Podcasts > Last Podcast On The Left > Blue Book: 1947 - An Interview with James Tynion IV

Blue Book: 1947 - An Interview with James Tynion IV

By Marcus Parks, Henry Zebrowski

In this episode of Last Podcast On The Left, James Tynion IV shares insights into adapting comic books for film and television. He sheds light on the process of reworking source material, striking a balance between staying true to the core concept while reinterpreting it creatively.

Tynion also discusses his own writing style and works, touching on themes like horror, misinformation, and the paranormal. Additionally, the episode explores historical events like the 1947 UFO flap that sparked public interest in flying saucers and government investigations into unexplained sightings. Tynion provides perspective on iconic characters such as the Joker and Batman, as well as his production company Tiny Onion through which he aims for greater creative control over upcoming projects across various media.

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Blue Book: 1947 - An Interview with James Tynion IV

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Blue Book: 1947 - An Interview with James Tynion IV

1-Page Summary

Adaptation of Comics to Film and TV

James Tynion IV describes adapting comics for the screen as a "long, weird road" involving extensive collaboration to refine the concept. He prefers adaptations that maintain the source material's core idea while reinterpreting it inventively.

Upcoming Adaptations

Tynion's "Something is Killing the Children" is being developed as a Netflix series, while "Department of Truth" is also being adapted.

James' Writing and Comic Work

Tynion's works like "Department of Truth" and "Worldtree" explore horror elements, misinformation's dangers, and paranormal themes inspired by "Sandman." Tynion says he aims to craft "true weird" stories based on real paranormal accounts.

Summer of 1947 UFO Flap

The 1947 events like the Kenneth Arnold sighting and Roswell crash birthed the "flying saucers" concept. Tynion notes the public fascination led to UFO investigations by the government. Eyewitness accounts, credible and otherwise, became prevalent.

The Joker and Batman

Tynion explores the Joker's horror and dark comedy aspects, delving into his twisted psyche. He recounts assigning an artist to draw an upside-down horse as part of a Joker scheme, showcasing comics' creative freedom.

James' Production Company Tiny Onion

Through Tiny Onion, Tynion seeks more creative control and is partnering with publishers like Dark Horse. He teases upcoming mystery projects spanning various media.

1-Page Summary

Additional Materials

Clarifications

  • James Tynion IV is a comic book writer known for works like "Department of Truth" and "Worldtree." These comics delve into horror elements, the dangers of misinformation, and paranormal themes inspired by "Sandman." Tynion aims to create stories that blend real paranormal accounts with a touch of the bizarre and unsettling.
  • In 1947, pilot Kenneth Arnold reported seeing nine unusual flying objects near Mount Rainier, Washington, sparking widespread interest in UFOs. The Roswell incident involved the alleged crash of an unidentified flying object in New Mexico, with initial reports suggesting it was a "flying disc." These events are significant in UFO lore and have fueled conspiracy theories and government investigations into the existence of extraterrestrial life.
  • Tynion prefers adaptations that stay true to the core idea of the source material while offering fresh interpretations. He values collaborative efforts in refining concepts for the screen, viewing the process as a lengthy and intricate journey. This approach involves creatively reinterpreting the original material to bring out its essence in a new light. Tynion's goal is to maintain the essence of the comics while exploring innovative ways to present them in visual media like film and TV.
  • Tynion's production company, Tiny Onion, is a creative venture through which he aims to have more control over his projects. Tiny Onion collaborates with publishers like Dark Horse to develop mystery projects across various media platforms. This initiative allows Tynion to explore storytelling in different formats beyond traditional comics. Through Tiny Onion, Tynion can bring his unique creative vision to life in new and innovative ways.

