Five years ago, during a moment of downtime at home, Stephanie Williams found herself crafting an uproarious Twitter thread that would ultimately become her gateway into the comic book industry. Inspired by her son’s enthusiastic obsession with a fictional “dinosaur chicken” restaurant, she transformed her musings into a series of humorous posts that vividly illustrated the absurdity of negotiating imaginary food purchases with a toddler. Accompanying her narrative were whimsical images of a Rocket Raccoon action figure propped atop a tower of blocks, punctuated by reaction gifs from popular reality television shows to amplify the punchline about her frustration with a nearly hour-long service wait. The thread surged in popularity, capturing the attention of many, but a particular comment resonated deeply: why wasn’t she channeling this infectious energy into actual comic books?
Williams’ digital antics did not go unnoticed by comic enthusiasts alone. “There was a whole Twitter thread where Jean told Storm to faint so she could use her PTO,” O’Neill Jones, a talented artist and one of Williams’ first collaborators, recalled. “I longed to see that scenario brought to life in comic form.”
Fast forward five years from her initial viral triumphs, and the now 32-year-old Williams stands as an accomplished comics writer, her impressive portfolio encompassing projects with Marvel, DC, and notable mainstream book publishers. The meme-driven narrative style she honed through social media has not only carved a niche in her new profession but has also significantly influenced contemporary superhero storytelling.
Williams’ passion for comics ignited long before her online success. A serendipitous find at a Dollar Tree in her Chicago hometown—a collection of Hagar the Horrible—opened her eyes to the whimsical world of cartooning. Soon thereafter, she immersed herself in beloved series like Calvin and Hobbes, Family Circle, and Cathy, eagerly racing to snatch up the Sunday funnies each week. “That’s when I realized this was something I was really interested in,” she mused. Even in elementary school, she began creating her own comics, one of which—a construction paper tale about a dragon incinerating homework—won her a blue ribbon at a district art festival.
Discovering Archie while waiting in the grocery line proved pivotal in her trajectory toward embracing superhero fandom. “The accessibility of the stories endeared them to me as a budding comic reader,” she noted, reflecting on how the relatable slice-of-life narratives spoke to her interests at that time. Williams believes her initial love for Archie naturally led her to Marvel’s Bronze Age comics, which embodied the same relatable drama found in Riverdale, only with characters donned in heroic outfits.
Despite her childhood enthusiasm for art and storytelling, Williams initially believed her professional path lay in biomedical research. However, her talent for meme-making serendipitously thrust her toward her dream career of becoming a storyteller, embracing opportunities that came her way.
On a stroll to the movie theater, inspiration struck as she stumbled upon a screen grab of Superman in a scene with “Evil Wonder Woman,” and instead of merely saving it for later, she opted to share it, realizing how amusing it was.
Her newfound enthusiasm led to a flurry of viral tweets, consistently captivating Twitter users throughout the late 2010s with her sharp takes on iconic characters like Blade and Misty Knight. A particularly eye-opening tweet about Jean Grey and Misty Knight, who were previously roommates in Power Man and Iron Fist #80, sparked the creative concept behind her breakthrough comic, Living Heroes.
A passionate engagement with Williams’ X-Men threads led Jones to connect with her during the buzzing #DrawingWhileBlack event on Twitter. Their instant rapport paved the way for collaborative projects like But What If Though, a webcomic that illustrated popular superheroes through Williams’ distinctive Black, queer, and comedic lens.
“Meeting Steph accelerated my journey as I transitioned into the comics world,” Jones expressed, comparing it to hitting a speed boost in a round of Mario Kart. “At that point, I had no idea how many people connected with our work; I was simply enjoying the creative process.”
In 2020, when Williams and Jones sought funding for the inaugural issue of Living Heroes through Kickstarter, Williams expressed that her aspiration for the comic was to “catch the attention of someone who can crack the door open just enough for me to make my way in.”
