it!

Our attempts to set this up in Hollywood proved every 'bad studio exec' cliche to be accurate. We walked away from multiple deals because what they wanted to make would have been nightmarishly offensive...

Our work on SKINWALKER opened a door for us at Marvel, and we found ourselves pitching a take on the NEW MUTANTS.  To test drive us on that book, Marvel gave us a shot at writing Dani Moonstar (a favorite character even before we wrote her), and the story we wrote ended up in X-MEN UNLIMITED #42, serving as a backdoor pilot of sorts for the NEW MUTANTS book that would soon follow.

This book started us on a path that defines us for a lot of our readers.  We started in NEW MUTANTS, and spent a few years in the X-Men universe, with the book changing titles and relaunching, and even getting a spin off miniseries.

The project was riddled with hiccups and problems - we couldn't keep an artist for more than a few issues, the mandate we got from Bill Jemas was at odds with what Marvel wanted after Bill was left.  Jemas himself was... mercurial to create for.  And, famously, an entire storyline was shelved, causing us to fight with Marvel editorial and (when we lost that fight) cannibalize the art from multiple issues to create a replacement issue while writing another storyline to finish filling the void.  It's a long story, and an exhausting one.

And yet... we were very proud of that book.  And the kids we created, we loved as much as the favorites we got to handle.

Inspired by California's ill-fated and (to our thinking) ill-concieved draconian law that mandated severe penalties for a "third strike" crime, even if relatively benign, this is one of our favorite stories.

A second chance to work with Brian Hurtt, our fabulous artist on SKINWALKER.  A story that expressed our outrage over real world issues, but also let us play with the narrative space and pacing of a comic... we had a great time on this.  And we remain proud of it to this day.

We were interviewed on public radio when the Three Strikes law was up for repeal, and had callers tell us what the story meant to them.  There's no beating that experience as a writer.

This was part of a one-two punch for us that had us riding high in the comic world (the other part was THREE STRIKES).  This book got some of the best reviews of our career. And we remain proud of it.

And yet...

It taught us the perils of writing about real events. People in your life may not want their stories co-opted to serve a different narrative. Plus, the parts that are true may hit too close to home for many, and the parts that are fictionalized may feel like a betrayal to others.

We're proud of the book. But we have never written about our (or our families') personal lives again.

Our first start at the eventual AVALON CHRONICLES series, this was a fantasy saga for kids and adults alike. The artist, Jen Quick, has a quirky style that we loved, and the book looked really good.

But personal issues for her meant she was unable to continue. And what was meant to be the first graphic novel in a series went dormant. For years.

When we revisited this, we rebooted. As a result, this book is a real curio in our portfolio. Forgotten, because it was replaced. Which was too bad. It still has its charm.

A four page story in an anniversary issue where we got to work with the legendary Ty Templeton.  A story that had throwback, silver age charm. The title "Amazon Women On The Moon."

And one review that said we deserved to have a flaming spear shoved up our collective asses.

Ah, superhero comics... from the highest of highs to the most annoying of lows, all in 4 pages.

There are few times, when you're not top tier fanous as a writer, where you can tell your agent "I want to work on that" and have it happen. But that was what happened for us with KIM POSSIBLE.

Huge fans of the show, we asked our agent to see if they would meet with us. They did. We pitched episode ideas to them, and they bought two. And made them!

Episode 45 "Oh Boyz" and Episode 47 "Mother's Day" both ended up looking very much like the stories we pitched. They were written by staff writers off the show, working off materials we submitted. We got story credit on both.

And in doing so, lived out a dream.

After the scrapped storyline saga of NEW MUTANTS, we honestly spent a lot of time worried we'd be fired. But Marvel kept us onboard, and relaunched the book as NEW X-MEN: ACADEMY X. It continued what we started in the previous book - a Dawson's-Creek-with-mutants vibe that people either loved (we have fans of the stories and characters to this day) or hated (a lot of X-fans wanted more fights, and more life and death stakes.

We had a ton of plans, and were building towards some high stakes superhero action. But we wanted to slow burn it through teen drama and character work.

It was never to be. Just after the HOUSE OF M event, where we got to show (in an alternate reality) some X-Men style combat with the kids, we were taken off the book.

The new team insulted our work for the months leading up to them taking over, then killed almost all of the kids we created and depowered some of the remaining ones.

It was about as unpleasant an end as anyone's time in work-for-hire can have.

But it's work for hire. They have the right to replace you. And the new team gets to do what they want. It wasn't pleasant, but it was fair, and part of life on superhero books.