Counterarguments

  • While Tynion prefers adaptations that maintain the core idea of the source material, some critics argue that too much deviation can alienate fans of the original comics.
  • The process of adapting comics to screen can sometimes lead to oversimplification of complex storylines or characters to fit the different medium.
  • There is a debate on whether "true weird" stories based on real paranormal accounts might inadvertently spread misinformation or encourage conspiracy theories.
  • The interpretation of the 1947 UFO events has been contested, with skeptics suggesting that the sightings were misidentifications or hoaxes rather than evidence of extraterrestrial life.
  • The focus on horror and dark comedy in the portrayal of characters like the Joker might not resonate with all fans, who may prefer other aspects of the character's multifaceted nature.
  • Creative control through a production company like Tiny Onion is beneficial, but it can also lead to challenges in collaboration with larger studios and publishers that have established ways of working.
  • Partnering with publishers like Dark Horse is a strategic move, but it may limit the exposure and resources compared to partnerships with larger, more mainstream publishers.
  • Teasing upcoming mystery projects can generate excitement but also set unrealistic expectations that could disappoint fans if not met.

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Blue Book: 1947 - An Interview with James Tynion IV

Adaptation of Comics to Film and TV

The complex process of bringing comic book stories to life on screen is multifaceted and involves numerous creative and logistic steps. James Tynion IV provides insight into this intricate procedure and his personal approach to adaptations of his own work.

Process of adapting comics for the screen

James Tynion IV characterizes the process of adapting comics for film and television as a "long, weird road," full of extensive collaboration and iteration. This journey often involves the initial script being picked up by a production company, followed by developing drafts for a pilot, selecting directors, and securing a network to air the show. Tynion describes this cycle as involving numerous brainstorming sessions, often in Los Angeles, which serve to refine the concept continuously. Furthermore, he notes the business aspect of this process, stating that sometimes ideas are sold and then resold, which he likens to "moving a pool of money around in a circle."

James' approach to adaptations of his work

Tynion expresses a strong preference for adaptors of his work to grasp the fundamental idea and create something new from it. To him, it is essential that the adaptation maintains the "beating heart" of the original comic while also being reinterpreted to bring out the best ideas in novel and captivating ways. His lack of interest in direct adaptations stems from a desire for inventive treatments that are faithful to the spirit of the source material rather than its specific events or ...

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Adaptation of Comics to Film and TV

Additional Materials

Clarifications

  • The adaptation process for comics to film and TV involves steps like a production company picking up the script, developing drafts for a pilot, selecting directors, and securing a network for the show. It often includes brainstorming sessions to refine the concept continuously, with a focus on maintaining the essence of the original comic while creating something new. Ideas can be sold and resold during this process, which can involve extensive collaboration and iteration.
  • James Tynion IV is a comic book writer who provides insight into the process of adapting comics for film and television. He emphasizes the importance of adaptors capturing the essence of the original work while also bringing fresh perspectives to the screen adaptations. Tynion prefers adaptations that stay true to the core themes and emotions of his comics rather than replicating exact storylines. He is involved in the adaptation process by collaborating with production companies and participating in brainstorming sessions to refine the concepts for screen adaptations.
  • Baran bo Odar and Jantje Friese are a creative duo known for their work on the German TV series "Dark," a popular Netflix show that delves into complex themes of time travel and interconnected families. Baran bo Odar is the director, while Jantje Friese is the writer of "Dark," which received critical acclaim for its intricate storytelling and unique ...

Counterarguments

  • While Tynion prefers adaptations that capture the essence of the original work rather than direct translations, some fans and purists might argue that fidelity to the source material is crucial for an adaptation's success, as it respects the original creator's vision and the fans' expectations.
  • The description of the adaptation process as a "long, weird road" might be seen as oversimplified by industry professionals who understand the complexities and might argue that each adaptation has its unique set of challenges and pathways.
  • The notion of ideas being sold and resold as "moving a pool of money around in a circle" could be criticized for potentially trivializing the intricate financial and legal negotiations involved in intellectual property rights and the adaptation process.
  • The excitement around the adaptations of "Something is Killing the Children" and "Department of Truth" might be met with skepticism by some who believe that not all com ...

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Blue Book: 1947 - An Interview with James Tynion IV

James' Writing and Comic Work

James Tynion IV's work distinctly embodies his fascination with horror elements, taps into themes of misinformation, belief, and paranormal phenomena, and utilizes his inspirations from iconic series like Sandman.

