So looks like Tynion's trying to pull a Millar/Kirkman
Thoughts?
Honestly, hope it goes well for the guy
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So looks like Tynion's trying to pull a Millar/Kirkman. Thoughts? Honestly, hope it goes well for the guy
>Tiny sõy
Posting the article here
>James Tynion IV, writer of some of the best-selling American comics of the past decade, today unveiled a new business venture, Tiny Onion. The company is billed as a “full stack production house” for the development, packaging, marketing and cross-platform promotion of new creator-owned work. Multimedia development, production, and finance company Lyrical Media has stepped forward with a low seven-figure investment in Tiny Onion’s seed round.
>Much of what Tynion hopes to provide through Tiny Onion comes from hard-won lessons from his own decade in comics. Starting with a best selling run on DC’s Batman in the mid-2010s, Tynion has run off a string of hits for smaller publishers including Something is Killing the Children (Boom! Studios), The Department of Truth (Image Comics), True Weird and The Oddly Pedestrian Life of Christopher Chaos (originally published digitally on Substack, now in print via Dark Horse), Nice House on the Lake (DC/Black Label), Batman/Teenage Mutant Ninja Turtles (DC/IDW) and many others, while racking up a shelf of Eisner, Ringo, Prism and GLAAD awards. For creators like himself trying to forge an independent path that spans across the comics and media industries, Tiny Onion is meant to serve as facilitator and expediter of production, he said.
>“Big picture, this is my attempt to bring the idea of an independent film production studio into the comics publishing space,” Tynion explained in an exclusive interview last week. He said Tiny Onion (a play on a frequent mispronunciation of his name), an outgrowth of the brand he originally developed on Substack, will serve as a resource for creators and publishers to streamline the logistics of getting a comic from concept to retail, helping both sides reduce risks and hassles. Eventually he hopes it can be a springboard for new creator-owned IP to spread beyond comics into film, gaming and even animation.
>As part of that effort, UTA, which represents James Tynion IV and Lyrical Media, will now represent Tiny Onion in media rights, where it will help the production company grow its producing profile across film and television. One of Tynion’s projects, The Department of Truth, is currently under development at the entertainment group SISTER, with Tynion attached as Executive Producer.
>Tynion emphasized that Tiny Onion is not a publisher and the new business does not impact any of his relationships in the industry, where he is continuing to produce comics for a variety of imprints. “I'm not leaving any of the books that I'm on,” he said. “All of the deals that have been announced are in place, and we’re going to make some amazing books. But the credit you’ll see across all of our different titles, even the titles outside of the books that I do, is ‘packaged by Tiny Onion.’”
>Tiny Onion is launching with a core team of industry professionals including Eric Harburn (formerly of BOOM! Studios) as Director of Editorial, Courtney Menard (formerly of Z2) as Director of Production, and former independent publicist Jazzlyn Stone as Director of Communications. Tynion is Tiny Onion CEO. The company’s first credited work is packaging Somna Book 2 by Becky Cloonan and Tula Lotay for new publisher DSTLRY, where Tynion has signed on as a founding creator.
>“Partnering with Tiny Onion brings an additional layer of creativity and expertise to DSTLRY’s comic books and graphic novels, enhancing our ability to stand out,” said Chip Mosher, Chief Creative Officer for DSTLRY. He said that Tynion’s forthcoming series Spectregraph, with artist Christian Ward, will benefit from Tiny Onion’s services. “It’s a win-win.”
>Tynion says that Tiny Onion is focusing services on the parts of the business where both creators and smaller publishers can use help, creating economies of scale that benefit both sides.
>“We are going to be able to bring in other creators, help them with their titles and help them navigate the system of publishers, which is really the Wild West right now,” he said. “Comic book companies can be a little rough behind the scenes these days. We want to support editors by making sure deadlines get met, files are sent in the right formats, and creative teams are coordinated. Comics marketing is especially difficult right now. How do you get messages out in a fragmented social media space? We have a system that we are going to build and replicate, by bringing those skills in from the outside.”
>Tynion said he hopes the new venture can help creators who want to maintain control over their work navigate the complexities of today’s business, including those with ambitions to expand beyond the world of comics. He hinted at a slate of new projects, announcements and initiatives to come as Tiny Onion scales up and finds its footing.
>“We’ve had a number of conversations with other creative industries. We’re hopefully going to be making movies, being a film studio, making inroads into animation, maybe dealing with other entities interested in making an artful, beautiful comic,” he said. “The creative autonomy is the core principle of what we are doing. That’s why we lean into the term ‘production house,’ because we’re covering a lot of bases here.”
>The popularity of Tynion’s work across platforms and publishers has led some in the industry to wonder if there was a way to clone him, or at least replicate some of his fan appeal, at a time when the business badly needs a few hit periodical titles to bring readers back into their local comic shops month to month. If that problem has a solution, Tiny Onion may well be a part of it.