Our baby. Luna ran for 11 volumes of manga, spawned a spin off prequel series (AMAZING AGENT JENNIFER), and remains one of our favorite creations.

We can't say enough about how much fun it was to work with Shiei on this book.

So few of the stories we've gotten to tell went as long or as far as we wanted and took us all the way to a conclusion that left us happy the story was over but still in love with having told it.

That was Luna for us. A fun book to create, with characters we loved to write, and an arc that both surprised us and held true to what we envisioned at the same time.

She will always hold a special place in our heart.

We did a short (5 page) story where Wonder Girl (Cassie) processes the news that Zeus is her father, with the help of Arrowette. Fun to play in the DC sandbox for a bit, with characters we like. Mostly filling in some gaps from other people's story arcs.

But the best part was getting to work with Todd Nauck. He's so talented, and someone we always wanted to work with.

Before we knew we were off NEW X-MEN: ACADEMY X, we had plans to do a miniseries for each of the other squads of students. Some were vaguely plotted, others were barely notions. But we knew we wanted to start with the "bad kids" - who we loved to write.

The HELLIONS miniseries is one of our fondest X-Men memories. We got to show a more traditional super hero story but still keep the focus on these characters being teenagers figuring themselves out.

And as a bonus? We got to write Diamondback, Paladin, Nick Fury and even (for a panel or two) Doc Ock.

Always love to play in the big playground of Marvel.

We play role-playing games, and for years we played our own version of STARGATE, where none of the movie or show's mythology was in place, we just used the gate to create new adventures each session.

Dr. Jessie Parrish was Christina's character in that game. And Max Kelleher was Nunzio's character when he wasn't GM. We set out to create a story free of Stargate where these two characters could play.

What we came up with? A haunted house story combined with archeology, death traps, and a nod and wink towards the government conspiracy we created in SKINWALKER.

We even added a character who had appeared in THREE STRIKES, and made ourselves an Oni-based shared universe for three of our stories.

And it was our first time working with the phenomenal Chris Mitten.

So. Much. Fun.

We did a handful of issues of ADVENTURES OF SUPERMAN, assisting Greg Rucka by scripting off of his plots. As a bonus, we got to write Zatanna in one of the issues was bonus (that was especially a treat for Nunzio).

But the biggest takeaway from this experience was the most obvious one. We got to write Superman! Superman is, and always will be, the definitive superhero. And writing him is and was bucket list stuff.

It's not easy to write a character that powerful and that good. But it isn't as impossible as people say, and it's a wonderfully fulfilling thing to do.

Nunzio loves pirates. Like really loves them. He even has a pirate voice he breaks out at the most annoying times (on line at Disneyland, for example).

Christina wanted to write a pirate manga. But she also used the promise of doing this as a way to extract a promise.

No more pirate voice.

It was worth the tradeoff.

Plus... enough years have passed. Nunzio's doing the voice again.

Our second collaboration with Chris Mitten was the big one for us. This is where we created Amy Devlin, another of our favorite creations.

A P.I. without her license is asked to find out who killed her client in his past life.

The hook in the story for everyone else was the mystery. But the hook for us was creating a detective we'd want to revisit.

Still, this was written as a one-off, and Chris wouldn't be able to work on follow up mysteries. So it stood alone.

For a while.

When we finally went back to Amy Devlin, Oni graciously re-released this book with an AMY DEVLIN MYSTERIES hardback format. We used that opportunity to update the dates in the story so it would be closer in time to the new book while allowing the new one to be "current."

The Suicide Squad, the Ostrander version, was near and dear to Nunzio's heart, especially Rick Flag and Bronze Tiger. Greg Rucka knew that, and called us in to script for him on another of his books, because he wanted to bring back the classic Suicide Squad.

In writing the book, Christina came to love these characters too. And both of us became huge fans of Icicle and Mirror Master.

We did two Suicide Squad issues, and then two later issues focused on Beatriz da Costa, formerly known as Fire.

Greg Rucka had created a solid spy-book-within-a-superhero-universe series with CHECKMATE, and we had a blast playing in this specific corner of the DC Universe.

From 2007 to 2009, the LA Times tried to get hip with a weekly tabloid called METROMIX. And in an attempt to appeal to the young folks, they decided to work with Seven Seas and feature 1 page of an ongoing manga each week.

Having done AMAZING AGENT LUNA and DESTINY'S HAND for Seven Seas, we were their big ticket English language manga writers, so they brought us to a meeting at the LA Times - a very cool building.

We pitched a story of a ninja who was lost and lost his memory and was working in LA as a mostly unemployed actor. And the best ninja in his former clan is forced to train him, even while he falls in love with her.