Overview of current series: Department of Truth, Worldtree, Blue Book, Dracula

In conversation with hosts Ed Larson and Marcus Parks, Tynion shares insights into his numerous creative ventures in the comic realm. Among his current series are "Department of Truth," featuring artist Martin Simmons' innovative mixed media artwork, and "Worldtree," a collaboration with artist Fernando Blanco, noted for the emotional depth conveyed through 12-panel grids. Tynion also mentions working on projects like "Nightmare Country" with Alessandro Esparin and a retelling of "Dracula" coupled again with Martin Simmons.

Use of horror elements and tropes in his writing

Tynion's work is infused with horror, a genre he approaches with a unique blend of the macabre and humanism. For instance, Tynion describes a story where an 'evil internet' from 1999 tries to invade our world, serving as a literal interpretation of falling into the internet's dark side. This theme is exemplified further in his work with "Department of Truth," "Worldtree," and his early comic series "Mimetic." The latter tells of a deadly viral image, linking back to Tynion's alarm about how unchecked misinformation can rapidly spread online, a potent horror in itself.

Key inspirations and influences like Sandman

Tynion expresses that working within the Sandman universe was an intimidating honor, particularly when he wrote for the character Dream. He admires The Corinthian as one of the best horror images in comics. His writing is clearly informed by such landmark inspirations, where the fabric of reality and dreams intertwines with the frightening and the fantastic.

Exploring themes of misinformation, belief, and "true weird" stories

Tynion delves into the human psyche with his narratives, exploring why people are enth ...

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James' Writing and Comic Work

Additional Materials

Clarifications

  • "Department of Truth" is a comic series by James Tynion IV that delves into conspiracy theories and the power of belief. "Worldtree" is another comic series by Tynion that explores darker aspects of humanity through the lens of the internet. "Blue Book" is not explicitly mentioned in the provided text, so there may be a lack of context or it could be a reference to a different work. "Dracula" is a classic vampire tale that Tynion has worked on in a comic adaptation.
  • Ed Larson and Marcus Parks are hosts of various podcasts, including "Last Podcast on the Left," a show that delves into true crime, horror, and the paranormal. They are known for their humorous yet informative approach to discussing dark and mysterious topics. Larson and Parks often invite guests to explore a wide range of subjects, from serial killers to supernatural phenomena. Their dynamic and engaging style has garnered a dedicated following among fans of the macabre and unusual.
  • Martin Simmons' innovative mixed media artwork involves the use of various materials and techniques beyond traditional pen and ink, such as collage, digital elements, and textures like paint or fabric. This approach adds depth and visual interest to the illustrations, creating a unique and immersive experience for the reader. Simmons' style often blends different artistic mediums seamlessly, resulting in a dynamic and unconventional aesthetic that complements the storytelling in a distinct way. His work with James Tynion IV on "Department of Truth" showcases this fusion of mediums, enhancing the narrative's themes and atmosphere.
  • In comic book terms, a 12-panel grid is a layout structure where each page is divided into 12 equal-sized panels. This grid format is often used to create a sense of rhythm and pacing in storytelling, allowing for precise control over how the reader experiences the narrative flow. It can be particularly effective for conveying detailed or complex sequences of events in a structured manner.
  • The Corinthian is a character from Neil Gaiman's comic book series "The Sandman." He is a nightmare created by Dream, the protagonist of the series, embodying a dark and sinister presence with black holes for eyes. The Corinthian is known for his sharp teeth and his chilling demeanor, often serving as a symbol of fear and horror within the Sandman uni ...

Counterarguments

...

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Blue Book: 1947 - An Interview with James Tynion IV

Summer of 1947 UFO Flap and Culture

The summer of 1947 marked a significant chapter in the history of unidentified flying objects (UFOs) with events such as the Kenneth Arnold sighting and the Roswell crash leading to the term "flying saucers" and a surge in public and government interest in UFOs.

