James Tynion IV Committed to Promoting Political Correctness in Comics

 

The Creative Independent interviewed the overrated James Tynion about his viewpoints and how he draws inspirations for his stories. He told them, for example:

 

You’re celebrating your first decade of your independent work, so it’s only natural for me to ask: What advice do you wish you had 10 years ago?

The amazing thing is, that, or maybe amazing is the wrong word, but I think I always… I always had a kind of true north of what I wanted out of my independent work. At the start of my career, I was co-writing a lot of comics over at DC. I was working on the Batman titles over there, so I had my day job. Those were the projects that I was willing to compromise on. I was taking notes. I was learning how to do things.

Creator-owned work is where I knew that I would be able to tell the sorts of stories that really spoke to me and expressed who I was. At that moment in my career I was mostly working with other writers and stuff like that. I really didn’t have the opportunity to show people my personality and my core interests.

 

His identity happens to be that of a LGBT ideologue, so what else is new? He’s the kind of guy who panders to such belief systems, all for the sake of GLAAD awards and stuff like that, and sadly doesn’t seem to have any serious interests beyond that. Lest we forget, he perpetuated the devastating abuse of Alan Scott in his DC writings, and no doubt, some of Tynion’s beliefs found their way into Batman to boot. Why, what’s this about compromise? Well, one could validly argue that since by that point, DC was already shedding whatever refrain they’d previously made from espousing heavy-handed LGBT ideology in their comics before, Tynion was obviously under no expectation to do so either.

 

Still, anybody that obsessed with LGBT practice is only going to care about such beliefs, and alas, that seems to be the problem with Mr. Tynion. So, he wasn’t going to put his narrow visions aside and recognize why they’re not the answer to everything. And “learning how to do things”? Tell us about it. If he did, he’d learn how to do optimistic comedy. Instead, he does horror thrillers. Including the following spinoff that’s got contributions by other writers:

 

To that end, one of your most popular works, Something is Killing the Children, has a spin-off series, House of Slaughter, where you’ve stepped away from that sole author role and now you’re in this more director role working with multiple authors.

How does your process for plotting and directing differ from your process as the sole author? Is it similar in that you still have that north star that you’re walking to now you’re just more hand-in-hand? Or you’re pushing someone else in that direction and saying, “Hey, I need you to go over there.”

Well, I mean, every collaboration is a little bit different, but I think that the biggest thing that I provided with House of Slaughter is basically the rules in the world. They cannot break the rules and they cannot break the world. And there are certain elements that I’ve held on in terms of the core mythology for the main series in all of that.

But the amazing thing, especially both Tate Brombal and Sam Johns, they would come back to the table with these incredible ideas. I had several instances where I’ve said, “This is the general shape that I see this moving in.” And then they came back with better stuff and I was like, “Yeah, throw my stuff out. This is better. This is what the story should be.”

But as long as it all lives inside the world and the central aesthetics that I’ve created with Werther Dell’Edera, as long as it lives inside of that, it all feels a part of one big cohesive universe. And I think I learned a lot about how to work that way while doing the superhero work that I was talking about.

 

This is all pretty rich coming from somebody who broke certain rules, and disregarded established continuities when he worked at DC. If he’s worked at Marvel, or will in the future, so long as they’re still around, no doubt, he’ll disregard core mythologies there too. A whole cohesive universe? Gee, why doesn’t he think this counts for a corporate-owned creation? Regrettably, conglomerate-owned products have been some of the biggest victims of all this woke propaganda for many years now, and it wouldn’t be wise to think creator-owned comics can’t fall victim to the same.

 

I know, and this just came up both in consuming media and that being an influence, that you watch a lot of movies when you aren’t working. Are there any specific genres that you return to, or, really, films that you return to?

I am a massive re-watcher. I like revisiting my touchstones and I think that there are different touchstones that I tap into for different projects. I think for the last few years, especially regarding my creator-owned work, you can see how often I’ve been revisiting my favorite David Fincher movies. I think that Fincher is hugely, hugely influential to me and the peak of that for me is probably Zodiac. But another one of my all-time favorite films is The Silence of the Lambs, which I watch at least once a year. Edward Scissorhands, Princess Mononoke

With all of these, it’s about the story. It’s how they tap into the story of me, it’s the first time that I interacted with these things. So sometimes, to recapture a feeling of how I was at a moment in time, I will re-watch Edward Scissorhands and then I’ll rewatch the 20 other movies that I would’ve been watching around the same time to get myself back into the headspace of who I was then and who I am now.

 

More examples of what his unfortunate influences are, and they certainly are quite dark-oriented indeed. Personally, I thought Mononoke was overrated, and a cheap excuse for nasty violence, all produced by a guy who’s very leftist himself, Hayao Miyazaki. I’m not especially impressed with Tim Burton either, nor with Fincher, based on anything bleak they built at the movies. Yet this demonstrates what’s wrong with these modern “auteurs”, when they obsess themselves over stuff that does more harm than good to society. And then some wonder how Hollywood’s so uninterested in serious focus on combatting Islamic terrorism. At the end, Tynion gave a list of items he’s read/viewed and recommends:

 

James Tynion IV Recommends:

I’ve been particularly obsessed with the work of Agatha Christie lately. The books are so smartly constructed with such fascinating characters, and they can get brutally dark. I’ve been burning through them, but I highly recommend The Crooked House.

[…] So, I was a musical theater kid, and a Hot Topic Invader Zim-loving kid, and I went to catholic school, so it shouldn’t have surprised any of my friends when I had a few weeks of intense and powerful feelings about Hazbin Hotel earlier this year. If I had it when it was 15, it would have changed the course of my life.

I like comics of all shapes and sizes, but there’s some really exciting stuff happening in the indy/alternative space right now particularly from Silver Sprocket. I absolutely adore Caroline Cash’s Peepee Poopoo, which is Eisner nominated this year. This is one of those things that ten years from now you’ll want to brag to your friends about having read in the early days.

 

All shapes and sizes? More like all that’s crude and crass, if that item that’s received an Eisner nod is any suggestion. And he also likes Hazbin Hotel, the cartoon that’s built on some very nasty ingredients as well? Man, we sure have a sad situation here alright. Let’s not forget Tynion also has a condescending view of capitalism.

It’s good he’s no longer working at DC, but of course, so long as leftists run the store, neither DC nor Marvel will ever be repaired. For now, one could argue what Tynion’s producing in the indie zone also does a disservice for indies in general, though it’s foremost the fault of the MSM, if that’s all they’re going to highlight. A very sad shame this is the generation we now have clogging the industry with their worthless works about horror and darkness.

 

Originally published here.

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Avi Green

Avi Green was born in Pennsylvania in 1974, and moved to Israel in 1983. He enjoyed reading comics when he was young, the first being Fantastic Four. He maintains a strong belief in the public's right to knowledge and accuracy of facts. He considers himself a conservative-style version of Clark Kent. Follow him on his blog at Four Color Media Monitor or on Twitter at @avigreen1

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