A remarkable $14,500 raised by fans confirmed that Williams and Jones had struck a chord with an audience that craved the comforting allure of slice-of-life stories, narratives that have traditionally been scarce in mainstream Western comic shops aside from manga.
Williams expressed that the overwhelmingly positive response felt like validation for her artistic endeavors. “These aren’t just memes,” she asserted. “I’ve taken my memes and translated them into comics form, so what now?”
Following this wave of success, established opportunities began to open in the coveted House of Ideas at Marvel and the Distinguished Competition at DC. Williams felt a profound sense of readiness to immerse herself in superhero storytelling, convinced that her voice was destined to thrive, believing firmly that “storytelling doesn’t belong to the few. It belongs to the masses.”
Rather than issuing a cease and desist against Living Heroes and its cast of remarkable women, Marvel welcomed Williams to create a two-page story featuring Monica Rambeau and her mother, Maria, on a grocery shopping trip. This pivotal moment marked her transition from enthusiastic fan to creator. “Discussing and writing about Black women characters with the Big Two helped shape my voice,” she shared. “It felt full circle to lend that voice to those same characters.”
Since her debut with Marvel, Williams has solidified her position as a prominent figure at both major comic publishers, highlighted by her widely praised run on DC’s inaugural Nubia solo title. In this groundbreaking work, she explored the more nuanced aspects of the Amazon’s character, weaving in rich narratives that featured a Black queer hero, trans women, and reimagined Wonder Woman lore, drawing inspiration from both George Pérez and her affinity for fantasy.
Through her storytelling, Williams infused thoughtful energy and insightful humor, allowing her authentic experiences to shine through in her works, including Scholastic’s graphic novel Moon Girl and Devil Dinosaur: Wreck and Roll. In this work, she encapsulated the essence of childhood through her own experiences as a mother, creating a relatable young heroine, Lunella Lafayette, that readers felt compelled to engage with. In Alien: Black, White & Blood #2, she carefully focused on a new employee’s first day, cleverly intertwining the surreal with the mundane—true to the original film—and revealing the charm found in everyday situations.
Williams employs distinct principles when crafting viral memes or fan edits, with her first rule being to never “punch down.” “I’ve encountered numerous opportunities to capitalize on low-hanging fruit that would guarantee virality,” she explained, “but I intentionally avoided that route, as it doesn’t resonate with my formula.” In her humorous takes on characters like Charles Xavier, she emphasizes flaws in personality rather than physical traits, cleverly sidestepping cheap jokes that rely on character disabilities, like his use of a wheelchair.
Williams draws inspiration from a diverse array of influences, spanning from raucous ’80s action films to timeless Black romantic comedies, which shape her approach to meme creation. “I try to highlight relatable elements amid the absurdities faced by these characters,” she noted. “Showing the humor in dire situations captures attention and instills empathy.”
The acknowledgment of Black culture in memes is integral to Williams’ trailblazing impact, as illustrated by humorous portrayals of iconic characters like Storm transformed into a Beyoncé figure or Homer Simpson donning a bonnet. “I love that these expressions illustrate our shared humanity,” Williams passionately expressed. “Embedding Poison Ivy in a context familiar to Black culture exemplifies that comic characters can connect us emotionally even if we don’t relate physically.”
Williams’ influence extends far beyond her own creations. Recently, Marvel’s official social media accounts celebrated a playful stop-motion clip called “The Real Housewives of Westchester County,” a gag she initially introduced during a 2020 podcast episode, which continues to thrive due to the resonance of her previous viral memes.
Writer Aaron Reese, creator of the queer fantasy comic series Bytchcraft, first crossed paths with Williams during an X-Men-themed episode of the podcast Slayerfest98. “Our bond was instantaneous, fueled by our mutual love for X-Men and the shared upbringing in Chicago,” he said. “It felt like a match made in comic book heaven from the very beginning.”