Overview of Kenneth Arnold sighting, Roswell crash, birth of "flying saucers"

James Tynion IV draws attention to 1947 with his upcoming Blue Book installment, reuniting with artist Michael Avon Oming, lauded for his work on "Powers" with Brian Michael Bendis. This period was known for the term “flying saucers” entering public consciousness following pilot Kenneth Arnold's claim of seeing nine high-speed objects near Mount Rainier in Washington State. Soon after, the Roswell crash fueled speculation and conspiracy theories regarding UFOs and alien presence on Earth, firmly embedding the concept of UFOs in the cultural zeitgeist.

Media and government response spurs more UFO interest

In response to escalating public fascination, local newspapers began running stories on UFOs, which added to the nationwide interest sparked by the summer's events. Tynion notes the government felt compelled to initiate programs to investigate the influx of UFO reports. This period saw the beginning of official inquiries into unidentified aerial phenomena, which would evolve into more systematic studies like Project Blue Book in the years to follow.

Eyewitness accounts, both credible and ...

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Summer of 1947 UFO Flap and Culture

Additional Materials

Clarifications

  • James Tynion IV's upcoming Blue Book installment is a reference to a comic book series or story arc that he is working on. This installment is related to the topic of UFOs and may delve into the historical events of 1947, such as the Kenneth Arnold sighting and the Roswell crash. Tynion is collaborating with artist Michael Avon Oeming on this project. The mention of this installment suggests that Tynion is exploring the UFO phenomenon within the context of his comic book work.
  • Michael Avon Oeming is an artist known for his work on the comic book series "Powers" alongside writer Brian Michael Bendis. Their collaboration on "Powers" garnered critical acclaim for its unique storytelling and art style. Oeming's distinctive illustrations and Bendis' compelling narratives contributed to the success and popularity of the series. The partnership between Oeming and Bendis is recognized as a significant creative force in the comic book industry.
  • A "flap" in the context of UFO encounters typically refers to a period of heightened UFO activity or sightings within a specific timeframe or location. It signifies a surge or increase in reports of UFO sightings, often leading to widespread public interest and media coverage. These flaps can vary in duration and intensity, with some periods experiencing a higher concentration of UFO-related incidents compared to others. The term helps describe a notable spike in UFO encounters during a par ...

Counterarguments

  • The significance of the 1947 UFO events can be overstated; while they did contribute to the cultural zeitgeist, other periods in history have also seen significant UFO activity and public interest.
  • The term "flying saucers" may have caught on due to media sensationalism rather than a true increase in UFO activity or a change in their nature.
  • The Roswell crash has been explained by the U.S. government as a military balloon accident, and many skeptics argue that the evidence for an extraterrestrial event is not compelling.
  • The increase in newspaper stories and government interest could be seen as a response to Cold War paranoia rather than a genuine concern for extraterrestrial life.
  • The initiation of official inquiries like Project Blue Book may have been more about allaying public fear and maintaining control over the narrative than a serious attempt to investigate extraterrestrial phenomena.
  • The credibility of eyewitness accounts from the 1947 UFO flap is often questioned, as human perception a ...

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Blue Book: 1947 - An Interview with James Tynion IV

The Joker and Batman

The discussion centers around the iconic hero/villain dynamic between Joker and Batman, spotlighting their rich history, varied portrayals, and memorable storylines.

Iconic hero/villain dichotomy with pulp roots

The hosts, along with writer James Tynion IV, delve into the advantages of comic books as a medium for extensive creativity, highlighting how comic book artists can portray grand spectacles, like blowing up a boat, without the limitations encountered in film production.

Flexible approaches to the character

Tynion IV shares a recollection from his time writing for The Joker in a Batman comic, notably asking the artist, Jock, to tackle the unique challenge of drawing an upside down horse being carried down a hallway in Arkham Asylum—a testament to the Joker's elaborately twisted plans to torment Batman.

The Joker's origin story, as detailed in "The Killing Joke," explains his descent into madness following a series of personal tragedies, including his failing career as a comedian and catastrophic events impacting his wife.

Use of horror and dark comedy

Marcus Parks touches upon Tynion IV's work on "Joker War," hinting at its success and its integration of horror elements. Tynion himself views the Joker as a horror character and insists that the Joker must retain a humorous element to remain effective.