It only lasted a few months, and we never got anywhere near to the conclusion we wanted for it.

Metromix folded not long after that. Coincidence? You decide...

But we have the greatest souvenir. Our bad ass ninja would often say "Ninja don't do..." whatever weird LA thing she was asked to do. To publicize the comic at a con, the Seven Seas team all wore "Ninja don't do publicity" T-shirts. We still have ours.

Another quick cup of coffee at DC. A really important one.

You see, Christina loves Nightwing.

Really loves him.

And we got to write him. And write him being a bad-ass and being heroic, and even learning a lesson.

Captain Boomerang Jr wasn't anyone we cared all that much about. But we came to like him.

And we got to do a take on Chemo that was different and creepy. We were proud of that.

But still... Christina got to write Nightwing.

That's the only thing that matters.

The movie JUMPER probably deserved more attention than it got. It wasn't brilliant, but it was enjoyable and set up a world and characters that people could have gotten into.

And the studio thought it was going to be bigger than it was, so they brought in Oni to do a comic tie in. And Oni brought us.

The comic is cool, and we're pretty proud of it. But we got to write for younger versions of Diane Lane's and Samuel Jackson's characters, and that was a big thrill.

Our artist got a lot of studio interference. We did not.

Not a highlight of our career. But cool enough.

We also were hired to do a motion comic that went with certain versions of the Jumper DVD.

It was a motion comic.

They forgot to put our names on it.

We're okay with that.

Quirk Books wanted to get the original F. Scott Fitzgerald story out into the world in the run up to the feature film.

The film changed the story in huge ways, and in doing this (very faithful) adaptation, we came to love all the charms of the original. So we prefer staying close to the source.

And, we now get to say that our names share a cover with F. Scott Fitzgerald.

You can't beat that.

This may be our favorite superhero story arc.

Three quick issues, with Batman and Riddler circling each other suspiciously to maybe team up to take on King Tut.

We pitched this idea to Mike Carlin at DC with a new villain called the Sphinx leaving riddles at his crime scene. He suggested King Tut making his DC comic debut.

Mike Carlin is a genius.

He also paired us with Jose Luis Garcia Lopez, one of the greatest artists in superhero comic history. And paired him with Kevin Nowlan. Genius.

And we got to write The Riddler. The way we love him to be - snarky, smart, morally sketchy but not psychotic.

We also got to have him make reference to the King Tut song. Achievement unlocked!

We didn't know Bakugan when this job was offered to us, so we had to get a crash course.

We had fun writing this, and we think fans liked it.

Not a life goal or anything, but we're proud we could do it with an IP we didn't know as well.

We always wanted to revisit Amy Devlin from PAST LIES, and when we finally got to do so, it was without Chris Mitten.

In so doing, we created a new format for a new series. Ech graphic novel is a new mystery, usually rooted in the past, starring our fledgling PI trying to overcome her own past.

ALL SAINTS DAY launched THE AMY DEVLIN MYSTERIES, and focused on a serial killer who killed every 10 years, taking out a sinner with a saints name, using methods that match the way in which the saint had been martyred.

We're proud of this one, and Dove McHargue was a great collaborator.

Rashida Jones wanted to create a comic and had a killer idea. Oni Press paired her with us, and we helped her build out the idea, and worked with her to write it.

A great idea and a fun miniseries. It was optioned to become a film, with Rashida and her writing partner Will McCormick set to write it. But the film never happened.

We got our option payment, though. And that took the sting off the film not happening. A little.

We wrote a 10 page Cyclone story for this 80 page anthology. We gave her a power that we borrowed from our character Wind Dancer from NEW MUTANTS and NEW X-MEN: ACADEMY X.  That character controlled with wind, as does Cyclone in the JSA, but she used it to bring sound to her, allowing her to eavesdrop.

Wind Dancer had been depowered when we left the book, and we felt that power was too cool to be forgotten. So we established that Cyclone could do the same thing. And that hearing what people say isn't always as great as you'd hope.

A fun introduction to writing a new character while paying tribute to a (then) forgotten favorite creation.

The prequel spin off to AMAZING AGENT LUNA, this one took a favorite character of ours, Luna's Control agent and showed us how she became the woman she is now. In plotting and writing it, we discovered things and characters that we liked so much, they made their way into our plans for Luna's series, and gave us a pathway to changing Control in the main narrative.

Like the parent book, this is one of our proudest moments as writers and we will always be fond of this book.

When we decided to restart the fantasy series we tried to launch with ONCE IN A BLUE MOON, we partnered up with Emma Vieceli, who is not only phenomenally talented as an artist, but is also a gifted writer herself.