>“I’ve been working in comics since my 20s,” said Tynion, who is 36. “I want the industry to be here when I’m in my 40s, 50s, 60s, and I’m trying to put in the work to make sure that it is.”
End of article.
The "indie creator" reveals his final form. "Indie" exists for no other reason than to create IPs and associated storyboards that can be shopped to film studios in the hopes of becoming another Robert Kirkman. The Big Two are at least honest about what they are.
Honestly I have nothing against the guy but "indie" really should just mean self-publishing
I dig a number of Kirkman's comics but calling him indie is like saying Doom and Minecraft are still indie
>shopped to film studios
It's a double-edged sword
I have no doubt Millar's honest when he says he writes comics for fun since he's settled for life (I just don't care for his way of things being adapted boiling down to "write a few issues of something and get someone else to stretch that out for a multi-season show") but I just hope Tynion doesn't follow that path and still makes comics with actual meat in them that could stand on their own without an adaptation
He said SIKTC's a 75 issue plan
>The "indie creator" reveals his final form. "Indie" exists for no other reason than to create IPs and associated storyboards that can be shopped to film studios in the hopes of becoming another Robert Kirkman. The Big Two are at least honest about what they are.
>Indie creators are sellouts because they want to own their IP and its successes instead of giving that all away to giant corporations who won't even throw them a bone when they're sick and dying even though they created their most profitable properties.
Keep licking corpo boots. If the big 2 paid people properly then indies wouldn't need to exist. Jack Kirby died broke. Frick corporations, praise indies and form unions.
Frick SLOP in any form. If you don't create comics for the joy of creating it, you're no better than a a rainbow haired diversity hire corporate hack.
Indies produce more Black troony worship comics than the Big 2 do
James Tynion was Scott Snyder's weird little catamite who was never as good as his master. I can't name a single JT comic I'd describe as "good" without adding a ton of asterisks after that.
Still, it's fine to try. Go get 'em kid.
The Nice House On The Lake was good.
His recent stuff has actually been selling Saga levels IIRC
Wait, really?
Saga hasn't been selling well for awhile so maybe. The hiatus killed the comic's momentum.
Comichron charts
SIKTC and DoT perform as well as Saga during its peak
But Millar and Kirkman were once good (or at least goodish) writers (b***h all you want, you ate Red Son and Ultimates 1 and 2 up with a spoon), and fricked off from Marvel at exactly the right time towards the end of the 2000s comic resurgence to launch creator owned books readers were actually interested in.
With the best will in the world, Tynion is best known as Scott Synder's fill in guy, and the most memorable comics he ever wrote were a passable Batman run, noteworthy for not being as bad as the two terrible ones it came sandwiched between.
Good luck to him though!
>Scott Synder's fill in guy
I don't like Tynion but his non DCU work has been selling really well and he has been getting looked at for media deals. So he is in a position to jump Snyder.
Question, how many people did Snyder mentor again?
I don't know the exact number but he led a weird talent-seeking program DC did some years back, I think he helped about a dozen new writers. All of which turned out to be absolutely horrible diversity hires incapable of putting two words together.
Tynion was before that, he wasn't part of the program.
Was Marguerite Bennett a part of that or before?
Snyder was a writing teacher before getting his break in comics.
>and the most memorable comics he ever wrote were a passable Batman run
It's actually funny how his Batman run introduced OCs like Punchline and Miracle Molly is what lead to speculators gassing his comics up and how DoT and NHotL ended up selling lots of copies
>b***h all you want, you ate Red Son and Ultimates 1 and 2 up with a spoon
Ghost written by Morrison or at least he heavily helped with plotting duties.
>But Millar and Kirkman were once good
Stopped reading right there. No.
Shouldn't he write some good comics people might be interested in adaptations of before he does something like this? Feels like buying a garage when you don't have a car.
>Tiny Onion
The name alone guarantees failure
Why? He doesn't have a SINGLE adapted IP, let alone a successful comic book. (I like his recent stuff tho).
Both SiKtC and DoT are in the process of getting adapted
dude, we're talking about comics
nothing matters until we see a trailer
do you have the slightest clue how many comics went through development hell when it came to being adapted?
I'm guessing the Room Service short film he's working on led to this.
There are too many and too few good comics out of these creator owned publisher/imprints.
And most of these creators are only beloved on established franchises or accepted by many to keep the book in print.
But i understand he wants to be the Image, Youtube, Diamond of the independent comic scene. Makes sense but i domt see that this might be profitable. Because as long as you dont has the big sellers it just means the pie is more split between them. And we know that this why Marcel and DC are what they are, they have many employees and higher management that eats profit.
I don't know him but I welcome the decentralization. Lets see how it goes.
Isn’t this the clown who made Bruce a huge cucked b***h? Wtf is going on. Why is it always particularly WHITE men who write this fricked up men suck trash? America is done. We are on the brink of collapse. It’s over. The men have zero backbone anymore.
Because he's literally a homosexual
Good for him, I guess. He definitely has his fans but I don't see how. His writing is awful.