Tynion has explored various facets of the Joker's persona, from the comedic ...

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The Joker and Batman

Additional Materials

Clarifications

  • Comic books offer extensive creative freedom due to the ability of artists to depict grand spectacles without the constraints of film production. This includes visually striking scenes like blowing up a boat, which can be effectively portrayed in comics. The medium allows for imaginative storytelling and the exploration of complex and fantastical scenarios that might be challenging or costly to replicate in other visual mediums. Artists can push the boundaries of visual representation, enabling unique and elaborate storytelling possibilities.
  • In "The Killing Joke," the Joker's descent into madness is depicted through a tragic series of events, including a failed comedy career and a personal tragedy involving his wife. These events push him over the edge, leading to his transforma ...

Counterarguments

  • While the Joker and Batman dynamic is iconic, some argue that it can overshadow other rich character relationships within the Batman universe.
  • The creative freedom in comic books is vast, but it can sometimes lead to overly complex or convoluted storylines that may be off-putting for some readers.
  • "The Killing Joke" is a seminal work, but its portrayal of the Joker's origin and the treatment of certain characters, like Barbara Gordon, has been criticized for its controversial content.
  • The Joker's effectiveness as a horror character with humorous elements is subjective and can vary depending on the audience's taste; some may find certain interpretations too dark or not fitting with their view of the character.
  • Tynion IV's exploration of the Joker's persona is one of many, and not all fans may agree with his interpretations or find them to be the definitive take on the character.
  • The blending of dark comedy with ho ...

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Blue Book: 1947 - An Interview with James Tynion IV

James' Production Company Tiny Onion

James Tynion IV discusses his independent production company, Tiny Onion, emphasizing its role in expanding his creative control and its upcoming mysterious ventures in various media.

Growing his creative output and partnerships

Tynion IV reveals his goal for Tiny Onion to maintain more control over the adaptation process. He illustrates the importance of finding partners who share a passion for creation and the potential of producing content independently. Highlighting the significance of connection and dialogue, Tynion IV acknowledges that these are instrumental in forwarding their projects.

Collaboratively, Tiny Onion fosters a business relationship with Dark Horse Comics, a partnership crafted to amplify his company's creative output. By cultivating these partnerships, Tynion IV ensures that Tiny Onion is strategically positioned to strengthen his creative liberties and explore a wide array of publishing opportunities.

Tynion IV’s Tiny Onion functions as an autonomous production entity, dedicated to crafting books and associating with the most compatible publishers. This independence streamlines Tiny Onion’s process for bringing a diverse range of creative ideas to fruition.

Upcoming mystery projects in various media

Exuding enthusiasm, Tynion I ...

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James' Production Company Tiny Onion

Additional Materials

Clarifications

  • Tiny Onion, James Tynion IV's production company, operates as an independent entity focused on creating content across various media platforms. It aims to maintain creative control over its projects and collaborate with like-minded partners to bring diverse ideas to life. By partnering with publishers like Dark Horse Comics, Tiny Onion enhances its creative output and explores a range of publishing opportunities. The company is expanding beyond publishing into other forms of media to diversify its creative endeavors in the entertainment industry.
  • Tiny Onion's expansion into other forms of media is driven by the desire to diversify creative endeavors and reach a broader audience beyond traditional publishing. This move allows the company to explore new storytelling avenues and capitalize on the ...

Counterarguments

  • While maintaining creative control is beneficial, it can also limit the perspective and input that other creative partners might bring to a project, potentially leading to a narrower vision.
  • Finding partners who share a passion for creation is ideal, but it may also be challenging and limit the pool of potential collaborators, which could slow down the growth and diversification of Tiny Onion.
  • Collaborating with established companies like Dark Horse Comics can amplify creative output, but it may also come with compromises that could affect the independence and control Tynion IV seeks.
  • Operating as an autonomous production entity allows for independence, but it also carries the risk of isolation from the larger industry network, which can be crucial for distribution and marketing.
  • Teasing undisclosed projects can generate ...

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