So we connected with Emma, and replotted everything together. Then we rewrote ONCE IN A BLUE MOON as the first volume of the newly relaunched AVALON CHRONICLES.

We got a second volume, THE GIRL AND THE UNICORN, and had plans for a third and beyond.

And then Emma got incredibly busy. She is so skilled, we had to know we couldn't hang onto her long enough to get this completed.

This project isn't dead, but we do wonder if we'll get a chance to wrap it up.

One of our favorite projects, and its incomplete status is one of our greatest heartbreaks.

We love baseball. And Christina played softball as a teenager. So this is a book near and dear to our hearts.

We both believe that one day, women will be able to play professional baseball alongside the men.

And we both want that day to come soon.

After we wrote this, we heard about a girl named Paige Sultzbach who, like our lead character, tried out for her school's baseball team. And like our lead, she joined the team.

We signed a box full of books and sent them to Paige and her classmates. We hope they enjoyed the book.

The last manga we wrote for Seven Seas before their focus shifted to localizing Japanese manga, this was a wild idea we had. Looking back, we're proud of how some of it came together, and shake our heads at other parts, finding them amusingly silly.

Dracula reborn in the body of a teenage boy. The key figures of the Dracula myth all coming back as people he's encountering in his daily life. All of this happening in a world where the novel had been published, so the characters all think Dracula is fictional.

Really silly stuff. And awfully fun to write.

Oni Press met with Dick Wolf, the king of procedural television. He told them he was looking for a medical horror procedural comic and asked if they had anything like that. They did not, but knew we could create something along those lines.

So they called us. We were at Disneyland.

We promised something by Monday (it was Friday) and we spent the day at Disneyland brainstorming.

By Monday we had a full proposal, full character list, even the initial story arcs planned.

But by Monday, Dick Wolf had already lost interest in comics.

We loved what we'd come up with, and so did Oni. And the project gave us a chance to work with Chris Mitten again.

This book got a lot of traction in Hollywood, perhaps because it was always designed to be a comic that become a TV series. But nothing ever came together fully. Still, over the years, the lead character has been reconceived several times, his demographics shifting (male to female, different racial backgrounds) with each TV producer expressing interest.

It was a striking look at how hard it must be to launch a TV show with a black male lead.

When Chris Mitten got busy, this book stopped, and we had tons of plans left. Another sad dangling project. But another book we're very proud of.

The final AMY DEVLIN MYSTERY, this one brings her to the conclusion of her initial arc. As such, it was always built to be the last book. Still, it was also built to allow us to take her into the next phase of her career, and we had quite a few more mysteries planned for her. We may write them one day.

Amy Devlin, as a character, is another property that Hollywood circled a few times. She got very close, and was developed as a TV series at E! that would have been entitled AMY D.

Instead of being someone who lied her way into being a P.I., Amy was rebuilt from the ground up as a detective whose primary skill was... and this took us a while to get used to... her sense of fashion and pop culture.

We were so torn. We wanted an Amy Devlin TV show. We wanted the money that came with that. And we were potentially going to be on the staff of the show. But we were not in charge, and the change made so little sense to us - why acquire the rights to our story and then tell one so completely different?

So when the show fell apart, we had mixed feelings.

We still think Amy would make an excellent TV detective. But if she only lives in comics, we'd be okay with that too.

After the shooting at the Pulse nightclub in Orlando, comic writer Marc Andreyko wanted to do something. He started organizing a tribute book to raise money for the families of the victims.

We volunteered, and he brought us onboard.

Our story was a 1 page comic, based on a real conversation that Nunzio's brother had with his parents the night of the shooting.

Given our experience with MARIA'S WEDDING, we got permission from all involved, and conveyed the conversation as close to verbatim as we could.

And we assembled a team of friends to collaborate with - Emma Vieceli, Christina Strain, and Neal Bailey. Good people and great talents. We relied on them to capture the beauty of this conversation.

Very proud to have been a part of this.

We both have played the Dragon Age video games quite a few times. To say we are fans is an understatement. We also played Mass Effect multiplayer with a group of acquantainces that included Trick Weekes of the Bioware team. So when Bioware and Dark Horse needed new writers for their Dragon Age comics, we threw our hat in the ring and got the job.

It was a fantastic experience.

In creating Vaea and Ser Aaron, we put two characters we loved into a universe we adored. In this miniseries, we got to write for Varric Tethras, one of our favorite characters in the Dragon Age universe, and for Sebastian Vael, another character we're quite fond of.

This mini was built to stand alone, but very clearly set up future adventures for our two leads. And we wrote it in the hopes that we'd get to do more in the Dragon Age Universe.