What began as a chance connection quickly developed into a supportive friendship as Williams carved out a space for Reese in the comic world as a queer Black man. “Steph serves as an invaluable confidante,” Reese noted. “Her insights into deconstructing tropes and narrative techniques have sparked inspiration in me. I’m grateful for her contributions to my first creator-owned comic with Mad Cave—her impact transcends professional mentorship; she embodies a relentless source of encouragement and creativity.”
Williams’ remarkable work in reintroducing Nubia into the DC Universe as a powerful character represented a groundbreaking achievement, co-writing with Vita Ayala and introducing the first canon trans Amazon brought to life by Alitha E. Martinez. This commitment to diversity and inclusivity underscores Williams’ role as a groundbreaking figure, striving to create stories that mirror the diverse readership of the comics industry.
“I envision a future for superheroes reflecting the richness of diversity in our world,” Reese affirmed. “Steph stands at the forefront of this necessary change.” He highlighted how her work on Nubia magnificently portrayed a queer Black Amazon with tenderness, steering clear of stereotypes and celebrating femininity. “Steph’s masterful approach to character development and storytelling paves the way for a more inclusive superhero landscape.”
Reese expressed that Williams’ evolution from meme creator to comic book writer perfectly aligns with her persona. “Her cerebral nature makes humor a prominent lens through which she analyzes and communicates ideas,” he concluded.
In the critically acclaimed series X-Men ’97, the fourth episode, “Motendo; Lifedeath – Part 1,” sparked discussions among viewers due to its apparent homage to Living Heroes, showcasing a Marvel/Black sitcom mash-up reminiscent of A Different World, now featuring X-Men characters.
Williams remains acutely aware of her memes’ influence on the broader entertainment landscape, acknowledging how fans often mistake various posts as her own creations. “It’s bittersweet,” she reflected. “I’m thrilled about the positive shifts in fandom dynamics, yet it stings to think I could have produced similar works. Occasionally, I witness companies clumsily trying to translate ideas I’ve explored, leaving me with the sentiment of, ‘I could have done it better.’”
“Yet, the silver lining lies in the realization that my style has impacted their interpretations,” she continued. “If something evokes a comparison to my voice or setup in the fandom, it reinforces the lasting impression of my contributions.”
Williams’ engaging humor not only captured the attention of avid fans but also positioned her firmly within the top echelons of the comic industry. With her foot now securely in the door, she’s proactively working to ensure that pathway remains open for others. Her contributions to Moon Girl and Devil Dinosaur: Wreck and Roll marked the graphic novel debut of the talented Asia Simone, and O’Neill Jones rose to prominence through Living Heroes. A prominent fixture at comic conventions, she is dedicated to guiding the next generation of creators seeking to break into the industry she is now proudly part of.
“For many marginalized fans, unearthing connections within narratives can prove challenging,” Williams shared, emphasizing her desire to shine a light on these experiences while introducing humor. “I never realized I had the capacity to do this, but I’ve been grateful for the opportunity.”
Ks when I see my ideas, or those that have originated from my humor, being shared without proper attribution. Nonetheless, it’s fulfilling to know that they resonate with so many people.”
As Williams continues to navigate both the rapidly evolving comic book industry and the intricacies of social media, her commitment to authenticity and inclusivity remains unwavering. “At the heart of everything I create is a desire to connect, to showcase voices that have often been left out of the conversation,” she emphasized. “I want my work not just to entertain but to empower readers, showing them that their stories matter.”
In an era where representation is more crucial than ever, Williams is undoubtedly a vital force, paving the way for future generations of creators who aspire to share their stories and contribute to a richer tapestry of narratives within the comic book universe. Her journey reflects the intersection of personal experience and cultural commentary, inspiring others to explore their identities through the lens of creativity.
Williams’ trajectory from a fan to a celebrated creator is a testament to the transformative power of storytelling, humor, and cultural engagement. As she continues to craft her narratives, audiences can expect a bold and inclusive vision that challenges norms while drawing on rich personal and cultural histories. The journey is far from over, and with her at the helm, the future of comics promises to be vibrant and diverse.