Boy did we get our chance.

Once DRAGON AGE: KNIGHT ERRANT was released, we talked with Dark Horse and Bioware about future plans. And mapped out a three miniseries storyline that built off of the events of KNIGHT ERRANT but also wove us through a couple of other ideas we'd pitched them, and into something that could help set up VEILGUARD, the upcoming DRAGON AGE game (though it had a different name at the time).

They then decided these miniseries would be 3 issues each, instead of the 5 that we had for KNIGHT ERRANT.

We're very proud of this mini, but think that maybe we didn't pace it perfectly for the shorter length.

Still, in this miniseries, we got to create a Mabari War Hound named after and (kinda) modeled after our own dog, and she was a big hit with the fanbase.

We also discovered a side character named Francesca in this was someone we wanted to do more with and added her more to our future plans.

Ah, Fenris.

Another favorite from the DRAGON AGE games, he was a preferred love interest when we played, and getting a chance to write for him was an amazing experience.

And his voice actor, Gideon Emery, even read some of his dialogue from this miniseries and released it on Twitter.

Writing a fan favorite like Fenris in a story where the readers don't get the level of control they get in the source material video games was... educational.

The games allowed choice, and the years since DRAGON AGE II allowed a lot of players to imagine their own fates for Fenris and Hawke. And some of those players did not like how Fenris referred to the events at the end of that game and the events from the next game.

But we wrote it all as lovers of the character, and such that almost any version of the Fenris choices would be supported.

The choices in game, not the choices from fan head canons afterwards.

Writing Fenris was an amazing experience, and any hiccups in fan response were not enough to take any of that experience away from us.

And then there was DARK FORTRESS.  The end of our run on DRAGON AGE. The completion of a story told over 4 miniseries, which turned a thief into a hero, and a group of adventurers into a team.

And it only cost the life of one of our favorite created characters.

Killing off one of our leads was hard. Really hard. But it had been the plan since we started the stories.

And it worked. It hit the readers almost as hard as it hit us.

As you can tell from reading about our various books, we don't always get to finish the stories we set out to tell.

Here we did. And while we'd have loved to revisit DRAGON AGE and would be happy to do so in the future should that become possible, if this was the end of the run, we are happy.

What a run it was.

Our latest project is a narrative podcast that we created with Jenny Sterner. The pilot is written, and casting has begun. Once cast, we'll record the pilot and then crowdfund to try and launch Season 1.

We're very excited for this one...

Please check out the pilot on this page!

We have two novels that we have written: MIND DANCE and HALEY'S GROVE. Each is in rewrites. A third novel idea is forming, however, and as is often the case, it may derail rewrites on one of the above. We also have a spec TV Pilot script PRIVATE INVESTIGATIONS that we want to update and take out into the world. We have an idea called RED INK that we're debating the format for - it could be a comic, a novel, a podcast, or a TV pilot script.

Oh, there is so much.

We developed a TV Movie called TWO STEP at Oxygen, an animated series at Disney called ACES HIGH. We wrote an entire video game for Sony that was never released (and we can't talk about due to an NDA). We developed a manga version of the time management game DINER DASH, and worked on a health-management video game that we also can't talk about.

Then there are the pitches that never went far but captured our hearts. Nunzio worked with Pete Woods to put together the best looking comic series proposal he'd ever seen. And the two of us pitched and did some decent development on comic miniseries or series featuring ZATANNA, IRON MAN, STEEL, BOOSTER GOLD, DOCTOR MIDNITE, DIAMONDBACK, HEROES FOR HIRE, and AUNT MAY. We also developed a magic-based teen book at Marvel called SPELLBINDERS, and pitched a TOMORROW GIRL series at DC that both could have been amazing. In non superhero (sort of) pitches, we tried to revive BUZZ LIGHTYEAR OF STAR COMMAND in comic form and create a Transmedia series for a major TV producer, but that also never came to pass.

Plus, we've been dazzled with possible deals that never happened to turn THREE STRIKES, THE TOMB, and SKINWALKER into feature films and BAD MEDICINE into a TV series.  And then there are the deals mentioned above on some projects that actually got some momentum or even payment.

In all, we've had a lot of work made, produced or published.

But boy do we have stories to tell about the things that never came to pass.

There are a couple of bigger name writers' projects where what you read (or in one case watched) was written not by them but by us, or with an assist from us.

We cannot name names or projects. But we've done this from time to time and likely would do it again if asked.

Usually we're executing someone else's plans and plots, so we're just helping someone whose workload is too full to deliver everything they've been paid to write.

Not ideal work, but it's work, and we're happy to do it.